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Photoplay Magazine — Advertising Section 



3 



REG. U.S.PAT. OFF 




Dance to the music of famous bands 
and orchestras — on the Victrola 

The very latest and most tuneful dance numbers, 
played by musicians who are past masters in the art of 
delighting dance lovers. All the dash and sparkle and 
rhythm that make dance music so entrancing. And 
always ready on the Victrola! 

Hear the newest dance music at any Victor dealer's. 
Victrolas $25 to $1500. New Victor Records demon- 
strated at all dealers on the 1st of each month. 

Victor Talking Machine Company 

Camden, New Jersey 





i 




^ben you write to advortlsers please mention PHOTOPLAY MAGAZCNT;. 



4 



PiioioFi.w Magazine — Advertising Section 




John Barrymore in 
Dr. Jekyll and Mr. Hyde " 

Directed by John S. Robertson 

"The Copperhead" 

With Lionel Barrymore 
Directed by Charles Maigne 

Cecil B. DeMille's 

Production 
" Male and Female " 



Cecil B. DeMille's 
Production 
"Why Change Your Wife?" 

" Every woman " 

Directed by George H. Melford 
With All Star Cast 



William S. Hart in 
" The Toll Gate " 
A William S. Hart Production 

George H. Melford's 

Prtxiuction 
*• The Sea Wclf " 

William D. Taylor's 

Production 
"Huckleberry Finn" 

Maurice Toumeur's 

Production 
"Treasure Island" 



(T^aramount Cpictures 

^ -^i, 

. ..^ -. mKKk : FAMOUS PLAYERS -LASKY CORPORATION ImiitSi \% ■ ■ 



FAMOUS PLAYERS -LASKY CORPORATION 



ticrjr »durli.-iiuiiil iii niuInl'l.AV MAOAZIM; i i : 



The World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 



JAMES R. QUIRK, Editor 



Vol. XVIII 



Contents 

July, 1920 



No. 2 



Cover Design, 

From a Pastel Portrait by Rolf Armstrong. 

Rotogravure 



Martha Mansfield 



Gloria Swanson, Betty Compson, Dorothy 
Phillips, Kathryn Perry, Betty Ross Clarke, 
Louise Huff, Marguerite Namara and 
Lillian Gish. 



The Power of Selection 
Shirley Tomboy 

But Miss Mason Has Some Feminine Traits. 



Editorial 
Nadeyne Ramsay 



Making Over Martha Delight Evans 

Miss Mansfield Flits from Follies and Frolics to Films. 

Around Our Studio Morrie Ryskind and John Barbour 

A Lilting Skip Over the Lot. 



Force of Habit 

Drawing 

Broadway's Royal Family 

The Remarkable Story of the Barrymores. 

The Girl Who Cried 

Carmel Myers' Tearful Triumph. 

Heroine of 2,730 Romances 

Doris Keane the Star of Them Ail. 

Let's Be Fashionable 

A Story Everyone Who's In Love Should Read. 



C. W. Anderson 
Ada Patterson 
Gene North 

Nanon Belois 



19 

27 

28 

29 
30 
32 
33 
36 
37 
38 



(Contents continued on next page) - 

Editorial Offices, 25 W. 45th St., New York City 

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 

Edwin M. CoLviN, Pres. James R. Qu.rk, Vice Pres. R. M. Eastman, Sec. -Treas. 
W. M. Hart, Adv. Mgr. 
Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 
$3.00 Canada: $3.50 to foreign countries. Remittances should be made by check, or postal 
or express money order. Caution— Do not subscribe through persons unknown to you. 
Entered as second.cUss maKer Apr. H, 1912. at the Postodice at Chicaeo, III., uader the Act of March 3, 1979. 



Pictures Reviewed in the 
Shadow Stage This Icsue 

Sa>€ this magazine — refer to the criticisfrs be- 
fore you pick out your evening's entertainment. 
Make this your reference list. 

Page 70 

Humoresque 

Cosmopolitan-Paramount-.'\rtcraft 
Page 71 

The Devil's Pass-Kev Universal 

Page 72 

The ToU-Oate .... Paramount-Artcraft 

Passersby Blackton-Pathe 

Page 107 

Dr. Jekyll and Mr. Hyde Pioneer 

The Round-Up. . .Paramount-Artcraft 
Page 108 

Sex Hodkinson 

Page 109 

The Woman and the Puppet. Goldwyn 

The Cost Paramount-Artcraft 

Don't Ever Marrv. Neilan-First Nat l 
Page 110 

The Love E,xpert First National 

The Prince Chap.. Paramount-Artcraft 
A Man There Was. . . Radiosoul Films 

Down on the Farm 

Sennett-Unitfd Artist? 

Children Not Wanted Republic 

Dangerous to Men Metro 

The Mother of His Children Fox 

Page 111 

The Blood Barrier. ... Blackton-Pathe 

Black Shadows Fox 

The Heart of a Child Metro 

Dollars and the Woman. . . .X'itacraph 
Page 116 

Below the Surface 

Ince-Paramount-.\rtcraft 

Nurse Marjorie Rcalart 

The Yellow Typhoon. Mayer-First Nat l 
Passion's Plavground. . . jpirst National 
Page 120 

Tlie Sacred Flame Schomcr Ross 

.Alias Jimmy Valentine Metro 

Miss Nobody National 

The Veiled Marriage Hallmark 

King Spruce Hodkinson 

The Miracle of Money Pathe 

The Gift Supreme Republic 

Would You Forgive? Fox 

Lifting Shadows Pathe 

Page 123 

Terror Island Paramounl-.\rtcraft 



Copyright. 1920. by the PHOTOPLAY PUBLISHING COMPANY. Chlcaeo. 



Contents — Continued 



Intimate Snapshots 

Drawing 

Starring the Director 

A Close-Up of George Fitzmaurice. 

The Pure Bad Woman 

Good Intentions vs. the Box Office. 

The Morals of the Movies 

All About That "Gay Studio Life." 

Open Air Movies 

Another Family Circle Talk. 

Playtime Clothes 



PHOTOPLAY'S Fashion Editor's Second Article. 



Norman Anthony 
Delight Evans 
Frank M. Dazey 

Margaret E. Sangster 
Norma Talmadge 



West Is East 

Meet Terry Ramsaye, and a Couple of Others. 



Delight Evans 



Close-Ups 



Editorial Comment 



Speaking Movies of the Bowerv Theodore Marcone 

How the East Side Knows What It's All About. 

Human Stuff Gene Sheridan 

A Thrilling Romance of the East and West. 

Movies Is Movies Ellis Parker Butler 

The Author of "Pigs Is Pigs" Hopes He'll Recognize His Novel. 



"Here's How!"— Says Bud 

How Mutt and Jeff Perform in the Pictures. 

Rotogravure 



Bud Fisher 



Olive Thomas, Mary Garden, Dorothy 
Dalton, Anita Stewart and Marie Prevost. 

Syd Says: 

Charlie Chaplin's Brother Also Soars a Bit. 

The Grand Young Man of the Screen Sydney Valentine 

Both Stars and Directors Can Take Pointers From George Fawcett. 

Not in the Scenario Norman Anthony 

Drawing. 

Why Bob Your Hair? Arabella Boone 

"Don't Do It!" Pleads Corinne Griffith From Experience. 

Why Do They Dolt? 

This Is Your Own Page — Chime In. 

The Shadow Stage 

Reviews of New Pictures. 



Bums Mantle 
May Stanley 
Emma-Lindsay Squier 



What Does Your Handwriting Reveal? 

Maybe You're a Griffith or a Marguerite Clarke? 

He Likes 'Em Wild 

Al Santell Knows His Lions' Moods. 

We Take Off Our Hats To— 

A Quartette Who Shoved Themselves Right On Up 

An Unfinished Story Betty Shannon 

Death Takes Clarine Seymour From the Screen. 

The Twelve Best Motion Pictures 

The Latest Winners and a New Photoplay Contest. 

Questions and Answers The Answer Man 

The Squirrel Cage A. Gnut 

Nothing Serious. 

Plays and Players Cal York 

What's Doing Behind the Silversheet. 



42 

43 

45 

46 

47 

48 

50 

51 
52 

53 

56 

58 

59 

63 

64 

66 

67 

69 

70 

73 

76 

78 

81 

82 

87 
96 

99 



{ Addresses oj the Leading Moti. n Picture Producers appear on page i6) 



The 
Hope 
That 
Springs 



THE story of a sc 
ciety woman who 
found herself in motion 
pictures. 

Molly Bolton, brought 
up in extravagant lux- 
ury, was left a widow 
with nothing but $500 
a year, an extensive 
wardrobe, expensive 
habits, and a beautiful 
profile. 

She did not know how 
to do one single useful 
thing. 

How she solved her 
problem will be told in 
the August number ot 
Photoplay Magazine 
by 



Corinne 
Lowe 



Photoplay Magazine — Advertising Section 



7 






Keep It 

For $3.00 
Per Month 
Or Return ^ 

It At Our 

Expense 



Price 
Advances 
August 1, 
1920 to 
$64 



_^ Tf^ 0!iV€r Typewriter <5p. ^ 

■W-^" CHICAGO. U F. A- Q 



The Oliver Typewriter— Was $100— Now $57 

The Guarantee of a $2,000,000 Company that it Is the Identical Model 



Be your own salesman and earn $43. You 
pret the identical typewriter formerly priced 
— not a cent's alteration in value. The 
hnest, the most expensive, the latest Oliver 
Model. Old methods were wasteful. Our new 
plan is way in advance. It is in keeping with 
new economic tendencies. It does away with 
waste. Inflated prices are doomed forever. 

During the war we learned that it was 
unnecessary to have great numbers of travel- 
ing salesmen and numerous, expensive branch 
houses throughout the country. We were also 
able to discontinue many other superfluous, 
costly sales methods. You benefit by these 
savings. 

Brand New— Latest Mode! 

Do not confuse this with offers 
of earlier models, rebuilt or sec- 
ond-hand. Note the signature of 
this advertisement. This is a 
$2,000,000 concern. 

We offer new Olivers at half 
price because we have put type- 
writer selling on an efficient, 
scientific basis. 

You can now deal direct — sell to 
yourself, with no one to influence you. 
This puts the Oliver on a merit test. 



Mai( 



You Save $43 Now 

This is the fir.st time in history that a new standard 
$100 typewriter has been offered for $57. Remember, 
we do not offer a substitute model, cheaper nc- different. 
But the same splendid Oliver used by tne big concerns. 
Over 800.000 Olivers have been sold. 

We ship direct from the factory to you. No money 
down — no red-tape. Try the Oliver Nine at\)ur expense. 
If you decide to keep it, send us $3 per month. If you 
return it, we even refund the out-going transportation 
charges. You are not placed under the slightest obliga- 
tion. That's our whole plan. 

We rely on your judgment. We know you don't want to osv double. 
And who wants a les,ser typewriter? You may have an Ol-ver for 
free trial by checking the coupon below. Or you may ask foi -ATther 
information. 

An Amazing Book 

All the secrets of the typewriter worui are revealed in our start- 
ling book entitled "The High Cost of Tynewiters — The Reason and 
the Remedy," sent free if you mail the counc n now Also our catalog 
Order your free-trial Oliver— or ask for further information at once. 

Canadian Price, $72 until Aur. 1 1920 

TSc OLIVEP Typewriter (S mpany 



ThisCoupon 



147-A Oliver Typewriter Bldg.» Chicago 
NOTE CAREFULLY — This coupon will brinn you 
either the Oliver Nine for free trial or further informa- 
mation. Check carefully which you wish. ' _M.iO 



Now! 



After August 1, 1920, the price of the Oliver 
Typewriter will be $64. We are compelled to make 
this advance because of the increased cost of pro- 
duction. The Oliver remains the same. We will 
not lower its quality. The addition in cost insures 
its superiority. The $57 price of the Oliver has been 
widely advertised. We want to be entirely fair so 
we notify you in advance of the change. 



THE OLIVER TYPEWRITER COMPANY, 

147-A Oliver Typewriter BIdg., Chicago 

□ Ship me a new Oliver Nine for live days' free inspection. If 1 
keep it. I will pay $.57 at the rate of $3 per month. The title to 
remain in you until fully paid for. 

My shipping point is 

This does not place me under any obliirotion to buy. If T choose 
to return the Oliver, I will ship it back at your expense at the end of 

live days. 

□ Do not send a machine until I order it. Mail me your book "The 
Hitrh Cost of Typewriters— The Reason and the Remedy.'" your 
de luxe catalog and further information. 



Name . 



Street Addrema . 



.Statm. 



Occupation or busine 



w a. 



When you write to mlTcrtl^ers plrase mention I'HOTOPUAT MAQA'iClNB. 



PMor()I'l.\^ M\(.\/iNK — Ad\-erti.sing Section 




Oacl Laemmle Ppe?GM<? 

■Drama spectacle 

IBGIN 

|f:.^9TAM50UL 

DiPGcted by Tod Bpownin^ 
Qtop/by HHVanLoan Foup veeko 
of capacity audiencG9 at the 
Bpoadway Theatre New York City 



Just the kind ot gorgeous romance for 
which pictures were invented. Love, 
mystery, comedy, tragedy, strange, colorful 
scenes — the shuttered harems of old 
Stamboul — a great crime — an unwilling 
beauty stolen into the Arabian deserts by 
a mighty Sheik — a breathless escape— and 
then, the daring Virgin at the head of her 
Black Horse Troop racing across the sands 
on her stallion shod with fire to the rescue 
of her American soldier lover. THRILLS? 
You said it! 



Univer9al-Jevel 

$500,000 

ProduGtlon de Luxe 




l,v<ry n.lvirll-m.-iil In I IIOIOI': \Y MAC.VZINK l» «u«r»iitr*.l. 



FHOTOl'I.AY i\l AdAZINi: — ADVKRTISING SKCTIOX 




MY LORD BUT HE'S HOMELY, GFRT 
'say NELL, if 1 COULD F/ND A MAN LIKE H IM 
HONEST HE /MAKES ME SICIC OF 
THESE" HEROES"" 




WHERE'S rouR HANDKERCHIEF, JINA 

mine's so wet. 

he's is so uke your father 

WHEN You WERE A LITTLE FELLQw" 




Say Pad — IF I HAD A PONY LIKE THAT 
MANS LITTLE BOY,— AND YOU HAD 
A HORSE ANI> WE HAD SOME ROPE 



TELL YOU WHAT, MA, I WOULD'NT 
HAVE MISSED THAT PlCTUFLE 
FOR A FARM -THE WHOLE 
FAMILY COMES HEREAFTER 
WHENEVER WILL ROGERS 
COMES TO TOWN — " 





A. new type of star — so new that at first audiences 
gasped. That man a hero! That homely, awkward man! 

Will Rogers has gone straight to the hearts of 
America. 

That same uncouth simplicity — that dry whimsical 
humor — that great - hearted tenderness that made 
Abraham Lincoln the most beloved American. 

It was Goldwyn that discovered Will Rogers. Quick 
to read the public's desires in stars and in stories — 
Goldwyn produces the pictures you always enjoy 



GOLDWYN PICTURES 



When you write to adfertlscrg plca,u mention iTOPl.A Y M.VUAZIN£. 



lO 



Photoplay MACiAziNE — Advertising Section 



m 




Whitman Bennett presents 

Lionel Barrymore 

in his first picture for 

First National 

"The Master Mind" 

Mr. Bennett's personally supervised produc- 
tion, taken from the famous stage success of 
the same title, written by Daniel G. Carter. 

The thrilling, melodramatic story of a strong, 
ruthless man, who tramples on men's and 
women's hearts to gain his one aim — his 
passion in life, vengeance — and of a young girl's 
great love — and how love conquers hate. 

Directed by Kenneth Webb 

Ask when it plays at your theatre 



A First National 




cAttraction<^ 



Krirj Advi-rllM'niiut in I'UOTOPLAY MAGAZINE U gu»r«nu-«l. 



Photoplay Magazine — Advertising Section 



1 1 




"Motion Pictures At Their Best 



9? 



It is recorded that to someone whoonceasked Whistler 
with what he mixed his colors to achieve such 
wonderful paintings, the artist replied with the 
single word, " Brains." 

And if we were asked why it is that Pathc Features 
are so unfailingly good we should have to reply that it is 
because of the brains that collaborate in their making. 

The best writers, the leading directors, the great- 
est stars, the most competent producers collaborate 
in their making and the result is — photoplays of 



real merit. Constructed with regard for the essen- 
tials of true drama, abounding in tense situations, 
unexpected episodes, striking conclusions, Pathe 
Features hold one's attention from start to finish — 
through their vivid portraval of the impulses and 
emotions that make up life itself. 

Pathc Features are the best achievements or 
todav in screen entertainment. There is a Motion 
Picture Theatre in your vicinity that shows them. 
It will be easv for vou to find it ! 



Current Productions That You Should See 



Blanche Sweet in Bayard Veiller's 
Play, "The Deadlier Sex,' a Jesie 
D. Hampton production; 
"The Blood Barrier," by Cyrus 
Totcnsend Brady, a ./. Stuart Black- 
ton Production ; 

"Rio Grande," from the play of 
A uguslus Thomas, an Ed-iuin 
Careuue production ; 



"Dollar for Dollar," a Frank 
Keenan production; 
Blanche Sweet in " Simple Souls," 
a Jesse D. Hampton production from 
John Hastings Turner's novel; 
"Sherry," from George Barr 
McCutcheon's famous book, an 
Edgar I. en-is Production; 



"The Little Cafe," from the very 
successful play adapted from the 
French by C. M. S. McClellan, 
starring Max Linder. 

Herbert Rawlinson in " Passers By," 
a J. Stuart Blackton production 
from the famous play by C . H addon 
Chambers . 



Pathe Exchange, Inc., 25 West 45th Street, New York 



When you write to aUverUsers riease mention PHOT0PI.AT BIAOAZINB. 



I 2 




know 



Hello Cbiel: 

•■Mavpn't foun.l O,- li 

yt. h«Vr >.-u ~ v.. II will 

who hr l» - ril) wtii-n I am 
an<l ihr firm ^lop. I d'-n ( 
pusc \(iu rwn rrall?.!' thkl trie 
fircbuK ti*lk» to you alrmtiii 
pvi-r>' Ha> Abuut cuti hinfClhf* 
llrftiUK? TtiMt'ii mr. Thry 
nrver rauirht me In Chleaifo or 
nn)whiTtt clue, >iiu miffht 
mm well qutt lookinK for mr 
uid lake your mMiilti.- ' 




Phot()P(.\^ M\(.\/ink — Advertising Section 

CLASSIFIED ADVERTISING 



The Firebug 

That was the warning uhicli c;iine 
to the ftre chief, unsigned — and then, 
the very next day, a woman was found 
nearly dead in a burning building. 

It ffas a mystery that needed the 
master mind of Craig Kennedy, the 
x iciitifir (letfrti\e of this da\- — 

CRAIG KENNEDY 

American Sherlc!ck}Mm.\ \. 

ARTHURBREEVE 

:an Cona.n'Daylj 



.<7h!>AmeHcan i 



He is the genius of our age. He has 
taken science — science that stands for 
this age — and allied it to the mystery 
and romance of detective fiction. Even 
to the smallest detail, every bit of the 
plot is worked out scientifically. 

Such plots — such suspense — with 
real, vivid people moving through the 
maelstrom of life! - Frenchmen have 
mastered the art of terror stories. 
English writers have thrilled whole 
nations by their artful heroes. Russian 
ingenuity has fashioned wild tales 
of mystery. But all these seem old- 
fashioned — out of date — beside the 
infinite variety — the weird excitement 
of .Arthur B. Reeve's modern detective 
tales, in 12 volumes — over 250 stories. 



Col. Roosevelt said : — " I did a whole lot ol 
rcaiiiK. I particularly enjoyed half a dozen 
rattiink; good dcieciivc stories by Arthur B. 
Reeve — some o( them were corkers," 




E 51111 
■mi 



FREE— POE 

10 Volumes 

To those who send the 
coupon promptly we will 
give I REE a set of Edgar 
Allan Poe's Masterpieces in 
10 volumes— over 200 stories. 

\^'hen the police of New- 
York failed to solve one of 
the most fearful munli-r 
mysteries of the time, Edgar 
.Mian Poc — far off there in 
Paris — found the solution. 

This is a wonderful combina- 
tion — herearelwoof the Kreatest 
writers of mystery and scientific 
detective stories. You can Kcl 
the Reeve at a remarkably low 
price and the Poe free for a 
short time only. 

Cur cfWCPuA Coupon 
amd mad AC TocUxi y 

HARPER & BROTHERS 

( Establishsd 1817 ) 

H ARI'I K 4 BKOTIIKRS, 18 lunkfci Sqiiire. Ntw York l'h..t...7 so 
■ „ I I,,, ,11 . i,..nir-. |.tri. ,1-1. I.I Ailhu' B. R«n (Cr.iin Kcii- 
nr ii ). Ill ij \..hiMii'». Mm. srii.l iiiF. .il rsnlutelv FMI, the set ol 
EdfW Ultn rn, in lo voliiinev. II l"'lli .I'e not s.itls|jictorv 1 
»,ll return Ihrni wllliln lu .la>s .it voiir e«I>en',e. Other" i«c I nlll 
■end you |l wllhlii 5<Uy» anil $2 .i innnth lilt 14 months. 

Nam* 






rLAnn 


nnn,nnn.n.n 




ixirLri.n.nn,nh 1 




inKf 


Rate 

35cents 
per 
word 




All Advertisements 

have equal display and 
same good opportuni- 
ties for big results. 


rilUiyf^AT 

^ Sr. 

IrmTT 


This Section Pays. 

o7'r of the advertisers 
using this section during 
the past vear have re- 
peated their copy. 




Rate 
35 cents 
per 
word 




trTjTrd 


'U uuuu u u u 




U U U U U UUTTLrU UL 



FORMS FOR SEPTEMBER ISSUE CLOSE JULY FIRST 



HELP WANTED 



MKN- BOYS- (;I1U..'<. lilt OVKH (;et KKADY 
fur Railway Mall Clerk h:iaiiilnailon8. JKiO-fl.'.O 
tnoiitli. List iiusitlOTLs obtainable — free. Franklin In- 
slitiite. Dept. T-a».1. Itocliester. X. Y. 



I,AI>IBS. M.\KK YOfIt OWN H-VTS. INDIVID- 
tial les.soii.s by mall. Beautiful Mid-Summer Hat F>ee. 
I'hIcaRO Sehool of Millinery. Ucpt. P, 105 W. Monroe 
St- . Chicago. 

DOLLjVRS SA%m>. ALL KINDS OF USED Ct>R- 
reapondence courses sold. (Couree* tiouebt ) Moun- 
tain, Pis^'ah. Alabama. 

RAILWAY TRAFFIC INSPECTOR.^ EARN' FROM 
$11(1 lo $200 per month and expenses. Travel If 
desired, Unllmltad advanrement. No ape limit. 
We train you. Positions furnished under puarantee. 
Write for Booklet CM-2fi. .Standard Business Train- 
Ing Institute. Buffalo. N. Y. 

«T5 WILL START Y'OU IN THE CIE.^MING AND 
dyeing busiOKis. little capital needed, big prollts. Write 
for booklet. The Ben-Vonde System. Dept C-A. Char- 
li.lte. N. C. 



AGENTS AND SALESMEN 



$40 TO $100 A \VK1:K. FltEK S.iMri.ES. COLD 
SIkm Letters anyoiie ran put on windows. Big demajid. 
Liberal offer to general agents. Metallic Letter Co., 
431 -K N. Clark. Chicago. 

"INSYDE TIRES— INXF.R ARMOR FOR AUTOMO- 
blle tires; prevent punctures and hViwouts; double tire 
inl'eage. Liberal profirs. Details free." American 
Accessories Co.. Cincinnati. Ohio. Dept. 129. 



CASH m ON BONE DRY BILL MAKE $8 A DAT 
easy. Will show you how with our Concentrated J^jre 
Fruit Drinks. Wantetl everywhere. Small package — 
just add water, nere's the chanc<^ of a lifetime. Orab 
your territory. Write quick. American Products Co.. 
2:{.'i;i American Bldg.. Cincinnati. O. 

MAKE $3:1.00 NEXT SATURDAY. SPIiEDEUATOR 
fur Fords selling like wildllre. IJsed by Ford .Motor 
oftlclals. Makes any Ford run like a Packard. Stops 
stalling and bucking. Put on quick — instant satis- 
faction. No holes to bore. Sell ten to twelve a day 
easy. Splendid prollts and exclusive territory. Write 
quicJt fur informatiun. Address Perrln Company. 1058 
Havward BIdg.. Detroit. Mich. 



TELL THE HBIADEBS OF PHOTOPLAY WHAT 
you iiuve of intereai lu iliem. You raji reach iliem 
at a very small cost thruucli ati advertisement In the 
classified section. 87*;^ of the advertisers using this 
section during tlm past year have repeated. Tlie section 
Is read and brings results. 



S.ALi:SMEN-Cin' OR TRAVEUJNi;. EXPERl- 
enci. iiiiiiectasarj-. .Send (ur list of lines and full 
tiarticulars. Prepare in stare time to earn the big 
salaries— $I.S00 in $10,000 a year. Employment 
Birvlces rendered Meml>*rs. National SalesmiMrs Train- 
ing .^iwucMtion. Dept. l.'iS-n Chiragu. Ill 

MAGAZINES 

I OK r..\( K ]S.-;| KS lit l-HOTUl'L.W AND 
other Magazines write Kuston Maga/ine Eictialice. i>v 
Mountfort Stret^. Boston. 

MUSIC 

IN A.NY .STYLE OR ylA.NTm— < it R EUflP- 
raent In.sures best re.sults- .Saini.le Copn-s and prloes 
submitted on re<jue*,L I*rumtt Deliieo'. Music 
Publishing Press. JO.'i West lOlli StriM-t. .Sew Y'ork. 

MOTION PICTURE BUSINESS 

FILMS roK S.UJ:: one MIU.lu.V FKLT ALL 
makes, leiigtlis and varietii-.-. J I ler rt-el ai.d up- 
Send for list. Featurv I^ilni Cunai ariy. Loeb Arcade. 

Mlnneat-ulis. 

OLD COINS WANTED 

WATCH YOCH CHANCF. ilANY VALUABLE 
coins are in circulation. We buy all old coins and 
bills, some as late as lfil2. Get iiosted. Send 4c 
now for our Large Illustrated Coin Circular. It may 
mean large profit tu ^n!I Niinil«niatlc Bank, Dei't 75. 
Fort Worth. Texas 



PATENTS 



PATHNTS— SEND n)R FREE BOOK. CO.N- 
talns valuable iiilurmallun for inventors. Send sKctcb 
of your Invetitiun for Free Opinloci uf its psteniablo 
nature. Prompt service. (Twenty years' experience.) 
Talbert & Talbert. 4724 Talbert Bldg . WashiDglon. 
D. C. 

PATENTS. WRITE FOR FREE oriDB BOOK 
and Evidence of ConcetKlon Blank. Semi mo<le< or 
sketch for opinion of Us patentable nature. lllglieM 
References. Prompt Attention. Reasonable Terms. 
Victor J. Evans & Co., 7G3 Ninth. Wasbington. D. C. 



MISCELLANEOUS 



• -SOAK YOLK Fia:T AND (lET RKLlEl' USB 
Liberty Foot Powder tonight. Walk In comfort to- 
morrow. Send TiOc. for can. Consolidated Phannacal 
l-alHi rator'es. San Francisco. 

CIGARS: FRIMA LINDA. Qt-'ALITY ILLBANA 
cigars. Itox trade solicited, AgenU Wanted, Box 34. 
Station J., New York. 



• It takes you right into filmland where pictures 
' are made! You can watch the stars at work 
- and at play— at hotne and in the studio— in the 



A Gate Through the Magic Screen 
Photoplay Magazine Screen Supplement! 

Ask your nearest theatre manager when he will show the Suoplement. 



arn*35tol00aWee 

BECOME A PROFESSIONAL 

PHOTOGRAPHER 

Big Opportunities NOW. 

(Jiialif y for thi.i fascinating 
profession. Three months' 
course covers all branches: 

Motion Picture — Commercial — Portraiture 

( n iiiiivi'' <i"<l Mntiriiils FuinisUcd yiih'.F. 

rrnclirni instruction: m-Mtrrn equipment, Dliy or 
ov.-iiinif rla-'rtri*: ca!»r icrnm. Til*- ncluml of rccoR- 
nito,! HiUM-noritT. Callor writ* forc«UloiNo. ,17. 

N. Y. INSTITUTE of PHOTOGRAPHY 

Ml W. 36lli St.. New York SOS Stale Si.. BrooklTn 





Be a "Movie" 
Photographer 

Earn $50 to $200 Weekly 

^ , .■ r.- » !,kii s 50U lo 

E. brunel'college 

OF PHOTOGRAPHY 

I S- ■■ e.-IK.o 

t «ni , Ihrr •oho.M ' 

1269 Broadway.N.Y. 

_ . i-oun«c CAMTiptet* in«tni.-t 1.^ In 

OMsrsI Photography and Motion PIctarM opvralini; Ktan.tand 
^\tufr\-i I- - 1 . - ■ n>lrijct»r*. InhlallmrTiC- txkvn Cmll* Brmol 

■ •X-.^-^'r- :■■ in Naw 'k -k f ^r^t- It.,.!.-,. 1>,1«- 

n l>.-'t, <' I'lll^t tir^ h Call or ftand todav for BookUf P. 



Addr«** 

Occupation . 




Vtl SCA rARMV_ 

OR RANCH 

ACHROMATIC TELESCOPE MADE UPON NEW SCIENTiriC PRrNCIPLES. 
Positively tiiich II k'xmI Tclcwoiie was never sold fi.r t.us i>rlic tu f.Tc. Eastern Telescopes ir* 
nnide liy one uf the l.ircost inanufait iirirs of telescopes in .\inerle.T: we control entire pnnluctlon : 
nienmre closed 8 Inches .and <i|i.-n over '2"i fret in 4 sections. Tlie.v are nicely tir.i.is lioiind. witli 
eeleiitlllcnilv Kroniiil lenses. Ouarantood by the maker. Krcry sojourner In the eoiintry or st the 
tu'nsitle resorts should certainly secure one of these Instnimeuts. and no f.irnier should lie witliont 
one The sceurn- Just now Is lienntifnl A Telescope will aid yon In tsUine Tlows. Otijeets are 
hniiipht to view "with nstonlshinc clearness S»-nt liy m.ill or espress. ss fcly pscked. prepsld. for 
onlv 99 cents. Oiir new (■ntali>i;ue of Wnlclu-^. etc.. sent with each order This Is a smnd offer 
nixi .von ^llolll<l not iiil-'s It We warrsnt eM' h t.-lescope Jii-t us represented or tnonev refunded. 
Send 99 cents todnv. To dealers 6 for Four Dollars. 

EASTERN NOVELTY CO., DEPT. 73 



172 E, 93d STREET, NEW YORK. 



Dtco' advfrllsement in riloTOl'l .\Y M.Kll.KXI.NE Is guirantced. 



Photoplay Magazine — Advertising Section 



Wanted 

At $1,000 a Month 




13 



What Would It Mean 
-ToYOU-ToHave 
Muscles Like These? 

It would mean tremendous 
streng^th, putting you in a 
class above your fellows. 
It would mean that you 
could outdo them in 
feats of strength and 
be a leader of men. 
It would mean a 
strong personal- 
ity because of 
your command" 
ing appear- 
ance, thereby 
assuring you 
of success in 
both the busi- 
ness and social 
world. It would 
mean added 
lung power, un- 
limited vitality 
and perfect 
health ; remov- 
ing all fears of Ea'l' LleiJerman, the Acme ol fhysltal Perfection 
indigestion and disorders which undermine the 
average man and make him old long before his time. 

All These Things Are Yours 



I absolutely gruarantee to do all this and more for yo 



1 ha 



n body, proving its redulta. I ha%-e perBOnally trained many 
of the world's strongest men by this same method. Why wast»? 
your time and mont-y with old-tim.- worthless methods ? Ii you 
are desirous of being a real robust man. follow the path or 
those who have already maUe a succesa. Come now, get busy, 
for every day counts. 

Send for My New Book, "Muscular Development" 

It tells the secret. Hdndsomely illustrate.! wjth 25 full nat:.- 
photographs of myself and some of the w<iikl's best athlei.^ 
whom I nave trained. Also contains full particulars ol niv 
splendid offer to you. The valuable book and special offer will 
be sent on receipt of only 10c, stamps or coin, to cover cost of 
wrapoing and mailing. 

Don't misa this opportunity. Sit right down now and fill in the 
coupon. The sooner you get started on the road to health the 
easier it will be to reach perfect manhood. Don't drag along 
one day longer— mail the coupon to-day. 

EARLE E. LIEDERMAN 

Dept. 707 203 Broadway New York 



Can You Fill This Job? 



EARLE E. UEDERMAN, Dept. 707. 203 Broadway. New York City. 

Oear Sir :-I enclose herewith 10c for which you are to aend : 
without any obligation on my part whatever, a copy of your latest 
book. " Muscular Development." (Please write or print plainly. 



Name. 




We furnish our acruratt- itarhing- device with tools. 
Action Model, lessons, and analysis of business adver. 
tising: which makes you a master of the tuner's art. 
Diploma jri ven graduates 16 years' experience in teaching 
the most indepenfirnt find luorative profession by cor- 
respondence. SIMPLKK and BKTTER than oral InstruetlOlU 

Write todav for FKEP: illustrate d booklet. 
.-^^ NILES BRYANT SCHOOL OF PIANO TUNING 
402nne Art Inst., Battle Creek, Mich. 



Copy this Sketch 



•nil let me sev what >oii 

do with it. Manv newspaper 
;irtiftts earning $30.00 to SlliSfm 
or more per week were train- 
ed by mv course of per^ondl 
individual lesRons bv □liiil 
PICTURE CHARTS make 
nriRinal drawing easy to 
learn. Send sketch of Unt le 
Sam with tJc in stamps for 
e&mple Picture Chart, li^t ol 
fiuccessful students, ei;imple- 
of their work and f \ idenc** ol 
what YOU can acc<HiM'l>>li. 
Please ttale I'iur .ipf. 




AX ofhcial of one of tlie largest concerns 
. of its kind in the United States re- 
cently asked us to put him in touch with 
men capable of earning $3,000 to $15,000 a 
year. His letter is typical of many others 
we receive stating how difficult it is to find 
men qua.ilied for big jobs. 

WE are being called upon constantly to 
recommend applicants who have been 
examined and coached by us in special and 
general executive work. 

OUR success in training men and women, 
capable of qualifying for important 
executive positions, has given us a nation- 
wide reputation among large business con- 
cerns for developing employees for positions 
paying $2,000 to $10,000 a year and up. 
Our service has the written endorsement 
of many of America's leading corporation 
officials, bankers and business execu- 
tives. 

THE practical value of this service has 
been tested by men holding responsible 
positions in practically every large corpo- 
ration in this country, including 364 em- 
ployees of .Armour and Company; 3go of 
the Standard Oil Company; 811 of the 
American Telephone and Telegraph Com- 
pany; 309 of the United States Steel Cor- 
poration; 214 of the Ford Motor Company; 
303 of Swift and Company, etc. 

HIGH-GR.\DE positions are always seek- 
ing applicants of superior intelligence 
and training. By our methods we find em- 
ployees in subordinate positions who have 
the inherent ability to direct responsible 
work, but who need only the proper voca- 
tional guidance and special training that we 
supply to make high-priced men. For in- 
stance, we developed a $20 a week ledger 
clerk into a $7,200 a year -Auditor; a $70 a 
month shipping clerk into the Traffic 



Manager of a big rail and steamship line; 
a $300 a month accountant into a $70,000 
a year executive; a small town station 
agent into a successful lawyer and district 
attorney; a bookkeeper into a bank execu- 
tive, etc. 

ADV.\NCEMENT is not a difficult prob- 
. lem for men who prepare themselves 
for promotion thru LaSalle training. A short 
period of preliminary training by mail, 
under the personal direction of LaSalle ex- 
perts, has been sufficient to increase the 
earning power of thousands of men from 
100% to 600%. 

IF YOU are really ambitious to place your- 
self in a position of higher executive 
responsibilities in line with your natural 
qualifications, and without sacrificing the 
best part of your life in waiting for bigger 
opportunities, write us fully and freely as 
to the kind of position it is your ambition 
to fill. VV'^e will advise you promptly how 
our training and service may be of 
advantage in solving your personal problem 
of advancement. We have an organiza- 
tion of more than 1,150 people; financial 
resources over $4,000,000, and representatives 
in all the leading cities of America. Our 
sole business is to help men to better posi- 
tions. 

IT WILL cost you nothing to investigate 
this opportunity, and you may find out 
some surprising possibilities about your- 
self and your future that are unknown to 
you now. Mark and mail the coupon be- 
low, indicating the kind of position for 
which you would like to qualify. We will 
send full particulars, also a free copy of 
"Ten Years' Promotion in One," a book 
that has been an inspiration to more than 
215,000 ambitious men. Send for your 
ropv now. 



The Landon School c,r,o.„.„. 



2107 Schofield BIdf ..Cleveland, 0. 




countants. Coet Accountants, etc. 



MAKEBIC MONEY 



Elarn $2(X) to $<)(XJ lyt mo. Big future-. 
Ncwinvention. Guaranteed prevent* punc- 
ture. Sell all motorists. New lemtory 
open. Exclusive rights. Wntc the Tire 
Ib-SoIc Mf». Co.. Dept. 7. fuidlay, O, 




Lasalle extension university 

"The Largest Busineas Training inalitution in the World" 
Dept. 7302-R Chicago, Illinois 

Send me free "Ten Years* Promotion in One," aleo catalog- and particularu 
re^ardin? course and Bervice in the department I have marked with an X. 

□ HIGHER ACCOUNTANCY: rnBUSINESS ADMINISTRA- 

TraininK forpositions as Auditors, L-JTION: Trainir\(f for Olficial, 
Comptrollers. Certified Public Ac- Managerial. SaJca and Kxecutive 

positions. 

□ BUSINESS LETTER WRIT- 
ING: Training: for positions a» j 
Correspondents, Mail Sales Direc- 
tor, and all executive lettcr- 
writintr positions. 

□ INDUSTRIAL MANAGEMENT 
EFFICIENCY: TrainlnK for Pro- 
duction M a n a (T crs. Department 
Heads, and all those desinntc train- 
ing in the 48 factors of industrial 
efneiency 

□ COMMERCIAL SPANISH: 
Training for positions a.4 Korei^n 
Correspondent with SpftoiBD- 
speaking countries. 



□ LAW 



raining for Bar: LL.B. Degree, 

□ COM.MERCIAL LAW: 
Readinc. Reference and Consalta- 
tion Service for business Men. 

□ BANKING AND FINANCE: 
TraininiJT for executive positions in 
Banks und Financial Institutions. 

□ EXPERT BOOKKEEPING: 
Traininjf for jK)Hition of Head 
Bookkeeper. 

□ BUSINESS ENGLISH: 
Training for Business Co rrea pott- 
dents and Copy Writers. 




□ TRAFFIC MANAGEMENT- 
FOREIGN A.ND DO.MESTIC: 
Training for poaitions bji KAilroad 
*nd lodiuCrial TrmiEc Muj«cr«. 

etc. 

□ EFFECTIVE PUBLIC 
SPF:.\KING: Tniininit in the art 

of fi>rreful, effective upeeeh for 
Mini!iters, Salc«nien. Fraternal 
Leader*. Politieiaiu, Clabmcn.attL 



I Manw Praent Poaitioo Addreaa. 

vuu «TlIe to adtcrilscrs pleaae mnitloa PUOTorL.VY MAGAZINE. 



Photoplay Magazine — Advertising Section 



365;I20NEDAY 

Ira Shook of Flint Did That 
amount of business in one day 

makiag and selling popcorn Crispettes 
■with this machine. Profit* 2C9.00 

Mullen of East Liberty bought two outfits recent- 
ly. Feb. 2, said ready for third. J. K. Bert. Ala., 
wrote Jan. 23, 1920; "Only thiiiRT I ever l>ouBht 
equalled advertisement." J. M. I'atliIo,Ocala. wrote 
Feb 2, 1920; "Enclosed find money order to pay 
all ray notes. Getting along fine. Crispette busi- 
ness all .vou claim and thin some." John \V. Culp, 
So. Ojrolina writes, "EvcrythiuK is jroinK lovely — 
business is prowing by leaps and bounds. The 
business section of this town covers two blocks. 
Crispette wrappers lyin? evcr.v- 
where. It'* a sood old world after 
•11. Kellos $700 ahead end of 
second week. Mcxiiicr, Baltimore. 
25Mnoned.^y. Perrin, 
38 ' in one day. Bake; 
3.0<Ai packages, 
one day. 




we 

start You In Business 

little capital.no eiperience.Teach yon secret formula. 

BUILD A DUSINESS OF YOUR OWN 

The demand for crlipetton Is enormoo*. A delicious 
foodconffction ma'lo without suRar. W rite me. Got 
facte about an honornble businoss which will make 
you lndi'[>enilont. V<>a can start rtght in your own 
town. Business will crow. You won't be BcramblinKand 
crowding for a job. You will have made your own place. 

PROFITS S1000 A MONTH EASILY POSSIBLE 

Send post cird for illnstraf^I book of facts. Contains enthu- 
siastic letters from otlicrs — stiows their plafr** of business, 
tells you bow to start, w hen to start, and all other iiiformatioa 
necJcd. It's free. Write now. 

LONG EAKINS COMPANY 

1504 High Street SPRINGFIELD. OHIO 



I Teach Piano 
}i Usual Time 

I now have far more slutifiitM than were ever before 
taught by one man. Thi-re isn't a state in the Union 
that doe-in't contain a wore or more skilled players 
who ol)tain their entire training from me by mail. 
Yet when 1 firnt started in 1S91, I wa^nearlv ]au»;hed 
out of btisinewfl. Could 1 have overrome this preju- 
dice and inereaned my ptudents every year ft)r a 
quarter century unlejt^my method produced Results? 
Send tor free booklet. "How to Lfam IMano or Orcan." 

I UMe modern methods tind 
time-9avinK devices which 
cannot be need by others 
liecauwe they ore patented. 
My invention, the Color- 
otone. enableB you to play 
interewtinK pieces in every 
key, within four le^ftons. 
My movinn-picture device, 
Quinn-Dex.showsyou every 
movement of my hand at 
b<>;ird You actually see the finsers move* 
just u-i if thrown on the Bcreen. The Colorotone 
and Quinn-lJez Bave you montli.s and years of wasted 
energy, Tliey can be obtained only from me. and 
there is notliiuK eUe unywhere even remotely like 
them. InveHtiKate without cost. 

Men and women wlio have failed by all other 
methods have quickly and easily attained success 
when Htudying with me. In all essential ways you 
are in dower touch with me than if you werestudv- 
in« by the oral method — yet my lessnns cost vou 
only i'i cents each — and they include all the many 
recent developments in scientific teuchin^. Prac- 
tical and easy to understand. 

My Course is endorw^d by distinKuished musicians 
who would not recommend any course but tlie best. 
It is for l>eRinners or experienced players, old or 
yountf. Vou arlvunce as rapidly or as slowly as you 
wish. Prartini' in spare time at home. AU Decenitiirv 
musir is supplied without extra rharire. Uinloma 
arnntrd, Special reduced terms this mouth. NVrite 
toda^. without coit or ohli^'ution. for Ttl-paKe free 
booklet. "Kow to I. earn ritino (»r Orcun " 

M.L.QUINN CONSERVATORY 

Slodio PC 598 Columbia Road, Boston, 25. Mass. 





DOYOULIKETODRAW? 

CARTOONISTS ARE WELL PAID 

illn„t iflv* Toiimny srand prl,» tt you 
>c»»«r thia ad. Nor will w. cl.im 
lo rn.kr roil rlrh In • w,.ok. Hut If 
>i'il .nihiii. to rlrrrlop ro,j| 

Ul,.nl with . >iirrr..rul r.rtoonUt, 

t thi. pirMirr. with r.r in .tamp^'tor 
I.ort folio of rnrtoo,]. .od utmpir l,.«.on 



id I.. 



<pU 



Tka w. L. (>.n« kksal of CartMiilii( 
•to L*>««r aiSs.. C<»«<a«S. O. 




Two Million 
Motion Picture Patrons 

have found PHOTOPLAY MAGAZINE not only 
most entertaining, with its splendid illustrations, its 
absorbing fiction, its enlightening articles about film- 
dom in all its phases, its sincere editorials, but also 

The Best Guide to Good Pictures 

PHOTOPLAY'S reviews of the pictures of the month in The 
Shadow Stage, by Burns Mantle and other exp)ert critics, may 
be depended upon to tell you what's what in the movies. To 
be up to the minute on motion pictures, one must read PHOTO- 
PLAY. Perhaps you were too late to get your PHOTOPLAY 
last month at the .newsstand. Many were. To be sure that it 
will come to you promptly for the next twelve months, send the 
attached coupon, together with monev order for S2.50 (for six 
months $L25), to 

PHOTOPLAY MAGAZINE 

Dept. F. 350 North Clark 5t. CHICAGO 



PHOTOPLAY MAGAZINE 

Dept. F, 350 North Clark Street. CHICAGO 

for which you will enter my sub- 
months, effective with the 
August, 1920, number. 



Gentlemen : I enclose herewith 



($2.50) 
\$L25" 



scription for PHOTOPLAY MAGAZINE for {^^^'^^l 



Send to 

Street Address- 



City. 
1.. _ 



.State. 



Photoplay Magazine — Advertising .section 




Start up in business 
as the owner of Ameri- 
can Box Ball Alleys. Run 
the game in your town | 
or neighborhood. Or at 
parks, resorts or falr.s. 
You need very little cash. 
Use our money to start. . 
Pay for the equipment 
out of the alleys' earn- 
ings. 

Makms $100 a Week\ 

That is what scores of 
Box Ball proprietors are 
making. Write us for 
amazing facts. Box Ball 
is Be per player per 
game. And the game is | 
more fun than bowling. 
Everybody loves It. Men I 
and women become fans. | 

Mo Operating 
Expenses 

No pin boys needed. 
Pins are reset and balls | 
returned automatically. 
Another striking feature | 
Istheelectricscore board. 
Write for full descrip- 
tion of the game and I 
the equipment. See the 
money others are mak- | 
Ing. Write today. 

AMERICAN BOX BALL CO., 

659 VanBur«n 6t.,lndIanapoMs.lntf 




nnriK^) LEARN WIRELESS 

THE PROFESSION THAT INSURES SUCCESS 
-5^5 . ^ Att'-active and interesting positions 

, at substantial salaries, are always 

^ \ w ready for the trained wireless operator, 
/i^i n If you want a successful future, one 
~ M which is filled with vital enterprise* and 
IIV /fl adventure as well as financial success. 

•N. ^ / 1/ you should take a course in Wireless, for 

It offers these things instead of the usual 
continual daily routine of office, shop, or 
store work. 

Salaries start at approximately $225 
a month: and offer the chance of 
advani-ement to positions in higher 
branches of wireless, which pay as 
- fW" ^ f^^^'^ \\ ^'^^'^ $15,000 a year. 

^^^^ \\ Travel Without Expense 

^ -f^C^ \\ eager to travel, anxious 

■rfjl T. J 1^ \\ to visit foreign countries and m- 
lit**^ W crease your knowledge of world 

*■ J'W affairs. Wireless offers you the 

yf^ — ^rffUtiy W <^hance of a lifetime. On ship- 
L iCLoOTipT*^^ / ; W board you are rated as an officer. 
0"*^».V ^ UJ\ living and eating with the offi- 
VTOO^^ ^rtrXW ce""^^. mingling, with the 

» .w-^— -.-^ i W passengers. All without one 
2^^!V^»-M^< \\ cent's expense to you! The 
Tir>)*,i=V^_ \\ positions at home, on land, are 
just as attractive. 

ri^*r- ■ ' .--\ 1^ Send for Free Booklet 

We have prepared abooklet 
telling all about Wireless and 
the future it offers you. Star- 
tling facts you will be inter- 
ested in are freely discussed. 
It tells how we have helped 
htindreds of other ambitious men and women, and how we 
can give you a thorough Wireless training in your spare 
time, at your homf*. by mail, an^i help you secure a position. 
Send the coupon today, or write for further information. 

NATIONAL RADIO INSTITUTE 

Am>:r\r(i-n Hrnt and Foremost 
Dept. 2S3 14th & U Sts . N. W., WASHINGTON. D. C. 

- — —Send Coupon for FREE Book - — — 

NATIONAL RADIO INSTITUTE, Write Plainly 

Dept. 253. 14th & U Sts., N. W.. WASHINGTON. D. C. 

Send me your Free Book, " Wireless. The Opportunity of 
Today." Tell me about your famous Home Study Course 
in Wireless Telegraphy and Telephony— your post graduate 
course— membership in the N. R. I- Relay League and your 
Special Instrument Offer. 

Name 

Address 

City State 



■ BECOME A 

Lawy 





Study At Heme. Legally trained men win 
^hiKh poaitiuns and big success in business 
and public life. Greater opportunities now 
' than ever. Be a leader. Lawyers earn 
$3,000 to $10,000 Annually 
We ^ide you step by step. You can 
train at home during spare time. We prepare 
you for bar examination in any state. Money 
refundedaccording to our Guarantee Bond if 
disaatisfied. Degree of I.L. R. conferred. 
ThoiiAandH of successful students enrolled. 
Ijttw cost, rasv terms. Kourteen-volume Law 
Library free if you nrol! nnw. Get our volu- 
ible I'JO-page ' 'law Gnide* " and ' ' Evidence' * 
bookn fn-f. Send for them-NOW. 

USALLE EXTENSION UNIVERSITY 

D«pt. 7502. L Chicago, 111, 



The proudest moment of 

our lives had come!" 

"We sat before the fireplace, Mary and 1, with Betty perched on the arm 
of the big chair. It was our first evening in our own home ! There were 
two glistening tears in Mary's eyes, yet a smile was on her lips. I knew 
what she was thinking. 

"Five years before we had started bravely out together. The first month had taui;ht us the 
old, old lesson that two cannot live as cheaply as one. I had left school in the grades to eo 
to work and my all loo thin pay envelope was a weekly reminder of my lack of training. In 
a year Betty came — three mouths to feed now. Meanwhile living costs were soaring. Only 
ray salary and I were standinu slill. 

"Then one night Mary came to me. 'Jim.' she said. "Why don't you go to school again — 
right here at home? You can put in an hour or two after supper each night while I sew. 
Learn to do some one thing. You'll make good— I know you will.' 

"Well, we talked it over and that very night I wrote to Scranton. A few days later I had 
taken up a course in the work I was in. It was surprising how rapidly the mysteries of our 
business became clear to me — took on anew 
fascination. In a little while an openingcame. 
I was ready for it and was promoted— with 
an increase. Then I was advanced again. 
There was money enough to even lay a little 
aside. So it went. 

"And now the fondest dream of all has 
come true. We have a real home of our own 
with the little comforts and luxuries Mary 
had always longed for, a little place, as she 
says, that 'Betty can be proud to grow up in.' 

"I look back now in pity at those first blind 
stumbling years. Each evening after supper 
the doors of opportunity had swung wide 
and I had passed thera by. How grateful I 
am that Mary helped me to see that night the 
golden hours that lay within." 

In city, town and country all over ,\merica there 
are men with happy famlllos and prosperous homes 
because they let the International Correspondence 
Schools come to them in the hours after supper and 
prepare them for bigger work at better pay. More 
than two million men and women In the last 28 years 
have advanced themselves through spare time study 
with the I. C. S. Over one hundred thousand right 
now are turning their evenings to profit. Hundreds 
are starting every day. 

You too. can have the position you want in the 
work you like best. You can have a salary that will 
give your family the kind of a home, the comforts, 
the little luxuries that you would like them to have. 
Yes, you can! No matter what your age, your occu- 
pation, or your means— you can do it ! 

All we ask is the chance to prove it. That's fair. 
Isn't it? Then mark and mail this coupon. There's no 
obligation and not a penny of cost. But it may be the 
most important step you ever took In your life. 



Hnternational correspondence schools 

I BOX 6519, SCRANTON. PA. 

Explain, without obligating me, how I can qualify fof 
the posiUun, or in the subject, before which I mark X, 

□ SALESMANSHIP 

□ ADVERTISING 
I Window Trimmer 



]EI,EOTitirAI, ENdNEEU 
JElxtrle MEhtlnrand K;i. 
] Electric Wiring 
ITelegraph Engineer 
] Telephone Work 
JMEI lllMCil. E^(ilKBKIl 
] DlerhllnlFiil llrllUraan 
]M><>lilnr gliop I'rictle* 
J Toolmnker 
]Ga9 Kiigine Operating 
ICIVIL ENGINEER 
JSiir»«Tlti|C «nl) B«i>pln|c 
1MINE KOltKMJN or KNU'll 
JgririONlKY E.NelNEEIt 
j Marine Engineer 
JShlp Draftfiman 
] ARCHITECT 
^Contractor and Ralldar 

etiltortnral llrafU«aa 
] Concrete Builder 
J Structural Engineer 
J PI.rUIIIMi INI) lIEtrlNe 
Isheet Metalworker 
J T«xttlf tlvarieerer 6nvt- 
JrilFMIST 

□ Navigation 



Shov^ Card Writer 

□ Sign Painter 

□ Railroad Trainman 

B ILLUSTRATING 
Cartooning 

□ Bl'SINESS HAMReMKRV 

□ Private Secretary 

□ BOOKKEEPER 

□ Stonorraphei- and Trrllt 

a Cert. Pub. .\ccountant 
TRAFFIC MANAGER 

□ Railway Accountant 

□ Commercial Law 

□ GOOD ENGLISH 
n Teacher 

nCoaiBOn School 8abla<u 
M Mathematica 

□ CIVIL SERVICE 

□ Railway Mall Clerk 

in* 



Mame 

Present 
Occupation.. 

Street 

and No 



Clty._ 



.SUte. 




7/7/sA this ^keichf 

Do vou like to draw? Do you want to become an illustrator? Then 
finish'this sketch and .send it immediately. You may be one of those 
who can become a highly paid newspaper cartoonist. Clare Briggs. 
who draws "When A Feller Needs A Friend," makes $100 a day. 
Outcault earned over $200,000 with Buster Brown. 

Through the Federal Course In Apphed Cartooning, America's 32 
greatest cartoonists will help YOU become a professional. Think of 
receiving help from such authorities as Clare Briggs. Sidney Smith. 
Fontaine Fox, Frank King and many others. 

Send for "A Road To Bigger Things" 

If you are serious about developing your talent for drawing, send for 
this book. It describes the Federal Master Course in detail. Contains 
studio pictures of the Federal Staff. Sh,>ws how with Federal Training 
you can win success. Send 6 cents in stamps now lo cover postage to: 

FEDERAL SCHOOL OF APPUED CARTOONING 
078 Warner Building Minneapolis. MinnetotB 



When yf.u write to advertisers please mention PHiiTOPLAT MAGAZINE. 



i6 



Photoplay Magazine — Advertising Section 




STENOGBAPHERtoPRIVATE SECRETARY 

From ^6.00 a week to ^40P^ 

^ The Chart of a New Way Typists Success >^ 

Why doesn't the average stenographer make $40.00 per week ? What is it that holds 
so many down to long hours and hard work at a salary of only $12 to $15 each week ? 

In great numbers of cases it is because they can't turn their dictation into finished 
letters or other typewritten material quickly enough— it is because they are too slow 
and inaccurate on the typewriter. 

Results are what count. Stenographers are paid, whether they know it or not, 
for the quantity and the quality of their finished work. 

Talk to any stenographer who is making $30.00 or more per week and he or she 
will tell you that one great secret of his or her success has been speed — great speed 
and accuracy on the machine. For many stenographers — now highly paid — beauti- 
ful typing, rapidly done, has been the direct cause of promotion. The progress 
charted above has been the experience of hundreds of New Way typists. 

80 to 100 Words Per Minute GUARANTEED 

The Tulloss New Way — radically 
different from any other System — is 
conceded to be the greatest step in 
writing efficiency since the typewriter 
itself was invented. There has never 
been anything like it before. Special 
Gymnastic Finger Training Exercises 
away from the machine bring results 
in days that ordinary methods will not 
produce in months. 

Among the thousandsof operators who have 
taken up thisSystem arehundredsof graduates 
of business colleges and special typewriting 
courses — so-called "touch operators" yet there 
has hardly been a single one who hasn't doubled 
or trebled his or her speed and accuracy. 
And the salaries have been increased from $10 
to $15 per week to $30, $35 and $40 per week. 



"The writer (^radunted from yoiir Bchool. liiiv- 
in« attained a speed of 102 words per minute. My 
Hfllar.v has increased 280 per cent, and I surely 
appreciate the help that little special trnininK 
has yiven me." l M. Challis. 

Sec'y to MunaRer Hudson Motor Car To. 



Send Postal Now for 
VALUABLE FREE BOOK 

We cannot describe here the principle of this 
new method. But we have prepared a 32-paBe 
book which tells all about it in detail. No instruc- 
tion book ever written ever told so plainly the real 
why and how of expert typewriting. The book is 
FREE — simply send us your name. 

THE TULLOSS SCHOOL 

7577 College Hill, SPRINGFIELD. O. 



"Don't Shout"a^ FACTORY - TO - RIDER 




I lirar you. I can hear 
now as well as anybody. 
*How ? Wilh ibe MORLEY 
PHONE. I'vr a pair in my ears 
now, but ihey arc invisible. I 
would not know I liad them in. 

mywrlf. only that I hoar all riaht, 
Ihr MORLEY PHONE U the 



DEAF 



to the ears what 
wln^v^ arc \n the eyes 
\ Millie, comforlable. wri«ht- 
Ir-ss and liarmleu. Anynne 
can aibail iL" Over 100.000 sold. Wrile for booklet and lestimooUls 
THE MORLEY CO..Dept.789.26S.l5lh St..Phila 




fr?eBookpnWmi:S 



Contain* valuable inl"rtnntinri nnd ndvirr to 
invenlofB on M-cunna Palenti. Send model or 
tketch of your mvention for I'ree Opinion of itt 
imlrnldhl*- n.iture Prompt wrv ire. 20 yean 
eiiw-nriif e NX'nIe lo»lay. 
TALBCRT A TALBCRT. (724 Ulbirt Bl4t.. Wathlnston. D.C< 




SAVES YOU MONEY 

Huy diri c t an.) !<ave JIO to {:j cn a 
bicycle. RANGER BICYCLES now 
come in 44 el.vles, colors and sizes, 
Cr.-.-itIv imornv.M): prices reduced. WE 
DELIVER FREE to you on approval and 
So <i,iyfl fr\a., actual ridinf? test. 
EASY PAYMENTS if desired at ■ 
small advance over our Special Fac- 
tory-to-Uidcr caab prices. 
TIRES. IftmpR. whocle, parts and 
supplies at hat/ uxual prices. 
Do not buy n bicycle. tire», or flun- 
ilricM until you got our big free 
Ranevr cntaloK. low prices snd 
lilicrnl tortn.i. A postal brinira every 
thini: 

yCHnCYCLr COMPANY 
nikllUDept. A40, Chicago 

Mail Direct to the Refiners 

Any old cold, flllrrr, maeneio pointy* old walchc9, dia- 
monds, platinum. old or brck rn jewelry, lil«c teeth (with or 
without eotd filline^) — anvthine containing gold, vllver 
nr platinum. We pay (he hiEhe*! poislhle prices. Cash 
hy return mtll. Hood* rriufned il lou'rr not iiativfied. 

The Ohio Smelting & Refining Co. 
204 Lennox BIdg. Cleveland, Ohio. 



Studio 
Directory 



For the convenience of our 
readers who may desire the ad- 
dresses of film companies we cive 
the principal active ones beow. 
The first is the business office ; 
(s) indicates a studio; in some 
cases both are at one address. 



ASIEKICAX FU.M MKG. CO.. 62:;7 Broidwmy. 
ChtcaRu: (^) Santa Uarbara, Cal. 

BLACKTON PRODUCTIOXS. IXC 2'i West 4 5Ui 
St.. New York: (si 4 23 riasson Ave.. Urookljm. 
N. Y. 

nOBKHT BEl'XTOX STfOIOS. 5300 MelroM 
Are., Los AtiKoln, Cal. 

CHBISTIE FILM CORP.. Stinset Boul. and Ookct 
St., lnii Anselee. Cal. 

FIBST NATIOXAL EXHIBITOKS' » IBCflT. 
INC.. 6 West 48th St.. Xew York; ■ 

Mildred Harris Cbaplln and .\nlta Stewart 

Sttidlos. 3800 Mission Boul.. Los Aa- 

KPles. Cal. : 
Norma and Constance Talmadge Studio, 318 

East 48th St.. New York: 
Kin£ A'ldor Production. 664 2 Santa Moulo 

Boul.. Hollywood. Cal. 
Katlieriiic MacDonald Proiluctions. G«orKi& 

and Glrard Sts.. Lus AiKeles. Cal. 

K<).\ l-ILM CORP.. 10th A.e. and 56ih St.. New 
York; 1401 Western Are.. Los Ancvlrs. Cal. 

(;.\R.<()X STI'DIOS. INC.. 1845 Alessandro SL. 
Los Ajigeles. Cal. 

<;(iLl)WYN FILM COBl'.. 469 Fifth Ate.. New 
York: (s) Culver City. Cal. 

THOXL\S INCE STI DIO. Culrer City. Cal. 

METRO PICTVEES CORP.. 147 6 Broadway. New 
York: (s) 3 West Cist St.. New York, and 
1025 Lillian Way. Los Aiiceles. C*l. 

r.VR.AMOl.VT ARTCHAJT CORPORATION. 485 
Fifth Ave.. New York: 

Famous Players Studio. 123 West 56th 

St.. New York: 
I>a8ky Studio, Hollywood, Cal. 

r.VTUE EXClf.VXGE. 25 We.it 4:.th St., .New 
York: (s) Hollywooil, C»J. 

REAL ART PICTURES COKPOR.'^TION 46» Fifth 
Are.. New York; (si 211 North Occidental 
Boul.. Hollywood. Cal, 

REELCRAFT PICTURES Ct>RP.. 7 29 Sereoth 
Ave., New Y'ork: (s) !I0" North Bronson Are.. 
Hollywood. Cal.. and 1729 North Wells St.. 
Chicago. III. 

HdltERTSON-COLE PRtUH lTIOXS. 1600 Broad- 
way. New York. 

lloTILVCKER FILM Mill, l^>.. l.-!39 Dircrsey 
Parkway, Chlcasu, 111. 

SIXZNinC PICTURES CORP., 729 Seventh Ave . 
New York: (s) 807 Ea.«l 175th St.. .New 
Y'ork. and West Port Lee, N. J. 

I NlTKn AUTl.sTS tX)liPOR.\TU>N. 7 29 S« Tenth 
Ave.. New York: 

M.iry Pickford Studios, Hollyivuod. Cai.: 
Kouclas Fairbanks Studios. Hollywao<l. Cal.: 
Oiarles Cha|<lln Studios, 1416 Laltrea At«. ; 

Holb'wood. Cal.: 
I>. W. Grirrith Studios, Orlenta Point. 
Maniartineck. N, Y. 

rMVKRS.Ui FllJil MFO. CO.. 1600 Broa.bvjv, 
New York: (sl Unlrrmil ClU'. Cal. 

VITAGRAPH <X>MPAN"Y OF AMERICA. I1.011 

llrx>ailnay. Now York; (»l Ea»t 1Mb St, and 

l.o<'ll«t .\ve . Iln>i>k|vn. N. Y.; »tid HollywiKHl. 
Cal. 



Ereo' adTertiieiumt lit ril(>T<>l'l..\ Y MAG.VZINK Is (uaraiuvad. 



Photoplay Magazine — Advertising Section 





ZENA KEEFE 




ELAINE HAMMERSTEIN 




Remember when you played 
pirates as a youngster and 
dug for buried treasure? That 
was the quest of adventure. 
It's just as keen today. You're 
always looking for it "just 
around the corner. " And you'll 
find it at the nearest theatre 
where Selznick Pictures are 
shown. 



That's why 




PICTURES 

Create Happy Hours 
At Theatres Where Quality Rules 



Wlien you »vrito to OilTertlsere please mention PHOTOPLAY MAQAZINB. 




10 



Piioici'i, M \<. \ziNK — Ai)\ F.iri isi.\(. Sr:(; i kix 



. 1 

Possibilities 
in every 
Woman's 
Face 



THE soft, appealing charm 
of a fresh, lovely skin — of 
course you want it. Ev- 
ery girl does. Every girl wants 
to be attractive, lovable, ad- 
mired — 

And unless your skin is right. 
nothing is right. Haven't you 
often felt that.' What use to 
wear the prettiest frock, if your 
skin is pale and lifeless, marred 
by blackheads or ugly little 
blemishes.'' 

You can make your skin so no- 
ticeably soft, so exquisitely fresh 
and clear, that at first glance it 
will awaken admiration and de- 
light. By studying it — learning 
its possibilities — then giving it 
every day the kind of care that 
suits its particular needs, you 
too, can win the charm of "a 
skin you love to touch." 

Is your skin pale, sallow, life- 
less.' Begin tonight to give it 
this special steam treatment and 
see how quickly you can rouse it 
to freshness and color: 

One or two nights a week fill 
your washbowl full of hot water 
— almost boiling hot. Bend over 
the top of the bowl and cover 
your head and the basin 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 your 
skin with an upward and out- 
ward motion. Then rinse your 
face well, first with warm water, 
then with cold, and finish by rub- 
bing it for thirty seconds with a 
piece of ice. Dry carefully. 

The other nights of the week 
wash your face thoroughly in the 
Woodbury way, with Wood- 
bury's Facial Soap and warm 
water, ending with a dash of cold 
water. 

You can feel how much good this 
treatment is doing your skin 

This is only one of the famous 
Woodbury treatments for the 
care of the skin. You will find 
special treatments for each dif- 
ferent skin condition in the little 
booklet that is wrapped around 
each cake of Woodbury's Facial 
Soap. 



Get a cake today — begin, to- 
night, the treatment your skin 
needs. Woodbury's Facial Soap 
is on sale at all drug stores and 
toilet goods counters in the 
United States and Canada. A 
25-cent cake lasts for a month or 
six weeks of any treatment, and 
for general cleansing use. 

"Your treatment for one week" 

A beautiful little set of the Woodbury 
facial preparations sent to you for 
25 cents. 

Send 25 cents for this dainty miniature 
set of \Voodbur>'s facial preparations, 
containing voi/r complete JVoodbury trrat- 
mfnt for one urrk. 

You will find, first the little booklet. 
'W Skin You I.ovc To Touch," tcllinR 
you the special treatment your skin needs, 
then a trial size cake of Woodbury's Fa- 
cial Soap — cnouch for seven nights ot any 
treatment; a sample tube of the new 
W ooilbury Facial Cream; and sample? ot 
Woodbury's Cold Cream and Facial 
Powder, with directions tcllinc you just 
how they should be used. Write today 
for this special new Woodbury outfit. 
Address The .Andrew Jercens Co.. S07 
Spring (irove Ave.. Cincinn.iti. Ohio. 

If you live in Canada, addrtii The 
AnJreiv Jergens Co., Limited, 507 
Sherbreoke St., Perth, Ontario. 



Lvcry a>lrtTUsrm«it in niOTiii'l.AY .\I.\(;.KZ1 NF, U »u«r»ntc«d. 




GLORIA SWAXSON lui- illuslratid a unnt truth: that an actii'ss laiiiiot he 
judged hy her coifluro. (iloria hiid aside lier oriental hiaihlress ti> sliow vi< 
tliat 8he can he ju^t as coiiviiu ing witli her liair sinoothiil l)aek. W e are eoiiviiieed. 




(Alfrt-il i"lH-in-y .loliiiMlun I 



WK WiliitiMl t(» .-It- if Wf ciiulil writr niir tni>ni>ii aliuiit IU'tl\ I '<>iiii>-uii \vitli<«ul 
iiK iilioiiiii;: "Tin- Miiarlc Mini." We cmlilii't. h.r it \vii.>. lliis pii-tiiri' that 
iiiii.l.' I?rtl\ riiiii->ii> iiinl iii( i(lcii1iill\ till- >liir i>f ;i iu'\* r(.iiii>iiiiv foniu-tl for luT. 




DOROTHY IMIlLLirs. 1),, vmi n iiu inln r wlim -he uiis iii«iiv> llir .lu-k\ 
jcnvc'l in an Aliiskan (huK i -lmll ? Sln' li:i-n't iNmr one of tln»st' nortlu'rii tliiii<.'s 
1'or n lonir tinu'. Slic and lici- huslianil. Alian I Inlul a r. rcccntlv i nci>r|M>ri>ti'(l. 




(Alfroil I'lH'iK'V JotinMtiiiU 



KATIIUYN 1'K1,M:V 1.- OIK' of tlu.M- /u'^'li'ld -;irls wli.. ixixw up willi tlu- Follu's. 
you ini-rlit say; slie has risoii to spi-akiiif: parts. Tlu' lilm ranuTU is now pro- 
siTvin^r Katlii yii iii ct'Iluloid. Slic \\n< recently ad jiid.L'*''! Maidiattaii's pri'ttii^t >rirl. 




nPHE girl with ilie patriotic- iiaiiu', is the way Iut i»rr>s-M,iii'iit wanted t«» advcrti.-f 
* her. But Botty, not Betsy Uoss CMarke ('host' ratluT t») Ik- rivofinizfd for hor 
forthc'oiniiig perrorniaiur in "Hoinaiico." in wliicli she plavs witli Doris Koaiu'. 




MAlilrl HlMTK NAMAKA i> AiiurHiiii. an ti|H'ni-siM;;iT >>( iii> -iiuill miiM'- 
quoncc, tlu' \vilc' of tlir we'll-kiiowii |)la\ wri^'lit, (iiiy llolton, nnd the nintlicr 
of the Bolton l)iil)V. Hnt slic round tinir tlic otliiT diiv to iiiiikr licr silt-iit flebut. 




S'lTltKNT 1111(1 |iliil(>Mi|iluT, lii<;-Msii'r iiml Diii-rtdi l.illuiii (;l^ll. A- a por- 
truvt-r of apiH'aliiig cliildliooil slu- is sitoiuI oiilv to Man ['uklord. la-r frieiul 
siiuf Bioyrapli ila,\>. Tin- tragii- CJisli sister is appi.'arm>; iii -Way Down East." 



^Uhe World's headini^ d^yiovin^ ^idiure Qy^a^azine 



PHOTOPLAY 

Vol. XVIII July, 1920 No. 2 



/ ; 













The Power of Selection 

JF cultured men and women chose hoo\s as they choose photoplays the 
choicest libraries ivoidd he built on foundations of Bertha M. Clay and 
?^ic\ Carter, ivith a sundry assortment of joe Miller s jo\e^boo\ in a 
variety of bindings. 

"Come on — let's go to a picture! " exclaims the head of the family, after dinner. 

Just as reasonably he might say "Come on — let's go buy a boo\! " But several 
centuries have passed since men bought a boo\ just to own a collection of 
type mar\s on white paper. Excepting the proverbially useless Yule^gift, and the 
searches of the connoisseur, men go to a boo\store to gratify a specific taste in 
reading. Ctdture and refinement entered the world of letters only when men 
had learned the power of selection. 

Comparatively spea\ing, there is no such thing in the contemporary observation 
of motion pictures. This is not surprising. When prinPtype was as young as 
film is noiv, doubtless many a family was as glad to have "a boo\," regardless of 
the text, as that family's far-sprung descendants are to see a "picture, ' regardless 
of Its mal{e or message. 

It IS time to quit "going to the picture show." It is time to begin going to 
particular photoplays, or particular comedies, or particular educationals. Tour 
exhibitor will ma\e it his business to do one of two things — supply what you II 
choose, or palm off what you'll accept. 

The power of selection, individually exercised, is the only power on eartli 
that can compel the manufacture of good photoplays. The power of selection 
should and iinll be the supreme power in motion pictures. 





Sliirley Mason adores babies and 
sweet peas and she likes to plant 
things in the ground. 



Shirley 
Tomboy 



she believes in 
marbles, "catch'' and 
early marriages. 

By 

NADEYNE RAMSAY 



Of course even tomboys — since tbey really arc girls — have tbeir feminine traits. 



GOD keep her from ever frizzing her hair," some one re- 
marked almost prayerfully after seeing Shirley Mason 
as the adventurous Jim Hnwkiiis in "Treasure Island." 
"She's ihe spirit of all the little girls who would like 
to be boys in the world." 

It is unnecessary to tell you, after you have felt your fingers 
twitch to pull Shirley Muvsons thick brown bobbed hair, that 
its owner is the sort of young person who believes in playing 
marbles in the spring with the boys; nor that there is nothing 
dangerous or difficult to climb in her vicinity that she hasn't 
climbed at the risk of her pretty young neck, or at least wanted 
to climb; nor that she loves playing "catch," that she goes fish- 
ing, and that her vocabulary smacks vigorously of small boy 
slang. 

Of course even tomboys — since they really are girls — have 
their feminine traits. For instance. Shirley adores babies and 
sweetpeas and planting things in the ground — the last trait 
may not be entirely "feminine," but at least it is not one 
U'^ually associated with young boys. 



Then also, there is her husband — an undeniable concession to 
femininity. They say all sorts of unkind things about matri- 
mony — that the cares of a husband on one's shoulders make a 
woman old, that husbands interfere with careers, that no em- 
ployer wants to gi\e a married woman work. For Shirley 
Mason it has done nothing but keep her young and a tomboy, 
and make her ever increasingly successful. 

Bernic Durning was Shirley's assistant director when she was 
little Leonie Flugrath. playing child roles at Edison years ago. 
That was before she did "The Seven Deadly Sins," or pl.iyed 
opposite Ernest Truex in pictures for Famous Players, or cre- 
ated the screen Jim Hmckiiis. or made her more recent ' Her 
Elephant Man" and "Molly and 1" for Fox. 

She was sixteen when she married Bernie Durning — she is 
nineteen now. 

"I believe entirely in early marriages," says Shirley wi:ely. 
"Vou can stand anything when you're young — I mean we are 
more adjustable when we're young. '\'ou grow up married and 
always stay that way. Isn't that simple?'' 



28 



She has perhaps posed for more cameras than any other girl in the w orld. 



Making Over Martha 

A process aided by her own deter- 

> ^. 1 11 u ^ BV DELIGHT EVANS 

mmation and a very small hat ' 



SHE went into a little Broadway shop. For the umptieth 
time that day, she uttered '"Have you a very small hat — 
so — flat— — witli a feather?'' This time, after all her 
search, she was to be rewarded. For she saw unmis- 
takably the object of it, a hat of her description, in a show 
case. But the saleslady smiled, and brought out a willowy 
hat with plumes, and said: 

"Try this on. Miss Mansfield. It's more like the type you 
wear on the Roof." 

Only by the most admirable self-control did Martha Mans- 
field retain her habitual poise. "But — but I don't want that 
kind! " she cried. "I tell you, I have been uptown and down- 
town and all over town trying to find a very small hat, flat — 
so — with a feather — 50. I want it for a picture, an ingenue 
part: Fm not on the Roof any more!" 

The glitter that a Ziegfeld girl gives off lives on after she 
has passed — into private life, or pictures. But Martha got 
the hat. Martha transformed herself from the gorgeous pea- 
cock who parades from eleven until two P. M. on the roof of 
the Amsterdam Theater, where Mr. Ziegfeld makes good his 



boast that he has the most beautiful girls in the world workinsc 
for him. Martha became the sweet, unspoiled MiUlcent Carew 
in John Barrymore's "Dr. Jekyll and Mr. Hyde" — the one ray 
of light in that masterpiece of crime and horror. Martha wore 
old-fashioned gowns, old-fashioned hats, and an old-fashioned 
mien. The hat is the hat she wore in the final scenes, ilurinp 
the murder of Dr. Jekyll by Mr. Hyde, during the heroine's 
last dim tryst with her fiance. Martha simply made herself 
over; and incidentally. Martha made good. 

She tried both Follies and films for a while. When you have 
been a beauty of the theater, in Winter Garden and Dilling- 
ham Century productions and in Follies and Frolics, it's a bit 
hard to settle down to regular hours and early-to-bcd-and- 
early-to-rise rules. At first. Martha Mansfield would act in 
the Follies and the midnight revues — snatch a bit of sleep and 
a bite of breakfast, and get down to a motion picture studio 
at nine the next morning. But when she would return to the 
theatre in the evening she encountered the friendly kidding of 
her co-workers. "Wake up. Martha I" they'd laugh at her. 
(Continued on pagf 121) 



29 




AROUND 



OUR 



STUDIO 



THE DIRECTOR 

DIRECTORS, so it seems to me, 
Are just as Rrand as they can be! 
They never talk in quiet tones — 
You see, they all use megaphones. 

They know what's what; they know 

who's who; 
They tell the stars just what to do! 
And when they talk, the stars are 

mute! .... 
They tell the camera when to shoot. 

They're fond of laying down the law, 
And, oh! the salaries they draw! 
I'll say they lead a grand existence .... 
The work is done by their assistants. 




THE PRESS AGENT 

A MAN of superhuman knowledge. 
With six degrees from every col- 
lege; 

Who knows the stars well, and can 
speak 

Of them in Latin and in Greek. 

He tells the world about the .-tars — 
Some day he hopes to send to Mars 
A piece of real, important news: 
Some star has bought herself new 
shoes. 

He never, honcst-hopo-lo-die, 
(Take this from him), concocts a lie. 
Yet there are times, I've hcani it 
staled. 

When he has — well — exaggerated. 
30 



Verse by 
Morrie Ryskind 

Illustrations by 
John Barbour 



THE CAMERA MAN 

A\D now, dear friends, come let us 
thank 

The camera man who turns the crank; 
Who give^ us close-uiis. and whose soul 
Meets unafraid the dual role. 

If incomplete the picture drama 
Without a city panorama, 
He hops into an airplane and 
Takes photographs to beat the band. 

He never boasts, but I. for one. 
Say /;<•'.? the Man behind the dun. 
And that's a fact there's no disputing: 
For doesn't he do all the shooting? 



THE STAR 
Male of the Species 

TWO hundred perfumed notes a day 
He gets — I speak of Wally Ray; 
And though the weather's down to zero, 
These notes bring warmth unto our 
hero. 

He holds the female population 
Completely under subjugation; 
They love his pictures on the screen, 
And clip 'em from this magazine. 

He's married — happily, they say. 
But still they hope — do Sue and 

May. . . . 
Oh, would / had a handsome chin 
That showed a dimple when I'd grin! 




THE STUDIO CHILD 

THOUGH I am young, I work each 
day; 

I'm seen in every picture play. 

My parts, like me. are rather small; 

Sometimes I grin, sometimes I bawl. 

I am the heroine, aged three; 

The leading man. at two — that's me I 

Sex doesn't bother me at all ; 

They say it doesn't when you're small. 

Rut Ihouch I only have a bit. 
Vou bet I make the most of it ! 
.•Mthouch the plot makes people hoot, 
Thoy always say my work is cute. 



THE STAR 
Female of the Species 

IT'S terrible to be a star — 
Some of them only have one car! 
And Where's the woman could take 
pride in 

Her work with but one car to ride in? 

Each morning at the stroke of ten 
They 'phone that they'll be late again. 
They make the studio by two 
And work an hour before they're 
through. 

So don't you think it's better far 
To be a salesgirl than a star 
Who gives her li'e to art for merely 
A paltry half-a-million yearly? 




•'PROPS" 



THE INGENUE 




HIS name is never on the screen 
(Which he regards as rather 
mean) , 

.\nd yet without his help, I'll bet 
The picture would not boast a set. 

Without his necessary work, 
.Mas! Miss Biilic could not Burke; 
Without him, Charlie could not Ray; 
Without him, Doris could not May. 

Unsung, unhonorcd and unknown, 

He may not climb to screendom's 

throne .... 
Yet drop no tear upon these pages 
For him; he draws the union wages. 



BKHOLD our little ingenue 
With golden hair and eyes of blue! 
She's pretty, charming, dear and cute — • 
Or, if you'd rather, she's a beaut! 

She is the hero's leading lady, 
Is Maude (whose parents named her 
Sadie) ; 

.And in the liflli and final reel 

Their clinches make the "heart appeal." 

Maude seems so young .... and yet 
they say 

That she was not born yesterday. 
I looked it up — and it is true: 
She has a daughter, twenty-two. 




THE VAMPIRE 

HERE'S she whose sacrifice to Art 
Has left her with a broken heart ; 
Though she is known from Maine to 
Cal., 

It's as a "downright wicked gal.'' 

She may not drop a single tear, 
But always wears a baneful sneer; 
She hypnotizes every male. 
And sends the boob to death — or jail. 

While others know what joy and bliss 
is, 

She only draws the people's hisses .... 
Yet would you not draw hisses gaily 
If you drew ninety dollars daily? 



Broadway's Royal Family 



Second and final 
instalment of the 
all-absorbing story 
of the Barrymores. 



By ADA 
PATTERSON 



A CELEBRATED maga- 
zine writer whom Ethel 
Barrymore had prom- 
ised an interview on her 
theory of clothes went to the 
great actress' apartment at the 
appointed hour. She rapped. 
Silence. She knocked. More 
silence. She hammered. An 
engulfing quiet was the only re- 
sponse. She rapped on an ad- 
jacent door. A round head and 
fresh complexion enwrapped 
with preternatural solemnity ap- 
peared. 

"I have an engagement with 
Miss Barrymore," said the visi- 
tor, "but no one answers." 

"No, ma'am. Miss Barry- 
more's hout, ma'am." 

"When did she go out?'' 

"I should say a quarter of 
an hour, ma'am." 

"Where can I wait for her?" 

"I don't know, ma'am." 

"Who are you?" 

"I am Mr. John Barrymore's 
man." 

"Is that his apartment?" 

"Yes, ma'am." 

"Can't I wait there?" 

"But Mr. John isn't up yet." 

The magazinist disposed her- 
self with what dignity she could 
upon the stairs. Sixty minutes 
cramped her limbs. Ninety did 
the same with her temper. She 
rapped upon the door adjacent 
to Aliss Barrymore's. The round 
head reappeared. 

"Do you know where Miss 
Barrymore has gone?" 

"Yes. ma'am," replied the servant blandly. 

"Why didn't you tell me?'' demanded the magazinist. 

"Vou didn't awsk me." 

"Well, I awsk you now." Her patience was exhausted. 

"She's having her picture painted." 

"Where?" 

"At Bryant Park Studios. Here's the name of the artist.'' 
There the writer found her. Miss Barrvmore smiled. Cold 





To her children - 
Barrymore is a 



■Virginia, Sammy and John Drew Colt — Ethel 
mother as devoted as was her own mother. 



resentment evaporates in the sunshine of her smile. She apolo- 
gized for the "delay." She accompanied the writer back to her 
apartment and gave her tea and a delightful hour ami made 
her almost forget her two and a half coventrj--likc hours. 

.As her art, so Ethel Barrymore's personality grows more 
definite. 

"I don't like New York; I do like Philadelphia." she said 
to a shocked New York interviewer. "And it isn't because I 



Xi 



34 



Photoplay Magazine 




Family loyalty is one of the Barryraore character- 
istics. John and Lionel as co-stars in "The Jest. 



was born there. I like its self bet- 
ter than New York's self." 

She is sensitive to the printed 
word. She is hurt, fathoms deep, 
by unfavorable criticism. She de- 
clined to receive for an interview a 
man whose critique of her Camille 
displeased her. She severely 
punished a St. Louis writer for what 
she deemed a breach of confidence. 

Miss Barrymore was playing in St. 
Louis. A young woman came from 
one of the newspapers seeking an 
interview. It was granted, given, 
finished. "I liked the girl and in- 
vited her to come next day and lunch 
with me,'" was the Barrymore ver- 
sion of the talo. "I told her Wf 
."■hould simply talk as woman to 
woman." 

There appeared next day IMiss 
Barrymore 's alleged opinions of that 
group of unhurried folk loosely 
characterized as "society." 

Consequence: perturbation deeply 
and loudly expressed in the man- 
ager's oflice. Further consequence: a 
published denial by Miss Barrymore 
of the sentiments imputed to her. 



" I never gave such an inter\iew,"' being ampli- 
fied meant "I never said it for publication. She 
who violates a pact should be punished." 

The St. Louis newspaper defended its repre- 
sentative. Questions of veracity were asked. But 
society, Miss Barrymores fer\ent admirer, was 
pacified. 

ITF.R keen sensitiveness to the printed page is 
* no greater than her sensitiveness to eyes that 
are curious and may become critical. Because the 
gaze of her company makes her self-conscious, she 
rehearses her scenes behind a screen. 

The conquering will that accompanies genius is 
hers. The mounting flesh that was hiding her 
girlish lines annoyed her but little until came 
the possibility of playing Camille. Who would 
lose the chance to portray the tormented tubercular 
heroine? Miss Barrymore had heard of a 
physician who melts flesh as an April sun a linger- 
ing snowbank. She rose before a window as the 
llesh dissolver entered. 

" What do you want?" asked the gruff lord of 
lissomeness. 

'T want to play Camille." 

'Good Lord! When?" 

' In May. This is December. You must get 
me ready for it." 

To his credit and hers, be it said that he did. 

A fine recrudescence — or it were truer to term 
it a survival — of Ethel Barr>more the girl in Ethel 
Barrymore the woman, remnant of the girl who 
would be a pianiste and give concerts, in the trans- 
cendent artiste of today, is her superb loyalty to 
her own. Though Mrs. Russell Colt and" mother 
of three fast growing children, she is still, as in 
her maidenhood, the head of the Barrymore fam- 
ily. Still she thrills with a pride half maternal in 
the success of "the boys." 

' When you walk upon the stage are you con- 
scious of your heredity? Does it bring a sense of 
power?" I asked her. 

T don't feel it myself." was her answer, "but 
I do for my brothers. I know they can't go far 
wrong. I feel that with three generations of ex- 
perience behind them, all the way from Great 
Grandmamma Kindlock, they can't make many 
or great mistakes." 



Lionel s marriaijc was a success and now he and his wife. Doris Rankin, are together in"The 
Letter of the Law. " She played with him in the screen version of "The Copperhead. " 





Whltt 



rhotoplay Magazine 




In their latest plays, John in "Richard III., ' 
and Ethel in ■"Declasse" — both at their best. 



Beside this grace of abiding family 
loyalty, there dwells in her heart fellow- 
ship with her brother and sister mimes. 

In that remembered girlhood on which 
I have dwelt she was addressed by one 
of the mimes. 

'■It's splendid that society is so kind to 
you.'' she said. "It is a tribute to your 
personality and to the guild that was 
once described in the statutes as 'rogues 
and vagabonds'." 

"Yes, it is pleasant." Her arm went 
around the woman's shoulder. Her fresh 
young cheek was pressed against the 
sallow, older one. "For a little while I 
enjoy it. But for real happiness, give 
me the companionship with you, mine 
own people." 

It was this spirit that led her into the 
.\ctors' Equity strike. It was what 
placed her on the platform with her shy 
monosyllabic speeches, her Jean d'Arc 
command: "Stick. You will win, for 
you are right." It led her into the final 
conferences wherein the five weeks war 
was ended. 

She is the actors' daughter, the actors' 
sister, the actors' friend. 

LIONEL, second of the shining, dis- 
appointed ones, ser\'ed his appren- 
ticeship to the art of the brush. He 
served it in a narrow rue across the 
Seine and near the playground of the 
Gardens of the Luxembourg. 

May Irwin visited him and his bride, 
Doris Rankin, in their wee. high studio. 

"You ought to see those dear young 
things beginning a painter's life in the 
Latin Quarter. I didn't know whether 
to laugh or cry," was the comedienne's 
summary of her visit. 



But Lionel Barrymore learned that the rabbit's foot is 
swifter than the brush. He set his easel in the corner and 
tossed his brushes and paint tubes into a trunk. Swift is stage 
ascent to the feet of the gifted. Successively in "Peter 
Ibbetson," "The Copperhead." "The Jest," and "The 
Letter of the Law," he demonstrated that latent talent 
quickly reaches fruition. He shares the family gift of 
personal beauty and quick wit. His power is rugged 
and volcanic. His wit is of the swiftness of a sword 
and the crushing power of the bludgeon. 

Lillian Russell and he were companions in a 
motion picture. 

"Talk! Talk! Xo matter what you say! " 
cried the stage director". Barrymore leaned 
toward her and simulated con\crsalion. en- 
tirely to the director's satisfaction. Miss 
Russell says he invented a story that was the 
best she ever heard. She declines to tell the 
story. 

"He has the quickest wit I ever knew," is 
Miss Russell's appreciation. 

(Continued on page 124) 




The Girl Who Cried 

Carmel Myers floated to success in 
a flood of her own tears. 

By GENE NORTH 



WHEN one is bom of a long line of dark-eyed, luscious- 
lipped femininity who miphl all have been called 
Roses of Sharon, when one has lived all of one's 
brief life in golden California — is it any wonder 
thai, when the Big Chance comes, one simply loses control 
and lets one's emotions have everything their own way? 
Carmel Myers says it isn't. 

Carmel isn't old enough even yet to reason it all out. In 
fact if she did, a fellow-philosopher wouldn't pay much atten- 
tion to her, he would be so busy watching her tinted .skin tlu.-h 



as she laughs, her olive-green eyes perform a hula-hula when- 
ever she smiles. But it is true that as she comes across the 
big places in her professional — and personal — life, she becomes 
almost an Oriental Xiobe or, to be more modern, a California- 
bred Alice in Wonderland, who floated to success in a flood of 
her own tears. 

When David Griflith askeil her how she woukl like to go 
into pictures under his direction, .>;he looked up at him. her 
lip ciuivercd. and she burst into tears. And later on, when 
another ilirector trieil to get her to cry for the camera, she 



36 



rnotopiay Magazine 



37 



couldn't. Until she ran to her mother and said, '"Mama, I 
fimply cannot cry" — and cried then and there, and was pushed 
back in front of the camera by her mother before the fountain 
dried. 

Universal wanted to star her. Mr. Laemmle called her into 
his office and talked over a contract. 

■'Would you like to be a star?'' he asked, kindly. Carmel, 
again, seemed about to burst with joy. Mr. Laemmle looked 
at her in alarm. "There, there, little girl,'' he said, distressed 
to the point of withdrawing his offer — "don't cry!'' 

So one may imagine her perfect flood of tears when she was 
approached with an offer to become a legitimate actress. Some- 
thing she had never done and accordingly yearned to do. You 
see, her only theatrical experience before her Griffith engage- 
ment was playing show with a small group of children. Carmel 
always managed to be the leading lady and the shows in which 
she starred were always well attended. She was, in fact, Holly- 
wood's foremost amateur actress. 

She and her mother were in her dressing-room at the Shu- 
bert Theater, where a Broadway success was playing — a musical 
comedy — "The Magic Melody." (Note: it's a "Broadway" 
theater and a "Broadway" attraction if it plays on any one of 
the middle-Forty side-streets that sprout from the Great White 
Way.) Carmel had made unto herself a little vow: that she 
would find a place for herself, no matter how small, in a 
Broadway cast, and stay there until she wanted to go back to 
pictures. She found it — and it wasn't so verv- small, either. 
She weathered a winter — her first — in New York, slid on the 
ice and plowed through the slush and got jammed in the sub- 



way and crushed in the cars. After a winter in New York, 
California's native daughter is homesick. 

I should have called this story "Back to the orange groves." 
She longs to be back, and when I talked to her she was on the 
eve of signing a picture contract that would take her home — 
to the Myers' big Hollywood house, to her own little car, and 
to her father — who is a learned rabbi of Los Angeles. It is 
.said the waiting-list for a position as chauffeur and gardener 
to the Myers menage is exceedingly large: it seems that Carmel 
drives the car most of the time, doubles as the mechanician, 
mows the lawn, and is a general handy-girl around the house. 
All the chauffeur has to do is look the part. That's what 
Mother says. 

She's going back to pictures as soon as the Eastern tour 
of her play has ended. After her song-and-dance on Broad- 
way, she decided that while she would look seventeen across 
the footlights five years from now, the camera is kind only 
to the really youthful. So she's taking advantage of her spring- 
time years to make hay in California sunshine, with Universal, 
the company she was with prior to her desertion of the films. 

She was born in San Francisco, but was brought up in the 
City of the Angels and moving picture studios. 

But if you think the way has been rather easy for this little 
brunette, consider that she has never stopped studying a 
minute — that when she is at home, she spends a certain time 
each day, or evening, in her father's study, wrestling with a 
dead language or a live problem in advanced algebra. In 
addition, she takes dancing lessons, and she also sings. So she 
hasn't much time to cry. 



Heroine of 
2,730 Romances 



ROMANCE," it would seem, is to Doris Keane 
what "Mother Macree"' is to John Mc- 
Cormack. 
Miss Keane has recently returned from 
London where during the last five years she has 
been the heroine of 2,000 "Romances." And there 
were anyway 730 performances of the same play to 
her credit in her New York and Chicago seasons, 
before she packed up her marmoset and her hoop 
skirts and went over the ocean to play. Now people 
have grown so used to thinking of her and 
"Romance"' in one breath, that they won't let her 
<io anything else. As soon a "Mother Macree"-less 
McCormack Sunday concert ! 

Since David Wark Griffith and Miss Keane have 
set out to make a motion picture production of 
"Romance" every one is waiting eagerly to see how 
our international star will fare at the hands of the 
screen. It has not been particularly kind, as we all 
recall, to a number of our more mature, though 
still very beautiful, actresses. Miss Keane's hus- 
band. Basil Sydney, will appear as her leading man 
— as he did in London. She intends to make this 
picture her one and only adventure into filmland. 

• Romance," by Edward N. Sheldon, is the story 
of La Cavallini, an opera singer who loves a clergy- 
man. It is said to have been founded on a romance 
in the life of Jenny Lind. What will those showmen 
who contend that "a costume picture can't get across 
— the public won't stand for it" say to the 2730 
protitable performances of "Romance"? 

Miss Keane was born in Michigan, and educated 
in New York, Paris and Rome. She made her stage 
debut in IQ03 in "Whitewashing Julia." Clyde 
Fitch's "The Happy Marriage" was her first starring 
vehicle. "Arsene Lupin," "Decorating Clementine' 
and "'The Lights o' London" are other pieces in 
which she will be remembered. 





Bruce Grey had not counted on that Baxter Street 
conscience that hlazed up suddenly in Evelyn Langdon. 



A\'D 50 they were married! 
But matrimony was not the end of romance for 
those two marrying infants. Henry and Evelyn Lang- 
don; mercy no! For a whole solid year after that 
clean cut young business man and pride of the neighborhood. 
Henry Langdon, had taken sweet Evelyn to be his wedded 
wife, they were just as foolishly and hopelessly in love with 
each other as any two silly, cooing doves. 

They had their quarrels, yes indeed. What lovers do not 
have their quarrels and love each other all the more at the 
making-up time? But all this year our Henry never so much 
as knew that there was another girl alive, and Evelyn went 
her demure' little way fully convinced that no man in the 
world was so handsome, so clever, so unutterably perfect, as 
Henry Langdon. 

They did not spend much thought on the future — and they 
did not remember much of the past, except that there was the 
weekly "anniversary" of their wedding day to celebrate by 
a trip to the movies, or a box of candy. They were alive, and 
life was sweet. That was enough — for the first year. 

It was Evelyn who first discovered that Baxter Street did 
not offer ever>'thing a street might in the way of social ad- 
vantages to a young business gentleman, who was making good 
in the steel machinery business, and his wife. 

You know how it is when a girl has been married a whole 
year! A dozen months have served to make her acquainted 
with the fact (augmented by the assurances of other wives) 
that a husband is after all only a mere child, and that the 
details of a successful future — from the ties he wears to the 
business policy he pursues — are vastly dependent on her choos- 
ing them for him. A sort of mothering instinct springs up in 
her, and makes her feel a deep responsibility for her man — 
dear, dear, .she must help him get on; she has been taking life 
as a merry game long enough! 

And this is the moment when she is convinced that nothing 
will do for them but a more select environment, where 
husband will be thrown with business men of affluence, where 
she may artfully direct them into desirable social channels by 
a tactful playing up to just the right ladies, and by the inain- 
tenance of a cozy home, where her own special brand of in- 
genuity as a hostess will make them sought. 

And usually, you will observe, they do what the bride of a 
year decides. 

Henry and Evelyn Langdon did. Henry, who really 
wanted nothing in the world so much as to keep his rose- 
checked, star-eyed bride radiant with happiness, consented to 



Let's Be 



There is a Problem that 
faces every young married 
couple. Read this story and 
see if it is your problem. 



By NANON BELOIS 



move any place Evelyn's little heart desired, pro- 
vided it was not beyond their modest, but gradu- 
ally expanding pocket book. 

And so in a year and two months after the 
Baxter Street minister had pronounced them Mr. 
and Mrs. Henry Langdon in the midst of adoring, 
though, it must be admitted, unfashionable, 
friends, they were established in a snug little 
house, purchased on the ten-year plan, in one of 
the wide, shady streets of that ver>- fashionable 
suburb, Elmhurst-by-the-\Vay. 
Now. there is something about two very young people who 
are very much in love with each other, and who tell it to the 
world in every glance of their honest eyes, that appeals to 
every one — even to fashionab'e persons with most appalling 
positions in society to live up to. 

The sight of our Evelyn, driving the snorting runabout up 
the main street of Elmhurst-by-the-Way so that Henry would 
not miss the 8:07 — the train, by the way. that the most prosper- 
ous business men took into town — the sight of her thnging her 
soft young arms unashamed about his neck in farewell, greet- 
ing him with kisses upon kisses when he returned on the 6:04 
— that was something new for this wealthy suburb, where most 
of the men went to and from the stations, lone figures in great, 
spinning limousines. 

THE Elmhurst men noticed this daily performance, first 
naturally, because the women were fewer at the station. 
They chuckled to themselves over the two wide eyed babes 
that had strayed into their woods, then chuckled to each other. 
They began to take notice of Henry on the train, to nod to 
him, to drop down beside him — and finally to include him in 
their morning smokers. Then some of them spoke of "the 
children" to their wives — when their wives were feeling pleasant 
at dinner and wanted to be entertained. .And next the wives 
called, some of them more through curio,>ity. others out of 
friendliness. 

Soon, through the invitation of Mrs. Trude, a Iriend'y older 
woman. Henry and Evelyn were invited to become members 
of the Elmhurst Country Club. It is needless to say that, 
though both Mr. and Mrs. Henry knew they could hardly 
afford it just yet, they accepted the invitation. 

And to celebrate, that very night after they received word 
that their membership had gone throush, Henry and Evelyn 
went into the city to Baxter Street to call on several of their 
most intimate friends of former years. 

"Oh, Evelyn," gasped the girls who had known her in kinder- 
garten when she wore pig tails down her back, "pretty soon 
you'll be so fashionable that you won"t know us any more." 

"Sillies," Evelyn laughed back, throwing her arms about 
them. But that was not what she told herself. The song 
that sang itself over and over aga:n in her unsophisticated 
young heart all the way home was this — "We're gi>ing to be just 
exactly as fashionable as I know how to make us be." 

The Elmhurst country club was made particular use of by 
the younger — and .somewhat lax — marriecl set, with a sprin- 
kling of the older people, like Mrs. Trude, who likeil people 



38 



I 



llllllllllllll 



Fashionable 



for what they were and was rather content ;o let what they 
Hid so unquestioned. 

If one judged by appearances at most of the parties held at 
this meetinK place of fashion, it would seem to be very bad 
form for husbands to express any fondness whatsoever for their 
own wives, or vice versa. Gentlemen who wore pained, bored 
expressions on their faces during the first dance with their 
spouses, blossomed into regular cut-ups when, having com- 
pleted this concession to convention, they were free to mingle 
with the other ladies. It was just so with the women. The 
passion for "kindred souls" and "affinities" ran high. 

The evening came for Henry's and Evelyns first dance at 
the country club. Excitement, enchantment — and yet oddly 
a trace of fear — seized their unsuspecting, unw-orldly hearts as 
the hour drew nearer! Evelyn took two hours doing her hair, 
and spent another hour deciding whether to wear her blue 
evening frock or the orchid colored one trimmed with black 
net and ostrich feathers, and when the orchid gown had it, it 
took her another aeon putting it on! Henry destroyed four 
collars — though be it said he kept his temper in better manner 
than most husbands do during such a trial — in his eagerness to 
look the presentable gentleman. 

It was late when they arrived at the country club, in their 
own car, Henry acting as chauffeur. The orchestra was play- 
ing a fox trot. They hurried to their respective dressing rooms, 
then met at the door leading into the ball room. Arm in 
the arm the radiant pair paused between the portieres to gaze 
on the scene before them — the room bathed in rosy light, the 



If you're young, and 
married (or going to be) 
and in love, and ambitious, 
and all that sort ol" thing 
— this very human story 
of a very human young 
couple is something you 
can not afford to miss. 



beautiful women in glittering gowns, the men handsome and 
immaculate in evening dress. 

"If the girls in Baxter Street could only see me now," 
thought Evelyn as a picture of her last party in the Baxter 
Street Auditorium came to mmd. 

"Oh, Henry, isn't this wonderful! Who ever thought we 
would be here?"' she whispered to her husband, squeezing his 
hand. 

"Uh huh," sighed Henry happily, squeezing back. Both be- 
lieved this was the supreme moment of their lives. From 
now on the road to fashionability shone clear and unobstructed 
before them. The Road to Fashionability! 

"And darling," Henry's voice fairly vibrated love for the 
wife who had been responsible for bringing him here, "the 
next ten dances are mine!"' 

But the next ten dances were not Henry's. He had exactly 
two — and supper — with Evelyn. 

Then Mrs. Trude drew them tactfully aside and intimated 
that she would think it advisable for them to mingle a little 
bit more with the other guests, to divide up their dances, as 
it were. 



"You can dance together at home, said Mrs. Trude. "Remember, a young wife 
mustn't appear to be too much in love with her husband in this day and age. " 




39 



40 



Photoplay Magazine 




"I don t know wKere this came from. but I m ^oing 
to drink it all. Henry went into the next room. 

"But I want to dance lots of dances with Henrj'. Nobody 
in the world can dance so well as Henry," Evelyn managed to 
whisper to Mrs. Trude. The older woman laid a worldly wise 
hand on the arm of the bride of a year and a half, and smiled 
al her unsophisticalion. 

"Vou can dance with Henry at home — remember a young 
wife mustn't appear to be too much in love with her husband 
in this day and age, little girl. There's no way to keep a 
husband interested like flirting just a wee bit with the other 
nun. Run along now and have a good time.'' 

E\'KL\'X had never thought it necessary to figure out ways 
and means of keeping her husband in love with her. 
Henry just was in love wilh her, and she with him. But per- 
haps Mrs. Trude was right. Anyway. Mrs. Trude was rich 
and fashional)le and influential and had managed to keep a 
iiusband herself for some forty years. 

So Evelyn sighed rather unhappily as she saw Henry being 
led off, as a lamb to the slaughter, in the direction of a 
fascinating lady gowned in black and armed with a coquettish 
emerald-hued fan. But Evelyn realized that her views on 
ihings were entirely provincial, so she swallowed the lump 
that rose in her throat, and stepped into (he embraces of the 
bachelor Mr. Bruce Grey, blase and worth a million, with a 



careless little swing to her head, and 
a daring frankness in her eyes that took 
her partner more or less by surprise. 

Before they were through with this 
particular one step and the three more 
that followed Bruce Grey had told her 
that she was '"a cute little thing." that 
he knew he was going to like her very, 
very much, that life was lonely for a 
bachelor of his home-loving type, and 
that he hoped Mrs. Langdon would 
think his new car was nice. He would 
like to take her for a spin ver\-, very 
soon. 

Back in Baxter Street Evelyn Lang- 
don would no more have accepted a 
similar invitation from a man than she 
would ha\e accepted a diamond tiara. 
Such conduct simply did not go wilh the 
morals of the street. 

But this — was Elmhurst-by-the-Way. 
Even so. Evelyns Baxter Street train- 
ing almost made her turn off Bruce 
Grey's invitation. And that training 
might have succeeded had not Evelyn 
at that ver}- moment seen her husband 
being vamped — obviously almost will- 
ingly — by Mrs. Hammond of the black 
gown and the fan. 

As they whirled past the corner where 
Henry was seated, Evelyn looked up 
into her partner's face in an imitation 
of Mrs. Hammond s manner with Henry, 
and said that she would be delighted to 
go — any time. 

As the party drew to a close. Henry 
looked rather sheepishly across the tloor 
at Evelyn, and Evelyn looked rather 
sheepishly at Henry — they had not 
spoken to each other since Sirs. Trude's 
intrusion — though they tried to hide 
their embarrassment in off hand light- 
ness. 

"T'll meet you at the door." they 
signalled to each other, and went to get 
their wraps. 

But if Henry and Evelyn expected 
to jog along home in their own little car 
together, they did not know the ways of 
Elmhurst etiquette. 

Mrs. Hammond and Bruce Grev were 
both waiting at the door when Henry 
and Evelyn emerged from the dressing 
rooms — and some way or other, the 
Langdons could never figure out just 
how, it was suggested that it would be 
a pleasant diversion for Henr>- to 
"flivver" his companion of a good share of the evening home 
in his car, while Bruce Grey drove Evelyn home in his 
^por^y roadster. Who were Henry and Evelyn, mere novices 
in the ways of fashionability. to complain against such an 
arrangement? Though their hearts sank deep, deep down. 
Evelyn trilled in what sounded like a merry laugh straight 
from her heart, and Henry's deep " Ha-ha" was sincere enough 
appearing to convince anyone that he was delighted at the idea. 

But the tears trembled on Evelyn's long silken lashes a- 
she saw her Henry drive away in their own beloveil little car. 
which was still not entirely paitl for. with Mrs. Hammond. 
Two of them fell on. fhe orchid colored ostrich feathers that 
trimmed her frock — but Bruce Grey did not notice them as he 
was occupied with an ailjustmcnt on his rear tire holder. By 
the time he was through, and she was comfortable in the car. 
-ho had mastered her tears ami her voice. 

YOl "RE just a little kitten — now purr nicely for me." .<iaid 
Grey playfully as he sat down beside her. Evelyn's 
naive attempts to appear grown up and tilled with worldly 
wisdom amused him. bored and satiated with society and 
artiliciality as he was. It was a new sensation to have this 
sweet, fresh creature near him. He sat back and enjoyed her. 
being careful not to frighten her with any attempt at familiar- 



Photoplay Magazine 



ity. He dropped her at her door without any repetition of the 
invitation he had extended earlier in the evening. Grey l^new 
how to play the game with woman's pride and woman's 
curiosity. 

"That little kitten is going to lose her mittens, I am afraid," 
he mused as he raced home. 

■'I wonder if I s/itill see him again, " ran Evelyn's thoughts. 
She both hoped and feared that she would. She wanted to be 
fashionable, and it certainly was an honor to be singled out by 
Bruce Grey for a whole evening. Mrs. Trude had said it was. 
On the other hand — those confounded unfashionable Baxter 
Street ideas of the correct conduct for husbands and wives, 
histilled into her by generations of strict adherence to them, 
would not be quieted. 

"Would you want Henry to want to see I\lrs. Hammond 
again?" asked the still small voice. 

Mrs. Henry Langdon refused to acknowledge the protest 
that leaped up in her heart at the very thought of such a thing. 

"How silly I am," she reasoned with herself. "If two grown 
up persons cannot trust each other, what is the use of being 
married?" She had heard some one else use that argument. 
But it failed to satisfy her, when, after several hours of waiting, 
she still could not see the headlights of Henry's car. 

H.\LF way home to the Hammond estate, which was located 
in the country some three miles away from the country 
club, Henry discovered from the cloud of steam that arose 
from under the hood that all was not well with the flivver. 
Henry interrupted his attempts to im- 
press his companion with his scintilating 
cynicism to climb out and investigate 
matters. 

In his excitement over the party and 
Evelyn's eagerness to be gone, he had 
neglected to fill the radiator with water. 
There was still a little water left — 
enough to make a trip the rest of the 
way to Mrs. Hammond's home in per- 
fect safety, no doubt. But the car was 
new, it was not yet entirely paid for, 
and Henry had not reached the stage of 
violent abandon where he was willing to 
risk the ruin of his automobile to cut a 
dashing figure with any \voman. 

So, instead of going straight on, ho 
asked Mrs. Hammond to excuse him 
while he ran down with his bucket to 
the farm house nestling some quarter 
of a mile on a cross road, and left the 
lady sitting alone in the middle of the 
road. 

A' Henry approached the yard of the 
farm house, a huge dog bounded out at 
him from the gloom of the trees 
Throwing the pail at the dog, Henry fled 
to a nearby tree, and started to knee his 
way up. The dog leaped at him, setting 
his teeth in Henry's trousers. There 
was a loud tearing sound and the beast 
was back on earth again with an alarm- 
ing portion of Henry's apparel in his 
teeth. But it was not satisfied with the 
damage it had done. It sat itself down 
on its haunches and snarled, white teeth 
gleaming through the darkness. It re- 
mained, and so did Henry, until the gray 
of morning came, then the creature 
ambled home. 

Henry slipped down from the limb 
where he had been interned, and twisted 
about to determine what proportion of 
his clothing was no longer with him. 
The damage was appalling. He could not 
return to the fashionable Mrs. Ham- 
mond in that condition. Down the road 
he spied an oil station. He dashed to 
it, discovered that one of the windows 
opened easily, and crawled inside. On 
a nail hung a pair of trousers, many 
sizes too large for Henry, but anyway 
whole trousers. Henry slipped into 



41 

ihem, scribbled a note telling the owner the story of their dis- 
appearance, gave his name and address and promised to return 
them safely — then hurried back to the place where his car had 
stood. It stood there no more — neither it nor Mrs. Hammond 
was in sight. 

Henry's heart leaped into his mouth at the thought of the 
hundred and one things that might have happened to Mrs. 
Hammond. Then the rim of the sun crept over the hills and 
shed its accusing beams in his eyes, and made his heart stop 
beating altogether. In his anxiety to get out of the predica- 
ment in which he had found himself, he had forgotten that 
there was a sweet young wife who would want to know just 
why it was that it had taken her husband until morning to see 
another woman to her home not five miles away. 

Perhaps it was Henry's "pride" that whispered to Henry that 
it would be better to make up some gorgeous lie to teil Eve!yn 
about the evening's happenings instead of coming out with the 
rather ridiculous truth. The truth would have been so much 
more sensible. But anyway, when he arrived on foot, swathed 
in enormous trousers, and sans the Langdon flivver, to meet 
a tearful wife, he plodded in, breathless and worn, as after a 
terrific struggle. 

"I don't know how many of them there were — but they 
were all armed with guns — ,'' he began, then flowed eloquently, 
as husbands can and do, into a recountal of a tale of highway- 
men that made Mrs. Henry hug the husband of her bosom to 
her in an ecstasy of pride and horror at the thought of the 
odds he had overcome. (Continued on page iiy) 

She lieard her husband remark, '"By Jove, Miss 
Turner, you re looking awfully pretty today. " 






'Drawn by l^rman Anlhony 

Intimate Snapshots 

The masculine vampire at home. He is rough with "The Weaker Sex" — in tlie pictures. 



42 



Mr. Fitzmaurice directing Mae Murray. 



Starring the 
Director 



But Georo;e Fitzmaurice 
places true art before any 
stellar prerogatives. 

By DELIGHT EVANS 



HIS idea of hell is a studio where they use mid-victorian 
furniture in an old-Italian set. 
You probably recognize a Fitzmaurice picture by 
its sets. That is the trouble with being an artist — 
the audience decides forthwith that that's all you are. Fitz- 
rnaurice's drama happens to be as good as his period furniture. 
His India is India. "The Witness for the Defense" brought 
India to Indiana — and maybe Indiana didn't enjoy it! His 
Turkey is the real Turkey. .And a Broadway chorus girl 
would instinctively take on the air of an English duchess if 
she ever stepped into one of George's baronial halls. 

Fitzmaurice made a picture of New York life for Famous 
Players: it was not made as a "special production" or any- 
thing fancy like that. When it was shown for the first time, 
some officials sat in judgment. Result. "On With the Dance" 
was released as a widely-heralded special, the first of the 
"George Fitzmaurice Special Productions." 

His company approached him with a contract. A contract 
to make Fitzmaurice himself the directing star of four de-luxc 
pictures a year, with his players onlv secondary. Fitzmaurice 
signed. One month later he went to his officials and asked if he 
might direct a star. The star was John Barrvmore and the 
play, "Peter Ibbetson." 



That, as "Dere Mable"' might say about "Bill."' "that's him. 
all over." He is his own star: but you would never know it. 
You would think, to see him on the sidelines of his set. that 
he was a Wall Street man come to look 'em over. But — he 
goes through every bit of action himself. He is a director 
who doesn't let his assistant do much except draw his salary. 
He is on the job every minute: he is the hero, the heroine, the 
villain and the vamo. 

^ He is important because he is one director who has never 
been an actor or a stage-manager, who has. in fact, had nothing 
at all to do with or on the stage. He is absoluteK- untutored 
except in so far as he was bom with a keen dramatic sense and 
had a thorough worldly training, received in the humanity- 
schools of Cairo and Paris. Constantinople and a villa by the 
blue sea, in Southern France. 

He is French in appearance, French in speech. American in 
preference. — and Irish in wit. As a matter of fact he is 
Celtic, but he was born and brought up in France. His home 
was a villa where everything that is told of France in song 
and story came true. One day when he and his mother 
happened to be enjoying a singular solitude — usually the 
place was overrun with guests — a man came to the door and 
asked politely if the estate might be used as a cinema location. 

43 




Photoplay Magazine 




George, with his clothes of British cut, his spats, his smooth hair, his per- 
fect ties. The studio people looked him over and said, "Some nut." 

Not that Fitzmauricc knew the first thing about a studio. He only 
remembered what he had seen on his estate in France, and the life at- 
tracted him. Never having had any dramatic experience, he went in to 
learn. He did — from the lowest rung of the ladder. It only happened that 
the particular studio to which he was recommended was presided over by 
the ex-French director. 

George clung to his spats. He did not see any reason why one should 
dress clumsily simply because one worked in a studio. And by and by the 
studio hands began to admire him for it. One of them started to calf him 
"George" one day — but caught himself in time. 

. Young Mr. Fitzmaurice kept right at it. He was a scenario writer at first. 
He says in those days you not only had to note on paper to the directors 
what to do; you had to give them very careful instructions what not to do. 

"Once," he says "there was a ship-wreck scene to write about. The hero 
and some other people are set adrift and have to stay on a small raft for 
weeks, after having been almost drowned. But when the hero — in 
the scene as( the director took it — finally climbed on board the rescuing ship — 
he accepted a cigarette and carelessly took a box of matches out of his 
pocket to light it with. I remonstrated with the director. I said, "But the 
man would not have the matches in the pocket after he has been ship- 
wrecked and tossed about in the water.' 'Well,' growled the director, 'why 
the — didn't you write that in'?" 

In spite of the fact that his efforts for realism were irritating to the slap>- 
slick craftsman of that period, he persevered. Pretty soon he had some 
real things to direct, including "The Naulahka," the vivid Indian ta!e of 
Kipling's, with Doraldina; "Sylvia of the Secret Service," with Mrs. 
Castle, and "Innocent" and "Common Clay," with Fannie Ward. But 
even here his style was cramped. He couldn't do all that he wanted to 
do. He is as temperamental about sets as a prima-donna is about orchestra- 
tion. His expense accounts were checked within an inch of his life; he 
couldn't spend ail the company's money on real settings and real effects. It 
was a shame. 

He was called to Famous Players to direct Elsie Ferguson. They got 
along famousiy — I defy any woman, to quarrel with Fitzmaurice. He 
brought to his new work all his knowledge of the continent, of the 
orient and the isles. He knew when a property man was trying to pass 
off a queer piece of pottery from the prop room for a Ming vase of 
the 'nth dynasty. He was given the exclusive right to use his own expert 
judgment on things of that sort, and intelligent people began to know and 
watch for Fitzmaurice films. 

(Continued on page X25) 



Mr. Fitzmaurice, and his equally talented wife, Ouida Bergerc, who writea 
the scenarios of all his productions, in their studio apartment. 



French in appearance, French in 
Speech, and Irish in wit. 

George's mother demurred at first 
hut finally yielded to the wishes of 
her son, who wanted to learn, first- 
hand, what actors were like, any- 
way. Pictures in France did not 
then have much prestige. So the 
company came and camped on the 
grounds, and sjiilled their make-up 
and their props all over the place, 
while George looked curiously on 
and wondered. 

The director thanked them, when 
his company had finished, for their 
courtesy, and hnwcd himself grate- 
fully out, whiskers and all — 

Not many years later, George 
Fitzmaurice — the same, but having 
learned that there is more in life 
than polo, sunshine and debutantes 
— was looking for work. He sought 
it in the studios. The man who fin- 
ally engaged him was the same 
director who had exjiressed himself 
as grateful for his courtesies, long 
ago in France! For, you see, 
George came to America and went 
into tratlc, and trade failed him, 
and he turned to the pictures — 




Uccvnitiun t>y NcrinuQ Au'.h.ui 



The Pure Bad Woman 

A tragedy in several cerebrations. 
By FRANK M. DAZEY 



Scene: Interior of the large and well jiimislied brain of a 
successful scenarioist. Nicely balanced on t/ie cerebrum is the 
idea of a large box-shaped something like a child's penny sav- 
ings bank. Standing on the Medulla Oblongata, rather ill at 
ease, are the nude figures of Art and Knowledge. Gazing at 
them with all the complacency of a happy bride who has brought 
two potential sweethearts together is the Eternal It of the 
scenarioist himself. 

Scenarioist. So happy to be able to bring you t wo together. 
Knowledge, I want you to meet Art. Art, this is Knowledge. 

Knowledge. Why, we're old friends. I don't know why 
people nowadays always think of us as strangers. 

Art. Charmed to see you here. Knowledge. 

ScEN.-VRioiST. I daresay you hardly expected to meet each 
other here. Well, I've always been known as daringly different, 
and this time I'm going to be more daring and more different 
than ever before. I'll let you in on a secret. (.Art and Knowl- 
edge bend forward as Scen.arioi.st continues impressively) 
Pres. Oodlesovitz of the Great Jazz Film Co. has asked me to 
WTite a new picture and I want to put both of you into it. 

Knowxedce. This is a bit unusual, but we're always willing 
to oblige. 

Scenarioist. Oodlesovitz wants the picture to be about a 



bad woman who reforms and makes good; they never fail — the 
pictures I mean. 

Art and Knowledge, (looking uncomfortable and speak- 
ing almost simultaneously) Sorry, but it's quite late. I think 
we'd better take this up another time. 

Scenarioist. No! No! Please stay! Oodlesovitz was most 
insistent. Aren't there any thoughts you can give me? 

Knowledge, (after some hesitation selects a thought and 
hands it gingerly to Scenarioist) Well, if she's a bad woman 
I suppose the man is neither her first nor her last. 

Art. (enthusiastically) Fine! 

Scenarioist. (takes thought and examines it critically) 
Thanks, I'll see what I can do with this. (He goes toward the 
idea box.) 

Knowledge. What's that? 

Scenarioist. That's the Bo.x Office Idea. I'll have to see 
if this fits into it. 

Knowledge and .Art. (rather taken aback) Oh! 

(After some trouble Scenarioist crams the thought into 
box.) 

Scenarioist. (sighs and turns towards .\rt) And you, .\n? 

Art. (speaking brightly and much encouraged by Knowl- 
edge's success, hands Scenarioist a small but glittering piece 
of truth) And He will gain no happiness, nor She. citherl 



45 



4^ Photoplay 

ScENARioiST. (takes the piece of truth and examines it curi- 
ously as tltoug/i he had never seen anything quite like it before) 
I don't know about this. I ll have to follow the Easiest Way 
and you know that s quite hard. 

(After a good deal of manipulation Scenarioist manages to 
force the truth into box which quivers reproachfully.) 

Art. Wonderful! Why, this seems to remind me of other 
times, long, long ago! 

Knowledge. Of course it does, Art, only you die and are 
reborn so often it's hard for you to remember. Try to think 
— Aeschylus — the Law of Dramatic Catastrophe. 

Art. It's all coming back to me. The inexntable punish- 
ment of the Transgressor. How our poor woman will suffer, 
not in one splendid sacrifice, but through all the sordid details, 
of quarrels, deceits, disease, and mutual infidelity. 

Scenarioist. (greatly alarmed) Stop! Stop! This is much 
too much! Suppose Oodlesovitz should come in and hear you! 

(Art and Knowledge continue talking, paying no attention 
to him, until, suddenly, lid of Box Office Idea falls with a loud 
click.) 

Art. Did you hear that? 



Magazine 

Knowledge, (looking at box) Why, it's shut, tight! 

{Together they rush touards box, and shake it, trying to 
force ideas and pieces of truth into it.) 

Scenarioist. Children! Children! Do be careful! Oodle- 
sovitz says it's never safe to monkey with the Box OfSce. 

(Unfortunately Scenarioist's warning comes too late. The 
Box Office Idea stirs, then suddenly topples over on Art and 
Knowledge, flattening them out completely.) 

Scenarioist. (looks at them sadly and shakes his head) 
Too bad! Too bad! But really they ought to have known 
better than to come here in the first place! (Without more 
ado he drags them off by the heels. Returning a little later 
he reverently raises the Box Office Idea to its accustomed 
niche. Speaks thoughtfully.) Well, I've written all my other 
pictures without them, so I guess I can do this one all right. 
(He begins to compose.) "Shedda Teare. a pure bad woman.'' 
No! No! That won't do! "Shedda Teare, a bad woman 
with pure thoughts and a good heart." Fine! That ought 
to drag 'em in! 

(He looks hopefully at Box Office Idea. It responds with 
a sweet tinkling as of gold struck by silver. Darkness fails.) 



The Morals of the Movies 

Mr. Karl Kitchen discusses, after investitration, 
the truth about the alleged "gay studio life." 



YOU have been hearing the "morals of the movies" dis- 
cussed pro and con — mostly con — for a number of 
years. Last spring the New York World sent Mr. Karl 
Kitchen, one of its most able writers and investigators, 
to California to gather information on the motion picture game. 
In the following article, taken from Reedy's Mirror, Mr. 
Kitchen lays the gist of his discoveries of the motion picture's 
morals before the reading public: 

"IT is a common thing for 'gay dogs' to wink slyly when dis- 
cussing conditions in the motion picture studios," says Mr. 
Kitchen. "And these sly winks are usually accompanied by 
knowing looks and equally comprehensive elbow nudges in the 
ribs. For there is widespread impression that artistic endeavor 
and immorality often go together and that motion picture 
studios, while not surfeited with art, are nevertheless 'hot beds 
of vice,' as well-paid reformers would put it. 

"The writer did not go to Los Angeles to investigate the 
morals of the movie folks, although a rumor to that effect did 
give some of them a pretty bad scare. If he had been asked 
about the morals of the film people some months ago, he would 
have replied that in his opinion they didn't have any. 

"It is always easier to give a flippant answer to evade the 
facts. 

"But a month spent in and about the studios of Southern 
California has caused h-m to revise his opinions about the 
morals of the movie makers. 

"Not that I would give the movie colony of Los Angeles a 
clean bill of health. But the stories about the gay life in the 
studios have been greatly exaggerated. 

"The most common charge of immorality in camera-land is 
that young women are not advanced in their chosen profession 
unless they submit to the advances of studio managers, direc- 
tors or influential male stars. Stories are constantly be'ng cir- 
culated to that effect. I have heard them at first hand from 
young women in manicure pariors. singers in near cabarets 
anrl other unnecessary places. All the stories are the same. 

"While I hold no brief for the studio managers, directors 
and others in authority in California's film factories, I do not 
hesitate to say that nine-tenths of these stories are downricht 
lies. They are the pitiful cxcu.ses of the unsuccessful. Being 
unable to get employment in a studio, or being discharged for 
incompcntence, it is much easier for a young woman to make 
charges of this kind than to admit the truth. 

"In the days when the directors in the studios were all-power- 
ful, when they had the power of 'hiring and firing' young 



women — there were many abuses of this nature. Young women, 
unless they were financially independent, were more or less 
at the mercy of the director under whom they were working. 

"But the motion picture industry' has undergone a great 
change in the past three years. 

"At the present time the big studios are conducted as effi- 
ciently and with as strict attention to business as any manu- 
facturing plants. The directors have nothing to do with the 
engaging of actors or actresses. Nor have they the authority 
to discharge anyone. At each studio there is a casting direc- 
tor, so called, whose sole business it is to engage the playerj 
for each picture. Of course the stars, where they are not rnak- 
ing pictures of their own, are engaged by the big officials of 
the film companies, but the directors do not meet the minor 
players until an actual start is made on the picture. 

"As the studios are run today, there is not time to bother 
with amateurs or incompetents. Players have to he engaged 
strictly on their merits and a casting director who takes ad- 
vantage of his position is very soon replaced. Only the high 
officials of a producing company have the power to engage or 
advance a personal favorite. From which it will be seen that 
favoritism of this kind is considerably restricted. 

"Naturally, there have been several glaring examples of 
favoritism of this nature. There are several stars who are 
before the public only because of the so-called film magnates. 
But as a rule their careers are very short. They are so con- 
spicuous by their lack of talent that nobody in the profession 
takes them seriously. And all of the advertising space that is 
lavished on them does not sell their pictures more than once. 

"I know one important producer who gave a certain Broad- 
way chorus girl a big contract to oblige a New York broker 
who held his I. O. U. for $15,000 as the result of a gambling 
debt. I know two or three producers who ha\'e advanced cer- 
tain actresses because they happened to be fond of them. But 
where it is possible to point out three or four cases of this 
kind, one is able to point out sixty or seventy stars who are 
where they are today solely on their merits. 

"There is a popular catch line in Southern California, '.Are 
you married, or do you live in Los Angeles?' But this is cur- 
rent because of the frequency of divorce and its attendant 
evils among members of the movie colony. There are doubtless 
quite as many di\(irccs among cloak and suit manufacturers, if 
authentic statements were obtainable. Matrimonial infelicity 
is not peculiar to any class of people these days. And of most 
of the motion picture stars it may be said that if they h'^ve 
any faults they make virtues of them." 



open Air 
Movies 

A heart to heart talk 
with the Family Circle 

By MARGARET E. SANGSTER 




IT was midsummer and breathlessly hot — so hot that even 
the twilight hour did not bring relief. People sat upon 
the stone steps of every city stoop — the men quite shame- 
lessly devoid of coats and waistcoats, the women waving 
listless palm leaf fans. Somewhere down the street a fretful 
baby cried out; somewhere, farther off, a droning hurdygurdy 
played a slow waltz-tune. 

The woman on the stoop of the next house spoke suddenly, 
impatiently — with an impatience born of the oppressive 
weather. 

"I think," she said petulantly, "that I'll go mad if I have 
to sit, for very much longer, on these steps being sorry for 
myself because I'm so hot. I think that I'll go mad." 

From his place at her feet her husband answered her. His 
\oice was comfortably lazy. 

'"Well," he suggested, "we can always 
go to the movies. How about it?" 

The woman's voice was still petulant 
when she spoke. 

"I'd like to go," she said, "It would 
take my mind away from myself, that's 
sure! But I couldn't endure the stuffiness 
of a crowded, badly ventilated theatre." 

The man rose slowly to his feet and 
stretched both white shirted arms high 
above his head. 

"If that's all that's worrying you," he 
told his wife, "I'll go into the house for 
my coat and we'll get started. Have you 
forgotten, woman," this dramatically, 
"that there are open air movies, now- 
adays?" 

And a little later I saw them going off 
together, quite happily, toward a certain 
picture theatre that throws open its roof in the summertime so 
that the real stars in the sky can twinkle cosily down upon the 
reel stars that flicker across the surface of the silver sheet. 

Open air movies are like a cool breeze to the heated popula- 
tion of the summer city. They point an avenue of escape from 
heat and humidity; from discomfort and discontent. And they 
should! For open air movies are the greatest invention of 
the age — plus. Plus good ventilation and freedom from germs 
and the boundless inspiration of the night-time sky. 

And yet, though oren air movies mean a great deal, they do 
not mean all that they should mean. The term "Open Air 
Movie" applies only to the building that is the home of the 
motion picture play — it stands only for a freedom from stifling 
roofs and too closely encircling walls. It stands only for a 
shell — for a building made of wood or stone. And it might 
stand for infinitely more, for many vitally important thin^rs. 

It might, for instance, have some connection with the motion 
picture play, itself. It might mean that the picture had been 
sweetened by contact with the out-of-doors; it might mean 
that wholesome sunlight had been put into the film — sun'ight 
and the fragrance of flowers and the sweetness of bird songs. 
It might mean that the pictures were cleaner, better, bigger 
than other pictures. The term "open air movie" might mean 
that a picture, so advertised, could be endorsed as the sort 
of a picture that folk could take their children to see — and 
their mothers! 

The motion picture is, perhaps, the greatest agency for good 
in the whole world. It has limitless possibilities — a limitless 




^largaret b. bangster 



audience, a limitless circulation, a limitless field. The message 
of the motion picture can travel much farther than either the 
spoken word or the printed page can travel. It can be the 
most potent sermon in the world, the most convincing argu- 
ment for right doing. And, oftentimes, it is. 

But there are occasions when the motion picture is 
neither a sermon nor an argument for the right. There are 
times when it is frankly an appeal to the senses — when it is 
a menace to morals (particularly very young mora's) and an 
offense to good taste. There are pictures that win great pub- 
licity on account of a barbaric lack of costume, and there ar« 
other pictures that owe their fame to splendidly acted bits of 
violence — to vivid portrayals of passion. And these pictures 
are the ones that remind — or shou'd remind — an audience of a 
tightly shuttered, ill-ventilated room. 

I went to a dinner once, at which Mr. 
and Mrs. Sidney Drew were the guests 
of honor. Because they were, at that 
time, the motion picture ido's of a con- 
tinent, I could not help watching them 
narrowly— and with a very great interest. 
And I was surprised and delighted, as the 
evening wore on, to see how natural and 
unaffected they were. They weren't at 
all as one, unacquainted with the movies, 
would picture popular stars. They were 
just charming, "folksy" people. 

It was after dinner, when the toast- 
master was introducing the speaker of 
the night, that he struck the secret of 
the Drews' popularity. 

"They are," he said slowly, "enshrined 
in the hearts of a nation. And the nation 
isn't ashamed to admit it!" 
That, it seems to me, is the most splendid compliment that 
could be paid one who has a part in the country's public life. 

The Drew comedies were never blatant or vulgar. They 
never overstepped the bounds of propriety. They never won 
their laughter and applause by being risque. Attd yet they 
were more hi demand, from the first one to the very last, than 
any of the other comedies! For they were, in the truest sense 
of the word, open air movies. 

Look about you at the plays that are the tremendous suc- 
cesses of the season. C'ean plays they are, every one of them, 
with plenty of fresh air and sun'ight, and with a worth while 
moral tucked in for good luck. Look at the books that reach 
the best-se'ler class, and you'll find that they are stories that 
you wouldn't be ashamed to leave openly upon your library 
table. And — Inst of all — look at the motion pictures that play 
to packed houses! Look at the audiences that flock to see 
Mary Pick ford — who has never relied upon anything stronger 
than open air to make her plays a success. Look at other 
stars who have reached the top rung in the ladder of motion 
picture fame. And you'll see that they are the sort who give 
healthy fun, and wholesome thrills and love scenes that make 
you remember vour own love story. 

Photoplay Magazine stands for the biggest and best enter- 
tainment that the motion picture can give. It stands for a 
measure of value that is pressed down and runnint: over. And, 
most of all, it stands — with every bit of its knowlcdce and its 
clear headedness and its power — for the open air movie and all 
that the open air movie may mean! 



47 




Playtime 
Clothes 



By NORMA TALMADGE 

111 uftration* by John Barbour 



This is the second of Miss Talmadgc's fashion articles. She is now Photoplay's Fash- 
ion Editor and will write each month on some subject pertaining to good dressing. 



IHA\'E a bathing suit at home that's guaranteed to raise 
a laugh no matter what's gone wrong. 
It's a very lovely bathing suit — or, at least, it was. It 
was made by a jewel of a French dressmaker, one of those 
women who can just take one look at you and then go away 
and create a dress that makes you want to spend the rest of 
your life in front of the mirror — you know what I mean. 

Well, I went to Madame last spring and told her I wanted a 
new bathing suit. 

Oh, yes, of a certainty Madame would make one. 
And of a certainty she did. 

It was a beauty; a lovely glowing red dress with the 
cunningcst shoes to match and a red cap with perky bows — the 
sort of bathing suit that every girl dreams about when she's 
getting ready for her vacation. 

I put it on the first time I went to the beach and was 
soon out beyond the breakers having a glorious swim. I didn't 
notice anything wrong until I came ashore, and then I saw 
c|uecr red streaks running down my legs and arms. When I 
got to a looking glass I saw the same kind of streaks adorning 
my face — the colors in my new bathing suit had run! 

It took two days' hard work to discourage those streaks and 
get my face back to normal. Then I went to Madame and in 
cold tones told her what had happened. 

Madame threw both hands toward heaven. 

She exclaimed! 

She wanted to know why I had gone in the water! 

I told her that was my usual custom 
when I went swimming. 

"But did Mademoiselle not realize that 
it was a beach costume? In the water! 
Ah. heaven!" 

You see. it was another case of a dif- 
ference of opinion in the French and 
American idea of athletics. 

I believe that "hang your 
clothes on a hickory limb but 
don't go near the water'' was 
written to a little French 
miss — and she took it to 
heart. Lovely costumes, 
yes. to sit on the beach. But 
to wear in the water — iioii, 
lion! 

So I hope that when you 
start away this summer to 
the woods or the mountains 
or the seaside you will re- 
member my experience and 
take along the sort of clothes 
you are not afraid to wear 
when you swim or ride or 
walk or play tennis. 

T\\\:\ are so beautiful 
this summer and so 
diversified that you will be 



sure to find just the sort of thing that suits you best. Person- 
ally, I adore swimming above all other sports and whenever 
possible I make for the water. There are bathing suits this 
year that will make you feel quite as dressed up as if you 
were promenading on the board walk — and they are guaranteed 
not to run. The craze for taffeta dresses has reached thi- 
makers of bathing suits, and there are ever so many rubber- 
ized taffeta bathing costumes that are as pretty as they can be. 
And if you like embroider}', there are plenty of embroidered 
suits, with shoes and cape to match. 

But the cleverest thing I have seen yet is the black velvet 
bathing suit. It was new last year, but even better this, and 
makes you look like a nice frisky shiny seal when you come 
out of the water. 

If you don't swim — well, the only thing I can say is that 
I'm sorry for you. 

That reminds me that I was talking the other day with a 
woman who was lamenting over the "old fashioned girl" and 
saying how much nicer she was than the modern product. 

Don't you ever let anyone tell you that and get away with it. 

I showed my visitor some old prints I happened to have of 
1870 costumes. \qu know the kind, an eighteen-inch waist 
and a bustle. And then I reminded her of the habits of the 
young lady in question, who ate next to nothing — when there 
were spectators — and fainted whenever there was a man around 
to catch her, and who always had that mysterious disease, the 
"megrims.'' 

.\nd I contrasted the healthy modern girl, with her good 
appetite and her normal waistline, with those strange females 
who u«ed to meander through the pages of Godev's Ladv's 

Book. 

Yes. don't make any 
mistake about it, we have 
it on those Early Yictorian 
maidens, considerably. 

\\'henever I have the 
time I don a middy blouse 
and a serviceable skirt and 
walk from my home to the 
studio. Try it some day 
and you will find out how 
many miles I cover in that 
tramp. Of course, I had 
rather walk in the country, 
but that chance doesn't 
come to busy girls every 
day and if you can't walk 
in the country you had 
much better walk in io\\n 
than not at all. 

If there is one girl I am 
sorry for it is the girl with 
a dull complexion who 
hasn't found out the fun ol 
walking. It's a cood plan 
to walk at least jwrt way 
to your place of business. 




Thi- wool embroid- 
ered jZint^Kain Irock 
co.<t> $80. You can 
reproduce it for $8. 
Cover a ten cent hat 
frame with the .■tame 
material and your 
coritumc is complete. 



48 



Photoplay Magazine 

if you go clown town to earn your bread and butter every day. If you are 
a home girl you have a still better chance to win real roses for your cheeks. 

It's surprising how you can walk away the blues, or a disappointment or a 
bad complexion. If you don't believe me, try it yourself. 

SHOULD you happen to have plenty of money to spend on walking clothes 
there are some wonderful Enjjlish things over this year — smart doggy 
tweeds, that combine comfort with good looks. And if you take your exercise 
in a motor, you will find some exquisite motor wraps over from Paris. They 
are designed this year in all manner of bright colors and many of them have 
leather trimmings that are really beautiful. I saw a polo coat the other day 
that Jean Patou — that wizard of clothes — sent over to a New York house. It 
was white polo cloth stitched in red silk and with a red patent leather belt. 
(You might tip your tailor off to that.) 

If you are a very busy girl and can only get away to the country for week 
ends, there is a new device just out that will considerably lessen the work of 
packing. It is a pleated skirt that can be made in any material — the one 
I saw was done in navy blue taffeta. It hangs from a thin silk underwaist 
that can be adjusted to any length the wearer wishes, and it is ideal for the 
sensible girl who has eliminated corsets from her wardrobe. There are three 
blouses designed to go with this skirt — for morning, afternoon or evening 
wear. So, if you select this costume, your packing of dresses may narrow 
itself down to putting in two extra blouses. 

By the way, I wonder if you have heard that the makers of riding habits 
haven't it all their own way in the matter of breeches this year? A great 
many of the new sports clothes are shown with the divided skirt and pantalette 
cuff, and this type of skirt has the advantage of being good looking and 
equalh' adaptable for walking, mountain climbing, tennis or golf. Practically 
every important creator of clothes has turned out some phase of the divided 
skirt and pantalette cuff this season. In habits, the latest thing is to have the 
breeches a shade lighter than the coat. Riding habits in Shepherd checks are 
always good— especially so this year. 

The girl who is clever with her needle can have plenty of pretty summer 
clothes at a small expense. One skirt of sports silk, in white or any of the 
bright tones, may be worn with half a dozen different blouses. These blouses 
for summer wear are long, straight affairs that can be easily made at home 
out of some of the lovely materials now being shown. The blouse that costs 
from $20 to $35 in the shops can be made for $s or $io. And if you cover 
a ten-cent hat frame with some of the same kind of material from which 



Riding habits in Shep- 
herd checks are always 
good — especially so this 
year. 

No one can be unhappy 
long if she dons a gaily 
colored smock. Miss 
Talmadge prefers batik 
ones — but she has others 
of red, and sapphire 
blue, and burnt orange. 



49 





you made your blouse you will have a pretty sports rig that you can wear at 
any of the summer places. 

FOR my own wear I adore smocks, and always have a number of them, 
mostly batik, for I love bright colors. I have a little theory of my own 
that no girl can be unhappy very long if she dons a pretty red, or sapphire 
blue or burnt orange smock. Speaking of blue, there is a lovely shade the 
French call pervanche that is being used a great deal this summer, and there 
hasn't been so much red used in ages — perhaps a lot of people are finding 
out how much happier they are in brilliant tones than in dull black, or brown 
or gray. 

There is also a new shade of red, a wonderful llame color, that the French 
dressmakers are using considerably, both in materials for sports clothes and 
for embroidering on contrasting colors. Next in favor, is green in high jade 
and emerald tones. 

For porch wear we are going back to gingham and dimity, and there is, after 
all, nothing quite so girlish and charming as gingham for wear on hot morn- 
ings. I saw last week in one of the smart shops a little gingham frock that 
had been made for a lucky girl who will spend the summer at Newport. It was a 
brown and white check, exactly the same kind that our mothers used for 
kitchen aprons. The skirt was gathered on softly all around at a rather long 
waistline and had two V-shaped pockets on either side embroidered in wool in 
tones of red, green and brown. The plain, straight bodice had a square neck 
(Continued on page 115) 





WEST IS EAST 



A Few Impressions 
By DELIGHT EVANS 



You Can Remember 
The Time When 
The News-Reel was Something 
Like Medicine: You Knew 
It Did You Good, but 
You Hated to Swallow It. 
You Tried to Miss it; but 
If you Couldn't, it became 
An Entertainment Evil 
That You Slept Through, or 
During which you Discussed 
Hats, Babies, or 
The Latest Books. 
Along Came an Irishman, 
Named Terrence, 
Who Changed All that— 
Terry Ramsaye, 
The Kinograms Man. 
He decided 

There was Something More 

To a News-Rcel Film than — 

' Great Revolution Among 

Pearl-Divers ' or 

' U. S. S. Bunko Launched." 

He Made his News-Reel 

A Mixture of the Parts You Like to Read 

In a Newspaper: 

The Ladies' Column, the Kids' Page, 

And Real News. 

Somehow or Other, he 

Never Exhausts his Vocabular>^ 

Telling you About a Baby-show. 

No — he does it 

In a Crisp Short Sentence that 

Gets a Laugh — even from 

The Solemn Man 

Who Plays the Trombone 

In the Orchestra. 

He Hears of a 

New Kind of Chrysanthemum 

Down South, or 

A Queer Character 

On Catalina — and Sends 

His Camera-man, Tracy Matthewson, 

Down to Investigate. 

Ramsaye Talks 

Like O. Henry. 

He was a Re-write Man 

In Middle-western Journalism. 

He can Tell You Stories 

That Would Make DcMaupassant 

Jealous. 

.Among other Things, 
Mr. Kinograms is 
A Rug-maker, 
A Painter, and 
A Good Husband. 



Besides, he Could Teach 

Most Photographers 

A Lot About their Own Business 

That They Don't Know. 

And Just Wait 

Lentil he Begins to Write those Stories! 

I S.AW Alice Joyce 
* Just after she was Married. 
I went out to her Studio and 
Alice was Made L'^p with 
Long Hair and 




He pulls a lau(*h even from 
the solemn trombone player. 

A Purple Gown and 
Looked more Queenly than Ever. 
Bill- 
She ordered some Ice-cream and 
We ate it before she Went on the Set. 
Later on I had a Ride 
In luT New Car, with its 
".\. J. R."' marked on the door. 
I Bumped Into Harry Morey 
Out in Brooklyn, Too. 
He is one of those Thoughtful Gentlemen 
That John Galsworthy liki 'i to Write .\bo'it ; 
With Chiseled Lips and Hair 
That is Faintly Gray at the Temples. 
He likes Serious Things, 
Particularly Plays. 



I Know, Becau-c 

Whenever I Go 

To the Theater for a 

Really High-brow Evening, there 

Is Harry Morey — 

And his Wife. 

EVERYBODY is Going Off 
To Europe. 
Pearl White Just Sailed 
For a Little \'acation Over There. 
She Almost Missed her Boat. They 
Were Rushing Around 
.•\t the Studio 
Trying to Finish 

The last Scenes of her Picture: and Pearl 
Didn't have Time 

To Scrub off her Make-up. even, but 

Ran for her Low Car. and 

Put it in High. 

She Made it. All 

The Traffic Cops Know her. 

Imagine what a Time one of them 

Would Have at Home 

If he Stopped Pearl White 

From Going where she Wanted to Go. 

His Children 

Would Never Forgive him. 

KAY LAURELL Sailed with Pearl— she 
who Helped Make the Foliics Famous. 
She went to Make a Picture in Rome, for 
The Leading Italian Film Company — 
You Couldn't Pronounce it. even it 
I Could Spell it. 
And we mustn't forget 
C. Gardner Sullivan, 
Mr. Ince's Scenario Chief, 
Bound for Europe 
In search of New Ideas. 
But the passport officials 
Were so Slow 

That He Mksed His Steamer. 

I ll bet he writes 

A Scenario and roasts 

The Department of State. 

THE Circus C.ime to New York 
The Birds and the BeasU were There. 
Also Mr. and Mrs. Enrico Caruso and 
Dorothy Gkh and Mr. and Mrs. Tom 

Meighan and 
Lots of Others You Know. 
Dorothy Said she was Getting 
New Ideas and that she'd Like to Do 
\ Circus Satire. 
Bird Millman— billed as 
The Queen of the Wire. 
Makes her Entrance 

In a Rolls-Royce; and just to prove further 
How different Circus Queens of Today may 
be. 

She is Doing a Picture. 



SO 



CLOSE-UPS 

&diiorial Sxpression and Timely Comment 



Brickbats and Whence comes the thanks 
nli^s Hniisps for uplift? There are several 
Lrlass Houses. ^^^^^^ disgusted actors 

among those the sincerity, of whose ideals has 
prompted the stage to put on real plays year 
after year — plays too good to last — in the hopes 
that those people who proclaim loudly that they 
want good things and write letters to the papers, 
decrying the present state of theatrical affairs 
and bemoaning the fact that the drama is going 
to the bow-wows, will come out en masse and 
make those efforts pay! 

One of these actors, a very fine gentleman 
of the old school whose name has been associ- 
ated for years with the best in the theater, let 
the cat out of the bag at c^uite a fashionable 
dinner for Lord Dunsany, the Irish poet-play- 
wright, a few weeks ago. 

He told of a federation of women's clubs of 
greater New York that has always made a 
great to-do about "better plays" and "uplifting 
the drama" and the like. The club bought out 
the entire downstairs for a matinee performance 
of "Aphrodite," the spectacle play featuring 
Dorothy Dalton — a play which, however decent 
it may be in reality, was blared into New York 
with a fanfare of unquestionably suggestive 
advertising. 

At that very moment, there was more than 
one play of real merit that was dying a slow 
death from lack of appreciation. The patronage 
of these women would have given new courage 
to players and producers who were trying to 
do things inspiring. But what they did drowned 
out their shoutings. 

The pictures, as well as the legitimate stage, 
suffer from busy-body reformers who do a lot 
of talking and interfering, but who are always 
missing when it comes to the vital point — 
making worthy effort pay for its bread and 
butter. 

Them Was John Barrymore, the most 
-I , successful legitimate actor on 

tne Uays . Broadway, ran into Sam Ber- 
nard, Broadway's most successful musical 
comedian, recently. 

"Do you remember, at the old Famous Play- 
ers on Twenty-Sixth Street — " Bernard got no 
further, for Barrymore interrupted him. 

"Yes, I remember a very hot day in summer. 
You were playing a gentleman in evening dress 
and a fur coat. You were perspiring away a 
pound a minute. I was playing a souse who 
had fallen under a shower bath. You were new 
to the film business, and you struggled over to 
the edge of my scene and peeped in, whispering 
something." 

"What did I say?" asked Bernard. 



Western 
Hustle. 



"You said: 'How long must I be in the film 
business before I can get a part like that ?' " 

West of the Mississippi river the 
presentation of motion pictures 
has taken a dominant business 
note in two entirely different ways, each char- 
acteristic of its section. 

On the Pacific Slope the architectural fea- 
tures of the leading cities are actually being 
changed by the literal picture palaces that seem 
to be going up in profligate abandon, and then, 
stranger still, are prospering as profligately. In 
San Francisco — that American Paris — architects 
predict that in another year the photoplay the- 
ater will be the ruling edifice of the principal 
streets. 

In Kansas, Nebraska and Iowa, on the other 
hand, the small-town theaters and even "neigh- 
borhood" houses at country cross-roads are 
speculative material alike for the opulent far- 
mer and the equally opulent village banker. 
Dozens of really powerful combinations have 
been formed, and many a straw-chewing Reuben 
owns a string of little theaters in addition to 
his hogs and his corn and his wheat stored in 
the great elevators of Chicago. 

Very new, and very interesting, isn't it ? 

And quite a far, far cry from the little 
mutoscope peep-shows of less than twenty 
years ago ! 

shadow This form of pugilistic art has al- 
T» • ways been deemed more developing 

o* than profitable; but now, developed 
daily in tanks of hypo, it is proving about as 
compensating as two minutes' sparring in Toledo 
on the Fourth of July. 

The reference is to the pugnacity picture ex- 
ploiting — usually in serial form — the successful 
public slugger. The popular delusion which 
makes a fellow an actor just because he has seen 
the third man counting a solemn ten over his 
prostrate fellow-debater is a little hard to ana- 
lyze, but .... there it is, anyway, like the unjail- 
able lawyer in jail. 

Mr. Dempsey, who probably thinks Irving 
just the name of a High School, is one of the 
most illustrious of these biceptrions at the 
moment. His contract is probably greater than 
that of Bennie Leonard, who only got a measly 
$100,000 for showing up Barrymore. Jess Will- 
ard, now as historic as Johannes Barleycorn, 
made an enormous sum. 

The movies, through public curiosity, are 
making today's fighters as much money as the 
really great fighters of yesterday earned through- 
out their careers. 




speaking Movies of 
the Bowery 



Decorations 
by 

Norman Anthony. 



TV 



DOWN on our East Side, a few 
blocks from the East River, where 
eichty per cent of the community 
are Hebrews, there is a 
movie house in Clinton Street 
which employs two lecturers as 
a bass and treble to accompany 
the films. This is a relic of the 
days when the kinetoscope 
was number "jM" on the con- 
t i n u o u s variety program. 
Those were the days when 
an elucidator was 
necessary to explain 
the choppy career of 
the film in its St. 
Vitus' dance stage 
when no sub-titles 
were counted up in 
the footage. 

There are two of 
these "speelers" who 
have learned to run 
the gamut of every 
tone and expression in a 
running conversation accom- 
panying the film, so that the 
audience not understanding 
the titles, may yet know the 
story. 

Suddenly from the dark an 
explanatory voice in heavy bass thun- 
ders: "Ah, girl! So you refuse to 
press my pants?" and a loud slap stick 
illustrates "Erstwhile Susan" in the 
form of Constance Binney on the 
screen, being slapped by her father. 
The conversation is in the vernacular 

of Clinton Street and as most of the audience presses pants for 
a living it is a very wise and human touch. 

Miss Binney, 
turning into the 
kitchen, is fol- 
lowed by the wail- 
ing female voice: 
"Oh dear! How I 
do hate to wash 
them dishes!" A 
remark which 
brings forth sym- 
pathetic sighs from 
the stooped, be- 




■lir 



'I 



The Odeon's "Speelers" 
must know the psy- 

!y ' 

audiences. 



:holo^y of their 




By 

THEODORE 
MARCONE 



If some of our film stars had any idea of the words likely to 
be put into their mouths, their imagination would never carry 
them as far as does that of these two lecturers who have to 
keep up a conversational ad lib performance for a different 
film every day in the week without even a rehearsal. It takes 
some presence of mind to see a film for the first time and fol- 
low it with extemporaneous lines suitable to the continuous 
action. Xo wonder as the picture winds off, mistakes are hur- 
riedly turned into jests to comply with the action on the screen 
such as when the heroine rushes into a young man's arms and 
the female voice purrs forth: "Oh, Lionel, I do love you — I 
do," and just then fla.shes the approach of the real lover while 
the lecturer seeing that she has mistaken the brother for the 
real lover, nothing daunted continuous: "But as a 
sister. Vou see here comes my fiance now." 

But the audience is quick in discovering these 
ventriloquial changes and the lecturers not only 
must be fine diagnosticians of movie gestures 
and gesticulations, but they must know the 
psychology of their audiences. 

Titles are especially annoying to 
them; they limit their imagination 
and they could get along much bet- 
ter, they say. without 
any reading matter 
whatever. Even the 
"Birth of a Nation" 
i would hold no fears 
for them, for each 
one is capable of as- 
suming any number 
of parts within the 
range of the human 
voice. This is truly 
exemplified when the 
aristocratic lady in 
J "Erstwhile Susan" 

brushes away Susan's 
hand with a female 
voice denouncing the 
act of an aristocrat by say- 
ing: 

"Don't touch me, you 
lirty woiking goil!"' 
And oh, how that proletariat 
y audience smacks its lips over 

that wise appeal to its under- 
standing! Xo title denied the words, so why not interpret 
the action to your audience's satisfaction? 

They know their audience and the Odcon audi- 
ence is the same 
year after year. 
If you doubt it, 
ask any motorman 
or conductor going 
through the East 
Side where the 
theater is with the 
film lecturers and 
he will put you off 
at the "place he's 
been going to fer 






Jim Pierce found himself left alone with Lee Tyndal, whom he now knew was the one girl who really counted. 



Human Stuff 



JAMES PIERCE. SR., was hard 
as nails and twice as practical. 
He had a one-track mind hea\ il>' 
freighted with business. By 
keeping e\'erlastingly at that busi- 
ness he had amassed a fortune of 
vast proportions from a product of 

extreme humility, to wit the lowly washboard. The Pierce wash- 
board works covered more land than lots of farms and the 
dividend crops were exceedingly regular. '"Old Washboard" 
Pierce knew the business backwards and he kept it going for- 
ward with a farsighted efficiency. 

So the Pierce residence was a place of efficient grandeur, with 
its servants and motors and money. Mary, daughter of " Wash- 
board" Pierce, was a creature of delicate grace and culture. 
Also there was little probability she would ever see a wash- 
board other than the gilded model that graced her father's 
study. 

Somewhere off on the other side of the world was James 
Pierce, Jr., her brother, busy polishing off his college career 
with a five-year travel tour. James. Jr., was scheduled to step 
into his father's place at the head of the business and the 
young man was making it his business to postpone the solemn 
day as long as possible. 

Reflecting on that fact and weighted with a newly discovered 
problem of the washboard industry, the old man rolled home 
early in the afternoon. He paused in the hallway to address 
the butler grumpily. 

"I will not be disturbed — by anyone. Understand?" 

"Old Washboard" stood a moment appraising the new 
butler, with evident doubts, then turned into his sacredly im- 
penetrable study. 



A romance of the East and West 
with excitement at both ends. 

By GENE SHERIDAN 



Hardly an hour had elapsed when 
a ta.xi-cab came snorting down the 
avenue and paused before the Pierce 
mansion. The old man in his study 
heard it and frowned, but liid not 
look up. Then came a violent and 
continued ringing of the doorbell, 
broken now and then by staccato jabs at the button. 

The butler, running on silent tiptoes, opened the door 
narrowly. He beheld a jaunty young man with an air of great 
self possession, his hat on the back of his head and a wide 
smile across his face. 

'Ts "Old Washboard' in?" 

The frigid butler chilled down a couple of degrees more. 
''Mr. Pierce is not in, sir."' 

The genial young caller started to enter anyway, while the 
butler pushed him back with protesting hands. 
"Mr. Pierce is not in." 

In a flash the butler felt and saw a large revolver pushed 
into the pit of his stomach. .\s he wilted in a heap, the visitor 
strode over him into the house. 

Quaking with fear, the butler followed, protesting in a high 
pitched voice. "Old Washboard " heard the commotion and 
growled — without', of course, interrupting his work. 

The butler a moment later burst into the study, trembling 
and voiceless. He drew very close to Pierce and huskily 
whispered: . 

"He's in the drawing room, sir! He's in the drawing room, 
sir!" 

The old man scowled into the butler's face— ''Well— well !" 
— theii' started out to seek the cause of the excitement. The 
butler threw himself before Pierce with a gesture of caution. 

.V 



54 



Photoplay Magazine 




Jim Pierce had his heart j. t on the strer\uous life of the out- 
of- doors his father entertained the idea that he should con- 
tinue the family husiness and become a captain of industry. 



"Please sir— he ha,> a bluiulerbuss, sir, — a — a monstrous 
blunderbuss." 

The old man cast a scornful glance at the abject butler and 
strode out. ... • 

H7.\RIXG approach'nK steps, the visitor, gun in hand, 
llattened himself against the wall and stood ready. The 
old man, followed by the butler, entered. 

"Put 'em up — hands up!" The voice came from behind 
them. 

"Old Washboard's" hands went up instantly while the butler 
collapsed. ■ . ■ 

"Keep 'cm up!" 

There was something in the voice that led the old man to 
turn his head ever so cautiously. In an instant he took in the 
intruder. 

■ He'lo, dad!" 

The "hold-up" was over and the Pierces, senior and junior, 
were .shaking hands, while the butler slowly recovered. And 
this was the homecoming of James Pierce, Jr. 

At this happy juncture Mary Pierce drove up in her limou- 
sine, bringing along her girl chum, Lee Tyndal, a sincere young 
person and a teacher of languages. The result was of course 
more surprised greetings— and, significantly enough for James 
Pierce, Jr.. an introduction to Miss Tyndal. 

The next morning's confab between the Pierces, junior and 
senior, at "Old Washboard's" factory office was a session of 
contentions. The volatile and active young Mr. Pierce had his 
heart set on the strenuous life of the out-of-doors, even from 
the day when he chose an agricultural col'ege course while his 
pals and chums were seeking the fashionable academic schools. 



But his father had entertained only a single idea — 
that James Addison Pierce, Jr.. should continue the 
family name and the family business, at the old 
stand, the washboard works. 

"Well, dad, you've made a lot of improvements 
here." 

"Yes, son, and there's a -lot more needed. You 
can see that this business is more than I can handle 
and I need you here — " 

"But, father, I want to grow big in my own 
chosen line, just as you have done in yours." 

There was a long, tedious silence, broken at last 
by the father. 

"Don't be foolish, son. This is a chance to 
start big; a great oppwrt unity for one without ex- 
perience, and above all — it is my wish." 

The old man wailed long for his son to speak. 
Finally the answer came, reluctantly, gloomily: 

".\11 right, dad. Til try it." 

And try it for two years he did. But it never 
got to be more than a "try," a tentative endeavor at 
best. The breaking point came as the result of a 
little thing, one of those tiny incidents that comes 
along to clinch a big decision in the lives of men. 

It happened in young Jim's private office, where 
he was in conference with the foreman of the 
works. It was Jim's idea that a good way to do 
a good business was to make better w'ashboards. 
The foreman was submitting samples of better 
materials. The father strolled in and stood on the 
edge of the conference in silence as long as he 
could. Then he erupted. 

■'One washboard made of this material would 
last a life time. With every home supplied, there 
world be no need for a washboard factory." 

The old man shook his head with a smile, but 
there was an air of impatience behind it. Jim 
looked up in a sort of resigned despair. 

"I suppose you are right, dad. I'm wrong 
again." 

"Make 'em cheap. Let 'em wear out. Sell 
more — that's the idea." And with that the old 
man stalked out and entered his own office. Jim 
sat in silence staring blankly at his father. 



'HE old man puzzled over a letter, then called 
a stenographer and started to dictate. There 
was a hard rasp in his voice. It was a hard subject 
with old "Washboard Pierce.'' too — the matter of 
the Twin Hills ranch, the only commercial failure 
in all his busy life. 

"I have finally decided to sell the ranch," he dictated. ".-M- 
most any price will be acceptable to me — '' 

Jim raised his head a bit and grew alert as he heard the 
words. The old man went on with his dictation. 

" — and your early attention to this matter will greatly 
oblige me." 

Jim began positively to cheer up. As an idea dawned, a 
smile spread over his face. Then he looked out the window 
again at the great roaring plant, thunderingly busy grinding 
out more of those unutterably and triply damned washboards. 

"It's that thing — that monster!" Jim exclaimed to his sister 
who sought to greet his evening homecoming with words of 
encouragement. "With its whirling belts, its furnaces belching 
out a product that has made our father millions — and me — a 
failure." 

Her gentle counsel was to no avail. 

"That's it. sis: I have failed to manage it successfully. God 
knows I have tried — hut I don't fit the factory." 

"Hut, Jimmy — big men fight failures and win!" 

Jim assented and added mentally his one resen-ation — "In 
lluir own way." 

IT was the evening of a reception and Lee Tyndal. guest of 
honor, was early to arrive. Jim lingered a bit to chat with 
her before going up to dress. He felt a hit more comfortable 
in her society than with other girls. Then he cxcus^ed himself 
and disappeared. 

The reception was in progress and the evening well along 
when Lee. missing Jim. inquired for him of his sister. 

"1 don't know, dear. I've looked in his room and he i-n't 



Photoplay Magazine 



55 



there. Perhaps business at the factory — or something — but he 
will be here." 

Mary suiidenly caught the look of concern in Lee's eyes. 
"Lee! I believe there is more than friendship between you 
and Jim!" 

Lee tossed her head resentfully and denied it. 

Jim came home all right and for a few moments made a 
spectacular and unexpected dramatic incident of the party. 
The pressure of his disgust with the washboard manufacturing 
business had been moistened, not to say 
inundated, with strong drink. Jim felt 
so much improved that he wanted to 
linger among the guests and be the life 
of the party, but the strong counsel and 
stronger arms of his father conducted 
him to his room. It was a bitter em- 
barassment for Mary and perhaps a 
dash of unhappiness for Lee. But at 
any rate both girls were busy turning 
the attention of the guests. 

When Jim awoke next morning the 
sensations in his head apprised him that 
a large evening had passed — an unusu- 
ally extensive evening. He was un- 
steadily sitting up trying to fill a glass 
from a pitcher when his father entered 
the room. 

"How do you feel?" The old man's 
manner was not unkind as he stood beside his son's bed. 
"Pretty tough, dad." 

"I thought so." There was a pause, then the father went on. 
"Against your wishes you have tried for two years to manage 
the plant and you have failed — now, have you any plans of 
your own?" 

"Yes, dad — I want to get away from all this — the factory, 
and the city — their environment don't seem to fit." 

"Old Washboard" Pierce looked down on his son, sternly. 



"If I have interfered in your progress I am sorry. From now 
on you may plan your own future." 

"Thanks, dad, I'm leaving tomorrow." The answer came 
cheerily. "I can't tell you where, but when I am settled you 
will hear from me." 

J.\MES ADDISON PIERCE, JR., stretched himself on the 
station platform and regarded the sign with evident satis- 
faction. 



Human Stuff - 



N.^RR.-\TED by permission from 
the original photoplay written 
for Universal by Tarkington Baker. 
Scenario by Harry Carey and Reeves 
Eason. Directed by Reaves Eason 
with the following cast: 

Jim Pierce Harry Carey 

Lee Tyndal Mary Charleson 

Boca Romero Fontaine Larue 



SAGO 

326.5 Miles to San Francisco 
2168.0 Miles to New Orleans 

Elevation 2480 feet. '. . . . 



Jim looked about at the loafers 
around the station and grinned. Inside 
he engaged the station agent in conver- 
sation. ,: 

"No, there ain't no real estate agents 
in Sago, but maybe the Sheriff can fix 
you up." 

In due course Jim found the sheriff. 
"If I'm not mistaken, the Twin Hills 
ranch near here has been offered for 
sale?" 

The sheriff looked at Jim deliber- 
ately. 

"It was, but I sorter promised to hold it for Bull Elkins. 
He owns the adjoining ranch." 
"Have you given him an option?" 
"No — not exactly — come on in." 

Inside the sheriff's office they made conversation and Jim 
spoke in the terms that will win any such argument — money. 

Out on the Twin Hills ranch an interesting meeting was 
taking place. Bull Elkins, owner of the Circle X, rode in and 
(Continued on page 112) 



A stormy scene followed with Boca pleading a sudden born infatua- 
tion, begging for consideration, begging tbat Lee be sent away. 





Mo 



vies 



Is 

Movies 



A brilliant satire 
on motion pictures 
bv the author of 



'Pio;s is Pigs. 



By 
ELLIS 
PARKER 
BUTLER 



Illustrations by 
R. F. James 



It was only necessary to change the old lady heroine into a baby-faced girl, 
her wheel chair into a freight train, and, — a few little things like that. 



A FEW days ago a producer bought the motion picture 
rights of one of my novels — the one called "The Jack 
Knife Man" — and paid S13.000 for it, all in real money. 
For this reason I become, in one jump, an important au- 
thority on motion pictures, and know all about them, and must 
be consulted by anyone who wants to know the truth about 
the motion picture situation. 

As nearly as I have been able to figure it out. from a life- 
long study of the motion picture situation — to which I have 
given over a week of my time — I can say that the outlook is 
bright. It is brighter than I have ever known it to be. The 
producers seem to be buying better material from better au- 
thors now than they did a day or two before they bought "The 
Jack Knife Man."' This desire to procure the very best is a 
hopeful sign, and shows that some producers are eager to bet- 
ter the quality of the films offered to the public. I may say, 
here, that if any other producers want to go into the film bet- 
tering business I have still a couple of novels to dispose of 
on or about the same terms, and I believe they will do some 
of the best bettering on record. 

While I am not yet the highest possible authority on motion 
pictures, not yet having applied for a divorce. I do feel com- 
petent to state in the strongest possible terms that I see a 
hopeful tendency in the willingness of the producers to use 
larger type in announcing the name of the author on the screen. 

A prominent author said to me the other day: "The motion 
picture is not yet what it should be. but it is getting better all 
the time. I was paid twelve thousand dollars more for my 
last novel than I ever received before. This shows that pro- 
ducers are more artistic than they used to be. In addition to 
this, in filming my novel, greater care was taken in atlhcring 
to the eternal verities. In the .Maskan scenes from my no\el 
I observed only three palm trees and two wads of cactus, and 
in the close up of my suffering heroine the glycerine tears were 
only as large as prunes, and not as big as cantaloups, as they 
have sometimes been. " 

"Did the producer stick close to the text of your novel?"' I 
asked. 



"Very close," he replied. "And that is another sign of im- 
proved artistry. The changes made were very slight. Of 
course, my novel was the story of the love of an old man in 
the county poor house for an old lady in the Old Ladies" Home, 
in Cornstalk County, Kansas, and that had to be changed a 
little. They changed the old pauper here into a young aviator 
just home from France, and changed the old lady heroine into 
the daughter of an Alaskan gold digger, but that was of slight 
consec]uence. I could not object to that. And Alaska does 
film better than Kansas, especially when it has to be filmed at 
Los Angeles. The country around Los Angeles is not a bit 
like Kansas. 

"Is it like .-Maska?"' I asked. 

"Except for the palms and cactus, it might be like it. if the 
resemblance was more apparent, " he replied. 

BIT how about changing your old lady heroine into a young 
girl? Wasn't that rather difticult?" I asked. 
"Xot at all. It was necessan,-. Any fool could see that an 
old lady could not be sixteen years old and have a baby face 
and long curls, so it was absolutely necessary to make the 
change. It was only necessary to change the wheel chair, in 
which the old lady sat in my novel, into a freight train. Then 
they put overalls on my heroine and had her father, the 
brakeman. go down with the Lusitania, which made it neces- 
sary for his daughter to take the job of brakeman on the 
through freight. So. of course, the old poor house lover had 
to be an a\ialor. and swoop down in an airplane and swoop 
the girl up frcm the top of the freight car when the villain. 
Roscoe. was about to brain her with a club — " 

"I don't remember any villain named Roscoe in your novel,"' 
I said. 

'Well, of course, " said the author, "you wouldn't. He wasn't 
called Roscoe in the novel: he was a she: she was called Rosa- 
belle. Rosabelle was the cat. Don't you remember how my 
old lady refused to marry my old man because he did not like 
cat';, and she refused to give up the cat. and so they separated 
and lived alone the rest of their lives? " 



Photoplay Magazine 



57 



'"I see! So the scenario man turned the cat 
Rosabella into a man villain named Roscoe?" I 
said. 

"It was necessary," said the author. 

"But, surely," I said, "they did not change that 
dear old cow — wasn't her name Bossy? — that the 
old man loved." 

"No," said the author, "they did not change the 
cow. Not greatly. I insisted on the cow. So they 
only changed it into a bear — a grizzly bear." 

"My God!" I exclaimed. 

"You needn't swear about it," he said, in a hurt 
tone. "There isn't such a great difference between 
a cow and a bear. They both have four legs." 

WELL, I was ashamed of him. I was disgusted 
to think any author would let a small sum 
of money bribe him to permit a sweet, idyllic ro- 
mance to be murdered in that way. 

"At any rate," I said severely, "I hope you did 
not let them change that chapter I always loved so 
deeply — the one where your old pauper hero climbs 
into the apple tree to serenade the old lady, and 
the cow Bossy stands under the tree, so that when 
the old man climbs down he alights astride of the 
gentle cow's back, and rides off slowly, back to 
the poorfarm." 

"Well, of course," he said, "we couldn't have 
the cow, because we had changed the cow into a 
bear, and we couldn't have an apple tree in Alaska, 
and we couldn't have a poor house because the 
old man was a young miner and lived in a cabin, 
so we just substituted one of the Rocky Moun- 
tains for the tree and substituted a twin six auto 
for the cow, and had the hero fall off the Rocky 
Mountain into the automobile and ride off tri- 
umphantly with the heroine. It made a swell endini;. The 
hero was driving the car with his feet and embracing the girl 
with both arms, and the final caption was 'And he clung her to 
his heart until eternity grew old.' " 

"My God!" I exclaimed again. "Did vou write that cap- 
Uon?" 

"No," he said. "The scenario doctor wrote it." 

"Did you kill him, or anything?" I asked. 

"Kill him? Why?" the author asked. "It's a good final 



Ttiey just made him a daring aviator falling off a Rocky 
Mountain into the sweet heroine's speeding twin-six. 




And of course the old poor house lover eouldn t drop from the apple 
tree onto the dear old cow s back, as he did in the novel, so — 




caption, isn't it?"' He was silent awhile, and then he said 
thoughtfully: "I can't understand it, either!'' 
"Understand what?" I asked. 

"I can't understand why the film was a failure," he said. 
"Why it failed, after all the work we put on it — I on the novel, 
and the scenario man rewriting it. It was a good novel; a big 
success as a novel. And the actors who took the hero ajid 
heroine parts were big people, too — highly paid people. And 
they acted hard, too; they acted all the time. Close ups, and 
tears, and stunts and everything. And yet people 
did not care for the film; even people who had 
liked the novel did not care for the film. You 

would think, if they liked my novel, they would 

like the film, wouldn't you?" 

"But it wasn't your novel, was it?" 
"It had the same name. And it had my name 
as the author." 

I saw that film, or another novel that had been 
twisted and warped and altered in just about that 
same way, and I did not like the film, either, al- 
though I had liked the story, and I think I know 
why so many picturized novels are disappointing. 

DO you know how, when you go out to the 
country club to play golf and are feeling par- 
ticularly strong and well, you often p'ay your 
worst game because you "press"? "Pressing" in 
golf is putting too much into it — trying too hard. 
It breaks the perfect swing of your club and you 
"top" the ball and your game is miserably poor. 
And, often, when you are feeling off your feed and 
weak and not much good you go out expecting to 
play the worst game you ever played and you sur- 
prise yourself and play the game of your young life. 

In my opinion, that is one of the troubles with 
the filming of many good novels — everyone who has 
anything to do with them "presses" all the while. 
The scenario man thinks he has to whangdoodle the 
story all over the place, and the continuity man 
thinks he has to rip the cover off the ring tailed 
snorter, and the director thinks he has to u^e all 
the pep in the old pepper box, and the actors — 
bless them! — just naturally think they have to act. 
One of the saddest things in the world today is 
(Continued on page J 22) 



Mr. Fisher mertly created 
Mutt and Jeff — 





— Now. they almost 
control him, he say 3, 




Here's How! 




Bud 



PUTTING Mutt and Jeff into the 
movies is what I .'should call a 
nobby notion. Strictly speaking, 
they were not put in; they found 
their way in ail by themselves. It is 
the sort of thing you might expect of 
them. Having created Mutt and Jeff 
doesn't mean that I control their destinies — not by a long 
shot. They control their own destinies pretty well. In fact, 
Mutt and Jeff now almost control Bud Fisher. They make 
him work hard for eight hours every day and prevent him 
from realizing his youthful ambition to settle down and li\e 
on his income at the ripe age of thirty-five or so. 

I have been asked to tell how the Mutt and Jeff movies are 
made. It is really a complicated task to reduce it to simple 
terms. The best I can do. I am afraid, is to remove some 
popular misconceptions about how my animated cartoons are 
made. 

The thing that concerns me most, of course, is the fact that 
to make one half-reel picture requires from 3.000 to 4.000 
s-eparate drawings. And 3.000 or 4,000 drawings to a picture, 
when pictures are coming out every few days, is a shirt-sleeve 
job that keeps a fellow hustling, let me tell you. 

First of all, there's the 
story. Like a comic strip in 
a newspaper, it progresses 
step by step toward a climax, 
and ends with a punch. The 
training I received as a news- 
paper cartoonist has been 
very useful to me in making 
motion picturecartoon 
stories. 

I say "making motion 
picture cartoon stories," but 
in a way I don't make them. 
Mutt and Jeff make them. 
All I have to do is to give 
them some scenery and they 
supply the action. 

The first actual drawing is 
the making of the scenes. 
Each scene, however, has to 
be drawn only once. All the 
t'lgures that move about in 



The Creator of Mutt and JefF tells 
ht>vv thev do it in the Mi>vies. 

Bv BUD FISHHR 



Mutt and Jeff are repo.-;inti prostrate on 
this table flooded with light, w ith the 
camera focussed on them from above. 




the scenes are drawn on strips of cellu- 
loid, which are placed on top of the 
scenes when the actual photography 
begins. But the photography doesn't 
begin yet. by any means. 

Each separate action, even to th^' 
wiggle of an ear. requires a separate 
drawing. If Mutt lifts his leg it requires not one drawing, but 
several. Otherwise it woujd be done so quickly that it could 
not be seen on the screen. But I don't have to draw the 
whole scene, or even the whole figure, for each separate 
motion. I just draw on celluloid the part that is moved, ami 
when the transparent celluloid is put on top of the scenes you 
see figures and scenes and all. It takes twenty-five drawings to 
make Mutt antl Jeff walk across the screen, ten to make them 
turn completely around, five to make them talk, and when 
Mutt wallops Jeff he does it in from eight to twelve drawings. 

The assembling is the next job. .Ml the drawings have to 
be put in order according to the numbers in the comers. 

Now come with me into the camera room. \ regular motion 
picture camera is pointed down to a table flooded with light. 
Each separate picture is laid on the table and photographed in 
turn. The camera is turned slowly, by a mwior. and makes 

just one exposure each time 
a treadle is presseil. The 
operator sits at the table, 
puts down first a scene and 
then on top of it the celluloid 
.sheets on which each step of 
the action is drawn. The re- 
sult is to transfer all the 
drawings, with the scenes 
showing through, to the 
motion picture reel. 

.\fier that there is the 
cutting to do — a heart-break- 
ing job. for it means throw- 
ing away about one-third of 
the film. It can't be helped, 
as any superfluous movement 
lessens the "punch." 

That's about all there is to 
tell about the mechanical 
side of if. The rest is some- 
thing I can t tell you. 




AT last Olive Thomas has boon cast in a rolo which will jjivo lu'r pKjuaiit talent- 
full play. Slie is ''The Flapper," in a story l)y Frances Marion. One of the 
Hrst fair deserters. Olive (lid much to make The Follies a truly national institution. 




ArilHODITK DAI.TON. moot Apliroditc Garden I Man Garden, who has had 
operas written around her and perfvimes named after her. \uxs the singing role 
of " Vplirodite" while Dorothv Dalton. left in costume. })lH\ed tlie npoken version. 




(Alfrivl ('li«tli-> .lo)\lia(<it< I 



C TAHS may conic and stars may jjo — or so we luivp boon told ; but Anita Stewart. 
^ sweot symlml of Hlhirin;,' niaidunliootl, is still with us, with the S. H. O. si;;n 
always out. Sontc of the ilassiis of the li';,'itiniate have i)eeii adapted for Anita. 




Wl! sliuddiT to tliiiik tliiit Mario l*n'so>t. Miiik Sfniu'tt's hnby Wnus. may some 
iliiy listen to tlu' iiHliicciiu'iits of ii ilraiiiatic diroctor wlio doi's problem plavs, 
wra)! litT kfllcrinans in motlil)alls and U'ave tlu* Koncli forever. 



Syd 

Says: 



For the benefit 
of those cine- 
mese who want 
to go abroad — 
"Stay at home! 
America s the 
fihn Utopia!'' 




Aside from going up in tlie 
movie world, Sydney Chaplin 
flies for pleasure and profit — 
when he's not tending to Bro- 
ther Charlie's business. 



IT seemed funny to be talking about devastated France in 
the Claridge dining-room, that huge, high-ceilinged black- 
and-gold banquet hall, where you see — instead of the 
tetrarchs and tribunes and princess-beloveds of ancient 
times — all the dashing film magnates, all the prettiest chorus- 
girls — and Ann Pennington. The first thing you noticed about 
Sydney Chaplin was the remarkable way in which he kept his 
mind on France. In the midst of all the Babylonian splendor 
of Broadway, he remembered the Rlarne. 

"And the most impressive thing I ever saw in my life." he 
was saying, "was the levelled city of Rheims. at sunset. I 
happened along by what used to "be the towTi's opera-house. 
The ceiling was shot away, only the walls remaining. Outside 
was the old ticket-taker — alone. And a sign read the French 
equivalent of 'Business as Usual.' The sun set very red and 
flooded what was left of the old place. It was deathly still, 
until a little boy came down the street, his heavy shoes mak- 
ing a clumpety-clump that echoed long after he passed. Then, 
again, everything was still. I stood there a long while. . . ." 

Chaplin came back to the Claridge, and matter-of-factly 
ordered French pastry. 

"I was glad to hit the States again, you know!" He has 
an infectious grin — it begins in his eyes and travels south until 
it has everybody grinning, too. "I only took exteriors over 
there, of course. I'd go out and find a particularly pictures- 
que chateau, and take some long shots of myself with that 
background. All my close-ups and interiors were made in a 
California studio. I think the only way in which European- 
made pictures can definitely be popularized over here is to an- 
nounce that the Utopia Film Company is presenting a Utopia 
Production Made in Italy — or France, or England, and featur- 
ing the well-known American star. Miss Tessie Jazzfoot. 
European methods are not our methods, but I think we can 
put a great variety into our pictures by sending companies 
across. Switzerland, to me, seems to be the ideal place for 
picture-making on the Continent. It has everything, and to 
work there would be an inspiration." 
Every film actor has, at one time or other, felt the urge to 



cross the water and make pictures on the other side. Usually 
it comes when the actor has made a considerable reputation 
for bravery in facing the camera in his native land, has his own 
company and press-agent and .Mexandrian ambitions, and 
accordingly wants to tackle an ocean voyage. French chateaux, 
London fog, and rotten railroads. All these urges urged them- 
selves into an actual epidemic, and you weren't considered 
fashionable in film circles unless you admitted tentative plans 
for a Continental tour. 

Syd Chaplin, when he joined this gelatine army, went about 
forming his own plans and sticking to them. First thing the 
industry knew he'd really crossed, set up his cameras on the 
battered land of Southern France, posed for his bell-and-howell 
all over the English country-side, and taken several side- 
jaunts into Switzerland. 

How glad he was to return to America — for real film pur- 
poses — only Syd can tell you. He completed his five-reel 
picture in California. It's his first since "The Submarine Pi- 
rate," a Keystone of some years ago. 

In the long meanwhile he has kept religiously off the screen, 
except for brief and anonymous appearances in his brother 
Charlie's comedies. He was in "Shoulder .Arms" and Dog's 
Life." but only his best friends recognized him, and he man- 
aged to fool a few of them. 

While he was acting up in this manner, his identity care- 
fully concealed, he was also managing his brother's business 
affairs, organizing an air line from Los .Angeles to Catalina 
Island, and. as a little side-issue, running a factory for the 
manufacture of misses' frocks. .At one time he had a doll 
factory. 

He's a bon vivant business man. Vou will change your 
opinion of screen comedians in their off-screen aspect, when 
you meet Syd. He says himself he doesn't know how to go 
about acting like an actor again — it's been so deuced long since 
he was one, don't you know. He seems more French than 
English, but he was born in Cape Town. South .Africa. Hi- 
looks like one of these exhilarating French poets should have 
looked — and never did. 



63 



George Fawcett. 
who was of ines- 
timable value to 
Griffith, towhose 
films he contrib- 
uted many excel- 
lent characteriza- 
tions—has himself 
turned to direct- 
ing 




The Grand 
Young Man 
of the Screen 



You have gone into a picture-theater, and sat through 
a scenic, and dozed through a comedy, applauded the 
overture, and settled back with a smile to watch 
the feature come on. You've absorbed the credit 
lines: "Scenario by Blank; Direction by Notsogood; Art 
Work by Dr. DeBunk." Then you've waited. You have 
watched the introduction of an indifferently written and 
directed '"feature production," been disappointed in the slim 
chance it gives the star to remain a star — but often there 
was something that held you there until the finish. More 
often than not, that something Was a somebody: George 
Fawcett. 

He has played the magnate countless times. He has been 
father to Dorothy Gish, Lillian, and Mae Marsh. He has 
played Bobby Harron's rural parent. Sometimes he isn't 
even as important as that : he may be only an irascible dis- 
tant relative, an unruly uncle, or a bewhiskered bolshevist. 
But he is always worth staying through to see. He knows 
more about acting than many who are stars; more about 
direction than some stellar directors. 

The first time I saw Fawcett in the flesh was in a crowded 
bus bumping its precarious way from the station out to 
the Griffith studio in Mamaroneck. Mid-winter, in the 
East's worst weather for years. Even.-body was jounced 
about within the narrow confines like so many acting sar- 
dines: Norman Trevor and Basil Sydney of Doris Keane s 
"Romance" company; Chct Withcy. who was directing "Ro- 
mance;" Dick Barthelmess. And. huddled away over in a 
corner. George Fawcett. He looked cold; his fine face had 
settled into tired lines. Suddenly (he bus drew up with a 
sickcninc lurch; a little girl got in. loaded down with bags 
and suitcase. Fawcett didn't hesitate; he scrambled up 
before any of the other men could get on their feet, shoved 
the little girl into his seat, and clung to a strap the rest 
of the way. 

Fawcett left the Griffith organization after a long period 




George Fawcett laid a.-^ide the makeup to take up the megaphone. 



64 




And he was Dorothy Gish s dad in "The Hope Chest. 



As Bobby Harron « tather in "A Romance oi Happy Valley, 



George Fawcett, champion 
movie magnate, film father, 
and Griffith's right-hand act- 
ing-man, is now a director. 

By 

SYDNEY VALENTINE 





Here he ia — directing Corinne Griffith at the Vitagraph Studio in "Deadline at Eleven. 



of faithful dramatic service, during which he played every part 
the director gave him to play, in Griffith's own productions 
and in everybody's else. Then he went to Vitagraph and di- 
rected Corinne Griffith in one picture. In this, "Deadline at 
Eleven," he showed up all the other directors who have been 
given newspaper stories to handle: he maiie a film newspaper 
office seem almost reasonable. 

Later. Dorothy Gish was left without a director. Elmer 
Clifton had gone south with Mr. Griffith and Lillian Gish had 
piloted her comedienne-sister through an intervening picture. 
But Lillian is an actress, not a directress, however competent 
she may be in the latter line; so the younger Gish's company 

was left up in the air. Fawcett was 
sent for. When he left the studio 
to seek fresh fields he had re- 
marked. "I'll miss Dorothy Gish." 
He came back as Dorothy's direc- 
tor. 

He is guiding the star through 
"Her Majesty. " a tale of a little 
princess of a bolshevist-ridden and 
fictitious kingdom. It goes with- 
out saying that his direction will 
reflect the Griffith training. Faw- 
cett believes in realism, but not 
when it is carried loo far. That is, 
he believes that the bare transcrip- 
^^^M tion of life, lacking that imagina- 

^ ^^^^H tion which gifted minds give to it, is 

^^^^^H uninteresting and dull. He finds. 

^m^^^^^^M he s^ys- ^^^^ screen acting a 

JI^^^^^^I player is only too prone to fall into 

a lazy mode of expression, which 
comes from not thinking and hav- 
ing someone always there to prompt 
and direct. The results of such 
methods are invariably branded by 
the audiences as "typical movie 
stuff." That, says Fawcett. is the 
great fault of many screen-bred 
actors. The stage actor who is at 
all posed or theatrical is shown up 
ver>- quickly when he steps before 
the camera : and that is why it is 
good for any legitimate player to go 
in for pictures, if only temporarily. 

Fawcett knows what he is talk- 
ing about; he was a legitimate actor 
for many years, in most of the well- 
known producing companies, both 
in this countrj' and in Encland. He 
remembers the old-time stage, when 
reality and realism were practically 
frowned down, and when acting was 
almost terrifically theatrical. I' 
had to be. Nowadays, the older 
technic we sometimes call "swash- 
buckling" seems ludicrous. 

(Conthiiu d on page gst 




6S 




Why 
Bob 
Your 
Hair? 



Gorinne Griffith's 
advice to girls. 
Not a new depart- 
ment — just a sug- 
gestion. 



By 

ARABELLA BOONE 



She has been said to resemble Lillian Gish, Constance Binney 
and Alice Joyce, but she is most like — Corinne Griffith. 



Alirtd Chenev .Iohn«o» 



THERE is no doubt that this question is one that has 
puzzled scientists, mothers, flappers and other thinkers 
for centuries. Cleopatra may have considered it. The 
original Mona Lisa probably gave it more than a pass- 
mg thought. More than any other question it has occupied a 
foremost place in the feminine scheme of things. Just now it 
IS sharing interest with the Pickford-Fairbanks romance, the 
shimmy, and the slightly Einstein theory. And it has never 
been settled. We cannot settle it; we are not even going to 
talk about it— much. We have, we hope, too much common 
sense. 

But the question is. simply, this (just among us girls) : shall 
we. or shall we not, bob our hair? 

The answer, according to Corinne Griffith, is one, decided 
full and round "No!" shouted, one might say, in ringing ac- 
cents. Corinne knows. Corinne. unappreciative possessor of 
a head of long, thick, dark, luxurious hair, snipped it with the 
scissors. Corinne is sorry. 

"Well," you might say to yourself in defense of Corinne's 
act, "Constance Talmadge did it, and Natalie; and Viola Dana 
and Dorothy Gish and Anita Loos and goodness knows how 
many more." But suppose you cut your hair, had a full day 



of delicious Russian freedom, and then found out that in j'our 
next picture you had to play a dignified debutante, daughter of 
a Southern Senator, who would never, under any consideration, 
have bobbed her hair. Corinne, true to character, had to push 
her new short hair, a great thick bundle of it, under a smooth, 
tightly-coiffed wig; suffering as a consequence headaches in- 
numerable. She found that when she went to her favorite 
photographer to pose for new pictures he gave one look at her 
shorn locks and refused to pose her until she let them grow 
again. She found finally that bobbed hair, unless it is curly, 
has to undergo treatment in connection with a curling iron every 
morning: also that when one is a busy motion picture actress 
one hasn't time to undergo daily treatment, etc. With the 
result that our heroine began to cultivate low tight-fitting hats, 
and never to remove them, no matter where she went. 

She became almost a recluse. When on rare occasions she 
ventured out to a theater she would either sit with her hat on 
during the performance, running the risk of being asked to 
remove it or herself and braving an awful fire of hot language 
from the unfortunates in the row behind; or she would wait 
until the lights went down, snatch off her hat. crouch down in 
her seat, and slap her hat back on when the lights went up. 



67 



68 



Photoplay Magazine 




She is a sheltered, quiet, almost shy girl who hates personal appearances. 



.Mtocclher. Corinnc wa? unhappy. At that, she look? better 
bohhecl than any girl I ever saw: she could even tuck her hair 
under to make it look long. But she has had one great 
consolation through it all. She is Roinc abroad sometime 
this summer and while over there she will let Nature take its 
course. 

But one has to reason, if one knows Corinnc. that the sight 
(<{ all those chic Frenchwomen, reputed to be bobbed and 
wedded to the idea if to nothing else, may make her change 
her mind. 

She likes pickles and pomeranians. pastel shades and pom- 
1 ommcd hats. The ()ueslions and .\nswers Man being relieved 
of the questions as to her preferences, may now consider this: 



that her change of coiffure in nearly every picture 
is due. not only to her bobbed tresses, but to the 
fact that she believes the public will tire of her if 
she looks the same in every picture. A naive little 
girl. She will never tire of her work; she's not 
tied down as to parts. Never always the ingenue, 
or the vampire, or the emotional lady of many 
affairs. She has done all of them; she has quite a 
repertoire. 

Her grandfather was a southern mayor; her 
family is very old and very good, and related to 
senators and first settlers. Her home-life is quiet. 
She goes about very little, bobbed or braided; she 
knows very few professional people. She is as 
eager as any young girl to know what Lillian Gish 
really looks like, and she undoubtedly read Theda 
Bara s "Confessions" in the June issue with more 
than ordinary interest. 

Everyone will tell you — everyone who really 
knows her — that if she is a star, she never talked 
herself into stardom. That is one reason why she 
has always remained with Vitagraph. When her 
first three-year contract expired with this old and 
conservative organization, she was approached by 
three or more concerns, each of which promised 
her lavish advertising, among other inducements. 
Corinne shrank into her shell. She knew Vita- 
graph; \'itagraph knew her. She stayed — she has 
just signed a contract for three years more. 

I don't mean by that she is cowardly. She is not 
afraid of her future, of her abilities, of herself. 
It is rather a curious thing that this sheltered, 
quiet, almost shy girl should be an actress in this 
most recent, most widely advertised and heralded 
profession. She hates personal appearances; but 
she is at present studying dancing with Koslofif so 
that she may, when she knows enough about it. 
dance for a year on the stage, because she feels 
she needs the e.xperience. "I wanted to,'' she says, 
"long before it began to be fashionable in cinema 
circles."' 

She has eyes of a peculiarly misty blue, with 
thick black lashes. A nose which is doubtful (I 
can't tell it from a retrousse), a mouth that is 
sensitive and accurately measures her emotions: 
and hair that crinkles around her ears. She seems 
to have many screen faces. Sometimes she has 
the languor of a Lillian Gish; at other times, she 
is a piquant Constance Binney. Some people have 
suspected a resemblance to Alice Joyce. In reality 
she looks very little like any of these ladies, but 
suspiciously like Corinne Griffith. 

"The first theatrical performance this Little Eva 
ever saw was "Camille." with Cecil Spooner's stock 
company, when she ran away from her mother and 
nurse at the Texas watering-place where they had 
gone for her mother's health. She was only ten. 
She didn't know what it was all about, but she 
made a resolve that some day she would play a 
part like that. Today, she is asking for light 
comedy stories; she wouldn't play '"Camille" if 
every one of her Middle Western devotees were 
crying for it. 

She went to school in New Orleans. And it was 
at a Mardi Gras that she was discovered, aided by 
Nature and Rollin Sturgeon, director, who was the 
particular Columbus in question. Corinne went to 
California, passed the screen test, and was thrust 
into leading parts at once. She has never played anything but 
leading parts since — and never will. 

She was Earle Williams' leading woman in three pictures, 
and Harry Morcy's in several. The odd part about this is that 
these two male stars still speak well of Corinnc and that 
Corinne still admires them. Her work was recognized, her 
abilities believed in: her name advanced to stellar lettering 
She has never stopped working; never stopped watching other 
people work, particularly the oUl timers. She says, even at this 
advanced stage of the game, that she learned a lot from George 
Fawcett, that grand young man of the movies who directed her 
in "Deadline at Eleven'' and played with her in "Gum- 
shoes 4-B.'' 





Era' 



Title Reg. U. S. Pat. OR. 

' I 'HIS is YOUR Department. Jump right in with your contribution. 

IVhat have you seen, in the past month, that was stupid, unlife- 
like, ridiculous or merely incongruous? Do not generalize; confine your 
remarks to specific instances of absurdities in pictures you have seen. 
Your observation will be listed among the indictments of carelessness on 
the part of the actor, author or director. 




Thirty-Five Caught This One 

TALK about absurdities in motion pictures — the one 
that wins the green derby with the 3'ellow neckband 
occurred in William Farnum's "The Adventurer." It 
happened thus: Bill is about to be presented with a 
self-locking wooden overcoat, and makes a desire that he would 
like to sip some wine with the brave soldiers who are to intro- 
duce him to Old Man Death, and of course his wish is granted. 
Here is the break: the soldier fills his mug with wine, and 
Bill holds it up and begins to drink it, but when he gets to the 
bottom the people in the audi- 
ence — who had been watching 
with tears in their eyes and envy 
in their hearts — could plainly see 
Bill's lips shut tight on the mug 
and that the mug had no bottom. 
He should get a new Pete Props. 
J. A. E., New York City. 

Airy Fairy Vivian 

IN Vivian Martin's picture 
"The Third Kiss," the her- 
oine goes down a flight of 
seemingly solid concrete stairs, 
into the basement of a tenement. 
Later on, when the building is 
on fire, Vivian tries to get up 
the steps, which are now fierce- 
ly burning! 

Edgarda Findley 
Mount Vernon, N. Y. 



"Coming Events" Etc. 

IN "John Petticoats" with Bill 
Hart, the time of the story 
was around June 1918. In one 
of the scenes in which there is 
a piano, there can plainly be seen 
a sheet of music with the title, 
"Everyone wants the key to my 
cellar." This song was not pub- 
lished until July, iqiq. 

J. P. Croke, 
Springfield, Mass. 



when she is rescued a few minutes later, she has on a pair of 
lovely silk stockings and also slippers to match. 

W. L. Justice, New York City. 

Yes — But Think of His Disappointment! 

IN "The Six Best Cellars" Bryant Washburn is seen carrying 
with the greatest exertion and difficulty a case of what is 
supposedly perfectly "live" vintage; but upon his arrival home, 
every bottle is found to be empty. Rather heavy bottles. I 



should say. 




She Must Have Met With a 
Cold Reception 
C YLVIA BREAMER, in "My 

Husband's Other Wife," while staying at her new summer 
home in the mountains, goes to church where all the congre- 
gation are in summer clothes and where all the windows and 
doors are open showing the beautiful flowers and trees. Dur- 
ing the sermon in walks Sylvia, attired in a big winter coat, 
seal hat, and — a muff! L. G. N., New York. 

We'd Rather Not Say 

IN "Wives of Men," Frank Mills as James Emerson married 
* Grace, but there was no mention of divorce when he later 
married Lucille Gray. Do we have bigamy in the pictures? 

A. B. Penn, Marion, Illinois. 

Robbing Davy Jones' Locker 

TTHE heroine in George Walsh's "The Shark," upon jump- 
ing into the sea, wears neither shoes nor stockings, but 



A Point of Etiquette 

SHOULD a youngt gentleman propose to a lady with his hat 
on? Spencer in "The Thunderbolt " keeps his hat on even 
when he kisses Katherine Mac Donald. 

John E. Underwood. Summit, New Jersey. 



B. G. R., Mill Valley, Cal. 

Not So Surprising 

IN Douglas McLean's and 
Doris May's "What's Your 
Husband Doing," Mr. Ridley 
comes to breakfast and receives 
a letter postmarked September 
1918. Then he leaves the 
house and gets into a car with 
a IQIQ license. The letter was a 
bit late, wasn't it? 

M. K., Dallas, Texas. 

A Little Oversight 

MARY PICKFORD. in 
"Heart of the Hills," is 
thrown out of the cabin by her 
step-father upon her return from 
the blue-grass country. The 
step-father then proceeds to bolt 
the door to insure himself 
against Mary reentering the 
room. He fails to notice that 
there is a door standing wide 
open on the opposite side of the 
room. D. E. Francis, 

Wichita, Kansas. 

Wish That Would Happen To Us 
IN "The Winning Girl," the 
* supposed-to-be-unpaid bills 
on the Major's desk are marked 
"Paid!" 

D. W., Akron, Ohio. 



Ah There, Connie! 

WHERE did Constance Tal- 
madge get all the changes 
of costume in "Two Weeks?" She went to the bachelors' barn 
without any wardrobe. In the same star's "In Search of a 
Sinner" she wears a beautiful dress but alas, there was quite a 
good-sized tear on the shoulder. 

M. L. W., Indianapolis, Indiana. 

All At Goldwyn's, Culver City (Adv.) 

IN "Heartease" with Tom Moore and in "The World and It- 
Woman" with Geraldine Farrar, the same set is used 
although in the former it represents Covent Garden in London 
and in the latter the Petrograd Royal Opera. In "Upstairs," 
with Mabel Normand, and again in "The World and Its 
Woman," the same exterior is used although in the former it 
represents lower Broadway and in the latter, the Xevsky Pros- 
pect. 

T. Milch, Manhattan. 



69 





The 
Shadow 




Reg. U. S. Pal. OB. 



A Review of the new pictures 
hy Burns Mantle and Photoplay 
Magazine Editors 



"Passersby — with Herbert Rawlinson as the good Samaritan — 
is the sort of picture the family can see and enjoy. It is an in- 
teresting review of life from a bay window. 

A CORRESPONDENT wonders what good the critics 
do. In which diverting pastime a correspondent has 
nothing on the critics. They wonder, too. 
"You rail at this and you rail at that — and still 
the thing continues," rails she. "What's the use? If criticism 
isn't corrective why waste it? Or is it, do you contend, 
corrective?" 

Come closer, Clarice — and promise you will never tell. My 
job may depend on this. If criticism 

were corrective in the sense in which ^^^^^^^^^^^ 

you mean — i. e., if it were possible to 
correct that which needs correction 
simply by calling attention to it through 
criticism — the millennium would have 
been functioning hereabouts while you 
and I were still chasing butterflies in 
heaven. 

I myself have often wondered how, 
for instance, the drama dare go on being 
dull to the point of dreariness, or daring 
to the point of indecency, or silly to the 
point of idiocy after all the late William 
Winter — who was the chief scolder of 
my day — said about it. 

And how is it possible for the pro- 
ducers of screen dramas to do the things 
they do with George Jean Nathan feel- 
ing the way he does about them? How 
dare they? 

Criticism, Clarice, is corrective ^-i— — — — — 
when it is true stuff — and only when it 

is true — but never in the way you and a million or so others 
expect it to be. The manager of a new play who reads in 
the morning paper that his comedy is awful, his cast im- 
possible and his future hopeless, does not dash down to the 
theater, discharge the help and abandon his plans for the sea- 
son. No. indeed. Me merely bites another hole in his cigar, 
confesses audibly his private opinion of the critic's ancestry, 
;ind (juestions the treasurer as to where he thinks they (the 
critics) get that stuff. 



THIS department is 
designed as a real 
service to Photo play 
readers. Let it be your 
guide in picture enter- 
tainment. It will save 
your time and money hy 
giving you the real worth 
of current pictures. 



By BURNS MANTLE 



But — if four weeks later his attraction is numbered with the 
failures, and what the reviewers, or any one of them, had to 
say about it proves true, that manager is going to make a con- 
scious or subconscious reservation regarding that particular 
criticism which will naturally affect his succeeding productions. 

In pictures the corrective influences work even more slowly — 
first, because there is less true stuff written about the screen 
than there is about the drama and, second, because of the 
working conditions. 

By the time the producer and 

director of a picture hear from their 
critics they have forgotten all about the 
picture. 

"Let's see," muses the director, 
"which one was that? Oh yes — that 
was the one we starred Sophie Snub- 
nose in to get money enough to pay the 
studio rent. Oh well, we should worry. 
She hasn't been with us for six months." 

Still, the fact may have percolated 
that Sophie Snubnose and her backer 
were a poor investment on which to 
build a picturcmaking reputation, and 
the tendency to avoid similar combina- 
tions becomes fixed in the experiment- 
er's mind. At least we hope it becomes 
fixed. 

Only in that sense, Clarice, is criticism 
corrective. We can't successfully deny 
adventuring speculators of all sorts the 
constitutional privilege of tPi-ing their 
hanil at picture-making or play producing. Neither can we 
hope to change the tastes nor adjust governors to the curiosity 
of a multitude in one generation, but — and in this all you 
Clarices are involved — we can all stand firm for those who 
are honestly striving to do worthy things, and ready deftly to 
hurl a harpoon or two at the cheaters, whether we write our 
criticism for the jxipers or only tell it to the bridge club. 
Thus wc come to Cosmopolitan's production of "Hvinior- 



csque." Here at least is an honest attempt to approsimale the 



70 



Photoplay Magazine 



71 



true stuff. It invades the New York Ghetto through a Fannie 
llurst story, and reveals the hearts of its people through a 
Frances Marion scenario. It details with studied particularity 
simple episodes from the everyday lives of the Ghetto folk in 
an effort to establish the genuineness of the locale and the 
people. The story is half told before anything resembling a 
conventional plot is outlined, but though the pace is slow and 
the creation of a suspensive interest noticeably delayed, your 
average audience will not grow restive under the strain because 
what they have seen they have believed and what they have 
believed has a solid dramatic foundation. 

The secret of good picture-making, as the secret of good 
play-writing or good story-telling in any form, lies very largely 
in the building of the foundation. "Make them believe your 
first act," Edgar Selwyn once said to me, "and you can do 
practically what you will after that; but if they don't believe 
the first act they will not believe any of it." And Edgar has 
had considerable experience. 

The Kantor family, which moves through "Humoresque,"' is 
not a particularly interesting group of humans. They are, in 
fact, a little stagily picturesque. But they represent a real 
family, and are permitted to relate naturally the experiences 
that befall them. Occasionally there is a heavy overlay of 
sentiment, but not often, and there are practically no cheaply 
stressed heroics. 

A little Jewish boy hungers for a violin. His mother, who 
has prayed before the coming of each of her children that she 
should be the mother of a genius, is radiantly happy at this 
final evidence of the efficacy of prayer. Out of her meager 
savings she buys him an instrument — and fifteen years later 
he is a fine concert artist. Then comes the war. Though he 
is offered $100,000 for fifty concerts, he prefers to do his duty 
by Uncle Sam and avoid trouble with the draft board. True, 
the offer did not come until after he had enlisted, but we are 
willing to believe he would have gone anyway. 

In France he is wounded and becomes convinced that he will 
never be able to play again. The little girl who had been his 
boyhood's sweetheart in the Ghetto, now grown to womanhood, 
is ready and eager to marry him, but he will not "tie her to 
a cripple." At which repulse she faints, and in his efforts to 
lift her he tears loose the binding adhesions of his wounded 
arm and straightway discovers that he can play again. What 
does he play? The "Humoresque," of course, silly! 

The point I'm making is not that this is a perfect sample of 
what may be done, but that it is a fine indication of the 
progress that is being made toward a proper appreciation of the 
better values of screen material. There are several exception- 
ally good character performances in this screen drama — notice- 
ably those contributed by Vera Gordon and Dore Davidson. 
Bobby Connelly plays the boy violinist, Gaston Glass the same 
lad grown to manhood. Though the capable and attractive 
Alma Rubens is featured as the hero's sweetheart, you would 
never know it. The story belongs to the boy and his mother, 
and -Alma is reduced to a few close-ups and a title or two. 

THE DEVIL'S PASS KEY— Universal 

UNIVERSAL has a good picture in Eric Von Stroheim's 
"The Devil's Pass-Key," which misses being a great 
picture by reason of that little matter of foundation building 
of which we were speaking. The idea is original and interest- 
ing and the pictorial background richly effective. "A play- 
wright of moderate income" living like a prince in Paris, flock- 
ing with the haut monde, is trying to write and sell highbrow 
dramas. The directors of the Comedie refuse his work, passing 
him the kindly word of advice that what they are looking for 
is plays of real life, dramas of the street and of the people. 

Meantime his extravagant and beautiful wife is running up 
bills at the shop of a wicked coutourier. When she can't pay, 
the shop lady suggests that she borrow the money from a cer- 
tain rich gentleman. Madame, being innocent, agrees, meets 
the gentleman, who happens to be an American army officer, 
and though by appealing to his better self she retains her wifely 
virtue, she gets herself talked about. 

The story is printed in a scandal sheet. The playwright 
husband sees it. recognizes the possibilities of the plot, writes 
a play around it and has it accepted and produced before he 
learns that he has written the story of his own wife's escapade, 
n discovery he makes the night of the play's sensational success. 
He is then intent upon shooting holes through the army officer, 
but is convinced finally that both he and the wife are innocenL 




Lou Tellegen pursues Geraldine Farrar determinedly as ste 
sways gracefully through "The ^Vo^lan and the Puppet." 
Like "Carmen," it breathes the atmosphere Spain. 




Receiving at her bath is one of the Parisian twists Mae Busch 
puts into "The Devil s Pass-Key." Maude George and others 
assist in making it one of the month s best pictures. 




Matt Moore i? the victim of a harum-scarum jumbling of 
complications in Marshall Neilan s "Don t Ever Marry, " in 
which one extravagant situation is piled upon another. 



72 



Photoplay Magazine 




You want to see more of Victor Seastrom's acting when you 
have witnessed this splendid drama of the sea, "A Man There 
Was. ' And it s a product of Sweden. 




A pljiii. urdin.irv movie i« Clul.l.vii N,.| \\ iiilcJ. hut it 
L.irric9 a le.'son and return" an indictment a|<ain;>t landlords 
who bar children and welcome dogs. 



Here, as said, is a plot with a clever twist: a fine bit of 
ironic criticism of life in New York. London, Paris and points 
east and west. But the gifted Von Stroheim fails to convince 
me that these people of his are real: that they were living as 
he pictures them living in Paris and still pressed by need of 
funds as he suggests: that being so pressed the wife would 
have acted as she did. or that, having so acted, would have 
set all Paris agog. Paris does not become agog en masse over 
members of the American Colony. Pictorially. however, and 
constructively "The Devil's Pass-key" is easily one of the best 
screen exhibits of the month, and is splendidly acted by Una 
Trevelyn, Clyde Fillmore and Sam De Grasse as the points of 
the triangle, and by Maude George and Mae Bush as attractive 
natives of the French capital. 

THE TOLL GATE— Paramount-Artcraft 

IN the first reel of William S. Harfs "The Toll Gate. ' Black 
' Deering, as brave a bandit as ever donned a mask, leads his 
gang into the cave that Avas their meeting place and says to 
them, in effect: 

■ Boys, we're through. The hounds of the law are yipping 
at our heels and we'd better beat it while the beating is good." 

' Not on your life." replies a radical of the extreme left. "I 
know a job that's got to be done. One more trick, boys, and 
we'll split the S40.000 and quit.'' 

Thus Black Deering is out-voted and another hold-up is 
planned. Immediately you are interested in two possible 
twists to that plot : first, the outcome of the hold-up undertaken 
against Deering's advice; second, the effect it is going to have 
on his future. 

From that point forward the picture proceeds logically, ex- 
citingly and truly to its conclusion, which indicates that Mr. 
Hart also realizes that good pictures cannot be thrown together 
hit or miss. "The Toll Gate" is the most interesting Western 
I have seen this month, because, granting its melodramatic 
premise, it is the most plausible, the most intelligently directed 
and the best acted of the melodramas I have seen. Being the 
first of Mr. Hart's own pictures, it suggests that he has in- 
cluded in it all those features that he has found most effective 
in his other photoplays. He is again a bad. bad man. but 
with a "streak that's square." and when in escaping from the 
authorities he comes upon the usual pretty little Western 
woman living all alone in a cabin in the hills with her four- 
year-old son, he is inspired to lead a better lite. He does not 
reform overnisiht. however, nor marry the girl and start a gen- 
eral store. He merely sets things right with her. clears his 
own conscience and rides away. It is the sort of stor\- that 
convinces an audience that it has been well repaid for its visit 
to the theater. .\nna Q. Nillson is an attractively passive 
heroine and Joseph Singleton a convincing heavy. Many of 
the shots are fine, particularly those picturing Deering's escape 
from the train. 

PASSERSBY— Blackton-Pathe 

BLACKTON'S "Passersby" is the sort of picture the family 
can see and enjoy. Whether or not J. Stuart Blackton ha> 
taken full advantage of the theme offered him by Haddon 
Chambers' story is not important. He certainly has done an ex- 
cellent job in selecting types for his cast, and this, combined 
with the human, holding quality of the adventure, provides an 
entertaining feature. Basically, "Passersby" is a review of life 
from a bay window. A rich \-oung man. who has loved and lost 
the attractive young woman who has served his aunt as a com- 
panion and himself as a sweetheart, finds her after a consider- 
able search and learns that she has borne him a son. His 
search for her brings him in contact with many picturesque 
characters of London's east end. and the contact gives him a 
new angle on life. Wc are all as God made us. he concludes, 
the best and the worst of us. and the business of passing judg- 
ment on the well known human race is not man's job. His 
new friends include Nichty. an amiable London cabby. ,i delight- 
fully played ami vizualized by Tom Lewis: Burns, a cast -on 
wiih the heart and mind of a boy. capitally acted by Dick Lee: 
and the faithful Pine, his generous hearted butler, brought 
vividly to life by the veteran William J. Ferguson. Herbert 
Rawlinson is the modern good Samaritan. Leila Valentine the 
heroine, and Charles Stuart Blackton their young son. The 
cameras do wonders for the London fogs and street scenes. 
(Contiiitud oil ^(Jgf to~) 



What 

Does Your Handwriting Reveal? 

You may have at least the temperament 
of a screen star it your writing resembles any of these. 

By MAY STANLEY 



THE man who said that the pen as a high-powered in- 
strument had the sword backed out of its scabbard, 
spoke words of wisdom. At that, he didn't depict half 
the possibilities which that little bit of steel — or gold, 
if you draw that kind of salary — contains. 

For, look you, the pen is the 
one sure revealer of character. 
You may have golden curls and 
sweet blue eyes and a Pickford 
smile, but if you are bad-tem- 
pered and deceitful and inclined 
to get on the lot late in the morn- 
ing your handwriting will reveal 
it. 

The phrenologist may be able 
to determine what sort of dispo- 
sition you have by the bumps on 
your skull, and the lines of your 
hand may tell something to the 
palmist, but when it comes to 
genuine character-revelation your 
handwriting is the one sure test. 

For instance: Elsie Ferguson 
signs her name to a contract. The 
director looks at it, and if he has 
studied the secrets of handwriting 
he knows that Miss Ferguson has 
considerable self-confidence, as 
indicated by the extremely large 
capitals, and plenty of ideas — 
shown by the fact that some of 
the small letters are separated. 
An imaginative nature is shown 
by the dot of the small i flying 
high over the letter, and the long 
loop of the g proves that the 
writer is a person of elegant 
tastes. WTiere you see a slight 
thickening of the down strokes, 
such as Miss Ferguson's writing 
contains, the critical faculty is 
well developed. Most of us have 
found out these things from 
watching Elsie's work, but the 
handwriting expert could have 
told her tendencies from one 
glance at her signature. 

Here's a signature with a wal- 
lop — James J. Corbett. The ex- 
tremely wide upper loop of the 
capital / shows that Mr. Corbett 
will get from the world what's 
coming to him. In other words, 
it's waste time to attempt to 
satisfy him with twenty-four cents 
worth of goods in exchange for a 
quarter. If your name begins 
with C and you use a long loop 
like the one shown in Mr. Cor- 
l)ett's writing it is a sure sign of 
c^ genial nature. There are three 
('efinite indications of firmness in 





this writing — the strong crossing of the t, the evenness of 
writing and the strong down strokes. The person who crosses 
his fs, as Mr. Corbett does, with an upward stroke, has very 
little vanity but a good deal of quiet self-assertion. 

Reflect for a moment, stars of filmdom! If you had studied 
this art in off moments you might 
be able, by a glance at the signa- 
ture on your contract, to tell just 
how well the director is going to 
live up to his pledges. 

For example, take a look at 
D. W. Griffith's writing. 

The careful joining of all the 
letters in the signature is one of 
its chief characteristics, indicat- 
ing logical judgment. It is the 
handwriting of an idealist with 
ambition dominant, as shown in 
the strong upward strokes of the 
letters, particularly the forceful t. 
This ending of the small t shows 
what is called the "lightning" 
flourish, the straight, heavy 
stroke across the t. This is an 
unfailing indication of superb ac- 
tivity of the brain in all its proc- 
esses. If your writing, like Mr. 
Griffith's, abounds in angles rather 
than curves, it means that tact is 
not your specialty. Enthusiasm 
is present, as the strong upward 
strokes show, and the general ir- 
regularity indicates sensibility to 
a degree that means "nerves." 

If you want to see originality in 
the «th degree look at this dash- 
ing signature of "Gerry Farrar." 
The eccentric boldness of the cap>- 
ital G is one of the surest signs of 
originality. The wide curve of 
this letter also shows imagination. 
If you join your letters and words 
closely, as Miss Farrar does, it 
proves that you possess logical 
and consecutive judgment. The 
heavy down strokes show great vi- 
tality, love of life and its pleas- 
ures, while the general coarseness 
of the writing shows that this star 
has courage in abundance. The 
persons who conclude their signa- 
tures with an upward flourish, like 
Miss Farrar, have a great love of 
applause and admiration. The 
thick down stroke of the capital 
F and the vigorous crossing of 
this letter indicate pride. 

It's perfectly plain that if mo- 
tion picture directors would add a 
course in graphology to an other- 
wise busy life they could tell at 
a glance what temperamental reefs 







73 



74 



Photoplay Magazine 



to avoid in dealing with beautiful leading men and purposeful 
ladies of the screen. 

Here is a signature, for instance, that looks just like the 
writer. Marguerite Clark has the flowing hand that goes with 
an impressionable nature — one sensitive to outer influences. 
Energy and ambition, two wonderful assets, are shown by the 
angularity of the writing. The long, flying loop of the small / 
inilicates a nature in which ideality dominates. 

You'd know that William S. Hart wrote a hand like this, 
wouldn't you? A good, sane, 
firm, reliable signature. The 

and 
sure 
reso- 





strong crossing of the t 
the firm down stroke are 
signs to the initiated of a 
lute nature. There is a saying 
among those who study handwrit- 
ing, "as the slope is so is the ten- 
derness of the writer," which 
would show that Mr. Hart is a 
man of kindliness. The slope, in 
modified form, also shows trust- 
worthiness and sincerity. 

If your signature is anything 
like Dorothy Phillips' you may 
congratulate yourself on possess- 
ing most of the finer qualities of 
the mind. The square formation 
of the capital D gives evi- 
dence of imagination in abun- 
dance, combined with lucidity and 
a frank nature. The person who 
writes a hand that is generally 
round, like Miss Phillips, is re- 
sponsive. There is an abrupt an- 
gle in the y that shows a good 
deal of impatience, but this is 
counterbalanced by the large, open 
It's and curve of the small r — sure 
signs of a large fund of kindliness. 

Enter Harry Houdini — with a 
flourish. When you want to find 
out something about a person's 
writing and haven't time to an- 
alyze all the letters it's a good 
plan to look for the flourish. 
Taken in any form the flourish in- 
dicates a love of admiration. 
When the flourish is extravagant 
and of thick strokes it shows de- 
fensiveness and .self-assertion. The 
width between the down strokes 
of the capital H shows a generous, 
liberal nature. 

Speaking of neatness, did you 
know that the Italians produce 
the most beautiful specimens of 
handwriting to be found in the 
world? Next to the Italians come 
the English. English writing is 
dignified and di.stinguishcd. but 
seldom graceful. The worst? Ex- 
perts admit that it is the average 
handwriting found in America. 
They ascribe our lack of expert- 
ness with the pen to hurry, nerv- 
ous excitement and lack of poise. 

Caruso gives a good specimen 
of the Italian handwriting. The 
heavy strokes and fantastic flour- 
ish with which the signature ends 
show vanity, self-esteem and a 
great love of admiration. The 

statements of such a writer are always positive. If your hand- 
writing looks like Caruso's your family and friends have prob- 
al)l\' learned by this lime not to oppose your wishes. 

The handwriting of John Barr> more is quite as typical of the 
writer as that of Caruso. The thin, fine and small-sized script 
always indicates great powers of concentration, combined with 
interest in others. Mr. Harr\moro has a nature that is excitable 
and sensitive but not unkin<l. 




((f 




Here is Wallace Reid, as an example of the perfect H'. As tration of the latter quality. 



Mr. Reid writes that letter it shows a vigorous and active 
nature. Unless his writing has been trained to dissimulate. 
Mr. Reid is always on hand to keep his appointments promptly 
If you make your upstanding strokes as he does it proves you 
to be the possessor of acuteness and energv-. 

There is a world of self-revelation in the signature that 
Thomas H. Ince affixes to his letters and business documents. 
Whenever the capital T is written in this extravagant form 
imagination and self-assertion are found. In a man of lesser 

attainments this would mean ego- 
tism. Letters that var>- extreme- 
ly in size as in this writing — 
glance at the comparative small- 
ness of the capital E and the size 
of the small e that completes the 
signature — show a nature of un- 
usual originality. 

If you are looking for evidences 
of will power in a handwriting 
the best thing to watch for is the 
crossing of the small t. If the 
writer has plenty of firmness and 
determination this letter will in- 
variably have a firm, thick, long 
crossing. The person who neglects 
to cross Vs, or who crosses them 
in a loose, uncertain manner, 
hasn't much strength of charac- 
ter. 

A good example of the con- 
nected letter is shown in Pauline 
Frederick's signature. The expert 
could tell at a glance that Miss 
Frederick is logical and thinks out 
her course clearly before acting. 
The long loops of the / and k show- 
plenty of imagination. 

Where the handwriting ascends 
with a decided slope toward the 
right hand comer of the paper an 
ambitious nature is indicated. 
Priscilla Dean's writing is a good 
example of this admirable trait. 

Whenever you see such a care- 
ful joining of the small a as Mary 
MacLaren's writing shows you 
have a good example of concen- 
trated brain power. The evenness 
of the writing and uniformity of 
letters in this signature are e\n- 
dences of a calm and logical mind. 

The person who procrastinates, 
who is going to do ever\-thing "to- 
morrow." but who never gets at 
it to-day. that kind of person can 
be detected by the crossing of the 
t falling to the left instead of the 
right of the letter. Irene Castle, 
evidently, has none of this fatal 
defect in her nature, for the cross- 
ing of her t is almost entirely on 
the right side of the letter The 
extreme curve with which her 
capital / begins shows that the 
writer believes in self-preser\3- 
tion. 

Look at the right hand slope of 
Cecil deMille's signature if you 
want to see the handwriting that 
indicates ambition in unusual de- 
gree. Mr. dcMille is impatient of 
delays of any kind, as the irregu- 
larity of his capitals bears witness. 

A good specimen of the cautious nature is shown in Elliott 
Dcxlcr's signature particularly by the straight dash after a woni 
The calm, well-balanced nature can be deiluced from th- 
roundness anil smoothness of the writing, while the persor. 
whose mind is acute rather than restful writes an angular han.: 
In the specimens shown Mabel Xormand gives a good ex,imp.i 
of the former, while Hiilie Hurke's writing is an admirable iiUi-- 



PiioToi'i.AY Magazine — Advfrtising Section 



75 



They'll be here in 
fifteen minutes- 

and iry nails aren't 

fit to be seen ! " 




THE telephone bell rang. 
"I'm so glad you are at 
home. We'll be right 
over," said a voice. "Good!" 
she cried. Then her eyes fell to 
her hands. Her heart sank. 
Such battered looking nails! 

She knew, too, that no amount 
of magnificence and good groom- 
ing on formal occasions would 
efface the impression made by 
once appearing careless in an ofF- 
guard moment. 

Have you ever been caught in 
such a predicament.'' Does the 
unexpected occasion always find 
your hands at their loveliest.? 
Exquisitely cared for nails, that 
so unmistakably tell to the world 
their story of personal fastidious- 
ness. 

It is the simplest thing always 
to be sure of your nails! Just 
a matter of giving them the same 
regular attention that you do 
your hair and teeth. 

Do not clip the cuticle. When 
you do so it is impossible to avoid 
cutting the sensitive living skin, 
too. The skin tries to heal these 
cruel little • hurts and growing 
qincklv, forms a thick, ragged 



cuticle. It gives to your nails 
that frowsy and unkempt look 
that makes you self-conscious 
every time people notice your 
hands. 

But you can have nails so 
charming that it will be a pleas- 
ure to display your hands! 




Just soften and remove 
the cuticle with Cutex, the 
harmless cuticle remover. 

Twist a bit of cotton ^round 
the end of an orange stick (both 
come in the Cutex package). 
Dip it in the Cutex and gently 
work around the base of each 
nail. Push back the dead cuti- 
cle. Then wash your hands and 
push the cuticle back while 
drying. Always when drying 
the hands, push the cuticle back. 



The Cutex way keeps the cuti- 
cle smooth and unbroken — the 
nails in perfect condition. Make 
a nabit of Cutex. Then you will 
never know the mortification of 
ragged hangnails and clumsy 
cuticle. 

If vou wish to keep the cuticle 
particularly soft and pliable so 
that you do not need to manicure 
so often, apply Cutex Cold Cream 
at night on retiring. 

Get Cutex at any drug or de- 
partment store. Cutex, the cu- 
ticle remover, comes in 3Sc and 
65c bottles. Cutex Nail White, 
Cold Cream and Nail Polish are 
each 35c. 

Six manicures for 
20 cents 

Mail the coupon below with two 
dimes and we will send you an 
Introductory Manicure Set, not 
as large as our standard sets, but 
large enough for six complete 
manicures. Send for it today. 
Address Northam Warren, 114 
West 17th St., New York City. 

// you live in Canada, address 
Northam Warren, Dept. 707, 200 
Mountain Street, Montreal. 




Mail this coupon'with two dimes today to Northam 
Warren, 114 West 17th Street, New York City 




When you write to advertisers Please mention PHOTOPLAY MAGAZl.NE. 




Director Al Santell as he looked 
after an argument with Bob, the 
lion. "Joe Martin, 5ittin|j atop 
the «ofa. is trying to look pretty. 



He Likes 'Em Wild! 



By EMMA-LINDSAY SQUIER 



URE I like "em wild!" The voice on the other side of 
the "set" at the Universal studio spoke positively, even 
V. 3 enthusiastically. 

"But Al," came a worried murmur, "she bites. She'd 
chew your ear off in a minute if she could." 

"Not a chance I'' responded the jovial Al. "I know all of 
Julia's moods. She's a bit temperamental, but she's alright 
when she isn't hungry."' 

"The hus.sy!"' thought I of the wild "she"' under discussion, 
and — "the fool" I added mentally of the invisible Al. I re- 
pressed a desire to recite aloud something about a rag, a bone, 
and a hank of hair for the moral effect it might have, and it's 
just as well that I did refrain, for at that instant, around the 
corner of the set. came a young man with brown eyes and the 
suspicion of a mustache, leading in tow — a full-grown lioness! 

There was no convenient table to climb upon, or even a 
property ladder to lend itself to my sudden desire to get thence 
from hence — quickly! And had there been such articles handy 
it is doubtful whether I could have taken advantage of them, 
for my pedal extremcties had ceased to function, my face felt 
pallidly cold, and I think I made a funny noise or two. for the 
Daniel-like gentleman helped me to a chair, patted me on the 
back and told me that Julia wouldn't hurt a lady. He also 
gave me his card on which was engraved "Al Santell, Director." 

I couldn't help wondering if Julia knew I was a lady, for she 
seemed to regard me hungrily. But such seemed to be Mr 
Santell's confidence in her altruistic motives that I gave her the 
benefit of the doubt, and conversed with the brown-eyed direc- 
tor as nonchalantly as was possible under the circumstances. 

"You specialize in directing wild animals then?" I asked him. 
secretly hoping that Julia's luncheon had been ample. 

"Well, not exactly." he answered with a smile that showed 
a row of even white teeth. "I have been making animal come- 
dies here al Universal for the last year — ever since I came back 
from the service, in fact. I didn't intend to take it up as a 



specialty, but they discovered that I could manage the lions 
and also Joe ALartin, the orang-outang, and ever since then 
they've kept me at it. " 

He reached down to scratch Julia between her tawny ears, 
and drew his arm back sharply, swallowing a cuss word. 

"My arm s still on the bum." he apologized. "It hurts 
even,- time I make a sudden move." 

"Rheumatism?" I inquired sympathetically. 

"No, Bob," he replied laconically. Then in response to my 
bewildered expression, ' Bob is one of our biggest lions. He 
charged me the other day and clawed my arm and leg. And 
you'd never guess what started it. His mate, 'Ethel,' died 
some time ago, and we had the skin stuffed. It was beine 
used in a scene from 'L^pper Three and Lower Four," an animal- 
comedy melodrama, and Bob came into the barred inclosure 
where he was to work. Well, sir, he spotted that stuffed lion, 
and I give you my word he knew it was Ethel. He made a 
sort of a purring noise, and went over to it and rubbed his nose 
against the hide — then, just as if he thought I had something 
to do with his mate being in that lifeless condition, he turned 
on me and I was lucky to get out of the cage alive. Funny 
how temperamental lions are." 

"Yes. isn't it — funny." I observed, listening to my heart do a 
tail spin inside my thorax while Julia watched me with un- 
blinking amber eyes. 

"And wolves aren't the easiest things to work with either." 
he went on quite calmly. "They are always watching for a 
chance to snap at you. and once in a while they'll attack you. 
but they are interesting beasts to direct, nevertheless." 

"Interesting^!" I echoed in a far-away tone, but Wild-Animal 
W plunccd ahead with contacious enthusiasm. 

".And Joe Martini " he said with something of awe in his 
tone. "'That monk is positively uncanny. He works just like 
a man — you tell him what to do and jx-rhaps show him once 
(Coutiuued on page Q4) 



Photoplay Magazine — Advertising Section 






Organdies ♦ linens • batistes 

Launder them the same way you do your silk things 



WHERE lawns are green and 
ices are served, the cool frocks 
of midsummer gather. Fly- 
away, frilly organdies; saucv English 
prints that plav at being quaint. Fine 
blouses ofhandkerchief linen and French 
voile. And always rows on rows of 
tiny tucks and soft ruffles of real lace. 

To keep them so daintily fresh, so 
charmingly new, how often and how 
carefully they must be washed. 

Not ordinary scrubbing — their frills 
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But the Lux way will not harm 
them, the careful war vou do vour 



silks and satins. There's no rubbing 
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The finest fabrics will last when 
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To launder 
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WHISK a tables poonful of 
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Copyrtchitd 1910. by I«t «r Brci. Co. 




When you write to auvertl»ers rleasc lucntioD PHOTOPL.A'X MAGAZINE. 



WE TAKE OFF OUR HATS TO 



Crane Wilbur, becau.-^c he prefers to 
use his brains to getting by with his 
good looks; because all the while he 
was matinee idoling he was salting 
down his salary and preparing for a 
great attack on Broadway managers, 
because two years ago he quit working 
for some one else in pictures and rented 
a theater in Oakland. Cal.. organized a 
stock company, wrote plays, made 
money, and took another theater, then 
sent a man to peddle his plays on 
Broadway, and had seven or eight of 
them accepted; because he did very 
creditable work in "The Oui)a Board 
(Ruth Hammond is with him in the 
picture.) and in others of his plays, 
and because one time he appeared in a 
picture that our cook says made her 
want to be a good girl. 





Harry Durant. because he is 
the father of two sons, and 
IS prouder of them than any- 
thing else; because he has 
been a successful writer for 
years; because he was man- 
aging editor of the old Bio- 
graph and other companies, 
and now manages the play 
department for Famous 
Players; because he is get- 
ting ready to respond to the 
call of "Author. Author on 
the opening nights of five 
separate and distinct New 
York stage playa next season 



T. Hadley Waters, because 
when he came to New York 
and the theatrical managers 
would not let him in. he 
wrote a book about himself 
and sent it to them, and be- 
cause when David Belasco 
fell for the book. Mr. Waters 
invited him to go to lunch, 
then had to rush out and 
borrow ten dollars; because 
he writes good publicity for 
Mrs. Sidney Drew; because 
he is to have two plays pro- 
duced on Broadway this fall. 
AND because he has done 
all this in 23 years. 





Luther RecJ. because he goes quietly and 
\\ ithout any noL^^e about doing the things 
he wants to do. and docs tbem; because he 
Steve Brodicd from a newspaper de.*k in 
Nc\^' \ ork to the prospects of a park bench 
in ho< Angeles when he thought that he 
could write scenarios: and because in such 
things as "Marys Ankle and "Behind 
the Door. " he proved he could: and be- 
cause he always wanted to v^-ritc a play, 
and he did it. and now "Dear Me. which 
is having a run in Chicago, will appear 
soon in New York. 



TALC 



onteel 



X. 



Perjlimed xvitJi the Costlij 
Odor 




Posed by 
IliUnf Chaduiek 
Motion Picture Star 



ROSES from France, orange flow- 
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lavender from England, vetivert, ylang- 
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loveliest fragrances — make up the 
sweet, haunting odor of Jonteel. Take 
home a box of Talc Jontccl today. 



The Jonteel Beauty Requisites are 
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Face Powder Jontccl, llcsli. white, brunette, soc. 
Face Powder Compact, Hcsh. white, brunette, "out- 
door." 50c Combination Crcain Jontccl, 50,- 
Cold Crcani Jontccl, 50c Soap jontccl, 15c 
Manicure Set Jontccl. Si. 50 
RoURc Jontccl, light, medium, dark, 50c 
Lip Stick Jonteel, :5c Eye-brow Pencil Jontccl, ijc 

(/n Canada, Jonteel prices are slighUy hifher) 



LIKE 
ORANGES ? 



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llilllli 



IRRESISTIBLY delicious! Pure as sun- 
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refreshing as W ard's Orange-Crush? 

The secret lies in the supreme quality and match- 
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oil pressed from nature's most fa\ ored fruit - 
golden oranges pui est sugar and citric acid, the 
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Ward's Lemon-Crush — the companion to Orange- 
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In bottles or at fountains 

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Mother Seymour and Clarine wlien 
she made her first public appearance 
in church entertainments. 



An 
Unfinished 
Story 



Death snaps the 
brilliant career of pretty 
Clarine Seymour 



By BETTY SHANNON 




THERE was a very different sort of story written to fill 
this space. It was the story of a vivid, very much alive 
young person to whom success had come after several 
years of particular discouragement and difficulty. It 
was the story of a warm, unspoiled, friendly girl — the sort of 
girl who did not forget those who had been good to her, and 
who was not ashamed to admit her struggles. 

But the story of Clarine Seymour had to be stopped short 
and taken from the presses — because Clarine Seymour's life 
came suddenly to an end. On Sunday evening. April 25, at 
nine o'clock, she died. She had been ill from intestinal trouble 
since the Wednesday before. 

Clarine Seymour was born in Brooklyn nineteen years ago, 
of devoted Methodist parents. Her first appearances in public 
were at the entertainments given in the New York Avenue 
Methodist church. Three years aco her parents moved to 
New Rochelle for the summer. Clarine decided she wanted 
to become a motion picture extra. Her persistent calls at the 



The last -photograph of Clarine Seymour. 

old Thanhouser studio brought her a small bit in some for- 
gotten play. 

By steps and degrees she was given bigger parts and one day 
a role in a Pearl White serial came her way, then one in '"The 
Double Cross" with Mollie King. It was in this that she was 
seen by the Rolin Comedy people and was offered a contract 
if she would go West in comedies with Toto, the Hippodrome 
clown. And Mother Seymour took the baby and chaperoned 
Clarine to the Coast. 

After innumerable vicissitudes, she followed Billie Rhodes 
in Christie comedies. Mr. Griffith saw her in Los Angeles and 
when he needed someone to play with Carol Dempster and 
Richard Barthelmess and Robert Harron in "The Girl Who 
Stayed at Home" he took her on. 

"True Heart Susie" and "Scarlet Days" followed. "The 
Idol Dancer," most recent of these, was her first real featur- 
ing vehicle. She was at work in "Way Down East" when she 
died. 

81 



The Twelve Best Motion Pictures 



Winners of Second Photoplay 
Magazine Letter Contest 



PHOTOPLAY MAGAZINE S Second Letter Contest closes 
with surprising results — results perhaps disappointing to 
producers who have spent thousands of dollars on elabo- 
rate productions. For the common message contained 
in the many letters 
giving the writers' opin- 
ions of the twelve best 
photoplays they have 
seen is this: 

The motion picture 
creating a lasting im- 
pression or accomplish- 
ing the most good is 
not the picture requir- 
ing the greatest number 
of reels or covering the 
most extensive range 
of subjects. Human 
interest, say Photo- 
PLAv's readers, is what 
the public appreciates 
most, and when this 
vital chord is drowned 
in rambling themes in- 
troducing foreign notes, 
interest in the picture 
ebbs. 

It might be discour- 
aging to a producer 
who had spent a for- 
tune on a picture like 
■'Intolerance" to hear 
that the film most 
loved and appreciatetl 
was "The Miracle 
Man." This play had 
more votes than any 
other, although others 
had cost much more to 
produce. The picture 
that does not hit a re- 
sponsive chord in the 
heart of its audience is 
not remembered. 

One man writes : 
"That which we cannot 
take seriously we do 
not long remember. 
The picture must strike 
home, for, curiously 
enough, the only way 
to make some people 
forget themselves is to 
put their lives on the 
screen." 

Simplicity is the key- 
note of a successful film. Complications in construction only 
confuse and amuse for the moment, but leave no definite 
impression. A simple appeal to Faith, Hope or Charity touches 
more responsive hearts and spreads more good in the world 
than all the films with "4.000 horses. 20.000 men, ten 
elephants," etc. Difficult locations, expensive stars, scenarios 
dealing with plot and counter-plot arc not the pictures that live 
in the memory. A homey "Daddy Long Legs." "Hoosier 
Romance" and "Stella ^L^ris" have brought a truth nearer 
hundreds of hearts than "Broken Hlnssoms." "Hearts of the 
World," and even "The Hirth of a Nation." 

In comedy the same taste seems to be universal. Chaplin's 

82 



Why I Do Not Bel ieve 
In Censorship, 

This is the subject for Photoplay 
Magazine's Fourth Letter Contest 



"' I 'HE official censor, meddling 
1 with irtorals and art, in- 
variab y hits what is true, i. e., 
what is art, and passes what is 
false, hence what is not art. 

"He spells the death of all 
progress and free experiment in 
ihc movies, and he represents a 
fundamental violation of both 
common Dense and common jus- 
tice. Can't we even go to the 
theater without being dictated 
to by a medd esome old maid, 
whether in pants or petticoats?" 

So writes Walter Pritchard 
Eaton, the writer and critic who 
could never be accused of undue 
love for pictures, or motion pic- 
ture censorship, in the Pittsfield 
Berkeshire Eagle. 

"Legalized censorship of the 
film is a dangerous departure in 
a free country, " reports the spe- 
cial investigating committee ap- 
pointed by the New York State 
Conference of Mayors, which rj^ 
centiy condemned state censor- 
ship and recommended local reg- 
ulation by license in the munici- 
palities of the state. 



"Shoulder Arms" has spread more cheer and hearty enjoyment 
sprinkled with tears, than any Broadway comedy screened. 
The dominant note, sounded high above those of praise for 
this picture, is that Chaplin has not tried it again. How can 

a man — and even a 
million-dollar comedian 
must be human — hear 
thousands of voices 
calling him to help 
them along the rocky 
path-way of life by his 
lovable humor, and still 
deny these millions of 
friends a little of his 
cheer, which they long 
for and appreciate so 
thoroughly? 

It was encouraging 
to note that apparently 
no particular star in- 
fluenced the choice of 
the pictures. Naturally, 
several were mentioned 
as favorites, but one 
could easily see that 
the film acted by any 
other name would not 
have changed the im- 
pression in many cases. 
The highly- and often 
over-paid star may do 
to get the people into 
the theater, but the im- 
pression that lasts is 
that of the film— the 
story, the direction, the 
photography, and the 
human interest. These 
four elements are what 
made up a perfect pic- 
ture to thousands of 
film admirers in this 
and other countries. 



"The indecent, improper and 
immoral film can be eradicated 
by the same methods as are used 
against indecent, improper and 
immoral books and p ays. ' 

Dr. James P. Warbasse. of the 
Methodist Episcopal Hospital in 
Brooklyn, says: 

"Official political censorship is 
a stupid violation of human lib- 
erty. It means pre-judgment by 
an official who sets himself up as 
a dictator to decide things which 
the people themselves must judge 
if they are to grow and develop 
a culture. The worst features of 
Prussianism offer nothing so vi- 
cious as pre-censorship of art."' 

Those are reasons why some 
thinkers and altruists who are 
sincere in their judgments do 
not believe in legal censorship 
of films. 

Photoplay Mag.\zixe wants to 
know why you do not believe in 
censorship — why you do not want 
h.icd political censors to decide 
what you and your children sha 1 
or shall not see on the screen. 



PHOTOPI..\V WILL PAY FOR YOUR H lEAS of the evils 
of motion picture censorship: S25 for the best letter; $15 for the 
second best letter, and $10 each for the three next best letters of not 
more than 300 words. One side of the paper only must be u^cd. 
.Ml letters, addressed to Fourth Letter Contest Editor. Photoplay 
^L^CAZI^•E, :s West 45th Street, New York City, must be in by 
.•\ugust I, 1920. 



The Pictures Make 
Her BcUcr e Again 

First Prize 



The twelve photo- 
plays I would place in 
the first rank are as 
follows: 
"The Miracle Man" 

' — There may be ser- 
mons in stones, but 
there is also a religion and a philosophy in this unusually human 
thesis. 

"Cabiria" — One scene. Hannibal's hordes crossing the .Mps. 
visualized the past for me as the study of Latin for six years 
never did. 

"The Rirth of a Nation '—Every character in this great 
-American epic lived the part in a way never to be forgotten; 
perhaps never to be equaled. 

"Carmen" — Merimee's good old story made a dazzling tapes- 
tr\" of pission. revenge, and fatalism. 

"Ramona" — "Once upon a time" used to thrill mc. and 
(Continued on pagr 84) 



I'HOTOPLAY MAGAZINE — ADVERTISING SECTION 




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This is How Millions Now Get Them 

AH Statements Approved by High Dental Authorities 



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The way to end it 

Dental science, after years of search- 
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Able authorities have proved its effi- 
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REG U S 



The New-Day Dentifrice 

A scientific film combatant, combining two other newly-recognized 
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Mail 10-Day Tube of Pepsodent to 



ONLY ONE TCIIE TO A FAMILY 



When you write to adfertlsers please mention PHOTOPLAY KL&OAZINB. 



04 



rnotopiay Magazine 



Ramona, gentle pastoral romance, made me believe again in a 
world where all the men and women are just a little better 
than they seem to be in real life. 

"Mickey" — Mickey hit technique in the eye and came up 
smiling, because it was captivatingly different. 

"Daddy Longlegs" — From the inimitable cider scene to the 
joyous ending, here was a picture everybody from Grandma 
to Little Sister could appreciate. 

"The Spoilers"' — When the terrible fight took place, even 
the staid schoolmarm clenched her fists and forgot civilization. 

"Shoulder Arms" 



Ree 



— I r r e p r essible 
screams of mirth 
over Charlie's an- 
tics quite obliter- 
ated the orchestra, 
and nobody cared. 

"Broken Blos- 
soms" — Even if 
the public, alive to 
punch but not to 
poetry, thought 
this immortal jade 
of the Ming period 
was "beautiful, 
tho awfully sad," 
don't worry. The 
public isn't immor- 
tal! 

"Revelation" — 
It seemed to say 
that Suffering may 
cleanse any hu- 
man heart; that 
the Apache of to- 
day may become 
the Madonna of 
tomorrow. 

" Neptune's 
Daughter'' — Do 
you believe in 
fairies and mer- 
maids? Not all 
the time, of course. 
But, sometimes? 
Yes? So do 1. 
And so does the 
poet and the 
plumber. 

Wanda N. Orton, 
3210 West Calhoun 
Boulevard, 
Minneapolis, 
Minnesota. 



They Lift Her 
to the Hilltops 

Second Prize 

These are. the 
twelve best motion 
pictures I have 
seen: 

The Birth of a Nation, 
Stella Maris. 
The Miracle Man, 
Blind Husbands, 
Les Miserables, 
Broken Blossoms, 

They are the best because they lifted me out of myself and 
let me view human nature from a distance just as I might 
stand on a mountain-top and view the country before me — 
the hills and valleys, the lakes and rivers, the forests, the 
meadows, and even the orchards and gardens. 

Just so, these motion pictures helped me to view human 
nature from a hill-top and enabled me to sec where I have 
made goofl and shf)we(l me the pitfalls that I might not stray. 

They contrasted selfishness with unselfishness and revealed 
the beautiful things of life as well as the ugly deeds that I 



"What's the m 
"Never could 



Intolerance, 
The Hoodlum, 
The Brat, 
Revelation. 
Eyes of Youth, 
^lale and Female. 



might be able to tell the one from the other because I was 
better acquainted with them and so help>ed me to live just a 
little nearer the clouds than I otherwise might have done. 

They taught me the true value of love and caused me to 
modify my harsh judgments so that I might he'p some less 
fortunate brother or sister along the path we are all traveling 
to perfection. 

I am truly grateful for them and know that they must have 
helped others as they have helped me and therefore deserve 
to live. Mrs. Maude Monahan, 

9 East Clay .^ve., 
Muskegon, 

J j S m Michigan. 

Pictures That 
"Get Under the 
Skin" 

Third Prize 

T THINK the 
A pictures that 
live longest in our 
minds are the ones 
that depict our own 
everyday emotions 
our joys and griefs 
— our virtues and 
failings. Who can 
help being vitally 
interested in one's 
self? We like to 
deduce — "Now, if 
I hadn't been har- 
nessed to that 
desk, I. too, might 
have 'held up' a 
whole town single 
handed," or. "If I 
wasn't wedded to 
this fireless cooker 
I might have cap- 
tivated Count De 
Busti myself." We 
all like to "play"' 
and "pretend"' and 
the intensity of 
the screen million- 
aire's fight to cor- 
ner the market is 
felt by the modest 
youth who tries to 
corner his boss for 
a five-dollar raise. 
Under the skin, al- 
ways ! 

.•\nd we want 
variety. There is 
so much good in 
the worst of us 
and so much bad 
in the best of us 
that while we long 
to be a "Polly- 
anna"" or a "Mir- 
acle Man"" tonight we may favor "Sadie." "The Snare"' and 
"Red Pete " tomorrow evening. Isn t that why the public is 
called fickle? Too many Falls of Babylon (to say nothing of 
the ruins inflicted upon us in jazzie road houses) make us wel- 
come sweet pastoral scenes. 

I agree with PnoTOPLAY"s list of winners, substituting, for 
the four I missed seeing. "Eye for an Eye."' "The Poppy Girl's 
Husband."' "Broken Blossoms"' and 'The Woman in the Suit- 
case."" I liked my first and second because they were domi- 
nated by the two great personalities of the screen. The third 
because of the touch of a master hand. The torturing of Lucy 
left nausea. Then, why see it? Because of the lasting effect, 
the aching desire to comfort all abused and neglected children; 
that was the real triumph of the picture. I believe. My fourth 
gave originality of plot, if I am any judge. 

( Continued on page go) 




attcr, Martha ? " 
kerchoo — stand that alkali dust! 



Photoplay Magazine — Advertising ISection 



I BEAUTY ' POWDER / 




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These three preparations may be used separately or to- 
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the makers of Pompeian MASSAGE Cream, Pompeian 
NIGHT Cream, and Pompeian ERAGRANCE (a 2Sc 
talcum with an exquisite new odor). 

Special Offer Half-Box Powder and Trial Talc Can 



Either or botli sent to one per- 
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Pompeian BEAUTY Powder 
and samples of BLOOM and 
DAY Cream. For a nickel you 
get a beautiful trial can of 
Pompeian FRAGRANCE (a 
talcum) for your purse. For 



15c you get both. (BEAUTY 
Powder Offer is good only in 
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No letter necessary with coupon. 
We'll understand. 




THE POMPEIAN CO., 2131 Payne Ave., Cleveland, O. 

Also Made in Canada 



GUARANTEE 



The name Pompeian on 
any package is your 
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Send this coupon to above address. Enclose 10c 
(.lime) for hall-box Pompcia.. Itcnuty Povvder. Or Sc 
(nickel) lor handv cnn ol Poiniwian I'r.itrrancc (a talcum). 
Or I5c (dime and nickel) fur both pack.)Kes. 



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rtcsh Beauty Powder sent unless another shade requested. 



When you wiito to aUvertisers please znentlon PUOTOPI'AY MAGAZINE. 



Fiiu loiM. \^ .M \(. \ /.im: — AiJ\ i.n i isin(. Si * 1 



Hail^ Hail, the Gang's 

All Here! 




School days; the old frat house; the 

parties and picnics; the canoe rides and "wiener" 
roasts good old Hob and Ned; l^ess and Marge — 
and the rest of the gang — and Bess (gee, what a sweet 
h'ttle flirt!) W^/uit happy memories school days leave 
with us! 

But what is it that enchants these hours — keeps 
the famiHar scenes forever bright? Music. 

Music is the very soul of youth — 
of Hfe. Can you imagine the "gang" 
without music — "It's Always Pair 
Weather," "The Gang's All' Here" 
and the other old chestnuts, with 
mandolin or guitar — or both — 
whanging out the melodies and 
chords. 

There's something about the 
music of the good old GIBSONS 
that just ^oes with the joyous 
ties of our school days; it makes 
hearts lighter, friendships more 
dear and love sweeter. 

And the beauty of it is that any- 
one can o\cn and play a GIBSON. 



Teacher Salesmen — men or 
women — always wanted. 
Unusual opportunities of- 
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have made the music dreams of thousands 
come true, for they bring self-performed 
music within the reach of everyone. 
(HHSON'S are the ideal home and companion 
instruments, bringing pleasure, privileges and 
cultural and social advantages into the lives of 
the thousands of CilBSON owners. GIBSON 
instrum( uts arc easy lo play a'uJ fa:y to pay for. 



GIBSONS hnvc played « part in hundreds of little 
romances — confidential human histories — about which 
we shall be glad to tell you. GIBSON book and free trial 
proposition also sent for the asking. Write for them today 
— become belter acquainted with the GIBSON family. 



Gibson Mandolin-Guitar Company 

467 ['arsons Street. KALAMAZOO, MICHIGAN 

The only excluaivc manufacturer.': of high-grade fretted 
instruments. Developers of Mandolin Orchestras. 



Lforv ailvifUsiiuLfU in I'lli 1 1 1 in..\ V M.VI..V/.1.M. is Bii.ir«iil>i>J 





^aUESTlONS 



AND 



ANSWERS 



OU do not have to be a subscriber to Photoplay 
Magazine to get questions answered in this Depart- 
ment. It is only required that you avoid questions 
that would call for unduly long answers, such as 
synopses of plays, or casts of more than one play. Do 
not ask questions touching religion, scenario writing or 
studio employment. • Studio addresses will not be 
given in this Department, because a complete list of 
them is printed elsewhere in the magazine each month. 
Write on only one side of the paper. Sign your full 
name and address; only initials will be published it 
requested. If you desire a personal reply, enclose self- 
addressed stamped envelope. Write to Questions and 
Answers Photoolay Magazine, 25 W. 4Sth St., 
New York Citv. 




TooDLES, Far Rockaw.^w. — So you are 
five feet seven and one half inches high, 
have dark brown hair and eyes and can play 
the violin and piano and would like to 
have me join your Girls' Club. I, am much 
taller than you, have dark hair and eyes 
also, and am afraid I can't join. You see, 
I only play the harmonica. 



Imogene, Washington. — I shall quote to 
you from Pilgrim's Progress if you aren't 
good. Marguerite Clark has left Famous 
Players, so if you don't want to take a 
chance on addressing her there and perhaps 
having the letter forwarded and perhaps 
not, you'd better wait until Photoplay an- 
nounces her new afli iation. 



Ruth C, Brownwood. — It's difficult to 
tell Constance Talmadge's age because she 
grows younger every year. Officially she is 
twenty. Mary Pickford and Douglas Fair- 
banks will be in Europe when you read this, 
if they carry out their present plans. Nazi- 
mova recently resigned her contract with 
Metro. Charles Bryant is her husband and 
leading man. Mary Thurman is w-ith the 
Allan Dwan company. Harrison Ford is 
divorced. 



M. 0. N., Canada. — Adversity is usually 
the force that drives most women into a 
professional career. Our great actresses very 
often come from families not rich in worldly 
goods, automatically provided with a ma- 
terial impetus to art. Mary Pickford went 
on the stage at the age of five to help sup- 
port the family. Mary is a finer actress 
because of it. She and Douglas Fairbanks 
have a home in Beverly Hills, near Los 
Angeles, California. 



Lois F., San Francisco. — We don't have 
so many of those old stories about the 
wealthy manufacturer's son who falls in love 
with the beautiful factorv^-hand, throws over 
his wealthy fiancee and his private stock 
for her, and marries her after the final 
clinch — or at least we hope he marries her. 
Lois Wilson is Mrs. Phillips Smallcy. Ben 
Turpin is with Sennett; Dorothy Gish with 
Griffith; Alice Lake with Metro. 



TnoRA, Bedford. — Robert Louis Steven- 
son has said — in other words — that no art 
produces illusion; that when we are in a the- 
ater we never forget that it's all a plav. 



although sometimes we condescend to be 
taken in by the reality of the characters. 
He himself was a great master of fantasy ; 
"Treasure Island" and "Dr. Jekyll and Mr. 
Hyde" on the screen carried most of us out 
of the theater. Ruth Roland has been mar- 
ried, but she isn't now. Irene Rich and Will 
Rogers are not married to each other. Mrs. 
Rogers isn't a professional. Cullen Landis 
is married; Bebe Daniels isn't. 



The Studio Dog 

("Around Our Studio") 

He doesn't see the sense of it. 
The how or why or whence of it. 
But heartache- — he has none of it 
And his is all the fun of it. 

The pleasure of the chase he gets. 
And cares not for the space he gets. 
He doesn't scan the papers, O ! 
For records of his capers, O ! 

In danger he's heroical; 
His attitude is stoical: 
Let others draw the salaries — 
His pictures fill the galleries I 

— Morrie Ryskind. 



M. S., Bi.ackshear. Ga. — Oh, well, I 
don't starve, exactly. Of course I might get 
a little higher pay, but I can't strike. I've 
been told so often I'm the one and only An- 
swer Man, that I think I'd have a lonesome 
job of it. Olive Thomas' only husband is 
Jack Pickford. Neither was married before. 
The little girl in "The Flapper" with OIlic 
is her own little sister. Wallace Reid's w'ife 
is Dorothy Davenport. 



Edith L., Conn. — As some sage has said, 
you may be able to make your own spiritu- 
ous substitute, but will you be able to drink 
it? Madge Evans is with Prizma; whether 
she works regularly I couldn't tell you. 
Madge is growing up fast now. Next thing 
we know she'll be playing ingenues. "Yes, 
yes — Norma Talmadge is still Mrs. Joseph 
Schenck. 



M. G., New York City. — So you arc not 
one of those girls who are crazy to act. 
Well, it may be possible that you have tal- 
ent. I can't give you the address of an 
interpretative dancing school, unless The 
Ruth St. Denis School in Hollywood would 
come under that heading. I know so very 
little about dancing of any kind, let alone 
that sort of thing performed by pseudo- 
Sennett maidens on a dewy lawn and aided 
by a garland of flowers, a photographer, and 
Grecian expressions. Eileen Percy is now a 
Fox star. Juanita Hansen is making serials 
for Pathe. Emma Dunn made "Old Lady 
31" for Metro. Ann Murdock hasn't been 
seen on stage or screen for a long time. 



Trenton Adm'rer, Kirksville, Mo. — 
You neglected to enclose the final page of 
your letter so I don't know what it is you 
want me to ask the Editor. However, I 
presume you want your information regard- 
less. Pell Trenton has been on the stage 
since iqio. He began with Julia Marlowe, 
playing in Broadway productions and also 
in repertoire with Sir Herbert Tree in Lon- 
don. He has played juvenile leads in "Par- 
lor, Bedroom and Bath," "Seven Days,"' 
"Peg O' My Heart," and others. He is with 
Metro, where he supported Viola Dana in 
"The Willow Tree" and May Allison in 
"Fair and Warmer." Better write and ask 
him those personal questions. I haven't 
the heart. 



J. M., Opelous.as, La. — The persecuted 
heroine of that "Vitagraph serial called "The 
Invisible Hand" is little blonde Pauline Cur- 
ley. .Antonio Moreno is the star. This 
same team is making another chapter thriller 
now. Moreno is to be starred in features 
soon. 



L. G., San Antonio. — I regret to inform 
you that Francis X. Bushman is not in pic- 
tures any more; but his son, taking pity on 
our Bushmanless existence, came right in like 
the little man he is, and signed with Christie. 
Ralph is his name; he's only nineteen and 
resembles his father. I don't know if he 
wears a large amethyst ring, however The 
younger Bushman is playing a juvenile lead 
in Mary Roberts Rincharfs "The Empire 
Builders" for Goldwyn right now. You can 
get all the well-known players' addresses 
from this department and look up the com- 
panies in the Studio Directory. 

87 



65 



B. D., New York. — Yes, sir, I saw Mae 
Murray in ' On With the Dance." I never 
saw so much of her. She's Mrs. Robert 
Leonard. He is her director. When both 
were with Universal she was his star; she 
went with Paramount for the Fitzmaurice 
productions and he with International to di- 
rect Marion Davies. Now they are toiiethcr 
again, having formed their own company, 
called The Invincible. Mae will be on the 
August cover. 



L^estions and Answers 

( CotUuiHcd) 

— costumes and Mary Pickford's age and 
does Constance Talmadge answer her own 
mail? 



Kathleen. — You want to know if Dick 
Barthelmess likes jazz music. I don't know, 
but he likes to dance, so it 
only follows that he must 
approve of those St. Vitus 
tunes. I'll give you his 
address and you can write 
and ask him if he shim- 
mies. He wouldn't hit a 
lady. Niles Welch with 
\ itagraph in "The Courage 
of Marge O'Doone." Lila 
Lee with Lasky. 



Judge Bee, Ottowa. — Morning, Judge. 
When I think of the many things I've told 
you — But enough. You want to know 
where Mr. Sennett makes his comedies. In 
Hollywood, Cal. Marie Prevost is still with 
the Sennett company; her latest is "Down 
on the Farm." You may reach her, Louiie 
Fazenda, Harriett Hammond and Phyllis 
Haver at the Sennett studios. You're wel- 
come. I know just how you feel. 



tell you how old that actress is because tliafs 
her business and I wouldn't mind it for any- 
thing. Bryant Washburn has two sons: 
Sonny (or Bryant Junior) and Dwight Lud- 
low. The latter is a comparatively recent re- 
'lease. Mrs. Washburn was Mabel Forrest. 
Lloyd Hughes is with Ince, Culver City. 



Frances, Berkeley, Cal. 
— Xow how could / have 
my hair bobbed? If I 
were a long-haired poet I 
wouldn't and if I were a 
woman I wouldn't. I think 
the screen ladies who have 
taken this great tonsorial 
step forward look very 
well with clipped locks. 
Let's see if we can name 
them all; this seems to be 
such an attractive topic 
lately. Irene Castie is en- 
titled to first place, for 
she started things; Viola 
Dana; Constance Tal- 
madge and Natalie ; Anita 
Loos; Shirley Mason; 
Corinne Griffith ; Dagmar 
Godowsky. Pauline Fred- 
erick has long hair; she 
only wore a bobbed and 
deceptive wig in one pic- 
ture. Dorothy Gish's real 
hair is not bobbed but she 
wears a wig also, in all her 
films. I could not forward 
your letter as I do not 
keep addresses; so had it 
sent back to you. Come 
again, you bobbed-banged- 
baby. 



Betsy Jane, Red Oak, 
Iowa.— I don't think it's 
a tribute to my personal 
pulchritude that I get so 
many letters from ladies. 
I admit my rare fascina- 
tion, but decline to be 
complimented on my curly 
locks. Beauty of the soul 
is my fatal attraction. 
Cullen Landis has a wife 
and child. Don't vamp 
him, even on paper. Or I 
miuht say particularly; I 

always advi.^c caution. 

We don't give personal ad- 
dresses. "I'm sorry, but I 
guess you'll live through it. Write to me again. 




Nurse, Cincinnati. — Can't understand 
why you have not been getting AUce Joyce 
and Clara Kimball Young pictures. Both 
stars have been working right along. Miss 
Young's late ones have been "The Eyes of 
Youth," "The Forbidden Woman," "For the 
Soul of Rafael" and "Mid- 

Channel." The last two are 

in production now. Miss 
Joyce has been seen in 
"The Sporting Duchess," 
"Dollars and the Woman," 
and "Prey."' Miss Young 
is divorced from James 
Young. Alice Joyce is now 
Mrs. James Regan. Peggy 
Hyland has left Fox and 
gone abroad for an Eng- 
lish producer, Samuelson. 
Anita Stewart's new ones 
are "The Fighting Shep- 
herdess" and "The Yellow 
Typhoon." It's your ex- 
hibitor's fault if you never 
see these stars' latest re- 
leases. Kick ! 



Patent Not Applied For 

FOR. the movie patron wlio wishes to slip inconspicuously and without 
annoyance into the middle of a row. Mr. Hay believes theater man- 
agers could make themselves more popular with fans who like to see a 
performance from the beginning, if they installed the automatic, drop-a- 
coin-in-the-slot, self-rising scat. This invention would eliminate the need 
of ushers and would eliminate those nasty moments when, if the members 
of the audience were at a foot ball game, they would shout, "Down in 
front! The theater auditorium would be built over a subterranean area 
in which one would find the untaken scats. Any one planting himself in 
a chair, depositing his admission price in the little coin box at the back, 
and pulling the lever would find himself quietly shooting upward through 
the floor without the usual fuss. The artist has not applied for a patent. 



E. S., V.\NCOVVER, B. C. 

— I'm afraid Irving Cum- 
mings won't pay much at- 
tention to a leap year pro- 
posal. You see, he hap- 
pens to be married. His 
wife is Ruth Sinclair. 
There's an Irving Cum- 
mings. Junior. 



V. B., England. — \'er>- 
glad to hear from you. A 
good many of our stars 
are going abroad. Mar>- 
and Douglas Fairbanks, 
the Talmadge girls, John 
and Anita Loos Emerson. 
Frances Marion, Peggy 
Hyland — who comes from 
your country — and Pearl 
White. Many are making 
pictures in England. Wal- 
lace Reid is still with 
Lasky, in Hollywood. His 
stage appearances did not 
interfere with his regular 
film work. 



M. F. OS., B. C— This magazine is not 
holding a scenario contest nor is one con- 
templated at this writing. However, why 
don't you compete for the worth while prizes 
we are offering for the best answers on vari- 
ous subjects? Watch PiiororLAv for an- 
nouncements from time to time. Didn't you 
sec "What the Motion Pictures Mean to 
Mc"? I know what they mean to me. They 
mean Eueene O'Brien's crooked smile and 
Dick Barthelmess' eyes; Mac Murray's — cr 



M. M., NE.WARK. — I'm sorr>- I cannot 
make an exception in your case, but when 
we have the star's business address we never 
give the personal address. A letter to Ruth 
Roland, care Pathe, will positively reach ber. 
She may read it herself and she may have a 
secretary who does that for her; but I think 
she will answer you in any event. 



Mrs. a. Laper.vl, Ma- 
nila. — Thanks for your 
very kind letter. I am 
glad to have such a loyal 
reader and take more than 
the usual interest in an- 
swering your questions. 
Tell me sometime about 
your theaters down there, 
won't you? Fred Good- 
wins, now directing pic- 
tures in London, England, 
played Mildred Harris 
Chaplin's husband in "For Hu«bands Only." 
the picture in which Lew Cody earned his 
reputation as a male v.impire. I'll let you 
know when Mar>' Pickford's autobiography 
is published. None of the actresses you 
name divulges her birthdate. 



loLA B., Concord, Cal. — Yours was not a 
harmonious letter. I can't tell you how old 
I am because that's nobody's business but 
my own — besides, I've forgotten. I can't 



E. E., Carltnville. — You're the origin.al 
"bobbed,'' aren't you ? Yours is the easiest 
question T have had to answer in a long 
time. Gloria Swanson has longer hair than 
Shirley Mason because Shirley's is bobbed 
(Continued on page oi ) 



PlI()Tv)PLAV MA(iA/IM-: — A1)M:H I ISIN(i MICTION 




She charged 
He replied ; 



^^Men are too lax in these matters" 
admit it; but have women the 
right to judge them? " 



RECENTLY I published the letter 
of a woman who had written me 
protesting against what she called 
my "unfairness" in setting up a standard 
for women which I did not seem to apply 
to men. 

"Get after the men, "she wrote. "They 
are the real offenders in these matters. 
Few women I know need to be told 
these facts about themselves; but most 
men I know certainly do." 

To this a man now replies: "I must ad- 
mit the truth of what your correspond- 
ent says, most men are too lax in these 
matters. But after all, have women 
the right to judge men where so many 
women fail ? Is it not natural we should 
look to your sex for a standard in such 
matters? I can well believe that no 
woman who was conscious of the fact 
would let perspiration odor or moisture 
mar her daintiness. But every man 
knows how many unconscious offenders 
there are, even among the very nicest 
women." 

Adam-like, the man tries to excuse 
his sex by blaming Eve. But it will not 
do. Undoubtedly all women have not 
yet learned how necessary it is to take 
precautions against perspiration. But 
this does not alter nor excuse the fact 
that men as a whole are much more lax 
than women in this matter of personal 
fastidiousness. 

An old fault — common to most of us 

It is a physiological fact that there are 
very few persons who are not subject to 



this odor, though seldom conscious of it 
themselves. Perspiration under the 
arms, though more active than else- 
where, does not always produce exces- 
sive and noticeable moisture. But the 
chemicals of the body do cause notice- 
able odor, more apparent under the 
arms than in any other place. 

The underarms are under very sensi- 
tive nervous control. Sudden excite- 
ment, embarrassment even, serves as a 
nervous stimulus sufficient to make 
perspiration there even more active. 
The curve of the arm prevents the rapid 
evaporation of odor or moisture — and 
the result is that others become aware 
of this subtle odor at times when w'e 
least suspect it. 

How well-groomed men and women 
are meeting the situation 

Well-groomed men and women every- 
where are meeting this trying situation 
with methods that are simple and direct. 
They have learned that it cannot be 
neglected any more than any other es- 
sential of personal cleanliness. They 
give it the regular attention that they 
give to their hair, teeth, or hands. They 
use Odorono, a toilet lotion specially 
prepared to correct both perspiration 
moisture and odor. 

Odorono was formulated by a physi- 
cian who knew that perspiration, be- 
cause of its peculiar qualities, is beyond 
the reach of ordinary methods of clean- 
liness — excessive moisture of the arm- 
pits is due to a local weakness. 

Odorono is an antiseptic, perfectly 



harmless. Its regular use gives that 
absolute assurance of perfect daintiness 
that women are demanding — that con- 
sciousness of perfect grooming so sat- 
isfying to men. It really corrects the 
cause of both the moisture and odor of 
perspiration. 

Make it a regular habit ! 

Use Odorono regularly, just two or three times 
a week. At niffht before retiring, put it on the 
underarms. Allow it to dry. and then dust on 
a little talcum. The next morning, bathe the 
parts with clear water. The underarms will 
remain sweet and diy and odorless in any 
weather, in any circumstances! Daily baths 
do not lessen its effect. 

Women who find that their gowns are spoiled 
by perspiration stain and an odor which dry 
cleaning will not remove, will find in Odorono 
complete relief from this distressing and often 
expensive annoyance. If you are troubled in 
any unusual way, or have had any difficulty in 
finding relief, let us help you solve your prob- 
lem. Write today for our free booklet. You'll 
find some very interesting information in it 
about all perspiration troubles! 

Address Ruth Miller. The Odorono Co., 513 
Blair Avenue. Cincinnati, Ohio. At all toilet 
counters in the United States and Canada. 
S.'ic. 60c and $1.00. By mail, postpaid, if your 
dealer hasn't it. 

Men will be interested in reading our book- 
let, "The Assurance of Perfect Grooming. " 

Address mail orders or request as follows: 
For Canada to The Arthur Sales Co., 61 Ade- 
laide St.. East, Toronto, Ont. For France to 
The Agencie Americaine. 38 Avenue de TOpera. 
Paris. For Switzerland to The Agencie Ameri- 
caine, 17 Boulevard Helvetique, Geneve. For 
England to The American Drug Supply Co., 
6 Northumberland Ave., London, W. C. 2. For 
Mexico to H. E. Gerber & Cia., 2a Gante, 19, 
Mexico City. For U. S. A. to 

The Odorono Company 
513 Blair Avenue, Cincirinali, Ohio 



Wlieu you wriio to aavi-rtisers uU-asc niiiitiun i'Hi jTi IPLA Y .MAti.V/.lNi;. 




PiroroFLAY Magazine — Advertising Section 



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The Twelve Best Motion Pictures 

{Continued jrom page 84) 



Xo one knows less of the West than I, 
and yet, I shout from the housetops, "Long 
live 'Scarlet Days" !" Maybe, that's part 
of the secret — we applaud a different envir- 
onment from our own. I guess Miss Check- 
book adores "alley stunts'' and Miss Yard- 
slick craves more of Lady Gwendolyn \'cre 
de Vere. Why, how often we skeptically 
read of the insatiable ambition of screen stars 
to be practical artistes! We'll say it is quite 
true that most domestic scientists imagine 
they'd enjoy decorating the silvcrsheet. 

Bettie Barry. 
119 Glenville .Avenue. 

Boston, Massachusetts. 



Those That Li\ e In Memory, 
Training To Better Things 
Third Prize 

THESE twelve photoplays I consider 
meritorious. Certainly they have lived 
in my memory, training me to better living. 

"Broken Blossoms" — Finally our craving 
for beauty has been satisfied. The enormous 
breadth of the Mandarin's philosophy, the 
subtle comparison of his old-world civiliza- 
tion with our "modern" civilization, the 
love'iness and poignancy of the love 
theme, all convince us of our own short- 
comings, and plead charity to our brother, 
the yellow man. 

"The Miracle Man'' — \ successful appli- 
cation of a moral minus the taste of the 
medicine. The ability of the Patriarch to 
call forth the best that is in us by his own 
example of faith and righteousness, teaches 
us that we are what we have in our hearts. 

"Bab Stories" — Every .American girl who 
has seen these stories knows that they are 
true, remembers living through similar 
periods, e.xpcriencing identical emotions. 
Bright and breezy, yet fragrant with tender 
memories of our girlhood. World-weary 
Philistines need this sort of play. 

"The Copperhead" — hn ideal tribute of 
the .American nation to its martyr-idol, Lin- 
coln, symbolized in the unswerving, dogged 
faith and love of the loyal Milt Shanks. A 
beautiful example of true .Americanism. 

"Shoulder .Arms" — Comedy? Yes! Funny 
and original, pathetic and touching as only 
our beloved "Charlie" can be. Remember 
when the Christmas boxes arrive, Charlie, 
hurt, humiliated, resorting to the rat-trap for 
his bit of cheese? Not quite so funny, eh? 
The story? Immense! .An .American classic. 
Our humorous memento to the great war. 

"Hearts of the World" — .An enormous 
heart-ache. Batt'e-torn France, raped Bel- 
gium, the greatest miseries and the smallest, 
tragedies of nations and tragedies of hearts, 
dissected and presented as impartially as a 
student dissects a cadaver. A sermon against 
all wars. 

"Pollyanna" — Refreshing. .As sweet as an 
old-fashioned garden. .A breath of lavender 
in a land of "Mary Garden." It deserves to 
live because it keeps youth in our hearts. 

"Barnebetta" — This play is the indomitable 
world-old cry for self-expression and ad- 
vancement of women. Pankhurstian in its 
methods, it, nevertheless, succeeds in brcakinp 



the shackles and putting the idea across. 
It talks for' all women and its plea should 
be heard. 

"Revelation" — We appreciate the awaken- 
ing of a soul from its sordid clay dwelling. 
It stimulates a similar rcsptonse in us, and. 
if we are the better for it, should it not live? 

"When the Clouds Roll By " — Snappy, 
modern jazz. Unforced f>ep. The best sauce 
for dyspepsia. It should Uve if only for 
the T. B. M. 

"Intolerance" — The injustices of the ages 
from the criticisms of the Pharisee through 
the cruelties rampant in France on St. Bar- 
tholomew's night up to our own hypocritical, 
notoriety-seeking, over-ambitious, sordid re- 
formers, arouse one from a lethargy of smu.» 
self-satisfaction. .A sermon against narrow- 
mindedness, be it of race or creed. 

"Old Wives for New" — .A woman whose 
husband is a success physically, mentally, 
morally and materially, refuses to keep apace 
with him. .A sane refutation of the evil and 
justification of the good divorce may do. 

Naomi R. Heller. 

Peoria, III. 707 Mary St. 

Ho-w Real Pictures 
Strike A Real Boy 

Third Rrize 

My favorite motion pictures are these: 

"Work " — Because I love to laugh — I'm 
afraid I'm going to be a skinny guy. 

"In .Again Out .Again" — I like to see Dug 
crawling up a wall like a lizard and the 
tough guy who had the note under his hair. 

"Still Waters" — Where the old circus horse 
ran away with Marguerite Clark. Great. 
I'd like that to happen to me. 

"The Spoilers" — .Although I had a lamp 
put out tr>-ing to do the big fight with an- 
other boy — and the folks all said: "You 
can't tell me! You got licked — why look at 
j-our face." 

"The Birth of a Nation" — I sat on the 
edge of my chair for three mortal hours and 
almost suffocated with excitement. 

"Broken Blossoms" — It made me mad, too. 
I was afraid the other fellers would see me 
crying — I'll say she was pretty in her Chink 
clothes. 

"Joan the Woman" — Great fight! .And 
when Joan was hunting among the nobles 
to find the real king the girl at the piano 
played, "Oh, where, oh, where has my little 
dog gone?"' 

"Orange Blossoms" — Fatty made such a 
good lady-cook. 

"Judith of Bethulia" — Gee! It was grand 
when thev pushed them all ofif the great 
wall. 

"Rebecca of Sunnybrook Farm" — Because 
they made up an honest Injun circus and 
Rebecca ate the pic the ants made. 

"The Miracle Man" — Because maybe it 
will do away with jails, for if a guy can have 
a better time being good — why not be good? 

"Cabiria" — .A lot of histon.- told in a dandy 
way — a dandy ole snake, too. .And the big 
black bloke was some bloke ! 

Max Wagner. 
Box 366, Salinas, Cal. 



The Casting: Director — ("Around Our StuJwi 



He's very popular, is he. 
With all the movie coterie. 
In fact, he k more pop-u-lar 
Than even any movie star. 



The greetings that he gets are hearty; 
He's asked to every single party. 
They fell him stories to delight him. 
.And never, never, never slight him. 



Tiny cast their bread — you get my meaning — 
.And he casts them — that is, for screening. 
Time was the movies had no caste — 
But that day, as you see, k past. 

— Morric Rvskitid. 



y:\cry ailrrrtlwmcnt In mOTOrLAT M.\CAZrN"E la niiruitwd. 



Questions and Answers 

( Continued) 

Thelma Darling. — Violet Mcrscrcau is 
not dead, but Harold Lockwood is. 



Comrade Castle, Pl.^cerville. — I see you 
have imagination, that rarest gift. Like 
"Anne of the Green Gables"' I sometimes let 
mine run away with me — do you? Louise 
Huff is Mrs. Stillman now; she has a little 
daughter, Mary Louise. Jack and Mary 
Pickford are brother and sister; thought 
everyone knew that. Jack b married to 
Olive Thomas. See other answers for 
Blanche Sweet query. 



A. P., Californl\. — There are two golden 
ages of mental man : the future, before he 
marries; the past, when he is married. So 
you see stars in Frisco. Just what stars do 
you mean? Bobby Harron; Grifllth ; Mil- 
dred Harris Chaplin, Hollywood, Cal. She 
has her own company; never has played 
with Charlie. Kathlyn and Earle Williams 
are not related. Nigel Barrie with Clara 
Kimball Young in "The Better Wife." 



Frances, J. B., Manila. — No, no — Ken- 
neth Harlan is not married to Carmel Myers. 
Neither is married. Miss Myers last played 
on the stage in a musical comedy, "The 
Magic Melody." Write to her now at Uni- 
versal City, Cal. She has signed a new film 
contract with them. Marie Walcamp will 
probably have returned from Japan by the 
time you read this; address her at Universal 
City. She is Mrs. Harland Tucker now. 



R. Guevara, Manila, P. I. — We seem to 
be gathering them in. Yours is the four- 
teenth letter I have had from Manila this 
month. Most of them want answers by 
mail. Elsie Ferguson is now appearing on 
the stage in a play called "Sacred and Pro- 
fane Love," which is built from a book by 
Arnold Bennett, "The Book of Carlotta." 
Miss Ferguson will continue her picture- 
making, for a while at least. She is Mrs. 
Thomas B. Clarke. 



Jackie, Eliihurst. — Of course you're 
not nosey, Jackie. If you and a lot of 
others didn't ask me questions, I might per- 
force have to turn the crank of a camera 
or flip cakes at Childs. Lottie Pickford 
has a husband — a Mr. Rupp, not in the 
profession. Carol Halloway did have a 
husband but dismissed him with the help 
of the court. William J. Shea died in 
November, 1918. He was fifty-six years 
old and was a victim of heart disease. I've 
answered faithfully all your questions. 
Come again. 



E. B., Tasmania, Australla. — You could 
safely have e.xtended your letter over an- 
other six pages and not have heard any wails 
of protest from me. I enjoyed everything 
J'OU said, and commend you, child, on your 
philosophical view of life in general and pic- 
tures in particular. Give my best to that 
big brother when you write. So you were 
surprised to find a minister sitting in the seat 
beside you in a cinema. Some of the 
staunchest upholders of the screen are wear- 
ers of clerical garb. Bill Hart, Hart Studio. 
Hollywood, California. 



SuNBoNNET SuE, Vancoi'Ver. — ^Vhere have 
you been ? I haven't a single correspondent 
who in her turn hasn't an uncle or some 
other relative who lives in Los Ange'es only 
four blocks from Mary Pickford and one 
and one half blocks from Gerry Farrar. It 
is true that if I were as handsome as that 
drawing at the heafl of my column I wouldn't 
be a bachelor. Figure it out for yourself. 
All the addresses you ask for have been 
given elsewhere in these pages. 




An invention 

which has revolutionized July 

Think how many new dehghts Prof. Anderson gave summer 
when he invented Puffed Grains. 

The milk dish now has Puffed Wheat floating in it — thin, 
flimsy, toasted bubbles of whole wheat. 

Breakfast brings the choice of three Puffed Grains, each with 
its own fascinations. 

Puffed Rice now adds to berries what crust adds to a short- 
cake. Or a nut-like garnish to ice cream. And between meals, 
hungry children get some Puffed Grain crisped and buttered. 

Every day in summer, millions of people now enjoy these 
supreme food delights. 

But don't treat them like mere tidbits 

These flaky, flavory bubble grains seem like food confections. But two are 
whole-grain foods, remember. And all are scientific. 

They are made by steam explosion. Every food cell is thus blasted so diges- 
tion is easy and complete. 

They are the best-cooked cereals in existence — the only cereals so ideally 
fitted to digest. 

They are all-hour foods. They make whole-grain foods tempting. Let 
children find them handy, morning, noon and night. 



Puffed Wheat 



Puffed Rice 



Corn Puffs 

All bubble grains 
Also puffed rice pancake flour 




Now ice cream 

Is garnished with these 
airy, nut-like bubbles. 



The Quaker Qafs (pmpany 



Sole Makers 



When y< 



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They are secrets which every woman 
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The secret of skin comfort — of re- 
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come — in the city — the coun- 
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than outdoor sleeping and there's no better 
way to enjoy it than with a Gold Medal Cot 
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r. RAY r.niZTT. I*r. sf-nts 

SAM BERNARD and IRENE BORDONI 

— 1 X - 

AS YOU WERE 

A Fantastic Revue by Arthur Wimperis 
(Adapted from Rip's Plus ca Change") 
American Ver.sion by Glen MacDonough 
Lyrics by Arthur Wimperis Music by Herman Darewksi 
Additional Lyrics and Music by E. Ray Goetz 
Staged by George Marion 
Musical Numbers by Julian Mitchell 
Produced by Arrangement with Charles B. Cochran 
of the London Pavilion. 

Costumes designed by Homer Conant and made by Paul Arlington, Inc. 
Miss Bordoni's modern gown by Joseph, New York, and "Ninon" costume 
by Paul Poiret, Paris. "Cleopatra" and "Helen of Troy" costumes 
by Pieter Myer and Dorothy Armstrong, New York, and 
Futuristic gown by Mnie. I'ascaud, Paris. 
Head-dresses by Maison Lewis, Paris 
Modern, French and "Watteau Boy" costumes by Anna Spencer. 
Men's costumes by Pieter Myer and Dorothy Armstrong. 
Shoes by the Packard Boot Company and I. Miller. 
Wigs by Hepner. Scenery by the Robert Law Studios. 

Art Director, Herbert Ward. 
Grecian Scene designed by W'ithold Gordon. 

For E. Ray Goets 

Arthur J. Levy Representative 

George Sullivan Stage Manager 

Kroywen, Inc Lessees and Managers 

Builder of the Shubert theaters, Edward Margolies 



FROM time to time we have taken little flings at the absurd number of credit lines 
on the screen, telling who directed the picture, who lettered the title cards, who 
held the assistant cameraman s coat, etc., etc., but it seems the screen gives no credit at 
all compared with some of our current New York productions. For instance, the 
watchman at the stage door was woefully neglected in the prologue of the program 
given above. 



Questions and Answers 

( Continued) 



Anna T. Coolidge, NTew Orle.ans. — You 
say in your letter, "This is from the same 
Miss Coolidge who was so inquisitive last 
time." Well, you haven't changed much, 
Ann. No, I don't adore Dick Bartheimess, 
Ralph Graves, and Wallie Reid. I like them, 
though. With the exception of Mary Miles 
Minter, whose real name is Ju'iet Shelby, 
Lila Lee, whose real name is Augusta Appel, 
Shirley Mason, who is really Mrs. Bernard 
Durning, formerly Miss Flugarth, and Mar- 
jorie Daw, who is Margaret House, those 
are the correct names of the players you 
mention. .And, oh yes — Elsie Janis is really 
Elsie Bierbower. So you are sixteen and 
hate to write business letters. I am more 
than sixteen and hate to write 'em, too. 



M. G. L., Oakland. — You Native Daugh- 
ters come in bunches. Billic Burke has just 
signed a new contract with Famous Players, 
or Paramount .Arlcraft, whereby she con- 
tinues to make pictures for this organization 
for a long time to come. She is working in 
adaptations of well-known books and plays. 
".Away Goes Prudence" is a new Burke re- 
lease. Mary Thurman plays in .Allan Dwan 
Productions now — she's the same Mary who 
used to adorn Mr. Scnnetl's comedies. 



Questioner, Lveth. — You may be able to 
get a picture of the Great Dane, Scnnett's 
Teddy, by writing the Scnnett company on 
the Coast. He's a great dog, and the life 
of the party in "Down on the Farm," al- 
though I must admit that Pepper the cat 
also docs her share. Stuart Holmes has the 
leading masculine role in a new serial, named 
"Trailed by Three,'' in which he co-stars 
with Miss Frankic Mann. It's released 
through Pathe, so address Mr. Holmes there. 



Ripple, Willouchby Beach, \"a. — I sup- 
posed you were one of the pebbles until I 
saw the nom-de-plume. Mary Fuller seems 
to have definitely retired: also Ormi Hawley 
and Mabel Trunnelle. Of the others you 
mention, .Alice Hollister is coming back to 
the screen in a Goldwyn picture, which will 
be seen soon. .Antonio Moreno is working 
right along in \"ilagraph serials; Jack Dean 
is living abroad now wiih hb wife, Fannie 
Ward; Dorothy Kelly has been retired since 
her marriage to a non-professional; Ann 
Murdock has not been on the stage for a 
long time and has not made her future plans 
public; and Nell Craig is playing leads in 
various West Coast companies. Write Miss 
Craig at Universal. 



Harriet, Los Angeles. — I can't send you 
pictures of Mary and the Gish girls, Harriet, 
but if you will write to them, in care of 
their respective companies, they will answer 
you. I think Mary Pickford has done otlier 
things as good as "The Poor Little Rich 
Girl. ' Watch out for Mary whenever she's 
advertised; that's the best advice I can give 
vou. 



Emma, Portland. — I hate to darken your 
days like this, but it i« true : Conway is mar- 
ried, Mr. Tearle didn't consult me before 
taking this important step, so I couldn't do 
anything about it. Adele Rowland is his 
wife; she's a musical comedienne. Tearle is 
with Selznick at this writing, playing oppo- 
site Zeena Keefe. Ralph Graves isn't mar- 
ried. Vivian ^Lartin is. 



Cold MedaL 

Furnitttre For Home and Camp 



l.v.ry adrerllscmcDt in rilOTOrUAY ^LA0AZ1NB 1» gu»rmiitccJ. 



1 1 \ 1 I o I . 



Questions and Answers 

{Continued) 
Jessie B., Portland, — At last an original 
question. "Why," you say, "don't they 
change that picture of you at the head of 
your department? I don't like it!" Ah, 
but we often have to sacrifice beauty to a 
good likeness. Ashton Dearholt was with 
Universal. He is married. 



C. T. S., P.ADUC.AH. — Am I a good Answer 
Man? Well, there seems to be a difference 
of opinion as to what is a good Answer Man. 
If you ask me — Rod La Rocque had some 
experience in stock, legitimate, and vaude- 
vihe before going into pictures. He made 
his screen debut with Essanay, where he 
played small parts and characters and finally 
juvenile leads. Then he came East, went 
with Goldwyn opposite Mabel Xormand in 
"The Venus Model" and Mae Marsh in 
"Money Mad" and others. La Rocque is a 
free-lance, appearing now in Burton Kini: 
Wistaria Productions, where he will be fea- 
tured and perhaps later starred. He lives 
with his mother and sister, on Long Island, 
and is not married. Bom in Chicago. Nice 
chap, too. Is that all? 



Grace, Hollywood. — You're almost the 
first HoIIywoodian who has ever written to 
me for information. Most of them out there 
in the land of studios and sunshine are fed 
up with films and filmsters. I haven't the 
correct measurements of all those stars. And 
I don't know just how I can get them 
Can't you ask me something else? I'm 
sorry to fall down on this glorious oppor- 
tunity of answering a real native daughter 



M. A. D., LaFayette, — .\ particular pd 
is the woman who talks right through con- 
certs. She"s always keeping me awake. I 
can't give you Craig Kennedy's address 
Craig Kennedy is only a figment of Arthur 
Reeve's very fertile scientific brain. He ha^ 
been enacted on the screen by various gen- 
tlemen. Blanche Sweet is with Hampton- 
Pathe. Mary Miles Minter with Realart. 



Newcomer, Montreal. — Well, I'm glad 
you came. And sorry I didn't get around 
to your letter sooner. Mae Murray will be 
glad to send you her photograph, I am sure, 
if you will address her care Paramount- 
Artcraft, 485 Fifth Avenue, N. Y. C. Miss 
Murray is leaving that company soon to 
form one of her own ; but they will forward 
it. Address Constance Talmadge at the 
Talmadge studios in New York. Call again 
soon. 



Martha D., WAsmNCTON. — No, I am not 
wearing blue denim overalls, although that 
costume is sweeping New York at present. 
It made even Broadway sit up and take 
notice when those college boys and other 
inte'lectuals decided to combat the high cost 
of things by wearing a uniform. It is not 
stated how many of them were mistaken for 
carriage starters, ushers, and porters. Pro- 
nounce it Mee-an, with accent on first syl- 
lable. His wife is Frances Ring, sister of 
Blanche. The Tom Meighans are very hap- 
pily married. He was born in Pittsburgh 
but is not, I believe, a college graduate. 
Does that bother you? I couldn't be sar- 
castic to such nice white paper as you use. 



Theater Knowledge, New Orleans. — 
According to our best records, Bert Lytell 
was born and educated in New York City. 
It often happens, you know, that when a 
young actor — or writer, or artist, or finan- 
cier — has made a success in a certain town, 
said town claims him as a native son whether 
he first saw light of day there or not. This 
may be the Lytell case. 

( Continued on page 126 ) 




Corinne Griffith 

Famous Screen Actress 

appearing in one of her recent 
successes in which she wears a 



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He Likes ^Em Wild 

(Concluded from page y6.) 



and he gets the idea immediately. He's your 
friend for life if he likes you, but if he 
takes a dislike to you — watch your step ! 

"There was a night watchman at the 
menagerie for a while who always carried 
a bottle with him on his rounds, and now 
and then he'd give Joe a drink. But one 
night when he was three sheets in the wind 
he put red pepper in the whisky, and oh 
boy I Joe nearly went crazy tr> ing to get 
at the man. Since then he's had it in for 
eveiy man who has whiskers, because the 
watchman wore 'cm, and some day if Joe 
isn't watched, some one with a growth of 
facial alfalfa is going to get a painful jolt. 
But he never hurts a woman or a child. 
When we use babies in the animal comedies, 
they are absolutely safe with him." 

Mr. Santell looked so young to be the 
cinema pioneer I had been told he was, that 
I could not keep from remarking upon the 
fact. He smiled, somewhat ruefully, and 
touched the misplaced eye-brow on his 
upper lip with a reverent fore-finger. 

"I raised this to give the illusion of age," 
he said. "I've lost some mighty good di- 
recting jobs by looking too young to be 
sensible. 

"Yes, it's true that I'm a veteran in fhe 
picture game, but you see I commenced 
when I was only a kid. I was studying in 
an architect's office and wrote a scenario 
for Harry Rivier, the Frenchman who made 
Gaumont pictures in ParLs before a real 
industry was developed here in this country'. 
He's the man who sold the studio leases to 
D. W. Griffith and Jesse Lasky. 

"He liked the story, and took me on his 
staff at fifty dollars a week I Believe me, 
Rockefeller wasn't even in the suburbs of 
my class. I worked with him a year and 
did everything from developing films to 
writing continuity and hauling props. He 
taught me trick photography, and broke me 
in to all the known phases of the game. 

"Then I worked with Jimmie Young- 
deer in the days when we doubled the cow- 
boys as Indians and settlers and had them 
chasing themselves through two reels of 
thrilling westerns. I was with Keystone for 
a while and directed Mack Sennett and Ray- 
mond Hitchcock in an old comedy called 
'My Valet.' 

"Then I directed Kolb and Dill, Hamm 



and Budd, Fay Tincher, 'Smiling Bill" Par- 
sons, and after I got back from the war, 
I started in with Universal and the wild 
animals." 

Julia yawned suddenly, displaying a 
cavernous throat and a terrifying array of 
snowy white teeth that came together with 
an ominous snap. I swallowed my Eve's 
apple and wondered if I were good enough 
to die, but the sound only served to swing 
Director AVs thoughts back into the groove 
of four-footed conversation. 

"So many people ask me how we get 
wild animals to do their stunts," he said. 
"In the last picture I directed ('Upper Three 
and Lower Four"), Bob. the big lion, charged 
through a locked door to get at the crooks 
in the room. It sounds more difficult than 
it really was. The first shot was from the 
hall, showing the door at such an angle that 
only the door frames were visible. Instead 
of panels there were thin slats of wood, 
which gave way readily when Bob charged 
in obedience to the orders of 'Curly' Stecker. 
his trainer, on the other side of the door 
and out of the camera's range. Then when 
we shot the scene from the inside, showing 
Bob crashing into the room, we had a door 
with very thin panels, and Curly put the 
lion into a chute on the other side and sent 
him sliding down against the door so that 
he broke through in spite of himself. 

"I want to make animal comedies that 
have a real theme, and in which the animals 
are introduced with a logical reason — not 
simply stuck in to do a few stunts regardless 
of the plot of the stop.-." 

Just then the noon whktle blew and 
Julia gave an eight-cylinder yawn and 
licked her chops suggestively. 

"I — I think she's hungr>-,'' I faltered, pre- 
tending to be humanitarian and ever>-thing. 
"I think it's cruel to keep animals waiting 
for their meals — don't you?" 

Al said he did, but when Julia rose in 
obedience to the tug at her leathern leash, 
it seemed to me that she regarded me with 
regretful speculation. I'm positive she 
thought I'd make a good appetizer. 

"You can come and talk to me while I 
feed her," Director .\1 invited cordially, but 
I declined with thanks. Maybe he does like 
'em wild. I don't. I prefer my lions in 
cages or in taxidermists' shops. 



Modern Mastic 



By AUDRIE'ALSPALCH CHASE 



Tfie magic of motion crystalized 
And flung through light 
Upon a silver sheet 
Reaches the world around 
In theme and in reaction. 

It paints the moods of all hearts, 

Sad or gay or just enduring: 

It pricks out the subtle shado-ics over souls. 

It sings the riot of running, 

The strength of stillness, 

The placidity of prayer. 

It breathes the spring of youth. 

The gli>;v of love, the pride of parents, 

The brooding of motherhood, 

The pathos of ideals lost: 

h is the all-expressing. 

Alike of thought and being. 



And its language is the all-language. 
Patent to all without other learning 
Than the interpretation of own experience; 
It speaks to people as they know its message. 

It speaks of love and youth and joy and sor- 
row. 

Dimpled babyhood and canrd old age. 
Of ideals lost and gained, hopes xvon or 
foiled, 

.Is //.'; visionaries realize them. 

It is in silence the ultimate solution of ex- 
perience. 

Reaching all people with all things. 
The magic of motion crystalised 
.ind flung through light 
I'fti'n a silver sheet — 

The Moving Picture. 



Every adTertl.<cmei>t In I'llOTlUM-.V Y M.\t!.\/.IN"K Is (Ullr*lU^(^l. 



V5 



The Grand Young Man 
of the Screen 

(Continued from page 65) 
''The film,'' says Fawcctt, "is essentially 
modern, and up-and-going, just like the 
telephone, the subway, and the airplane. 
Imagine a mid- Victorian lady going to see 
a picture-show ! Films are not nearly so 
romantic as the old-time legitimate; but 
films on the other hand arc greater amuse- 
ment devices and educators. It links all 
nations, the motion-picture screen. The 
only thing lacking is voice. This is made 
up for by the boundless scenic scope of the 
camera. The picture is still more physical 
than psychological; but the time is fa=t 
coming when it will be as fu'l of psychology 
as it is now of direct elemental action. We 
need not use our imaginations in the lilm- 
theater as in the spoken; but there is often- 
times more personality in one reel of film 
than in a four-act p'ay. In time the films 
shall have weeded out those directors, those 
players, who can express only the easiest 
emotions and the most apparent ideas; and 
the masters who can put over psychology 
will be the monarchs of the screen." 

He is a Virginian— a college man, from 
the Viniversity of his state. There are few 
film companies he has not acted with at one 
time or another in his career: the old New 
York Motion Picture Corporation once had 
him on its roster. He was a member of the 
cast of that fine old Selig drama, "The 
Crisis," and in "The Heart of Texas Ryan" 
for the same company. He p'ayed in "The 
Cinderella Man," Mae Marsh's best Goldwyn 
vehicle and George Loane Tucker's best 
effort before "The Miracle Man"; with 
Clara Kimball Young in "Shirley Kaye"; 
with Norma Talmadge in the first Talmadce 
stellar drama, "Panthea." He has been with 
Griffith longer than with any other director, 
and his characterizations in "Hearts of the 
World" — as one of the Three French Mus- 
keteers — as Bobby Harron's father in ".A 
Romance of Happy Valley," and as Dorothy 
Gish's dad in many photoplays, he has be- 
come one of the most beloved actors of the 
American screen. And while there is no 
doubt he will duplicate his personal success 
in the directorial field, it is hoped he will 
not give up acting entirely. 



He's Seen It Now 

CHESTER BENNETT, who directs Earle 
Williams, owned a restaurant, although 
he had never seen it. He supplied the neces- 
sary funds to open it to a man who had 
once worked for him and has since been 
content to take his dividend without in- 
specting his ham and eggry. But, being a 
Boniface by proxy himself, he is interested 
in any place where they rattle dishes. 

Recently his company was at Vernon tak- 
ing scenes. They dropped into the nearest 
restaurant. Chester Bennett, the restaura- 
teur, was supercritical. He "panned" every- 
thing, the service, the food and all. 

"I'd like to meet the owner,'' he demanded 
of the waiter. "I'd show him a few things 
about running a cafe. Where is he?" 

"I don't know," said the waiter. "The 
place be'ongs to a guy named Chester Ben- 
nett in the motion picture business.* 



$76,000,000 U. S. Film Tax 

THROUGH admission taxes the motion 
picture industry is expected to yield to 
the United States government for the year of 
1Q20 a total of $76,000,000. That is the fig- 
ure given the House committee on ways and 
means as the estimate of officials of the bu- 
reau of internal revenue. This expectation is 
based on the actual collections for the first 
six months of the year, which amount to 
$34,522,664. 




Dinner 
is Ready 



Prepared by Van Camp's Scientific Cooks 



Remember this ready-baked 
dinner in these hot summer 
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Beans — the most delicious bean 
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As hearty as meat. Every 
bean mellow and whole — baked 
with a zestful sauce. Ready, 
hot or cold, when you want it. 

A new-type dish 

Baked beans of this sort 
come only from Van Camp's. 

Each lot of beans is analyzed. 
The water used is freed from 
minerals, so the skins will not 
be tough. 



The beans are baked in sealed 
containers, so the flavor can't 
escape. 

The baking is done by live 
steam under pressure. Thus 
hours of baking do not crisp or 
burst the beans. 

They are baked with a sauce 
famous for its tang and zest, 
and every atom shares it. 
•jfi ^ I'fi ^ 

Van Camp's come to you whole and 
mealy, rich in flavor, easy to digest. 
The dish will change your whole con- 
ception of baked beans. 

Try it now. You will serve Baked 
Beans five times as often when you 
know Van Camp's. And they'll save 
you summer cooking. 




Pork and 
Beans 

Three sizes, to serve 3, 5 or 10 

Baked With the Van Camp Sauce— Also Without It 
Other Van Camp Products Include 

Soups Evaporated Milk Spaghetti Peanut Butter 

Chili Con Carne Catsup Chili Sauce, etc. 

Prepared in the Vcti' Camp Kitchens at Indianapolis 




Van Camp's 

Tomato Soup 

Also 17 other kinds. All per- 
fected by countless culinary- 
tests. 




Van Camp's 
Spaghetti 

The prize Italian recipe 
prepared with supreme in- 
gredients. 




Van Camp's 
Evaporated Milk 

From hieh-brcd cows 
five rich d.iiryinK districts 



When you wTito to aUvoaiscrs ulcase mention PHOTdTUW .MAG.\ZI.\i;, 




I X a screen weekly the other day we glimined 
' this, from the I.iisk Herald: "Owing to tin 
lack of space and the rush of the Herald's 
prize contest, several births and deaths will 
be postponed until next week, or until a later 
date." 

VV/ liLL, we claim to have baited neither time 
" nor tide, hut sweet Alice Malone brought 
about some contest. And Photoplay only 
claimed two million readers. 

"MOTIIIXG in a name." says 
i~ Harold Lloyd. "Kolks living on 
the banks of the Brandywine are 
just as dry a? the rot of us." 

Number, Please ? 

A FORMER sergeant, first class, 
of the Signal Corps, just into 
ci\-1es and still painfully aware of 
bis recent station in life, dropped 
into the newly organized American 
Legion post to allow himself to be 
gazed at. Presently one angular in- 
dividual, clad in a suit which had 
obviously been lying in moth balls 
since pre-war days approached. 

"What outfit was you in, buddy?" 
lie ventured. 

"The .Signal Corps," the exnon 
com infornied him, languidly brush- 
ing an imaginary speck of dust from 
the place where bis chevrons ha<l 
reren4ly rested. 

The lanky one meditated, bethink* 
ink himself of certain blueclad tele- 
phone operators be bad known and 
heard of. 

"Oh, yes," be drawled. "You 
know, buddy, I had an aunt in the 
Signal Corps." — The Home Sector. 

rOr.LO\yiNG the runs of "Sleep- 

* less Nights" and "Up in Mable's 
Room" and with the present produc- 
tion "The Girl in the T.imousine," 
"The Bedroom" lias been suggested 
as the name for the new ,\. H. 
Woods theater in Chicago. 

LI U^^^'— Goodbye, love. In case 

* » I am really prevented from com- 
ing home to dinner, I will send a 
telegram. 

\Vife — Vou need not trouble to 
send it; I have already taken it out 
of your coat pocket. — f)allas News. 

^\ NE at a time, girls! "The local 
y' basketball team." says the sj)ort- 
ing page of the Michigan City News, 
"will wear their new shirts on Friday 
night. The trousers have not yet 
arrived." 

The Problem* of an Innkeeper 

p ll.\MI!|-.l<MAII) friportiiig iti onice): The 
^ gentli m.Tii in is p.n kcil up ready t < 

leave anil has a i|iiarl of whiskey in the bag 
all wrapped up in one of our best towels. What 
■shall I do? 

"Bring the whiskey down here t<> me and 
take the towel back and set it again." 

|V4 R. — I sec young Brown's life was saved 
by the bullet bitting a button. Rather n 
remarkable escape for a inarrierl man, wasn't it? 

MR.S. — But why for a niarricil man? 

MR. — Why, just Ibiiik; the button must have 
been o» I 

"r\0 you always do your marketing here?" 

'-^ "^ es, I've dealt with these people for 
years, It's so much nicer to be robbed by some 
one you know." — Life. 



"THE perils of that serially historic heroine, 
* poor Pauline, had nothing on the brief but 
vicissitudinous career of our own Sweet Alice 
Malone. Only three months ago she made her 
bow to Photoplay's readers by stepping into 
the Squirel Cage limerick contest and ooh ! 
what trials and tribulations you contestants 
heaped ui>on her — simply because she screamed 
for some chocolate ice cream. 

That seemitjgly innocent dish must have had 




Lines to a Motion Picture Star 



~' iiic kick in it. fur .s^wect .Mice jmsscs a»ay 
with the contest. Mrs. Kred .Schulte ilid it. 
The five years' subscription to Photoplay 
Magazine goes to her address — R. F. P. No. 2, 
Newton, New Jersey. Here is the limerick 
«ith Mrs. Schulte's epitaphical last line: 

/ warrird Stit'cl Alice Malone 
.liiii fed her on cheese and bologne. 
Till she said: "I shall scream 
For some chocolate ice cream" — 
"Rest in peace" is now car-.-ed on her stone. 

It was hard picking and this Gnut hated to 
have to pass up inanv of the hundreds of other 
"last lines." but don't be discouraged: we may 
have another one anytime. 

Y '-P! Vou guessed right. That Soulbern 
* flower that would make a good title for an 
Irving Berlin song is Jas-inine. 



"yUESE overalls and bungalow aprons are all 

* right, but whcrc's the joy now in a windy 

day? 

Vl^^' "My Lady's Garter" has a good support- 

* ing company. 



''LIENRV, I think you were abso- 
lutely wrong about that furni- 
ture." 

"Ves. dear." 

"And also about the shade of wall- 
paper we want." 
"Certainly." 

"Henry .Tones! If you aren't going 
to be sociable I'm going to bed! ' 

—Life. 

A VOCNG fellow who had not long 
*y been married usually confides 
his troubles to a friend whose matri- 
monial experience covers a period of 
twenty years. 

One day the former remarked very 
despondently: 

"I said something to my wife she 
didn't like and she hasn't spoken 
to me for two days." 

The eyes of the old married man 
brightened. 

"Say, old fop!" he exclaimed eager- 
ly. "Can you remember what it was 
vou said ?" — Tit-Bits. 



A RECENT examination in the pub- 
lie schools of Brooklyn, accord- 
ing to the New Screen Magazine, 
brought forth the following answers: 

What is an impul.se? 

.■\n impulse is what the doctor takes 
hold of to see if you are sick. 

Name the vtiwels. 

\ owels aint got no names. They 
are under the stumick. 

What are the duties of a citizen? 

The duties of a good citizen is not 
to -spit on the sidewalk and to hold 
his banana peels till be meets an ash 
can. 

Name the races of mankind. 
Bicycle race, horse race, potato 
race, automobile race, and other kinds. 
Who was Nero? 

Nero was a Roman Emperor. .\ 
song has been written .ibout him 
c.illcd "Nero, .My God to Thee." 



S\ APPV WIFE: To be frank with 
you, if you were to die I should 
rerlaiiilv ni.Trrv again. 
II.VRASSED HCBBY:' I should worry about 
tile troubles of a fellow I shall never know. 

NOW what is to become of Mile. Collinere, who, 
until the passage of the recent .Vmcn ment. 
was the i>rofessional wine t.istcr of Californi.i? 
Mile. Collinere look thousands of mouth- 
fuls of wine a vcar, hut never swaIlo«Td 
one. Sh- might have lost her disciimination 
if she h.id. (We've known persons to loose 
worse.) Mile. Collinere never ate chocolates, 
rice puddings, pastry, raw onions, lemons, curry, 
or pincaiiple. She used no salt, did not drink 
tea or coffee, and lived on the simplest and most 
wholesome diet. She was rewarded in two wavs. 
for not only did this preserve her wonderful 
taste, but it gave her a remarkable com- 
plexion. 



[ lt.\\'E never nirf an old woman who wa 
' not interesting." — .\rnold Bennett. 
Wouldn't he dote on our Congressmen? 



96 



ADAMS 

^California Fruit 



Painud for /imeritan Chicle Lomiany l>) (.. (.tiii J I'lrjiif'S. (.opy.^ni Jtjjo 




Man alive 
Listen! 



You can smoke Camels 
till the cows come home 
without tiring your taste! 

CAMELS bring to you every joy you 
ever looked for in a cigarette ! They 
are so new to your taste, so delightful 
in their mellow mildness and flavor, and 
so refreshing, you will marvel that so 
•much enjoyment could be put into a 
cigarette ! 

Camels quality is as unusual as 
Camels expert blend of choice Turkish 
and choice Domestic tobaccos which 
you will prefer to either kind of to- 
bacco smoked straight! No matter 
how liberally you smoke, Camels never 
will tire your taste ! 

You will marvel at Camels smooth 
"body". And, your delight will also be 
keen when you realize Camels leave no 
unpleasant cigaretty aftertaste nor un- 
pleasant cigaretty odor! 

For your own personal 
proof, compare Camels 
with any cigarette in the 
world at any price. 



Camfis arc sold everyv. hrre in scientifically sealed packaiies 
of JOciiiarettes far 20 cents; or ten packaiies (200 ci/iarettes) 
in a fila:isine-paper-covered carton. We strongly recommend 
this carton for the home or office supply or \^ hen you travel. 



R. J. KEYNOLDS TOBACCO CO. 



Winston-Salem. N C 



Tic 



an 



ays 




Real news and inter- 
esting comment about 
motion pictures and 
motion picture people. 

By CAL. YORK 



TOHX D. ROCKEFELLER, Jr., was 
J quoted in a certain New York paper as 
branding the photoplay as an immoral influ- 
ence. John D., Jr., when questioned by the 
photoplay, as represented by the National 
Association of the Motion Picture Industry, 
stoutly denied the aspersion and cancelled 
an engagement in order to be speaker at a 
motion picture luncheon, where he paid hish 
tribute to the industry for its work in the 
war, the Y. \V. C. A. drive, and other 
worthy causes. 

IN making one of her recent comedies at 
a fashionable resort Mrs. Sidney Drew 
encountered some real old dowagers of so- 
ciety sitting on the enclosed porch of a hotel 
knitting, lorgnetting, and generally main- 
taining their social standing. As Mrs. Drew 
described them they were perfect types and 
it would be utterly impossible for any 
actress to duplicate them. They were also 
badly needed to put just the right touch 
in a Drew picture. 

Braving the icy temperature and the pos- 
sible storms to follow, Mrs. Drew decided 
to ask the elderly social rulers to pose for 
her for a few minutes: 

"Would you mind appearing in one of 
my pictures?" she asked. 

Horror, indignation, frigidity, and aston- 
ishment were registered as six lorgnettes 
were raised. 

' "And, pray, who are you?" demanded 
one. 

"Mrs. Sidney Drew," was the meek reply. 

"Oh ! They never throw pies in your 
pictures, do they?" exclaimed one of the 
grand dames. "Let's go in her picture, 
girls." 

And they graciously entered the movies. 

THE champion film-goer seems to have 
been discovered, down in Covington, 
Kentucky. He is Jack Jordan, who has 
averaged seven shows a week for ten years, 
who saw the first moving picture ever 
screened, "Miss Jerry," and who would walk 
five miles, he says, to see Charles Chaplin. 
Jordan's favorite actor is Tom Mix. Can 
anvone claim a better record? 





This servant problem becomes Harder and harder to solve. It's getting so you have to 
promise your cook to sell her scenario and put her daughter into pictures, or she won t 
stay. Robert Gordon gets around it by pitching in himself. His domestic co- 
star is Alma Francis. 



CH.^PLIX'S — Charlie's — new picture may 
be a six-reeler. It will represent the 
fruit of some months of effort, and will 
contain more than the ordinary amount of 
popular "pathos" in which the comedian 
likes to indulsre. The title, if report be true, 
is "The Kid." 

BILL DESMOND is the father of a baby 
girl. Mary Joanna is her name — 
chri.stened for her mother, little blonde Mary 
Mclvor. 

A BOY of ten was tied to a stake by five 
older boys, and left to his fate after 
a bundle of wood and papers at his feet 
had been set on fire. He was badly burned 
when rescued. It was the first accident on 
record caused by the inventive minds of 
modern mischievous small boys which was 
not blamed on the movies. 

PAULINE FREDERICK has left Gold- 
wyn. Everything was not serene be- 
tween Polly and the powers that be sev- 
eral months ago; but affairs were patched 
up. This time, however, she means busi- 
ness ; she has signed a contract with Rob- 
ertson-Cole. 



IT looks now as if Laurette Taylor, the 
original "Peg" of the successful Irish play 
"Peg O' My Heart," written by her husband 
J. Hartley Manners, may appear on the 
screen after her return from London, where 
she is now playing, and that She may appear 
in her husband's play. This in spite of the 
fact that Wanda Hawley several months since 
finished a production of "Peg 0' My Heart" 
for the Famous Players-Lasky Company. It 
seems that Oliver Morosco, producer of the 
play and under contract to Mr. Manners to 
present it at least 75 times a year, sold the 
screen rights without Mr. Manners' consent, 
which the Supreme Court upholds Mr. Man- 
ners in claiming was without his right. The 
author also maintained that inasmuch as the 
play has been needlessly altered in its con- 
version into pictures the clause in his con- 
tract requiring his agreement to changes also 
has been violated. He has been granted a 
decree restraining the Famous Players-Lasky 
company from releasing their fmished pro- 
duction, and refuses to take ^^i 25,000 for his 
permission. His apparent indifference to 
the .'=;i25,ooo is explained by those who ought 
to know by the information that Miss Tay- 
lor herself may appear in a screen version 
of the play. 



lOO 



PnoroFLAV Magazine — Advertising Section 

Plays and Players 



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Whenever Madame Ernestine Schumann-Heink isn"t filling concert cngagcment.s fhe is 
piloting her grandson and granddaughter around the studios. It s a safe bet Madame 
enjoys it as much as they do; she's the world's champion picture-goer. 



GERALDIXE F.\RRAR will work in the 
East hereafter. It is said the opera 
actress and screen singer signed with the 
newly-formed Associated Exhibitors because 
their contract provided for a New York 
studio; she chafed at the Goldwyn summer 
season in Culver City. Whether husband 
Lou TelleRcn will continue as her leading 
man has not been divulged; but it is sup- 
posed he will, for Jerry seems to be as 
fond of him as ever. 

SESSUE HAYAKAWA says he is leaving 
Haworth to form the Hayakawa Com- 
pany. Ha worth says he isn't. Meanwhile 
Mrs. Sessuc Hayakawa — Tsuru Aoki — is on 
Ihr high seas bound for Japan, where she 
will sojourn for some months. 

IF the stage doesn't get 'em, matrimony 
will. Betty BIythc became the bride of 
director Paul Scardon in Los .Angeles. They 
were friends when both were with Vita- 
graph; that friendship began to be sometiiinp 
deeper when Betty was acting for Cioldwyn 
in Culver City and Scardon was directing. 
It was remarked at the time that he couldn't 
seem to keep his mind on his work. 



ROBERT GORDON' PRODUCTIONS is a 
new one. Oil men are said to be in- 
terested, with the object of making another 
Charles Ray of young Robert. His late 
Blackton vehicles have given him an artistic 
black eye, which he hopes will heal if given 
proper attention. Certainly he made the 
most of his opportunity in Vitagraph's 
"Dollars and the Woman.'' 

BERT WILLIAMS, a familiar dark figure 
in Zicgfcld's Follies, has joined all those 
Ziegfcld beauties in an invasion of the 
cinema. He will bo the star of a series of 
two-reel comedies to be made by Tarking- 
ton Baker, one of the ex-managers of Uni- 
versal City. Booth Tarkington, a cousin of 
Baker, will write exclusive and original nia- 
tirial for the new company. \\. least a 
dozen companies are announcing exclusive 
and original Booth Tarkington stories. 

OLIVE THO^L\S and Jack Pickford arc 
together again. Padre Sclznick sent 
OIlie west to make siime pictures and Jack 
works there anyway, so a grand reunion was 
had by all. jack presented Olive with a 
new car and Olive sjxnt a full week's salary 
on a new dog for Jack. 



Etco- «clvrrtlsrmMil In PH0T<>ri..\Y MAC.VZI.NK Is (Tuaranteol. 



Photoplay Magazine — Advertising J^ection 



lOI 



Plays and Players 




( Continued) 

EXHIBITORS in New Orleans enjoyed a 
flood of unwarranted prosperity when 
''The Miracle Man" came true. An old 
white-haired and bearded prophet, styling 
himself "Brother Isaiah," came and began 
healing by faith in the Southern city. More 
than thirty thousand visited him and heard 
him preach and pray. Enterprising theater 
men booked return engagements of "The 
Miracle Man" and, in the choice patois of 
the trade, '"cleaned up." By the way, in 24 
weeks ''The Miracle Man" has made $921,- 
000 for its makers, exclusive of foreign 
rights. 

WHAT became of that company that was 
to lift Conway Tearle, he of the mag- 
nilicent eyebrows, into the stellar class? He 
has evidently discovered it is better to be a 
peer of leading-men than a competitor for 
first honors, for he is doing opposite busi- 
ness again — this time with Zeena Keefe. 

ALBERT PARKER is pretty particular 
whom he directs. He told one com- 
pany that sent for him and made him an 
offer to direct one of its feminine stars that 
he would direct an all-star cast but not one 
particular luminary. However, Joe Schenck 
fixed all that — and now Al is putting Norma 
Talmadge Schenck through her dramatic 
paces. 

THE works of Max Reinhardt and other 
eminent German authors will be fdmed 
for Universal. Reinhardt is known only to 
a select few in this country. While Zukor 
was abroad he also lined up some foreign 
literary stars to write for his company. 
Verily, the libraries of the future shall be 
composed of celluloid! 

JIM KIRKWOOD. who felt the acting call 
again, incidentally prompted by a certain 
magazine editor and fostered by Allan Dwan, 
never has time to think about going back 
to directing. He is Louise Glaum's lead- 
ing man now. 

A HOLDER of 100 shares of the Si, 000,- 
000 stock of the Lenscraft Pictures 
Corporation, Raymond C. Tischhouser, has 
filed suit in the Supreme Court against the 
officers and directors of the corporation on 
the ground that because of their negligence 
in attending to the affairs of the corpora- 
tion, the assets have been wasted. 

MARTHA MANSFIELD has settled down 
on the screen, having signed a contract 
with Selznick which secures her services as a 
leading woman for a period of years. 

CHARLES RAY has added Booth Tark- 
ington's "Ramsaye MilhoUand" to his 
long list of plays. No telling when he will 
get around to it. He has also bought the 
rights to four of James Whitcomb Riley's 
poems — whose Hoosier boys Ray would 
seem to be peculiarly equipped to play — 
"The Old Swimmin' Hole." "Down to Old 
Aunt Mary's," "The Girl I Loved" and 
"Home Again." 

TH.AT'S not such a bad idea, having Matt 
Moore play in a picture called "Don't 
Ever Marry" witlv accent on the ever. 
Matt never has; perhaps he thought he'd 
wait and see how his brothers' ventures 
turned out. Having waited. Matt has de- 
cided never to marry. 

AS we remarked above — with variations: 
Cupid or the drama is bound to get 
them. Myrtle Lind, one of the loveliest 
peaches in Mr. Sennett's whole garden, was 
married in Los Ancelcs to F. A. Gesell. 
And — worst b'ow of all — she says she has 
retired from the screen. 




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almost impossible to get a face pow- 
der to stay on longer than it takes to put 
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your handkerchief and away goes the 
powder, leaving your nose shiny and con- 
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give anything to appear at your best. A 
specialist has perfected a pure 
powder that really stays on ; that 
stays on until you wash it off. It 
does not contain white lead or 
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This improved formula contains 
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In fact, this powder helps to pre- 
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powder is called La-may (French, Poudre 
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I02 



l^HOTOPLAY .MAGAZINE — ADVKHTISING r^ECTION 




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Plays and Players 



Makers of Carmich- 
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thousands. Price 
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toilet goods coun- 
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(Conti 

NORMA TALMADGE has been chosen as 
the 1920 favorite actress of the students 
at Princeton University. For years Maude 
Adams has held chief place in the hearts 
of the student body at Princeton, as evi- 
denced at their annual elections to choose 
their favorite actor, actress, poet and author. 
John Barr>more won the vote for actors. 
Rudyard Kipling, for poet, and Booth Tark- 
inglon for authors. 

GLORIA SWANSOX is an internationally 
minded young woman. A friend who 
went shopping with her the other day de- 
clares that among other things she bought 
an Hawaiian dancing frock, an English sport 
suit, some French lingerie, Chinese house 
slippers, a Russian sable cape, a Greek neg- 
ligee, Japanese lounging coat, Spanish lace 
scarf. Phi ippine nightgowns and a \'ene- 
tian bead headdress. It sounds fine, but 
Gloria is quite fascinating au naturel. 

CH.ARLOT, famous chimpanzee of the 
French cinema, broke loose from his 
cage in the Pasteur Institute in Paris and 
injured several pedestrians when he began to 
throw stones and tiles from the roof to 
the street below. It is said he had previ- 
ously been fed some French wine, which in- 
creased his natural tendencies for mischiev- 
ous playfulness. Authorities are thinking of 
suing the film company. Universal had bet- 
ter watch Joe Martin. 

ONE of Charlie Chaplin's most prized 
possessions is a remarkably fine por- 
trait of Max Linder, the screen's first great 
comediaai which the famous Frenchman pre- 
sented to him on his last visit to this coun- 
try. 

But even Charlie isn't quite sure about 
the inscription, which reads: 
"To Charlie Chaplin, 

"The best comedian in the world. 
"Max Linder.'' 



nucd) 

MARGUERITE CLARK U not consider- 
ing a permanent retirement, according 
to latest advices. She is now resting in New 
Orleans, her husband's home — some say 
awaiting a visit from the stork. However 
that may be, she has several film offers un- 
der consideration, as her present contract 
has expired. She has never been with any 
other company than Famous Players, who 
have not seemed to appreciate her talents. 

IN order to furnish picture programs to 
Protestant churches and Sunday Schools, 
the International Church Film Corporation 
has been organized for the purpose of going 
into the business of producing and distribut- 
ing pictures a; well as equipping church 
buildings with projection machines. It plans 
to extend its services to 4.000 churches. 

LOUISE HUFF, who created added inter- 
est not long ago by contracting a sec- 
ond marriage, this time with a millionaire, 
has signed her delicious blonde shadow to 
Selznick for five years. .At the same time 
William Faversham, dbtinguished .American 
matinee idol, cast his lot with the same com- 
pany. His first picture to be released is one 
which was made a year ago, "The Man Who 
Lost Himself." directed by George Baker, 
with the lovely Hedda Hopper as leading 
woman. Two good directors. Hobart Hen- 
ley — who incidentally will direct the ne-rt 
Faversham production, a Frank Packard 
story — and Larrv' Trimble, always remem- 
bered as the maker of "My Old Dutch." also 
have recently connected with L. J. Selznick 
and Sons. 

BEBE DANIELS is the latest lucky little 
girl to be selected for stardom by 
Paramount, with Realart as the brand-name. 
The brunette baby who was a few months 
ago Harold Lloyd's foil, joins Wanda Haw- 
Icy as a Zukor star in a short time. De- 
Mille — Cecil — vouches for both young 
women; he was their artistic Columbus. 



Do you know, ill 

hciiUh or ihronir iiil- 
nicntK. in nine out of t<*n 
cnxeMiire 'lueto improptT 
foo^l. poorcirculHtion, in- 
Hurticiont i-xorciMe. incor- 
rect tireaitiinK and in- 
correct IMliht!? 

Uemove thoRo unnata- 
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ailmentH riininh. 

Thin may n'trprlHO you. 

but I Am <fntnir It <taily; I bavo 
dono It for U2.000 women. 



Without Drug* 

I will ii«'nfl yrtu Iftloriiof rn 
dorarmrnl fnimrminrnl phyal' 
rlBii4 and l«ll jruu how I 
U-.t ,„u. 

- Ih-ir wl. 
my piipila. 

D'ln'I l«t irHlIni « lot) 
■ t«n(l t)rtwo,.n you wtnA 0" 
ktnlth, nntmation,. r o r r * 
tpftght nnil II p*rf«K-t llmJi 
WHt- mf now to.iay whil' 
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When Bill RusseU'j feet arc at "Attention" — 

(Continued on page 104) 

ETcry ailvcrtlMmdit In rilOTOPUAY .MA<;.\ZINK 19 eM«r»ntc«\l. 



FHOTOPLAV M\(;\ziNK — An\ i;in isiNCi 'iion 



Plays and Players 

( Continued ) 

IT'S just as we said: when Adolph Zukor 
went abroad one of his missions was to 
secure Sir James !M. Barrie's best-known 
plays for pictures. He was finally success- 
ful in persuading Barrie to part with "Peter 
Pan," that classic of literature and the the- 
ater; "A Kiss for Cinderella," another fa- 
mous Maude Adams vehicle; "What Every 
Woman Knows," and "Dear Brutus." Who 
will play "Peter Pan"? 

KING VIDOR, the youthful director, is 
decidedly an expert on small town stuff, 
but he had a new one pulled on him the 
other day, when he was filming some scenes 
at Sawtelle, a suburb of Los Angeles. An 
old lady, driving an antiquated buggy and 
a horse that might have been Noah's original 
companion in the Ark, passed and seemed 
such a good bit of character study that 
Vidor ran after her and asked her to drive 
back down the street for him. 

"Can't," she said brusquely. "Got t' git 
home. My husband's sick." 

The young director explained that it 
wouldn't take a minute and that it was for 
a moving picture, etc. 

The old lady viewed him contemplatively 
for a while, then remarked, as she slapped 
Methusalah with the lines: 

"All right, young feller, I'll do it. I've 
had three husbands, but I ain't never before 
had a chance to act in a movin' pitcher." 

OUR suspicion of several months ago has 
been confirmed. Priscilla Dean is Mrs. 
Wheeler Oakman and has been since early 
in January. Theirs was a "Virgin of Stam- 
boul" romance, for they met while Priscilla 
was starring and Oakman playing opposite in 
this Oriental diversion. They were married 
in 'Frisco and kept it secret as long as they 
could. 

MAE MURRAY has her own company 
now. Her husband, Robert Leonard, 
will direct her. They have named their new 
alliance the Invincible. We hope it is. The 
blonde with the bee-stung lips — originally 
so-called by this magazine, but since by 
many others — has one more picture to make 
on her Famous Players contract before she 
can begin her new work. 

AUGUSTA APPEL has won her suit, in 
Chicago, against Mrs. Gus Edwards, 
wife of the vaudeville impressario. Not 
interested? But Augusta is none other than 
our Lila Lee, former Lasky star, now lead- 
ing woman, who through her father, Carl 
Appel, complained in court that Mrs. Ed- 
wards, who has directed Lila's stage career 
since Lila was five years old — she's fifteen 
now — gets a part of her film earnings from 
Paramount. Ten years ago, Mrs. Edwards, 
attracted by little Lila's charm, made an 
arrangement with the child's parents whereby 
Lila should go to the Edwards home in 
New York under their guardianship and ! 
be trained for the stage. Judge McGoorty 
in Chicago awarded Lila to her parents. 

"ly /lY DE.AR, have you had your com- 
IVl plexion tattooed on yet?" This is the 
question with which ladies of fashion and 
leisure — also ladies who beguile the time 
for others on the stage and screen — are say- 
ing to each other these days. It seems that 
science has discovered a way of giving the 
eternal bloom of youth to any lady who has 
cash and courage enough to sit under its 
needle. The color is fed to the point of the 
tattooing needle through a small rubber 
tube. These complexions are guaranteed not 
to fade. .\h, where soon will be the weep- 
ing, fainting, gentlewoman of the Godey's 
Lady's Book generation? 




One of the many beautiful 
stage and screen stars, who 
use and highly recommend 
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( Concluded from page 102 ) 

—It is entirely correct, and within the most approved 
regulations for Arline Pretty to " Shoulder AtTDS. " 



Plays and Players 




( Conli 

THERE was much debate out in the 
Metro studio when Bayard Vciller, 
writer of plays, was to make his debut as a 
director in ".^lias Jimmy V'alentine." Would 
he be nervous? Would he observe the di- 
rectorial traditions and wear puttees? Horn- 
rimmed glasses? Leather coat? Would he 
yield to suggestions? Word of the specu- 
lation reached \'eiller (pronounced V-A). 
So, with as lengthy a stride as short legs 
and sturdy body could attain, stalked to 
the studio a cavalier of the Middle Ages — 
soft leather boots above his knees, a dashing 
black hat adorned with gay plumes and se- 
cured with jewelled buckle, a white shirt 
open at the throat, elbow sleeves, a tie of 
brilliant green, about his substantial middle 
a broad sash of purple, and in hand a mega- 
phone I It was Veillcr. 

TAYLOR HOLMES, not having been par- 
ticularly fortunate in his venture with 
his own film company, has gone back to 
his first love, the legit.' There A. H. Woods, 
that astute gentleman who has made money 
from and for such screen stars as Thcda 
Bara and Crane Wilbur, has taken Holmes 
under his managerial wing and presents him 
in a new play soon. 

THINGS to worry about: Madlaine 
Traverse, '"the mistress of stormy emo- 
tion," has left the company that called her 
that. 

FR.WK n.\ZEV, a scenario writer by 
profession and a contributor to Photo- 
PT.AV Maoazink by inclination and inspira- 
tion, has, in collaboration with his father, 
Cliatlcs Dazoy, the veteran playwriuht, com- 
|)oscd a comedy drama in which Thurston 
Hall will speak the leading lines. Dazey re 
renlly won added laurels by marrying Agnes 
("hri>tine Tohnston, another scenario writer. 



nied) 

ACERT.AIX acmure little star, very 
much beloved by those who know her, 
but a little too-gosh-darned respectable when 
it comes to her art, got into a little mix-up 
with her company recently. She was play- 
ing a frivolous young woman, and in one 
scene it was absolutely necessary that she 
raise her skirts to show her supposedly- 
shapely limb to the knee. The d. 1. s., for 
one reason or another, objected. The di- 
rector begged her to reconsider; he said 
the whole point of the story depended upon 
than one enchanting shot; that he would 
clear the studio floor and surround her with 
a screen with only himself and cameraman 
there, and these with eyes discreetly low- 
ered. She wouldn't hear of it. It was taken 
to the men higher-up; they came, at first 
pleaded, then protested, finalK-^ argued. The 
star flatly refused to do the scene — or let 
anyone double for her. So, since she made 
it an issue and threatened to leave, the 
picture was shelved and her feelings soothed 
Did anyone say we were getting away from 
the star svstem? 



AGERM.W lilm company taking snow 
pictures in Switzerland experienced a 
bit of unprepared realism which ended 
fatally, killing and injuring about ten of the 
actors. The company was taking an ava- 
lanche scene near Innsbruch at the altltudo 
of some 0,000 feet when a larue piece of an 
avalanche broke loose and tore down at a 
terrific rate burying most of the members. 
The leadins: woman. Herminc Kollar. was 
killed in'^lantlv. 



ETHl.L CLAYTON' is not leaving Tara- 
niount 10 form her own companv after 
all. She cxercLsed her woi.ian's prerogative 
and rc-signed with Lasky instead. 



En'ry ailvcrtltcineiil In rilOTori.AY MAO.'ZINK l!> (unrditeoil. 



Photoplay Magazine — Advertising Section 



105 



Plays and Players 

( Concluded) 

ELAINE HAMMERSTEIN was arrested 
for speeding the other day. No casual- 
ties reported in court. 

WALTER EDWARDS died in April 
while on a vacation in Honolulu. He 
was a veteran director, and one of the most 
popular in the profession. "Daddy" Ed- 
wards, most of his stars called him. His 
direction of Constance Talmadge in some of 
her first successes is well-known. Later he 
went with Lasky and guided Marguerite 
Clark, Lila Lee, Vivian Martin, Wallace 
Reid and Ethel Clayton — whose latest pic- 
ture he completed just before leaving for 
Hawaii. 

FRANCES MARION sailed for Europe on 
a commission to talk some of the lead- 
ing literary lights of England and the con- 
tinent into parting with their best-behaved 
brain-children for film purposes. If anyone 
can do it, Frances can. 

ALICE BRADY has answered that let- 
ter from a justly indignant girl in 
June Photoplay, answering in turn Miss 
Brady's supposed statement that any girl 
could dress on $s a week. We can do no 
better than to quote Alice herself from an 
interview she gave in Chicago recently. She 
blames her press-agent, as follows: 

"Five dollars a week! Why, if I had to 
do it on five dollars a week I'd get out in 
the street with a gun and strip a wardrobe 
off a couple of fashionable corpses! I'd 
kill ! Five dollars a week ! I got a letter 
yesterday saying, 'What about a poor fat 
lady who has to buy herself a pair of bras- 
sieres?' It can't be done on five a week. 
That's the kind of publicity that makes an- 
archists of readers You couldn't 

blame them if they burned all the picture 
houses and shot all the movie stars. I went 
into a store to buy some stockings the other 
day and the first pair the girl showed me 
were $25. They were made of chiffon! 
They'd last you from the dining-room to 
the elevator. The world's gone mad, and 
extravagant women are helping to make it 
madder." 

From which it may be seen that Miss 
Alice Brady is no extremist in the matter 
of dress, anyway. She may not be able 
to dress on Ss a week, or to advise any other 
girl to try it — but she doesn't believe in 
living up to the traditional idea of the ex- 
travagant star. 

ROBERT WARWICK had slipped into a 
New York theater to see a new picture 
and coming out overheard two fashionably 
gowned women discussing the relative mer- 
its of the theaters in the town. 

"Well of course they do have the best 
pictures at the Rivoli," said one, "but you 
see much the nicest furs at the Capitol." 

THE National Board of Review, of 70 
Fifth Avenue, New York, has issued a 
catalogue of "The Best Motion Pictures for 
Church and Semi-Religious Entertainments," 
which includes a list of some goo films char- 
acterized as "dramatic, Americanization?, 
comic, travel, missionary and instructional." 
Remember the address when you want to 
put on programs in your church. 

HOW the times do change. Here is a 
story that Anthony Paul Kelly recently 
submitted a scenario for a big feature to 
Universal, at the modest price of Sis, 000. 
This set all the old timers to remembering 
the days when Anthony Paul was the highe t 
priced scenario editor the Universal had nt 
$100 a week. It is not told whether this 
latest scenario was accepted at that price. 



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Probably never has tbe screen known a scene of more exquisite loveliness 
than this one, taken from the allegory in Mr. Fitzmaurice s recent picture, 
"The Ri(;ht to Love. Any director who can capture the langourous 

beauty and the heavy fragrance of a summer night in so stern a medium as 
the motion picture and make one feci and smell them must be a poet, as well 
as an artist. Mae Murry's graceful figure sweeps on like a medieval 
Guinevere from the pages of Lord Tennyson. 



KID McCOY, whose reputation as a 
movie actor is rapidly gaining ground, 
is almost as handy with his words as he is 
with his fists. Both of the following are 
credited to him. 

A fight fan, who met him at Jack Doyles 
Tuesday nisht scraps in Los Angeles, asked 
him how he liked pictures. 

"Well," said Kid McCoy musingly, "when 
T was a prizefighter I fought 156 fights and 
knocked my man out or got a decision in 
152. Since I've been in pictures, I've fought 
7 fi-ihts and got licked eight times — because 
once there was a retake." 

The c.x-ring star .'old a nice new automo- 
bile to Tom McXamara, the cartoonist. He 
took him out for a little spin, to show him 
exactly how the car operated, and as they 
rounded the corner of Fifth and Broadway, 
in front of the Alexandria, McXamara held 
out his hand, to signify a right turn. 

"For the love of Mike, don't do that," 
said McCoy earnestly. "A Ford'U run up 
your sleeve." 

BOBBY HARROX, a new star, and 
Thomas Mcighan, also a comparatively 
recent one, leU Manhattan for California 
together — Meighan to make "Conrad in 
Quest of His Youth," from the novel by 
Leonard Merrick; Harron to visit his folks, 
whom he hasn't seen for quite a while. 

EMI UK I-YOXS and Lee Moran wanted 
to make five-reel comedies. They had 
a touizh time persuading Universal to give 
them a chance to show what Ihey could do. 
They were to make one; if that was Rood 
Ihey could go the limit. The boys finished 
the first one. It made the home office howl 
and Carl Laemmle wenl riu'h' out and boucht 
the musical comedy "La La Luiillc" for 
them to play with. 



AGXLS .\YRES wasn't "rescued from 
the bar" for nothins. She wi!l, after 
her years of hard-working and waiting, en- 
ter into a stellar career under the joint 
auspices of Marshall Xeilan and Al Kauf- 
man. These gentlemen have combined pro- 
duction forces in Hollywood under one stu- 
dio roof, not. you understand, having any 
company connections but facilitating their 
output by using the same technical forces. 
Kaufman decided that Miss Ayrcs was just 
the star he needed to join the Allan Holubars 
as charter members of his new company, but 
while he is seeking a proper vehicle for her. 
she will be leading woman in a Xeilan film. 

WHILE Mildred Harris Chaplin was en- 
joying a dance with the Prince of 
Wales at Coronado Beach, at a ball given 
in his Highness." honor during his brief re- 
turn to .America en route for .Australia — 
Charlie Chaplin was enjoying a bout with 
Louis Mayer. Mrs. Chaplin's manager, in 
the Alexandria Hotel in Los .\ngcle?. Chap- 
lin — so the reported story in the newspapers 
goes — approached Mayer and asked him to 
remove his glasses. Mayer did so, and 
Charlie swung on him. But Mayer is twice 
as big as the comedian and he more than 
took advantage of it. Hotel detectives in- 
tervened. The fracas was supposed to be 
about the settlement to be made on Mrs. 
Chaplin in case the divorce proceeded, so 
Mayer said. Chaplin wouldn't talk, 

A XX M AN", who is playing the lead with 
Charles Ray in his first nroduction for 
First Xational. has been added to the list 
of "bobbed hair" leading ladies. It's all right 
with us, Ann. as long as you stay under 20 
and don't tip the scales at more than no. 
.Vficr that, it's out. 



Etcry aarcrtlKmont In rilOTori.AV \I.m;.\ZINK l.^i gusrsntwO. 



Photoplay Magazine — Advkhtisino Section 



The Shadow Stage 

( Continued from page j2) 



Stanley Olmstcad wrote the scenario, telling 
his story consistently. 

DR. JEKYLL AND MR. HYDE— 

Pioneer 

THE version of "Dr. Jckyll and Mr. 
Hyde" with Sheldon Lewis playing the 
harassed soul who gave himself up to the 
devil, hurriedly screened to take advantage 
of the interest aroused by Jack Barrymore's 
appearance in the same role, does not re- 
flect great credit upon its producers. It is 
typical movie stuff, with little artistry and 
less imagination to commend it. In this 
version the good Dr. Jekyll dreams a dream. 
In the dream he sees himself testing his 
theory that it is possible for a man to be 
controlled by his baser self. He swallows 
the concoction compounded in his labora- 
tory, suffers a growth of hair and a mouth 
full of buck teeth, and achieves a passion 
for frightening defenseless females and set- 
ting fire to buildings. He is a less sensual 
and less ferocious Mr. Hyde than the Barry- 
more exhibit. Neither does his particular 
compound equal in strength that discovered 
by the other Mr. Hyde, who was imme- 
diately transformed into a repulsive degener- 
ate with an elongated cranium, knotted 
knuckles and protruding finger-jiails. The 
picture is cheaply set. Mr. Lewis' perform- 
ance is that of a competent but uninspired 
actor, and there is little attempt at clever- 
ness in tricking the change from one char- 
acter to the other. The ending, too by the 
employment of the dream idea, is con- 
ventionally happy. 

THE ROUND UP— 
Paramount'Artcraft 

1 SHOULD say that Roscoe Arbuckle's 
plunge into the five reelers has been suc- 
cessfully negotiated in "The Round-up." 
As "Slim" Hoover, the sheriff, the genial 
comic waddles in and out of the story, plays 
straight when he has to, falls off a horse 
when he can do so safely, without fractur- 
ing either his histrionic ambitions or the 
plot, and emerges finally the pathetically 
humorous philosopher who allowed that no- 
body ever loves a fat man. I don't suppose 
anyone could possibly take "Fatty" seriously 
as a sheriff with notches on his gun, but it 
is something of a triumph for him that 
he keeps the faces of his audience straight 
while he is suggesting the possibility. George 
Melford has extracted a reasonably interest- 
ing Western romance from the old melo- 
drama in which Maclyn Arbuckle starred. 
In it Irving Cummings is permitted to es- 
cape temporarily from his curly-headed 
deviltries with women and become more or 
less a normal he-man. 

The story is one of alternate fights with 
Apaches, bank robbers and such, mingled 
with the romance of two pa's who loved the 
same square little heroine. She married one, 
thinking the other dead, and, finding he 
wasn't, sent her husband to find him and 
explain. This involves another big fisht 
with the Indians and their renegade chief, 
and results in the elimination of the extra 
lover. If the fighting were on the level the 
cast would have been wiped out in the first 
reel. Which would be sad, for it is a good 
cast. 

Tom Forman plays the sub-hero (and he 
also wrote the scenario, which provides a 
second feather for his Scotch bonnet) ; Mabel 
Julienne Scott is the heroine, Wallace Beery 
L; again the fighting renegade, and the others 
are all capable. The scenic shots are ex- 
cellent and the fighting excessive but lively. 




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Director — We re calling this picture "The 1920 Model. 
Cameraman — Better equip it with shock absorbers. 



The Shadow Stage 



( Continued ) 



SEX — Hodkinson 



SEX" is not so bad. Written by C. 
Gardner Sullivan, and particularly 
well directed by Fred Xiblo, it at least may 
boast intelligent treatment and a moral. 
Here are wild women and vicious men doinp 
all the things they are supposed to do in 
the nipht life of wicked Manhattan, but 
being impelled to do them by reasonably 
plausible motives. 

A girl of the "Midnight Frivolities" takes 
life lightly, accepts the attentions of a mar- 
ried rounder, laughs at his protesting wife 
and advises her younger chums of the mid- 
night chorus to follow in her footsteps. 
With a mighty heave ho I and a merry ha ! 
ha! she hurls her boomerang into the air 
and skips gaily away to enjoy life. Which 
is all very well until in due time she be- 
comes a respectable married lady herself, 
with a husband she hopes to hold against 
all comers. Then her boomerang flies back 
and smites her. Her husbami slip-; away 
from her into the arm of the very girl 
she had instructed in the art and philosophy 



of the successful vamp. We leave her beaten 
at her own game. The conclusion is in- 
determinate, but the moral is plain : "Don't 
never do nothing to no other lady's hus- 
band you wouldn't have the other lady do 
to yours." 

"Sex'' is a bit riotous through the intro- 
ductory reel. Reckless .Adrienne gives one 
of those wild dinner parties in her cute 
little 100XJ50 New York dining room; 
evcr>-body drinks much too much wine and 
the ladies ride around the table astraddle 
the necks of the gentlemen. But once p.ast 
its keynote the stor\" is sanely told. Louise 
Glauni's characterisation of the reckless one 
is true and human, and the assL<;lanrc s4ic 
is given by the principals, who include Wil- 
liam Conklin. Myrtle Stedman. Irving Cum- 
mings and Peggy Pearce. keeps the play 
well in key. W. W. Hodkin.«on. the original 
crusader for cleaner and better pictures, is 
distributing "Sex." and boasting that it ha5 
"shocked the critics." Which goes to prove 
that you never can tell about these movie 
penis What's a principle or two among 
stockholder?? 



Fvory tdTrrtlupmpnl In riinT<irT AY M.\r;.\7,INK In stianuitwd. 



PHOTOPLAY MAGAZINE — ADNERIISING SECTION 



The Shadow Stage 

( Continued) 

THE WOMAN AND THE PUPPET 
— Goldwyn 

THE story of '"Carmen" will probably 
be rewritten several times for Geraldine 
Farrar before she quits the screen. The 
current version is called "The Woman and 
the Puppet," with the fiery prima donna 
swaying with hippy grace through a series 
of attractive Goldwyn sets. In this instance 
she is Concha Perct, a cigarette girl, and her 
lover is none other than Don Mateo, a 
dashing soldier with an eye for beauty. Be- 
cause Concha will have nothing to do with 
him he determines to pursue her. First he 
tries to buy her with gold, but being a moral 
young person she had much rather dance 
in a dive in Cadiz than so lower herself. 
Finally she permits Mateo to find her a 
house, and then locks the door on him. 
Toward the end of the story, however, she 
goes a bit too far and has her face roundly 
slapped for her audacity. The slapping was 
what she needed, for after that she was most 
tractable. She is a saucy vamp, is Geraldine, 
good natured and maturely fascinating. 
There is some danger of women of her type 
growing coarsely sensual as they skip along 
toward the middle years, but I'm sure she 
is too wise a lady to do that. Lou Tellegen 
was nicely suited to the role of the pur- 
suing Mateo, and Macy Harlam helped a 
lot. The Spanish sets are particularly at- 
mospheric and there is much beauty in the 
backgrounds. 

THE COST— Paramount' Artcraft 

VIOLET HEMI\G accomplishes her debut 
as a star in "The Cost," but that is 
about all the picture does accomplish. A 
conventionally obvious story, there is little 
to sustain interest through its five or more 
reels, though the direction of Harley Knoles' 
and Clara Beranger's scenario probably make 
the most of the material offered by David 
Graham Phillips' story. The heroine mar- 
ries the hero against the wishes of her father, 
though she has been w-arned he is a bad 
boy. He runs true to form and though she 
forgives him many of his lapses she pays 
the cost of her mistake and he of his ex- 
cesses. When he dies, tangled up in the 
ticker tape of the market he has finally 
beaten, she is left free to marry a politician 
whose sterling honesty has elected him gov- 
ernor of the state. There are many pretty 
scenes, one in which Miss Heming is posed 
against the frame of an oil painting that is 
striking. Ralph Kellard is an effective young 
heavy, and a typically good Paramount-Art- 
craft cast includes Carlotta Monterey, the 
upstanding Edwin Arnold, Warburton Gam- 
ble and Edwin Mordant. 

DON'T EVER MARRY— 
Neilan — First National 

YOU can't really blame the directors, even 
the best of them, for reaching out for 
laughs. But they run the risk of doing 
injury to their reputations whenever thcv 
do it. Marshall Neilan's "Don't Ever Marry" 
is a farce comedy of the screen in which 
everything is sacrificed to a wild attempt to 
pile one extravagant situation upon another 
and thus extract the raucous chortle from 
the vacant mind. There is no reflection of 
the true stuff in this, no suggestion that the 
adventures are anything more than studio- 
made. A young man marries a girl despite 
the protests of her choleric parent and at- 
tempts to smuggle her out of town before 
papa explodes. He engages the bridal suite 
at a hotel, and then is forced, by the arrival 
of another bride, to declare the wrong 
woman to be his wife. The rest is a harum- 




^^^^ 





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I lO 



Photoplay Magazine — Advkrtising Section 



THAT 

SOOTHING QUIETNESS 

On the cindcrless paths of the Great 
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The Shadow Stage 




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FRECKLES 



( Continued) 



scarum jumbling of complications that mean 
little to anyone concerned. Matt Moore 
and Marjorie Daw dashed hither and thither 
amusinply, Tom Guise was excellent as the 
irate pa and Christine Mayo made an at- 
tractive trouble breeder when needed to 
quicken the lagginR spirit of the farce. 
Marion Fairfa.x fashioned the scenario from 
an Edgar Franklin story. 

THE LOVE EXPERT— First National 

WH.\T is true of "Don't Ever Marry" 
is also true of John Emerson's "The 
Love Expert," with Constance Talmadge 
again the engaging star. This is another of 
the artificially propelled type of farce, never 
by any stretch of the imagination a plausible 
or even a possible series of complications 
but cleverly tricked out with Anita Loos 
titles and here and there brightened with a 
bit of comic acting by Miss Constance and 
the members of her troupe. The heroine 
in this instance, determined to marry a cer- 
tain young man whom she finds engaged 
to a spinster and handicapped with a family 
of unmarried sisters he feels must be pro- 
vided for before he can step off, proceeds- 
to clear the matrimonial decks by finding 
suitors for most of the cast. The fun flows 
rather evenly for a reel or so, but after that 
it becomes clogged. I am not sure there 
is not a public for this sort of thing, par- 
ticularly in the hinterland where the com- 
petition in pictures is not strong. But I 
am sure the making of such pictures will 
add nothing to the reputation of a director 
who usually can be depended upon to pro- 
vide an hour's solid entertainment with any 
production to which he signs his name. 

THE PRINCE CHAP— 
Paramount' Artcraft 

THEY couldn't have selected a better ve- 
hicle for Tom Meighan's first stellar ef- 
forts than "The Prince Chap," from the 
popular old play. There will not be a 
more popular ma'e star in pictures when 
everyone has seen it. A simple story of the 
love-life of a wholesome, strapping .American 
artist, it is ready-made for Meighan, and 
he brings to it that complete sincerity that 
distinguishes him from the arrow-collar 
actors. If you like Meighan — you will go 
absolutely crazy about him in this. If you 
don't, he'll convert you. His scenes with 
the youngest and intermediate "Claudias,'' 
the latter played by that most intelligent 
child actress, May Giraci, are scenes of sen- 
timent that even hardened old mothers and 
fathers, and certainly bachelors of both sexes, 
will stay to see again. Kathlyn Wi'liams is 
a perfect Princess .Alice. Lila Lee as Claudia- 
grown-up is inclined to dumpiness; she 
should take exercise. William DeMille's di- 
rectorial methods are those familiarly re- 
ferred to as "sure-fire." Anyway, he's not 
"Cecil's Brother " any longer. 

A MAN THERE WAS— 
Radiosoul Films 

INTRODUCING the Hobart Bosworth of 
Sweden — also the Scandinavian Thomas 
H. Ince of directors. Victor Scastrom di- 
rected and acted this sombre adaptation of 
Henrik Ibsen's poem. It is a splendid drama 
of the sea. Unexcelled scenes in a stormy 
sea, a sustained and strong portrayal of a 
Viking by Mr. Scastrom; picturesque peas- 
antry and a rugged rock-bound coast — it 
holds you for the hour-and-a-half required 
for its running, and makes you want to sec 
more of Ibsen's poetry on the screen, more 
of Scastrom's acting, and more of the north- 
ern seas. It is .so simple as to story and 



continuity and cutting and acting that one 
wonders why some of our output, not nearly 
so mighty, should use up so much energy 
and emerge with so much ostentation. 

DOWN ON THE FARM — 
Sennett'Umted Artists 

GOOD old Teddy — most valijfnt and pa- 
tient of canines! Who can count the 
dull comedies he has saved with one wag 
of his tail, the babies he has rescued, the 
damsels-in -distress he has diverted from 
death? Teddy, in this first long Sennett, 
comes close to stealing all five reels of it- 
He is aided by Pepper, queen of cats; one 
mouse; Louise Fazenda — who is just as at- 
tractive as any water-baby when the di- 
rector will permit; Ben Turpin, and John 
Henry, Jr-, the clown of infants, the 
burlesque of all babies. There is Marie 
Prevost, but unfortunately not so much of 
her as usual. Louise is the whole acting 
show. All the old tricks and no new ones 
are employed, so that there are many 
chuckles but few laughs. It starts off glo- 
riously; you think that at last Mr. Sennett 
is going to show "em- But he can't — or 
doesn't — keep it up. Our idea after seeing 
this is that Mack has a lot of stunts all 
nicely catalogued; his directors — for he is 
only a supervisor now — are permitted to 
select so many for each two-reeler, and so 
many more for this five. There must be 
some good ones left, but we should like 
to see them. 

CHILDREN NOT WANTED— 
Republic 

THE villain, in this case, is the landlord 
who bars children and welcomes dogs. 
"Children Not Wanted" relates the ston.- of 
a girl who finds her adopted chi'd an 
economic handicap. Those who heed the 
lesson may learn the relationship of rent and 
race suicide. The picture is plain, ordinars' 
movie, plus propaganda. Edith Day, a mu- 
sical comedy star, is a pleasant heroine — mild 
and sweet, but somehow rather convincing 
and sincere. 

DANGEROUS TO MEN— Metro 

A PERT little comedy with a pert little 
actress. A grown-up girl, adopted by 
a professor, passes herself off as a twelve- 
year-old child, for some reason or other. 
You know the answer to all these guardian - 
and-ward plots. \"iola Dana as ElLza 
"vamps" everyone in the cast. She has the 
soul of X'alcska Suratt in the body of a 
child. While we hate to seem all moral and 
particular, some of the farce vamping didn't 
seem to fit into this type of picture. You 
ought to be able to take the children and 
enjoy a story of this sort in peace and com- 
fort. Milton Sills, as the guardian, has all 
the dignity and poise that Miss Dana lacks. 

THE MOTHER OF HIS CHILDREN 
— Fox 

THE MOTHER OF HIS CHILDREN ' 
is announced as a "drama of high life 
in Paris." So this L* Paris! 

There is nothing very harmful and nothing 
very Parisian about the picture. Gladys 
Brockwcll. as an emotional actress, is bound 
to have stories of this sort. Mks Brockwcll 
is seen as an Oriental princess in love with 
an .American artist, who is married. The 
wife obligingly dies in time for the happy 
ending The Oriental atmosphere in the pic- 
ture reminds you of a fortune-teller's parlor 
and the Parisian atmosphere reminds you of 
— well let us sav the Fox studios. 



K\vry ailrrrllwmrnt In moTOrLAY M.MIAZINT In cuariuitwtl. 



h'HOTOPLAY iM.UlAZINE — ADVEHTISING SECTION 



I I I 



The Shadow Stage 



( Continued) 

THE BLOOD BARRIER— 
■ Blackton-Pathe 

J STUART BLACKTON produced this 
• melodrama from a story by the late 
Cyrus Townsend Brady. It is all about a 
man who is so jealous of his wife that he 
commits suicide and allows her to think that 
the man she really loves did the dirty deed. 
And then there is a lot about foreign agents, 
who plot to learn important trade secrets. 
That's an after-the-war complication. They 
use to plot to obtain the diagrams of the 
harbor. The picture is rather unconvinc- 
ing melodrama and the leading roles are 
played by Sylvia Breamer and Robert 
Gordon. 

BLACK SHADOWS— Fox 

TWO innocent girls . in the clutches of a 
crook. The crook hypnotizes one of 
them and forces her to steal glittering dia- 
monds. Peggy Hyland, as the non-hypno- 
tized member of the duet, exposes the crook 
and clears herself of the charge of being 
a confederate to the deed. The picture is 
fjeopled with crooks and society folk and it 
is neither good nor bad. 

THE HEART OF A CHILD— Metro 

IT IS Nazimova who undertakes to show 
us the heart of a child. And it is this 
rainbow Russian actress who plays the role 
of Sally Snape, London street urchin, who 
dances her way from the gutter to an an- 
cestral castle. There is a charm in Frank 
Danby's book that you do not catch in the 
picture, largely because the picture is put 
together in rather messy fashion. When all 
is said and done, Nazimova is Nazimova and 
not Mar>' Pickford. And Charles Bryant is 
Charles Bryant and not the youthful and 
ingenuous Lord Kidderminster. 

DOLLARS AND THE WOMAN — 
Vitagraph 

THE complete visualization of the story 
which appeared in last month's Photo- 
play Magazine presents one of the finest 
domestic dramas the screen has known. It 
is so fine that anyone reviewing it for critical 
purposes is put entirely off his guard, being 
swept along by the intimacies of it, the 
reality, the tragedy, and the finale of poig- 
nant happiness. A story like this one never 
grows old. It was made for Lubin some 
years ago with Ethel Clayton in the ro'.e of 
Madge Hillyer. It was directed by the same 
man who conducted this later Vitagraph ver- 
sion — George Terwilliger. And here is a di- 
rector ! If Vitagraph knows what it's about, 
it will re-engage the services of Mr. A'bert 
Payson Terhune, who wrote the story in 
fiction form, or another writer like him; 
Mr. Terwilliger, Lucien Hubbard, who made 
the scenario; and this triangular cast: Alice 
Joyce, Robert Gordon, and Crauford Kent— 
and issue a series of domestic dramas, with 
this first one as a standard. You know the 
story. Alice Joyce contributes a character- 
ization which has never been bettered by 
any actress in screen annals. She is so good 
that you wonder why a sympathetic part 
like this has never drawn her out before. 
Her greatest charm, that inimitable reserve, 
is broken down a hit here. This is a new 
Alice Joyce. Robert Gordon, after his dis- 
appointing parts in Blackton pictures, scores 
strongly here in a part fu'l of opportunity; 
he is one of the best of our younger serious 
actors. Crau'ord Kent is the third angle 
of the triangle; if any other actor could 
have played the part better, we'd like to 
know about him. 

(Continued on pageii6) 




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When you write to advenisers plcaso mcnUon PHOTOl'LAY MAGAZINE. 



I 12 



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•J 7 



Human Stuff 

(Continued from page 55 j 




greeted Romero, the overseer, who stood on 
the porch with his sister Boca. In their 
exchange of fireetings one could read the 
relations between the members of the trio — • 
the dominance erf the big Bull Elkins, the 
servility of the Mexican, Romero, and the 
obvious ownership of the weak and sensuous 
Boca. 

"Well, Romero, our plans have come 
through — the old man wants to sell this 
ranch." 

Romero smiled his satisfaction. 
"And of course we are still fifty-fifty?" 
There was a hard look with the half-query, 
half-command. 
"Of course." 

The party moved into the ranch house 
for a drink. 

Driving a buckboard, with his baggage 
aboard, Jim Pierce entered the ranch yard 
gale. Romero and Elkins, coming out at 
Boca's call, greeted the visitor. 

"I'm the new owner of the Twin Hills 
ranch," Jim explained. 

Elkins interrupted with a snort. 
"I hold an option on this here ranch and 
I intend to buy it." 

Bull Elkins and Jim exchanged the looks 
that spell trouble. 

"Here's the bill of sale; I've got it." And 
that from Jim closed the argument. 

Elkins looked at Romero and nodded with 
a meaning that their deal was off and the 
scheme to get the ranch for little or noth- 
ing foiled. He also looked his hate for Jim, 
the instrument of their disappointment. 

While Jim's effects were being unloaded 
and taken into the ranch house. Bull and 
Romero went into conference out in the 
yard. 

"This tenderfoot won't last long, Romero. 
Vou stick to your job, and I'll see you in the 
morning." 

In the ranch house Boca with her wiles 
was trying to make herself pleasant to Jim, 
who either ignored or did not understand 
the Mexican girl's advances. 

Out alone on horseback, Jim made an 
inspection of his newly acquired property. 
Pulling up on a hill top, he swept the roll- 
ing acres with an eager eye. From his 
pocket he drew a flask, started to drink and 
stopped. As he looked over the big open 
landscape in the clean sweep of the wind 
he drew a deep breath and then — with a de- 
cision made — threw the flask away. He 
had i)ut that, like the city, behind him. 

BACK at the ranch house Jim called the 
men together to make an announcement, 
an announcement of which he probably had 
not measured the meaning and daring, out 
there in that cattle country. 

"As a cattle ranch this place has failed," 
Jim said, looking rapidly from one to an- 
other of the ranch hands. ".And I intend 
to develop it along other lines. From now 
on this ranch will be devoted to sheep rais- 
ing." 

If Jim had tossed a stick of dynamite 
among them there would not have been so 
much consternation among the cowmen. 
Romero jumped to his feet, his eyes aflame 
with insult and hate. 

"Please, senor, Romero knows cattle — I 
will not be foreman of a sheep ranch." 

".Ml right, if you feel that way," Jim re- 
plied quietly. 

Romero left with a flourish of bravado, 
followed by most of the ranch hands. Two 
remained to cast (heir lots with the new 
owner and his experiment in sheep raising. 

The departing ranchmen, under the lead- 
ership of Romero, reported promptly to Bull 
Elkins at the Circle X. His decision was 
immediate. 

Liory advccUsriucnt In I'llOTUFLAY 3kIA0AZI>>'E Is cuaraiurcd. 



"Every man of you ride to a different 
ranch and tell them this tenderfoot b going 
to turn the Twin Hills into a sheep ranch. " 

Boca, too, took her departure from the 
Twin Hills, with the declaration that she 
would not remain "to wait on sheep herd- 
ers." 

The cattlemen rallied at a meeting at Sago 
and Jim rode there to have it out and un- 
derstood with them, once and for all. Elkin? 
and Romero were there to "bah — bah — 
sheep" at him and incite the anger of the 
cowmen. Undaunted, Jim went into the 
hall, faced the cowmen and made his 
speech. 

"As owner of Twin Hills, I feel justified 
in using it to the best advantage and after 
studying it I have decided it is to be a 
sheep ranch. I thank you for your atten- 
tion." 

Jim bowed, turned and walked out. As 
he passed through the door a shot rever- 
berated in the hall and a bullet spatted into 
the door-jamb. 

Jim wheeled and saw Elkins trying to 
conceal a smoking gun. 

"I have your challenge, Elkins — and a 
man's back is generally considered a pretty 
big target." 

Jim turned again and went quietly out. 
His fight had been won. 

THE success of the Twin Hills at sheep 
raising vindicated Jim's decision in a 
few months. The rundown ranch began to 
assume an air of prosperity and cheer, with 
plenty of paint, a clean lawn and all in 
neatness. 

Jim sat in the late afternoon light on his 
verandah, scanning a magazine idly and pat- 
ting an affectionate sheep dog with its head 
on his knees. The magazine's pictures en- 
gaged his attention as he thumbed over the 
pages. Then he came to one that both in- 
terested and annoyed, a love scene from a 
play, in the evening dress of "the folks back 
home." 

"Shep!'' The dog was up at attention. 
"You and the boys are pals to me, but this 
ranch needs something more — somebodv 
else." 

Shep wagged his tail in assent and sat 
down again to survey the landscapte. 

AMONG the "folks back home" Destiny 
was at work upon an unexpected de- 
velopment in affairs way out there at the 
Twin Hills ranch. 

A garden party was in progress at the 
Pierce home, with Mary and Lee Tyndal 
at a table together, chatting of the noth- 
ings of the day. Lee sighed as the con- 
versation lagged into a lull, and looked oft 
away from the table with a manner that 
told her companions her thoughts were miles 
and miles away. 

"Why so pensive, little one?" The girls 
were in a teasing mood. "Who is he?'' 

"Xobody! " Lee snapped back at them 
"But you can tease all you want to; I'd 
rather go ranching or farming than keep 
up this interminable teaching, teachinc. 
teaching, trying to hammer a little languacc 
into the heads of my pupils." 

Mary laughed out with a bantering sug 
gestion. 

"Let's write Jim. He will be able to help 
you locate." 

.\nd so the letter went off. 
\i that minute "Old Washboard " Pierce 
Silt in his study reading the latest letter from 
Jim. 

" — -As I have written before, the 
ranch is a success, but I'm lonesome. 
Have made up my mind to rnarn.-. I 



PHOTOPLAY MAGAZINE — ADVERTISING ;5ECTION 



Human Stuff 

( Continued) 

don't know whom. I'll leave that to you. 
Select a girl, and make the circum- 
stances plain to her, a business propo- 
sition and matrimony. I will drive in 
to Sago June 20 for reply, either by 
letter or the lady in person. 

"Your devoted son, 

"James Pierce, Jr." 

AXD so it came that on the twentieth 
of June, Jim drove up to the depot at 
Sago, mildly expectant. And it happened that 
just that morning Romero called for the 
mail for the Circle X. .'\11 of which gave 
the deviltry of fate, through the instrumen- 
tality of the postmaster, a chance to mix 
things up considerably. As Romero started 
out, the postmaster called to him: 

"Say, there's some mail here for the Twin 
Hills. Will you take it out to them?" 

Romero, with a crafty look in his eyes, 
agreed. Safely out of sight, he opened the 
mail for the Twin Hills and discovered the 
letter from Mary telling of the coming of 
Lee Tyndal, and her quest for a ranch. He 
rode away home to the Circle X, thinking 
out a scheme as he rode. 

When Jim went to the postoffice he found 
a card on the door. "Gone to dinner — back 
at 2 P. M." Then the whistle of an ap- 
proaching train drew him back to the sta- 
tion. 

Jim rubbed his eyes with amazement as 
he saw a girl, unmistakably Lee Tyndal, 
alight from the train with an array of bags. 
His head awhirl with questions, he stepped 
out to meet her. 

"I never thought you would be the one 
to come out here, Lee." 

"Neither did L" She smiled. "But busi- 
ness is business." 

Jim looked at her sidewise and murmured 
to himelf in his amazement at her apparent 
calm acceptance of what he admitted to 
himself was a curious situation. 

Jim led Lee to his buckboard and to- 
gether they drove off through the hills to- 
ward the Twin Hills ranch. 

At the Circle X, a peculiar tete-a-tete was 
in progress. With a jug of vino between 
them, Boca and Bull Elkins sat at the 
table. 

"My brother Romero ask me when you 
and I marry, Bull — why you don't marry 
me like you promise?" 

"Wait till we get this infernal sheep 
herder out and get the Twin Hills ranch. ' 
Bull was conciliatory even though refusing. 

Romero rode into the yard and shortly 
he and Elkins had their heads together over 
the intercepted letter to Jim Pierce. When 
Boca joined the group Elkins handed the 
letter over to her. When she had finished 
he drew Boca and Romero close to him and 
unfolded a plan aimed at the undoing of 
Jim. It was the kind of a game that Boca 
liked to play. She hurried away. 

WHEX Jim and Lee arrived at the Twin 
HUIs and entered Jim was astonished 
to see Boca reclining on a couch, leisurely 
smoking a cigarette. She affected a well 
studied air of belonging there. 

Jim looked at Lee and Lee looked at Jim. 
His violent embarrassment was swiftly mis- 
understood. 

"I hope I am not intruding." Lee's voice 
w^s frigid. "Your little friend is very at- 
tractive." 

"Er — yes — I mean no !" Jim was stum- 
bling over himself in a confusion that did 
not improve the situation. 

Boca chose this moment to step out of 
the room and Jim Pierce was left alone 
with Lee Tyndal whom he now knew was 




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When you write to advcrtisirs vliase mention PHOTOPli^VY MAGAZINE. 



' '4 



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Human Stuff 

( Continued j 



the one girl who really counted. But she 
was back in an instant as Jim started to 
show Lee to a room. 

'•I will show the lady." Boca spoke with 
a quiet assurance, taking charge of the sit- 
uation before Jim could uller a word oi 
protest in his perplexed state. He yielded 
and walked out on the porch. He wanted 
air, quick, to think. 

Boca turned swiftly to Lee, with a well 
assumed injured, wistful air, speaking in her 
softest Mexican accent. 

"So you have come — to take my place — 
no?" 

Lee looked at the Mexican girl, wonder- 
ingly. 

Out in the yard Jim was questioning the 
men as to why Boca was there. They knew 
no more than he. 

Boca played her part well. 

"You can no fool Boca — Senor Jim tell 
me you have come to be his woman." 

Lee drew back, overwhelmed and indig- 
nant. 

"Mr. Pierce has lied to you. I came here 
expecting his assistance in locating a home- 
stead." 

Boca's face lightened and she hastened to 
seize this little advantage. 

"Please, if you come for ranch — my 
brother has nice place he will show you." 

"Where does your brother live?" 

Boca was voluble in reply, with many de- 
tails and an ardently glowing description of 
the place that Romero had to show. She 
concluded with a plea. "You will not tell 
Senor Jim of this? He will hurt poor 
Boca." 

Jim and Lee met in the living room, en- 
tering at the same moment. 

"Come, I will show you the place." 

"Thank you — Mr. Pierce — I will look over 
the place alone." 

Jim drew back frozen with her glance 
and Lee swept out. With Lee gone, Jim 
turned on Boca. 

"What are you doing here?" 

"It is because I want you — for — for me." 

A stormy scene followed with Boca plead- 
ing a suddenly born infatuation, begging 
for consideration, begging that Lee be sent 
away, begging, begging, crying. Jim fled to 
the porch to escape her evident hysteria. 
As he went out she grinned at his back. 

Lee was briskly on her way to the Circle 
X, following Boca's w-ordy directions in 
their recent conversation. Bull Elkins and 
Romero saw the young woman approach 
and exchanged glances of understanding as 
Klkins stepped into the yard to greet her. 

"I want to see Miss Boca's brother." 
Elkins smiled with as much politeness and 
cordiality as he could muster and, turning 
toward the house, called Romero. 

Romero was glad indeed to show the 
place the lady wished to see — it was indeed 
a great bargain, he assured her. 

Lee and Romero drove off into the hills 
beyond the Circle X. Craftily eyeing them, 
Bull Elkins wailed a while, then mounted 
a horse and followed. 

.At his cabin in the hill Romero with rare 
Mexican grace showed Lee about the place, 
then led into the house. Lee was occupied 
with the arrangement of the interior. A 
lock snapped and she wheeled about to see 
Romero turning the key in the door. 

"Why do you do that? What arc you 
locking the door for?" 

A cruelly crafty smile spread over the 
Mexican's face as he leered at Lee. "It is 
not for ranch I bring you here — it is for 
me." 

Lee shrieked as Romero sprang at her. 



BACK at the Twin Mils ranch Jim Pierce 
was growing increasingly unea.sy as time 
passed and Lee did not appear. Determined 
to make a quest, he slapped on a hat and 
started away from the house. Boca ran 
pleading after him. In disgust and alarm 
he threw her from him, this time with no 
gesture of patience. In a flash she became 
a raging fury. She picked herself up and 
glared at him. 

"Your sweetheart will pay — even now she 
is with my brother Romero." 

With a swift motion, Jim seized the Mex- 
ican girl and tightened his hands on her 
throat. "Where? Where? Tell me or I'll 
choke you to death." 

"At his cabin," Boca gasi>ed. 
Running for his horse at top speed, Jim 
mounted and galloped away, praying that 
he might not be too late. 

Bull Elkins, riding trail on Romero, came 
upon the Mexican's cabin while the strug- 
gle with Lee was yet in progress. He dashed 
in, crashed through the door and sent 
Romero spinning, a bullet through him. 

Then he turned to Lee, who sat, tied to 
a chair by her tormenting captor. Elkins' 
manner was the depth of apology and alarm. 

"I am very sorr>-. Miss, that you have 
been treated this way." 

Romero was in tlight and Elkins still talk- 
ing .when Jim Pierce rode up, his horse 
a-foam with the terrific pace. 

With little to say between them, both 
dazed by the day's developments, neither 
understanding the other, Jim and Lee re- 
turned to the Twin Hills ranch house. There 
she spent a sleepless tossing night, her be- 
wildered hate for Jim growing hourly as 
she pondered on the stor>' told her by Boca. 
When morning came she emerged from her 
room to find Jim waiting and the break- 
fast table laid for two. 

"I prefer to breakfast on the train— Mr. 
Pierce." 

She was ready and determined. Jim did 
not even try to discuss anything. 

"Hook up the team, boys, and load her 
trunks." 

They reached Sago station in the nick of 
time to catch the train. Lee bustled aboard 
and Jim was hurrying the men with the 
trunks when the station agent ran up ex- 
citedly and engaged Jim s attention. 

"There's a shipment here for you — been 
here three days waiting — and I wish you'd 
get it out of here quick; I'm tired of feed- 
ing 'em." 

Jim's dumfounded gaze followed the 
sweep of the station agent's hand and took 
in a crate containing a mother collie and 
a litter of pups. 

"An' here's a letter that come with 'em." 
The agent pushed the note into Jim s hand. 
Jim read it in feverish haste. 

"My dear son: — What you need is a 
companion, not a wife. .\ dog k af- 
fectionate, obedient and reliable, staunch 
in its friendship, uncritical and loving. 
Be kind to her and her offspring. 

"Your devoted father. 

"James Pizrce." 
A great licht began to break for Jim. 
The train was pulling out. He swung onto 
the hand rail and jumpetl aboard. .\l this 
moment two of his faithful sheep-herders 
rode up pell-mell. With Western swiftness 
and decision, on an errand that could brook 
no delays, they spurred up ahead and with 
a flying leap one of the men reached the 
engine cab, covering the engineer with his 
guns and ordering the train stopped. 

In a flash the other was aboard and run- 
ning back through the coaches, seeking Jim 



Etc-ry aclTprtNcmwit In I'llOTiMM AY M.M;.\ZINK. Is Biiar«nl<^. 



Photoplay Magazine — Advertising Section 



Human Stuff 

( Concluded) 

Pierce. Meanwhile Jim was clutching at 
Lee's seat, as she sat with face averted. 

"Did my dad send you out here? Tell me 
that much !" 

"No, certainly not — Mr. Pierce.'' 

''Why did you come?" 

"Perhaps your sister's letter did not ex- 
plain !" 

"My sister's letter—?" Jim was befud- 
dled entirely. 

His sheep-herder burst into the car wav- 
ing a bit of paper, shouting: 

"Boca send this! Boca send this!" 

Jim seized the paper and read it to Lee. 

"Dear Girl from City:— 

"I am sending letter Senor Pierce 
never got. I told you lies. Forgive 
me. The reason is in my brother's 
grave. 

"Boca." 

Then Jim read Mary's letter about Lee's 
quest for a homestead. The situation was 
clearing rapidly. 

"Well, Lee, my ranch is not exactly the 
kind of a place you had in mind perhaps — 
but maybe it would do!" 

And so it came that the afternoon sun 
smiled down on the return journey of the 
Twin Hills buckboard, with the collie and 
her family in the crate behind and Lee and 
Jim sitting very close together on the front 
seat. 



Playtime Clothes 

(Continued from page 49) 

outlined with the wool embroidery, that was 
also used to complete the short sleeves. The 
narrow belt was also finished with the em- 
broidery. This frock cost $80 in the shop 
I am talking about, but if you have nimble 
fingers you can reproduce it at home for 
S8. And the coarse wool embroidery that 
is used so much this summer is easy to do 
and goes very quickly. 

Gingham hats, soft, wide-brimmed affairs, 
arc being made to match the wash dresses. 
Sometimes they are entirely of gingham, 
while others have a big pert bow of white 
.organdie. You can be sure of being in 
style, however, if you make your hat to 
match any of your wash frocks. 

If you have to spend the summer in town 
vou needn't forego the pleasure of wash 
dresses. We started w-earing them on the 
street during the busy days of the war, and 
it is one of the wartime styles we are 
continuing. The sensible girl can dress 
quite as coolly and prettily for her office 
as the girl who spends the summer in play. 

When there comes a rainy day in town 
there are stunning new coats of white rubber 
and little patent leather hats to wear with 
them, or if you like taffeta better, there are 
rubberized checked taffeta coats that are 
just the thing for rainy weather. You will 
also find that a leather coat is quite as much 
protection when it rains in town as it is for 
wear in the country. And for tramping on 
bad days, there have been some new suits 
devised — ljut I shan't tell you about them 
until next month. 




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The lustrous appearance is 
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Made in full range of colors and 
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Silk, lisle, silk plaited, silk lisle. 

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SATIN SKIN POWDER "Perfection for 
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Sold by druggi.t: SATIN SKIN LABORATORY. Mnfr., Detroit. U.S.A. 



PATENT;!SENSE , Rfi^ 

"U/ie Book for Inventors 6" Mfrs? ^ ^^^^^^J^^y 



By Return Moil FREE . WHtc 
LACCYfrLACEY, Dept. e. Wa9hiniton.D£ 



("omirn. Cartoons. Commrr' 
Ncuopnpor and Mavb 
•in.' Illu-tlriitinK. 
fritw.i. ''.■rlmiUt nntl Fash 
...i.H Bv Mall or 1am-« 
I laniii'^ Wntf forlrrmiiBn. 
I.mt itf flun-tfwiifiil itudcntA 
A«socUt*d Art %\u4%o- 
IJAFIatlronBM*. Nrw Yor 



When you write to advenistrs please mention PHoTOPI-AY MAGAZINJi. 



l^iioioi'LAv Ma(i azim:— Advehtising Section 




A strong clear, powerful voice of 
urpassing beauty can now be yours! -. 

Vou c.vn li.ue woiulcrful ranije "I nmc, 
errMcT ri(.liticss of qvLilily. more volume, 
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Wonderful New Meihod u^ir^e 
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u 1,1 1, ,,. .llv liri>'lucc lln- \ ' II c. I.c.irli iilmiil llic LiliRius 
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f»/^if^ i-xrr' iscs ft! the vo<.il ortfaiis hriiiif aiii.iziiiif roults 
lnilne<li.ii<-lv. I^nilc.rscd I'V I. .idinif I-.iirc.|,< .,11 5iiii:ris, 
.l.K.n,. nnd spr.ilirrv. It li.is lidlicd tllousJiKls m lliiir 
prnfr«;si«ui;d and sot i.ll lllr. 

Do You Stammer ? 

Sl.iriiiMrpinir. stiilHiiiiif, llsi.iiiit, 
nnd ■ithri lii.l>"Ntiiriils in •.{•^r, li .ire 
null klv ovcrcMinr tli>- I->n. Iilinni t 
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1.-11.. nil al.oijl thia won.li-rlill. 

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li. VI. II without rnnt orohllnUon If 
>ii.i «rli.. for II al onro. .Send 
lnLlnl t.,ili.r Aililr>"«: 
PERFECT VOICE INSTITUTE 

tn32 t%i.finv«li1* Av«nua 
SiMdIo 11-153. CHICAGO. ILLS. 



^ My Direct from Paris . 

Now ploase be perfectly HONEST with your- 
self as well as with us (thru this advertisement.) 
Would you not be pleased and delitrhted to 
receive, AT YOUR DOOR— by mail— DIRECT 
FROM PARIS, with all custom charges paid, 
those prelty "chic" thinffs as soon as they come 
out, that the woman so loves to have and which 
the Paris workman is only able to produce : and 
which we deliver to you perfectly and quickly at 
prices '3 to Vj less than American retail prices. 
* Perfumes: Gloves; Hosiery; Veils; Hats; Blouses; 
Liiigrric: Parisiemie Pearls; Novelty Jewelry; 
French Ivory Articles, — everything to a Com- 
plete Trousseau — Direct from Paris to you. 

Ladies' Silk Stockings with 
Hand Embroidered Clocks 

- exquisitely madi^ — ?7..'iO per pair, orders dis- 
patched at once. STATE SIZE,— not more than 
three pairs to one person. 

Your Personal Check Accepted; otherwise Bank 
or Express Drafts- IVc Cannot Use Postal Money 
Orders. Register Your Orders. 

•• MOREED •• Cold 
Cream and Face 
Powder. $1. per Jar 
or Box, delivered. 

Our Hooklcl U shows 
many SI. to S5. arti- 
cles of Parisiennc Exclu- 
siveness. 

Our Assets: Personal 
Service; Values: Kvr/M- 
vcness: Satisiartion, ex- 
our wany Fru nds. 

evard Hauismann, 

ris, France 




l'\civ advrrlisc 
liut by the publ 



cinrnt ill IMIOTOPl.AV is Kti.it.inlccd. not oiilv bv 'I' ,-:;l,\>,' ":;<■':• 
ishrr. Whi n vdii wrilc to .ndvertisrrs please iiieni inn I'lK 1 1 ( )l l.A^ . | 



The Shadow Stage 

(Continued jrom page iii) 

BELOW THE SURFACE— 
Ince-Paramount-Artcratt 

THE successor to "Behind the Door." the 
latest release of that heavy dramatic 
combination — scenarioist Luther Reed, di- 
rector Irvin VVii'at, and actor Hobart Bos- 
worth — is morbid and manifestly manufac- 
tured. It starts off with all the force of 
that first Ince epic of the sea — this time 
showing a submarine-full of men enduring 
slow death by suffocation until Hobart Bos- 
worth as the diver Martin Flint risks his 
life to save them. Then it degenerates into 
the old story of the scheming city chap and 
his fair partner, who bamboozle the young 
son of old Martin. Nearly every old trick 
is called out, dusted off, and paraded — 'but 
there is a real wallop in the wreck of the 
night boat to Bonon, in which the city 
schemers meet a hideous fate. There are 
too many close-ups of Grace Darmond who, 
though pretty, is artificial. Bosworth is fine. 
But Ince seems to have erred in judgment 
in selecting Lloyd Hughes for prospective 
stardom; Hughes strives valiantly, but regis- 
ters insincerity and a weak chin. 

NURSE MARJORIE— Rcalart 

WE HAVE never read the original of this 
Izrael Zangwill stor\% but it's safe to 
say the author of "The Wandering Jew" did 
not write it as the film people have turned 
it out. Here it is a lieht, very light comedy, 
which serves principally to show that there 
is no more beautful camera subject than 
Mary Miles Minter. Mintcr in a nurse's 
cap, Minter dressed up; Mary smiling and 
Mary sad — a lovely, soft, living portrait, but 
not exactly good drama. Clyde Fi Imore is 
a new leading man who will have more than 
his share of feminine adulation when this 
picture is circu'ated. It's hard to be'ieve 
that this little expose b life as it is really 
lived in upper-class England. 

THE YELLOW TYPHOON— 
Mayer-First National 

AXIT.\ STEW.ART is the double bar- 
reled star of this picture of intrigue, 
■gambling, stealing navy plans and ever>'thing 
else wicked you could think of getting to- 
gether in 6000 feet of film. When she wears 
a b'onde wig and a leer, she is that un- 
scrupulous lady for whom the picture is 
named, with a heart cold like a diamond 
and a glittering personality. When "ihe 
doesn't wear a wig. she is our good little 
heroine who docs valuable work for the 
secret service. The two are sisters. There 
is nothing appealing about this picture, 
though the star's acting is excellent. The 
picture is founded on a Harold McGrath 
serial in the Saturday Evening Post — and 
the incidents intended to thrill are too 
stereotyped to do their duty. Technically 
the picture is good. Edward Jose directed. 
The settings are gorgeous. 'Nliss Stewart 
should not waste her charms on such melo- 
drama. 

PASSION'S PLAYGROUND — 
First National 

THE title is an a'ias for li'l old Monte 
Carlo. It is the most pafsionate thing 
about the picture. The usual band of 
sharpers pursue the heroine, a convent-bnil 
Enulish girl who knows nothing of life, yet 
manages to break (he bank all riuht. As 
usual, an Italian nobleman falls in love wi'h 
her — but to make the stor>- diffcrenl, he i- 
not a fake prince, and he dors not have to 
marry her to retrieve f.imily fortunes. Th- 
big punch conies in one of these scenes, so 
(Continitcd on page izo) 



r.trry idnTMlioni. nt In l«noTOPl.,\Y MAC! \7.INr U i:iiiir«titrrd. 



Photoplay Magazine — Advertising Section 

Let's Be Fashionable 



117 



(Continued from page 41) 



But Henry's role of hero was short lived. 
He had not counted on two things — one that 
the owner of the trousers and the oil station 
would trace him to his home and demand 
his property, the other that Mrs. Hammond 
had driven the car home with her and would 
send Mr. Hammond over with it before 
Ijreakfast. 

"But Henry," Evelyn dissolved into bie, 
round tears after the departure of the oil 
station gentleman and Mr. Hammond, in the 
custom of young wives who have caught 
their husbands deviating from the path of 
truth for the first time, "but Henry — you 
told me — Oh 
Henry, how am I 
ever to believe you 
again? I don't 
want you to have 
anything to do with 
that Hammond 
woman again." 

"Yes darling, yes 
darling," soothed 
Henry contritely, 
magnificently ac- 
knowledging h i s 
fault — the first fault 
that had ever come 
to mar Evelyn's 
perfect faith in him 
— "I told you a 
bad, wicked, 
naughty lie. I will 
never, never, do it 
again." And Henry meant it. 

EVEL\^ had time to think things over 
while Henry was at work that day. Per- 
haps she had been a little bit harsh on the 
poor boy. If she was to be a fitting wife 
to Henry, if she was to see him through, to 
land them properly in this fashionable set, it 
was time she dropped some of her small 
town notions. 

When Bruce Grey came whizzing up the 
drive that afternoon, and asked her to go for 
a drive with him, she went — for Henry's 
sake. They had a very pleasant time, re- 
turning in time for Evelyn to meet Henry at 
the 6:04. She did not say anything to Henry 
about the ride. He might not understand. 

After that Grey called to take her driving 
several times — and once, when some friends 
from the city were out for the day, he 
invited her over to his home. 

"I want you to meet her. She's the sort 
of girl that shows you photographs of all 
her friends and relatives. Nice kid," he had 
said to his friends. 

At Grey's house, she had learned that it 
was fashionable to have decanters of things 
to drink sitting about. Grey gave her a 
bottle of Scotch to take home, and though 
it had been a rule in the Baxter Street flat 
never, never, never to have a drop of liquor 
about the house, she very reluctantly emp- 
tied the whiskey into the decanter that 
had been given her for a wedding gift and 
then hid it away in the bottom of the un- 
used cellarette. 

Henry, coming home earlier than expected 
one Saturday afternoon, loaded down with 
packages, found Grey in conversation with 
Evelyn on the lawn. For the first time in 
their married life he became suspicious. She 
had not been acting like herself recently. 
This "fashionable stuff" was getting on 
Henry's nerves. Where were the good old 
times when they had been content to spend 
their evenings at home getting their own 
dinners and then doing up the dishes after- 
wards? Gone, alas, gone. There was 
something mysterious about the place. He 
did not like it. But like a dutiful husband, 
he greeted Grey as cordially as he could 



Let's Be Fashionable 

NARRATED, by permission, from 
the photoplay produced by 
Thomas H. Ince for Paramount-Art- 
craft from the original script by 
Mildred Considinc. Scenario bv 
Luther Reed. Directed by LloyJ 
Ingraham with the following cast: 

Henry Langdon. .Douglas Mac Lean 

Evelyn Langdon Doris May 

Elsie Hammond Grace Morse 

Bruce Grey George Webb 

Mrs. Trude Molly McConnell 

Betty Turner Marie Johnson 



under the circumstances, and went on into 
the house. Soon after, the millionaire 
bachelor was on his way. 

Evelyn's conscience had begun to disturb 
her about Grey. So far he had been per- 
fectly proper and impersonal — almost too 
impersonal to satisfy that wayward vanity 
that is implanted in every feminine heart, 
and is the undoing of so many. But was she 
being exactly fair to Henry by accepting 
Greys rides during the hours while Henry 
was toiling in the city? 

She had planned a little surprise for Henry 
as a sort of sop to her conscience for that 
very afternoon. 
Why, oh why, had 
he come home on 
an earlier train ? 
She had planned 
just how she was 
going to tell Henry 
all about her little 
surprise as they 
drove home from 
the station in the 
car; now she wou'd 
have to think up a 
n e w w a y to ap- 
proach the matter, 
and Henry prob- 
ably would not be 
very agreeable 
about it, now that 
he had come home 
to find an idling 
young bachelor about the place. 

"Henry, Henry dear" — Evelyn called as 
she entered the door. Henry did not an- 
swer. Evelyn passed through the living 
room toward the stairs, and from the tail 
end of her eye saw Henry in the dining 
room. 

"Henry, darling," she said with sprightli- 
ness, coming toward him, "you'll never guess 
what I've done for you this afternoon." 

"Promised this man Grey that we'll go 
riding with him or some such bosh, I sup- 
pose," grunted Henry. 

"No!" Evelyn threw her arms about her 
husband's neck, and held up her lips for the 
accustomed kiss. "No Henry. I've made an 
engagement for you to play golf this after- 
noon at the country club with Betty Turner, 
You know what a crack she is and she told 
me that she'd just love to play golf with you 
some afternoon. She's coming over after 
while and you're to take her out in the car. 
Aren't you pleased?" 

Henry took this information as any inde- 
pendent, thinking, red-blooded young man 
would. Betty Turner, as he recalled it, was 
the plainest and least interesting of the 
young women he had met at the country 
club dance. 

"Evelyn, you and I have got on pretty 
well up till now." Henry's tones were cool. 
"I'm perfectly willing to make a fool of my- 
self over you when it's convenient for me to 
do so — but I draw the line at making a fool 
of myself over your friends — especially your 
plain friends. I prefer to make my own 
engagements for myself." 

"But Henry — I told her you'd go." wept 
Evelyn. 

"God!'' snorted Henry. "This is enough 
to drive a man to drink." 

With that Henry flung open the door to 
the cellarette, and spied the decanter of 
hidden Scotch. 

"Evelyn"— her husband's face set itself in 
desperate lines — "I dont know where this 
came from — some more of your worthless 
'fashionability', I suppose, but I'm going to 
drink it all." 

Henry went into the next room. But 
when the door was closed with a tearful 



3\3^o«' 



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PiioioiM.A^ M\(.\/.im;- Auvehtising Section 




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HOWARD C. RASH 



I'rrs. Naliiriil lldtly Hnicc C «>. 
:i:iO Hush Ill<l(|.. SAI.INA, It AlVSAS 



Let's Be Fashionable 

( Continued) 
Evelyn on the other side he found that hli 
desire to drink e.xtendcd to less than half a 
glass. 

BV the time Betty Turner arrived, the 
storm had swept away, and both Evelyn 
and Henry were feeling more friendly toward 
each other. Evelyn had even begged to be 
permitted to telephone to Betty and call off 
the dale — but Henry was an adamant 
martyr. 

Any idea of martyrdom entirely disap- 
peared from Henry's mind, however, when 
Betty appeared on the scene. There art 
some gir.s who are just made for sport: 
clothes, and Betty was one. From the plair. 
girl of the evening dress, she had blossomec 
forth into a person of unusual atlractivene: 
in sweater and broad-brimmed hat. 

Evelyn was not so sure she had don 
just the right thing in making this appoint 
ment for Henry, after all, when she watched 
them down the steps, and overheard her 
husband, before they were out of earshot, 
remark: "By Jove, Miss Turner, you're 
looking pretty today."' 

But she did not have to eat her heart out 
in jealousy all by herself for long. In 
the course of the earlier conversation with 
Bruce Grey she had let fall the hint that 
her husband was to be very busy all the 
afternoon — and Grey, as she had anticipated, 
returned to offer his services as a merr>- 
maker. 

"Where would you like to go?'' he asked. 

"Let's go to the links and see who's play- 
ing," nonchalantly. 

But they might better — for Evelyn's 
peace of mind that afternoon — have gone 
elsewhere. On arriving, Evelyn learned 
by indirect questioning that neither Henry 
nor Betty Turner had been seen about the 
course. In fact, Henry and his wife-chosen 
partner did not show up all afternoon. 

Grey invited Evelyn to dine with him, 
nnd she accepted. They sat on the veranda 
for a long time after dinner — but still no 
Henry or Betty Turner put in appearance. 

"Come, let's go for a spin," Grey re- 
marked suddenly, rising. "All right," as- 
sented Eve'yn gaily. She felt that she 
lould not remain still another moment, that 
she would scream if Henry did not come. 

Bruce Grey chose the least traveled of 
all the roads that lead from the Country 
Club to his home. The little kitten was 
perilously near losing her mittens. 

In a particularly secluded spot in the road, 
he stopped his car, turned about, and placed 
l;is arms deliberately about Evelyn's 
shoulders. 

"Vou dear little girl," he whispered to 
her. "Vou don't know how I've wanted to 
kiss you all these days — I'm going to kiss 
you now." 

But in Bruce Grey's well laid p'ans there 
was one factor he had not counted on — 
that Baxter street conscience. Now it blazed 
up suddenly in Evelyn Langdon and she 
turned on him. 

"Vou wouldn't dare!"' she snapped. ''Vou 
are going to take me home at once." 

"Oh. the kitten has claws," said Grey 
tauntingly. "But remember, my dear, that 
in the world young women cannot play 
with fire and not be burned." 

He started the engine without murmur. 

Grey left her at the little house with a 
curt "Good night" and sped away. Evelyn 
let herself in to a dark, Henry-Ie.ss bun- 
galow, and dropped on the couch for a good, 
hard cry. But why should she cry, she 
argued with herself. Were they not living 
in Elmhurst-tiy-the-Way ? Wasn't Henry's 
lousiness successful? Were they not meni- 
In-rs of an exclusive country club? Wcro 



Kti-ry RilriTlHcmnil In niiiri'iM. \Y M.\(;A/.IM". H mumnl.-wl. 



Photoplay MvtiAziNE — Advertising Section 



119 



Let's Be Fashionable 

( Concluded) 



they not on the way to being very fashion- 
able? 

But it was some time before she could 
check, the tears. And as Henry's absence 
continued into the wee small hours, Evelyn's 
grievance changed to anger. It did not even 
occur to her to be frightened for his safety. 

SUDDENLY she longed for the dear secur- 
ity of Baxter Street — Baxter Street with 
its drab little homes, with its husbands and 
wives who loved each other and never paid 
any attention to any one else — unfashion- 
able Baxter Street. 

By the time light broke in the East, 
Evelyn had packed her suitcase and written 
a note to Henry, telling him she had gone 
a\vay because she could not bear to think 
of the lies he would tell her. Then she 
went to the station to wait for a train, 
preferring to sit in the cold, unfriendly 
depot than in the little home that now had 
become abhorrent to her. 

It was at least an hour after Evelyn 
slipped out of her home, that Henry — miser- 
able, cold, bedraggled Henry — slipped in the 
door. 

And who would not have been limp after 
a night stranded on an island in the river, 
with not even a match with which to 
light a bonfire, accompanied only by a silly 
girl who could see nothing in the situation 
except the threatened loss of reputation 
for herself that might arise from it? 
Couldn't she see that it wasn't his fault — 
that there was danger of disastrous con- 
sequences for him, as well as for herself? 

It was perfectly simple to explain. In- 
stead of going to the golf links, Henry and 
Miss Turner had gone canoeing over to the 
island in the lake. She had fetched a book 
along and for a while in the early afternoon 
they had sat under a tree and read aloud 
to each other. 

When they decided to paddle back, they 
discovered that their canoe had drifted 
away, and they were unable to attract the 
attention of any one across the lake. In 
the early morning, the perverse craft drifted 
back again. 



But who was going to believe it? Who 
was going to bciieve it? Would Evelyn? 

"Evelyn! Evelyn!" called Henry. At 
least if she saw him in that condition she 
might feel compassion ! But no answer 
came. As the silence became oppressive he 
ran upstairs. 

Evelyn's bed was untouched. Henr.\ 
found her note on the counterpane. 

"I'm tired of trying to be fashionable, 
and of being nice to people I don't care 
for, and living beyond our means," it 
read. "I've gone back to Baxter Street 
for a little rest. I didn't wait for you 
to come nome, because I couldn't stand 
to hear your lies. Don't try to hunt 
me up — I'll let you know when I want 
to see you." 

"Evelyn." 

"Don't try to hunt her up?" Henry grit- 
led his teeth. "Huh ! Fat chance she has 
of getting away from me." 

In a moment the Langdon flivver was kick- 
ing up the pebbles on the road to the station. 

The station master and the merchants who 
were down at the station looking after 
early morning shipments of supplies were 
astonished to see Henry Langdon bolt out 
of his car and onto the tail end of the 
train to the city, which was just pulling 
out of the station. 

"These young married folks is funny," 
remarked the postmaster. "Reckon perhaps 
she was going back to mama — been sitting 
in the station for nigh onto two hours. 
But he'll bring her back." 

And of course he did — they left the train 
at the next station, and were home in 
Elmhurst-by-the-Way in half an hour. 

The little Langdon flivver drove them 
quietly and sedately, as if it was a car that 
had suffered, and lived, and had taken on 
new dignity, down the main street to their 
bungalow. 

"Oh Henry," Eve'yn perched herself on 
the arm of Henry's chair, and laid her head 
tenderly against his precious hair. "Henry, 
let's not try to be fashionable any more. 
Let's only be iiappy." 




'Henry, let's not try to be fashionable any more. Let's only be happy.' 




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I20 



Photoplay Magazine — Advertising Section 



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'GIFtSTHATLAST 




y d^tONTH OF T)AWP^ 
June is here, season of brides and happi- 
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DIAMONDS • PKARI.S • OHNtS • IKWFI.RY 
WATCtlUS ■ CLOCKS • SILVERWARE 



The Shadow Stage 

(Continued from page iib) 



much the vogue, in which the heroine takes 
the blame for past deeds committed by an- 
other woman. The other woman has been 
shown working on tiny drefses and things 
and there is Us future to think of — not the 
heroine's, of course. But the picture ends 
as you want it — after several near murders. 
Katherine MacDonald looks very pretty and 
corn-fed as the star. There wih be those 
who like it, and those who don't. It is 
founded on "The Guests of Hercu'es'' by 
C. N. and A. M. Williamson. As some one 
said — "It's just a picture." 



THE SACRED FLAlvlE— 
Schomer Ross 

OR — "All for the soul of a school teacher 
who saved $6,650.75 !" Could such a 
thing be in thb day of underfed college 
professors? There were two men in the 
life of this school teacher ably and ma- 
turely portrayed by Emily Stevens — one to 
whom she loaned the $6,650.75 to help him 
get on his feet in the law business, the o her 
whom she married when the former bit the 
hand that handed him the money. There 
was an honest attempt to make something 
worth while in this picture. At least it is 
different. 

ALIAS JIMMY VALENTINE-Metro 

LOOK out for Jimmy Valentine. He's 
worth seeing. Only it's hard to believe 
— yes, we'll side with the matinee ladies — 
that such a good looking young man could 
have been such a criminal. Bert Lytell i< 
the reforming hero who will set all the femi - 
nine hearts to palpitating and ditto tongues 
to wagging during and after the performance. 
He looks like he had a deep soul. Jimmy 
X'alentine in pictures ought to be as popular 
as Jimmy Valentine on the stage. 

MISS NOBODY— National 

EVERYBODY'S child is nobody's child— 
so poor Bil ie Rhodes has a cruel time 
of it among the outlaws on Devil's Island, 
where she drifts on a raft when a baby. 
When Billie grows up, the outlaw chief de- 
cides to have her for himself — but she slips 
away in a row boat just in time to be rescu.d 
by a rich hero in a hydroairplane. The vil- 
lains are not all that is bad about the pic- 
ture — so are the subtitles, so is Billie when 
she cries close to the lens. (Oh, why do they 
let them do it?) Otherwise she is cute. 
The story is compelling, even though the 
production lacks finesse. It would not do 
for children's matinees. 



THE VEILED MARRIAGE— 
Hallmark 

THE hero was intoxicated, and the heroine 
temporarily blind when this veiled mar- 
riage took p'acc. He didn't know what he 
was doing, and she thought she was savin': 
"I will" to another man. It was all a plot 
of the vil'ain to get the hero's fiancee for 
himself. That Is some situation for you. I 
cuess I All you need now to make the plot 
ronsistcnt is to have the girl, after her eye 
bandages are removed, go to work in her 
husband's office, both unsuspcctinc of course, 
and have them fall in love. The scenario 
writer takes care of that. Anna I.ehr and 
Ralph Kil'ard are as good as such a story 
will let them be. They are not un-pirtorial. 
The picture is just so-so. 



KING SPRUCE— Hodkinson 

SPRUCE might have been king in the 
woods where this lumbering picture was 
taken, but Mitchell Lewis was boss. He 
proved it by thrashing ever>'body in sight 
that needed thrashing — which was pretty 
good for a man who up to that time had 
been a schqol teacher. But all the fights fail 
to furnish the big dramatic punch necessary 
to such a picture. Some of the best scenes 
are those showing the processes of lumbering. 
The subtitle brands our hero as a "col'ece 
man." He would look more like one if he 
trimmed his hair before calling on Mignon 
Anderson, as the young lady of his heart. 
It might have been a big picture — but it 
isn't. 

THE MIRACLE OF MONEY— Pathe 

THIS picture forces home the bitter truth 
that the time to have money is the time 
when most people don't have it — when 
they're young. The old maid sisters are left 
a fortune. They go in search of their youth, 
but clothes and ever>'thing like that don't 
make up for the years that are lost. Any 
man will tell you that w^hat this produc- 
tion really needs in it is a pretty young girl. 
It is a Hobart Hen'ey production. Mr. 
Henley's detail b good, but the ending is 
so conventional, as to be disappointing. Bess 
Gcarhard Morrison and Margaret Sneddon 
play the old sisters, and play them with nice 
quaintness. 

THE GIFT SUPREME— Republic 

THE scenario writers have been eating 
raw meat again. If you are a little 
tired of sleek, nice-mannered and well- 
dressed society plays, go to see "The Cii*^t 
Supreme" and learn that life still runs wild 
in some places. A stor\' of the underworld, 
it tells of the efforts of a fighting young man 
to down the seven devils of a corrupt city. 
Bernard Durning, a likeable personality, 
whirls through the action. Seena Owen, 
who reminds us of Grieg's music, is his lead- 
ing woman. As for the rest of the cast, how 
is this for a capable combination: Lon 
Chaney, TuUy Marshall, Melbourne Mac- 
Dowell and Eugenie Besserer? 

WOULD YOU FORGIVE'— Fox 

WHEX in doubt, give "em a problem 
play about the good old reliable dou- 
ble standard. The tit'e hints it all. .\ hus- 
band with a past. \ wife whose innocent 
actions are misunderstood. The husband 
rages but. learning of the lady's true noble- 
ness, subsides and promises to be a good 
boy. It is a fairly interesting and fairly 
dramatic picture. This picture promotes 
\'ivian Rich to stardom. In this case star- 
dom means tears, emotion and heavy acting. 
Tom Chatterton is her leading man. 

LIFTING SHADOWS— Pathe 

EMMY WEHLEX is completely sur- 
rounded by bolshevism and melodrama. 
In a frantic and foolish stor>-, you find your- 
self admiring her gowns. She is about as 
dramatic as a Strauss waltz. .\nd as beau- 
tiful. I.eonce Ferret's picture is all about 
a lovely Russian n-fugee who marries a 
drunken author, is accused of his murder, 
is hounded by the bolsheviki. falls in love 
with her lawyer and, in general, leads an 
excitinc life In spite of all that, you are 
genuinely interested in her gowns. "The pic- 
ture is gaudily produced. Stuart Holmes and 
(Concluded oh page 123) 



Kvory AilrortlTmmt In IMlOTOri.AY MAf; \7,1M' Ik (niariintrr>l. 



Photoplay Magazine — Advertising Section 



121 



Making Over Martha 

( Continued from page 2g) 

"Come to!" And in the morning — 

'"Well," says Martha herself, ''when I'd 
get down to the studio, only half-awake and 
dead tired, I'd feci like reviving the old joke 
of the beautiful chorus-girls who arc the 
toast of the town by night: 'You should see 
us in the tnornmg!' " 

She has perhaps posed for more photo- 
graphs than any other girl in the world. 
She has a thousand camera faces. She can 
be the ingenue — the veritable, creditable in- 
genue. She has posed as a vampire of 
various guises. She is mirrored as the old- 
world young lady, as the intensely modern 
feinme of Fifth Avenue. But the camera has 
never caught — either the still or motion 
camera — the velvety sapphire eyes with their 
curious droopy lids, the clean-cut little nose, 
the firm yet pouting mouth. Very trig and 
compact is Martha; or, to quote Gilbert, "a 
bright little tight little craft." A beauty 
with an ambition; a marionette with a sense 
of humor; a show-girl with a real smile. 

She has the uncanny perspective on things 
theatrical, the freedom from pose, the quick 
wit and appreciation of good things that 
seem to come to girls who spend their hours 
in the theater, displaying their pulchritudes in 
Lucille gowns, the while their bright eyes 
are incessantly roaming the audiences, their 
minds unconsciously absorbing the many 
types, their wits continually sharpening to 
satire as their critical sense is offended. 
Martha Mansfield is a show-girl «e plus 
ultra — in the most flattering sense of the 
term. Beauty means so little to her that 
she would sacrifice it without a murmur to 
don the habiliments of humble drama. She 
has done it, in fact. But in "Civilian 
Clothes," her latest and largest picture, she 
plays the role which Olive Tell created in 
the legitimate, opposite Thomas Meighan, 
who has Thurston Hall's original part. And 
she is neither the ingenue nor the tragic 
Little Eva, but a worldly young woman 
with brains. Martha, be it said to her credit, 
can play a part like this very naturally. 

This girl who some people say looks like 
a beautiful tiger, with her tawny hair and 
subtle eyes, began life as Martha Ehrlich, 
and she has always been boosted for her 
beauty. She took her stage name from her 
home town, Mansfield, Ohio. She was 
chosen for Charles Dillingham's shows be- 
cause she was beautiful. She was Max 
Linder's leading woman in his Essanay com- 
edies because she was beautiful. She played 
the part of "The Spoiled Girl" in the James 
Montgomery Flagg film series of "Girls you 
Know," because J. M. F. personally picked 
her — for her beauty. But in all this time 
few people gave her credit for having any- 
thing but beauty; anvthing but a vacuum 
in that well-poised head of hers. 

She's given up the Follies for good. To 
anyone who has been a Manhattan favorite, 
that means something. She is spending all 
her working time in the studios. She will 
continue to do so until, someday, an enter- 
prising theatrical producer comes along and 
gives her the riu'ht kind of part in the 
right kind of Broadway play. She wants 
more than anything to be a speaking actress. 

She says she's an "easy-go-lucky'' sort of 
person; that she was really scared to death 
to play with John Barrymore, but finally 
found that he is not at all formidable ex- 
cept in his Mr. Hyde make-up; that she 
hopes someday to pose for enough pictures 
to last for a few months and then take a rest 
so far away from a photographer's studio 
that the prying eye of the camera never will 
find her; and that several years ago she had 
the ingenue role in the A. H. Woods failure 
from which was adapted that screen success, 
"On With the Dance." 




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122 




Photoplay Magazine — Adntri isixg Section 

Movies is Movies 

(Continued from page jj) 



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to sit in an aisle seat and look at the 
screen and see the actors — dear folk! — try- 
ing' to give every ounce of acting they have 
in them and ten ounces more. Because the 
actor— honest soul — is paid fifty thousand 
dollars a year, or twenty thousand, he or 
she feels duty bound to put sixty thousand 
or thirty thousand dollars worth of acting 
into each film. And that sort of whole 
souled, going-every-minute acting spoils 
most novels that are screened. 

Because motion pictures are not drama 
at all — they are motion pictures. Even 
the speaking drama is not all rip-snort act- 
ing; not the drama that keeps on the boards 
week after week. Far more is this true of 
motion pictures. 

If a scenario writer wants to compose a 
picture drama, meaning it to be "acted," 
with a star in the star part, and so on, it 
may possibly work out and onto the screen 
in a satisfactory manner, but a novel can- 
not be successfully done in that way. 

Motion pictures are, first, last and all the 
time, pictures. They are photographs — series 
of photographs — which mean they are illus- 
trations, just as the pictures in a story in 
the Saturday Evening Post are illustrations. 

A good serial story in the Saturday Eve- 
ning Post has, let us say, twenty illustra- 
tions. Each illustration tells a small part 
of the story, and we all like the stories we 
read to have illustrations, because they help 
us understand the characters, locations and 
events of the story. 

It would be quite possible for the Saturday 
Evening Post to put more illustrations in 
each story. I.f one hundred illustrations 
were printed, instead of twenty, a great 
part of the te.xt of the story could be cut 
out — the pictures would tell the story. In 
fact, the Saturday Evening Post could, by 
using a thousand, or two thousand illus- 
trations, with the proper captions, tell almost 
any story it ever printed, but those who 
know Mr. Lorimer's editorial ability know 
he would never permit the artist to change 
the story to suit the whims of the artist 
or of the artist's models. The artist would 
have to stick to the text, and the models 
would have to pose in a manner to picture 
the people the author wrote about and the 
things the author made his characters do. 
The result would be the story the author 
wrote, but done in pictures. 

THE objection to this method of put- 
ting a story before the public is that it 
would be tiresome to look at so many 
"still" pictures. What the film camera does 
is permit the public to "read" a story in 
exactly this way, but with life put into the 
pictures by making them "move." 

When an author writes a novel he knows 



what and why he has written. WTien the 
public likes that novel it likes it for reason- 
that are in the novel itself. The novel is 
"good" because of the characters in it, the 
plot the author has created, the locale he has 
chosen, and the way the characters work 
out the plot in that locale. 

Isn't it, then, almost wilfully murdering 
all chances of success when the producer de- 
cides to make a "drama" of what is only 
a story, and when the scenario-man whang- 
doodles the plot, and when the continuity 
man turns the whole thing back end for- 
ward and t'other end to, and when, finally, 
the actors spit on their hands and romp all 
over the place like old-style one-night stand 
"hams" and grimace before the close-up 
camera like sick apes? 

The motion picture has come to stay be- 
cause it offers a pleasant method of reading 
a story, and the motion picture will continue 
popular as long as there is celluloid with 
which to make films, but in my opinion the 
day when producers will tn.- to turn even.- 
novel into a "drama," in poor imitation of 
the speaking stage melodrama method, is 
nearly past. 

The producer who will succeed best, from 
now on, is the man who will set his ideal 
very high indeed, while the eternal melo- 
dramatic stuff will be relegated to the cheap 
picture houses, just as it is relegated, in 
printed fiction, to the dime novel. 

Up to date I have sold just one novel for 
picture use, and I am waiting to see what 
the producer does with it. I don't want 
my cow turned into a Rocky Mountain 
grizzly bear. If I put an old lady in a wheel 
chair I don't want to see her screened as an 
eighteen-year-old vampire jumping from one 
airplane to another. I don't want my cats 
to become coyotes or my canaries to become 
hippopotamuses. It may be all right, and a 
tradition of the screen, but when I write 
about the Mississippi River I don't care 
to have the Ganges or the Nile or even the 
Amazon substituted for it. 

"Movies b Mo\-ies" but an author, al- 
though only a poor mutt, does have some 
feelings. Up to date the producer has not 
telegraphed me asking permission to chance 
the title of the proposed picture from "Tlu- 
Jack Knife Man" to "She Cut Her Hus- 
band's Gizzard Out," and I don't believe 
he will telegraph me, because there are two 
kinds of producers today. One kind doe-; 
not want to make such changes, and the 
other kind just goes ahead and makes them 
without asking permission. 

But I can tell you one thing: If "The 
Jack Knife Man" comes to your town and 
you see old Uncle Peter doing stunts in an 
airplane over Niagara Falls you can be 
michty sure I didn't say he could. 



Force of Habit 



'T* HE whole city block was on fire. From the street rose great streams of wafer, 
while on the roofs, firemen, gallantly fightinp, were forced slowly backward by 
the terrific heat. Still other firemen were scaling tottering ladders in heroic attempts 
to save the threatened women and children, some of whom, panic stricken, were leaping 
to certain death on the pavement below, .\pain and again a heavy wall crashed down. 
Police were engaged in a revolver battle with a gang of desperate criminals attempt- 
ing to loot the goods rescued from a burning jewelry establishment. 

Byron Bangs, movie director, could restrain himself no longer. Slipping through 
the police lines, he leaped, flourishing his bared arms, to the top of a ladder truck. 
His voice rose above the shouts of the multitude. 

"Give me action!" he shrieked. "Give me action!" 



Krrry mlTiTll'i'innil In I'lUlTori.A Y MAOAZTNK In wamnlml. 



Photoplay Magazine — Advertising Section 



The Shadow Stage 

( Continued from page 120 ) 

Julia Svvayne Gordon again give us a pic- 
ture of everything a gentleman and lady 
should not be. Wyndham Standing is again 
a pattern of righteousness. 



TERROR ISLAND— 
Paramount' Aitcrarft 

HOW "Terror Island" missed becoming a 
serial, we do not know. At the high 
moment of every thrill we expected to sec 
the sign ''See the ne.xt episode at this theater 
on Saturday night" flashed upon the screen. 
Just as a stunt picture is it an ideal Qure 
for boredom. Houdini beats them all as 
a thrill master. With his ability, he could 
get out of the income tax. 

The most original stunts in the picture are 
the ones enacted under water. James Cruze, 
who directed, and his cameraman must have 
learned some of Houdini's wizardy. After 
the healthy excitement of being thrilled and 
mystified by the tricks you forgive the screen 
a lot of its feeble comedies and half-hearted 
dramas. "Terror Island" is an ideal picture 
for boys and for girls who wish they were 
boys. 

Lila Lee, the dark-eyed and the placid, is 
the heroine of the story. 



TRIPLE ASSETS 

FAMOUS Players-Lasky Corp. has issued 
its annual report for the year ended Dec. 
191Q, which contains for the first time 
a consolidated statement including the va- 
rious subsidiary companies in which Famous 
Players-Lasky has an interest of 90 per 
cent, or more. There are other subsidiaries 
in which it has substantial interests, earn- 
ings from which were not included in the 
report, Wid's Daily announces. 

Net earnings for the common stock after 
allowing Si, 000.000 for taxes and the pro- 
portion of earnings due to the new preferred 
were $3,066,319, equal to $15.36 a share on 
the 199,675 shares of common stock. In the 
report $66,666 is set aside from earnings as 
the amount accruing to the $10,000,000 pre- 
ferred stock for the 30 days in which it was 
outstanding in 1919. 

The consolidated income account follov. s : 

'^ross income $27,165,326 

)perating expenses 23,032,341 

^ , , $4,132,955 
Federal Inc. & Excess Prof. 
Taxes 1,000.000 

$3,132,985 

Earnmgs Accruing to Pfd.. 66,666 
Net Profits for Year $3,066,319 

The statement indicates an increase of 
about 50 per cent, in gross income compared 
with the $18,090,500 reported for the year 
ended December 31, 191 8. Tangible assets 
at the end of 1919 amounted to ,$37,648,637 
against $10,886,759 at the close of 1918. This 
increase is accounted for by the sale of the 
.$10,000,000 new preferred and the expan- 
sion in various lines of the motion picture 
industry. 

Net current assets at the close of 1919 
amounted to $23,580,558, which includes 
$706,252 of Liberty bonds carried as invest- 
ments. Current liabilities amounted to $8,- 
204,991, leaving working capital of $15,- 
375.567- 




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124 



Photoplay Magazine — Advertising Section 



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Baby Barrymore evolved into Jack, and. 
with serious roles, into John. He has the 
family gifts to such degree that while Ethel 
Barrymore is being acclaimed as the most 
popular actress now on the American stage 
he is described as the greatest of its younger 
actors. 

He is the most Bohemian, the most 
nervous, the most temperamental of the trio. 
While his sister frequently hides herself in 
domesticity at Mamaroneck. and Lionel and 
his wife of the sleek dark head seek seclu- 
sion at Hempstead on Long Island, the one 
lime baby Barrymore abides near the bias 
street termed Broadway. 

As near as when in the biographical lodg- 
ing-house, since metamorphosed into a chop 
house, he made sketches in studioless days in 
his sister's room. That was when Evelyn 
Nesbit was si.xteen and his model. He re- 
joices in the recollection of those days of 
Ethel's treasurership of the family. Often 
he and Lionel were forbidden to play the 
piano because an ancient above stairs in the 
house across the street from The Lambs ob- 
jected to "that noise." He lifts his eyes to 
Heaven and thanks Deity that his prayers 
that he might become really an artist were 
unanswered. 

He met Arthur Brisbane at the opera last 
year. He greeted the aggressive editor. He 
wrung his hand. 

"You hired and fired me. I thank you 
for the last." He looked his gratitude. "You 
have done more for me than any other liv- 
ing man. When you fired me you forced me 
on the stage." 

He is the matinee idol of three generations. 
Maids, their mothers and their grandmothers, 
write him confidential missives. A grand- 
mother wrote to her granddaughter in Eu- 
rope : "I saw him today. He is so hand- 
some that I don't know how you can help 
loving him." Thus promoting a match that 
at that period was languishing, a dissenting 
father being the chief deterrent. 

The marriage of his sister and that of his 
brother bear signs of permanency. Already 
his has been dissolved. 

TO John is accredited the story of panic 
wrought in the home of his clergyman 
grandsire in England. Maurice Barrymore 
was a clergyman's son. The family name, a 
distinguished one, is BIythc. The Blythc 
family suffered more than the usual amount 
of parental mental colic when its scion went 
upon the stage. There were prayers for 
the wandering sheep. The prayers lessened 
in volume and intensity when Maurice Bar- 
rymore's manly beauty and brilliant acting 
won fame for him in the country the Blythcs 
still regarded as "one of our colonies." 

The BIylhes were gradually and with less 
pain adjusting themselves to the order of 
having an actor in the family when it re- 
ceived a second shock. Their actor had mar- 
ried an actress. True she was of the bluest 
stage blood in .America, the honored Drew 
family. But "there was no denying the fact 
that she was a mime. More prayers. More 
adjustments. More of the aid of time in 
lomiiering the wind of circumstance to the 
unaccustomed. 

It was twelve years before Maurice Barry- 
more brought his wife and their children to 
visit his elders in England. Speedily Georgie 
Drew's wit and charm and the appeal of 
childhood warmed the fearful hearts of the 
BIylhes. All was going well. The goose 
hung at more than its accustomed altitude. 
The two elder BIylhes sat happily about the 
family board. The door was pushed open. 
.\ head, small and dark and sha|H'ly. was 
tlirusl within. A small voice demanded : 

"Mother, where in hell did you put my 
.suspenders?" 



The Blythes clasped their bands and 
looked upward. Georgie Drew Barr>-morc 
looked searchingly at her husband. Said 
Maurice Barrymore: 

"My dear, I told you that if you allowed 
the children to roam the servants' quarters 
their diction would suffer." 

WHEN John Barr>more, then "Jack," 
played "Toddles," they who knew the 
family best said : "Jack is playing a straight 
part." "Toddles" in the French farce was 
about to be married but was too wedded to 
his bed to be willing to leave it to dress for 
the ceremony. The "old uns" in the audience 
recalled that Maurice Barrymore once ap- 
peared clad in his pajamas and a great coat 
and an air of apology at rehearsal. 

"You will pardon me," he said with his 
impressive urbanity. "But I over-slept and 
I could not cause you to wait while I 
dressed." 

All the Barrymores are taking vocal les- 
sons, but the lessons are intermittent. Lionel 
sings well and doesn't want to forget the art. 
John wants to strengthen his speaking voice. 
Ethel is a devotee of music. She has a more 
than fair mezzo soprano voice. She appears 
at her teachers apartment a radiant vision 
after an evening performance. 

"I know I had not an appointment for to- 
day,'' she says with her radiant smile. "But 
you will give me a lesson, won't you? Ah! 
Thank you. Shall we begin at once?'' 

When she leaves she says: "I've enjoyed 
this lesson tremendously. We shall go right 
on. I shall be in in the morning. Ten? 
\'ery well.'' 

But weeks — or months — roll by and the 
studio sees her no more. Until another im- 
pulse grips her and circumstances permit a 
lesson. 

But what margin is left an actress who 
gives eight performances a week, who "does 
pictures" and who has three fast growing 
chi'dren? 

The oldest child. Sammy, has grown out 
of his knickerbockers Virginia, the only 
daughter, has much of her mother's beauty. 
When \'irginia was sent to the hospital ill 
and the doctors pronounced her a victim of 
diphtlieria, her mother went to the hospital 
with her and stayed there until the quaran- 
tine was lifted and both were permitted to 
I i t urn home. In vain physicians warned of 
peril. Ethel Barrymore b a mother as de- 
voted as was her own mother. The youngest 
of the trio, still called "the baby. " is small 
John Drew. It would have amazed those who 
knew her devotion to "Uncle Jack " had not 
Ethel Barrymore named one of her little 
ones in his honor. 

She is the only one of this Generation of 
Barrymores who is a parent. Mr. and Mrs. 
Lionel Barrymore had two sons, both of 
whom died. 

John Barrymore's brief marriage was 
childless. He married the daughter of Sid- 
ney Harris, with what seemed the hearty co- 
operation of her mother and grandmother. 
Her grandmother's letter was quoted: "I 
can't see how you can resist him. He is s<i 
handsome." Sidney Harris didn't want an 
actor in the family. He opposed the mar- 
riage. It went forwiird without him. Kith- 
crine Harris Bnrrvmore went on the stage. 
She appeared with her husband in "Kick In. " 
The marriage w.is short lived. She obtained 
a divorce in the West, Directly after the 
divorce she supiwrted her sister-in-law in a 
plav at the Eni|iire Theater 

It was significant of the brooding care 
Elhel Barrymore give.s to her family, near 
ind remote, that her former sLster-in-law ap- 
peared on the stage in that (xist -divorce sea- 
son under the borrowed family name. Kalh- 
erine Blvlhe. When Sidney Drew's screen 



Every adverUscmnit In I'llOTori-.W M.\t!.\ZINB It gu»r«iilewl. 



Photoplay Magazine — Advertising Section 



125 



Broadway s Royal Family 

■( Concluded) 

comedies were tried out at the Criterion 
Theater, Ethel Barrymorc witnessed them 
delightedly from a box. 

I have said John Barrymore is the most 
nervous and temperamental of the trio. 
Witness his frequent placing of his hand 
on his face. Witness, too, his tearing to 
pieces of a set of photographs that dis- 
pleased him, to prevent the further distribu- 
tion of them by the press department. Yet 
while off-keyed at concert pitch, he has an 
essentially practical outlook, a piercing sin- 
cerity. 

"There's a lot of guff spoken and written 
about acting," he has asserted. "It's just 
one way for a man to earn a living." 

When he and his older brother appear in 
"Othello" we may expect as strong a family 
combination as we saw in "Peter Ibbelson" 
and "The Jest." Pity 'tis their sister, who, by 
the way, has just recently entered into a new 
motion picture contract, does not play "Des- 
demona" ! 

Briefly, Ethel Barrymore is the flower of 
the Barrymore family. Lionel is its im- 
measurable force. John is its quicksilver 
fineness. 



Starring the Director 

( Continued f rom page 44 ) 

His has an exquisite taste, a fine sense of 
proportion. He detests vulgarity; ostenta- 
tion. That is why he never does a "poor" 
picture, a middle-class drama, or an optical 
study of the slums. His scenes of the acci- 
dent in "On With the Dance" — in which the 
father of Sonia is run over and killed — is 
hurriedly gotten through with as being the 
least interesting detail of all that glittering 
pageant. Fitzmaurice has a naive philosophy, 
the Frenchman's childlike enjoyment of the 
beautiful. I venture to say he never screens 
a tale of violence if he can help himself. 

Did you notice the impertinent acting 
canine in the street-car scenes? That's 
Scotti, his Airedale. WTien Scotti isn't act- 
ing, he is on the set anyway, with his tail 
wagging a mile a minute and his mquisitive 
nose upturned towards the high platform 
from which his master directs. For Fitz- 
maurice sets most of his interiors in the 
stately long high rooms that frame the actors 
in a sort of stage. They are built on a level 
with the platform and "shot" directly down 
their length. 

His wife, Ouida Bergere, writes the 
scenarios for all his films. They live in a 
duplex apartment in the Hotel Des Artistes, 
one of Manhattan's most expensive and 
accordingly more exclusive apartment-hotels 
— and "Fitzy's" own drawing-room is his 
best set. 



A Kick In It at That 

DETERMINED to miss not one of the 
possible enjoyments of the movies, a 
confirmed addict chucked his job and went 
to a school where he took a long and diffi- 
cult course in lip-reading. Then— he had 
waited till graduation that his ability might 
be perfect — he attended a movie. 

It was late when he arrived at the theater 
and the story had started. Two cowboys, 
in full regalia, leaned against a typical west- 
ern bar. The fan's mouth watered as they 
raised their glasses in a toast. Then the 
lips of one of the cowboys moved, and the 
fan leaned forward tense with expectation. 

"Hell," said the cowboy's lips, "I wish 
this was the real thing!" 




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FjKnoi'i.w Ma(.\zine — Advertising Section 



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Questions and Answers 



( Continued f 

JiST Mary Loi ise.— Aren't you j;ia(] now, 
after a year's acquaintance with us, that 
your brother brought you a copy of Photo- 
PLAY to read when you were Ul? I hope 
we haven't disappointed you at any time. 
As for being so late in answering your letter, 
1 couldn't help it; there were so many others 
ahead of you. Madiaine Traverse has left 
Fo.x without announcing any future plans. 
Please write me again. 



rom page 93 j 

Jake. — Hugh Thompson is Mabel Xor- 
mands leading man for Goldwyn in Culver 
City. See him in "The Slim Princess.'' His 
picture has appeared in this magazine at 
various times. Juanita Hansen is not mar- 
ried. I'm sure I don't know why, but I'm 
equally sure that it isn't because she's never 
had a chance. 



Helen C, Enid, Okla.— Lina Cavalieri 
and her husband Lucien Muratore, the big 
French tenor, are abroad now. They prob- 
ably will return to America for the next 
operatic season. You might address them 
care Chicago Opera Association, .Auditorium 
Theater, Chicago, 111. I have met Muratore 
and his wife and can assure you Madame's 
beauty isn't o%'er-rated. She may do more 
pictures sometime. Olive Thomas is with 
Selznick on the West Coast. 



Jeanette, Frisco.— a nice girl is any girl 
who likes you. That's the masculine point 
of view. A nice girl is any girl who doesn't' 
like the man who likes you. And that's the 
feminine. Marguerite Clark is married to 
H. Palmerson Williams; she has finished her 
contract with Paramount. Dorothy Gish is 
with Paramounl-Artcraft, but works at the 
David Wark Griffith studios in Mamaroneck. 
So does Lillian. Both the Gish girls live 
with their mother in Mamaroneck. 



The Twins, Peoria.— I'm glad for my 
sake that you're not triplets. I'm sure I 
don't know why those actresses divorced 
their husbands. That's plural perhaps, but 
with a singular meaning. I mean to say it's 
none of our business, is it? June Elvidge 
is in a Charles Miller production-, "The Law 
of the Yukon." I know Frank Mayo is 
married, but I don't know what he makes. 
Edith Roberts' new picture is "Maramba." 
The name may be changed for release. 



D. F. R., Indianapolis. — Well, every 
woman may be like a poem, but there arc 
some I know who are more like Walt Mason 
than Edgar Allan Poe. I know one or two 
who might be likened to free verse, too. 
However, that's not the point — we are in 
Indiana now. That Indianapolis film com- 
pany may be turning out pictures but we 
have no record of their release. 



\. G., Milwaukee. — I don't like fudge 
any more. One of those girls kept her prom- 
ise to send me some. Bebe Daniels is to be 
;i Realart star. Gloria Swanson is not with 
lU'Mille any more, but a star in her hus- 
I Kind's company, the Equity. Gloria's sec- 
ond matrimonial venture is with Herbert K. 
Sanborn. 



D. M. C, MELBorRNE.— .\ren't you intol- 
erant? Photoplay strives always to pre- 
sent film things as they are, with as little 
sentimentality and exaggeration as possible. 
We decline, however, to gossip without rea- 
son. I am quite sure that by tho lime >ou 
read this you will have ciianced your mind 
as to our stand in the matter you mention. 
Hope you will write to me again; your letter 
was interesting. 



G. S., Detroit. — Jules Raucourt. who used 
to play in Famous Players pictures here, is 
now in his native Belgium, where he is mak- 
ing two photoplays. He is a clever and 
polished actor; I always liked to sec him. 
Address him: S Petite rue Longs Chariots, 
Mrussels, Belgium. Bert Lytell is married 
to Evelyn Vaughn. Your request for art 
MTtion picture of him will soon be granted. 
Watch out for it. 



J. A., CoLviiBVS.— "I see by the papers" 
that the worthy presidential candidates have 
agreed to the farmers' demand. Don't they 
always? Bessie Love has her own company, 
working in Los .\ngeles. Her first release is 
"The Midlanders," from a novel. John 
Bowers is still with Goldwyn; so, too, are 
Mabel Xormand and Madge Kennedy. But 
Geraldine Farrar and Pauline Frederick have 
left, the former to go with Associated E.xhib- 
itors, the latter with Robertson-Cole. 



Miss Mary. — Dreams and realities are far 
different. You dream of Wallace Reid or 
Richard Barthelmess. You are really en- 
gaged to a nice young man with red hair and 
a nose which in a woman would be gently 
designated as a retrousse. But it's nice to 
dream. Ann Little, after a period of serial- 
making, is back with Lasky, in her old ca- 
pacity as leading woman. Wydham Stand- 
ing is with GoldwA'n. 



Cecil, Bay St. Loris, Miss. — Yup — the 
countr>''s beautiful down where you Ifve. 
Many film companies go down South for lo- 
cations. Mostly to Florida, though. Elsie 
Ferguson has ended her engagement in her 
stage play, "Sacred and Profane Love,'' and 
is taking a long rest, in the course of which 
she will visit Japan. She won't make any 
pictures for some time. "Lady Rose's 
Daughter" is one of the last Fergtison pic- 
tures. You should see Theda in "The Blue 
Flame." Yes, I have been up in a plane. 
Great sport. I've never looped; the most 
thrilling thing I did was a falling leaf, and 
that was enough for tiie. 



Kamouraska. Ottawa. — Can't tell you 
how much I enjoyed your letter. I like 
Canadian phh very much. Saw Rockliffe 
Fellowes at the Talmadge studios the other 
day, where he was playing opposite Con- 
stance in "In Search of a Sinner.'' He's a 
big chap, isn't he? Yes. MarN' is Mrs. Doug- 
las Fairbanks now. Will you come again of 
vour own accord or do I have to coax vou? 



X'irginia, Ridgewood. — Richard Barthel- 
mess is not engaged to the young lady who 
2oes to the school you mention. He is not 
engaged to any young lady at all. 



M. J.. Dickson, Tenn.— Xo, I— like Dick 
Barthelmess and Eugene O'Brien — am still 
li'adinu a life of single blessedness. I have 
a cat, my pipe, and my books, and I am 
r.ither happy. Your addresses are given 
elsewhere. Look for them. 



J. F , CAMBRincE. — That's quite a tribute 
to Jack Pickford's acting. You say the first 
time you ever cried was when you saw him 
in "Bill .Epperson's Boy" Certainly it s true 
that he is married to Olive Thomas. Blanche 
Sweet is with Hanipton-Patl.e. working in 
the West. 



B. E. B , Omaha — You seem to be a bit 
mixed. Xorma Talmadge's husband is not 
Eugene O'Brien, but Joseph Schcnck. 
O'Brien used to play opposite her in pic- 
tures: Srhenck is her man.igor O'Brien is 
a star for Sobnick: he is in the West right 
now, but send your letter to Xew Vork. for 
he usually works in the East. He isn't mar- 
ried : never has been. 



I'.nry Klrortlwnicnt In I'llOTOl'LAY MA(;\/JNK in Kiitraiilrrd. 



Photoplay Magazine — Advertising Section 



127 



Questions and Answers 

{Continued) 
E. M., Pa. — Pity instead the poor little 
boy whose papa is a prohibitionist and who 
goes to school with other little boys whose 
papas are not. There's real tragedy. Anne 
Luther is with Wistaria Productions. She 
plays in something called "Neglected Wives" 
or "Why Women Sin." Honest — that's the 
title. 



A. D., Spok.\ne. — Eric von Slroheim has 
been married, but he is now divorced. I'm 
sure I don't know if he is as fierce as he 
looks. His latest picture is "The Devil's 
Pass-Key." He does not appear in it him- 
self. Mae Busch, Clyde Fillmore, and Una 
Trevalyn and Sam De Grasse have the lead- 
ing roles. David Powell is married. 



Lltcile, Iowa. — Couldn't figure out the 
name of the town you live in. You say as 
most people call you Cutie or Dimples, I 
should head your answer by whichever name 
sounds better to me. You will note I have 
headed your answer with Lucile. Ethel 
Clayton remains with Paramount. "The 
Ladder of Lies" is a new Clayton release. 
She is the widow of Joseph Kaufman, who 
directed her. William Russell is divorced 
from Charlotte Burton and has not married 
again. Herbert Rawlinson is still in pictures. 
Juliette Day is on the stage. 



Katherine, Deer River, Minn. — You 
mean you have a dog — a trick dog — that you 
want to put in pictures? Suppose we forrn 
a company for your dog and my cat ? It's 
hard enough to get a chicken into pictures 
nowadays. You see. Fatty Arbuckle has his 
own dog, and Sennett has his; and the other 
companies seem to be supplied with canine 
actors. If I were you I'd write to them and 
find out if there are any vacancies for your 
Fido. Sorry I can't help you any. 



Miss Muriel, West Frankfort, III. — 
There are no actresses in pictures who hail 
from your town, that I know of. YOU'll 
have to uphold the municipal reputation if 
you decide to brave the studios for extra 
employment. Natalie is reco*- d as the 
youngest of the three Talma?)>^ sisters. 
Nigel Barrie in "The Better Wife" with 
Clara Kimball Young. 



Ramona, Lansing. — So you think I have 
had quite a little experience. Thank you. I 
didn't know I showed my age. You write a 
very sensible letter for a fourteen-year-old 
I hope you'll be just as sensible at twenty. 
Charles Meredith is married. Your addresses 
are all given elsewhere. I hand you the palm 
as champion movie-goer among fourteen- 
year-olds. But I won't advise you to try 
to get into pictures. I don't want your 
parents' co'lective wrath to descend upon my 
poor sparsely-crowned head. 



M. H., Philadelphia. — Your letter has 
been forwarded to Ralph Graves. That's 
nice of you to say those things about my 
department. A little appreciation goes a 
long way with me. Your Elliott Dexter re- 
quest has been granted. Also Katherine 
MacDonald. Those MacDonalds you men- 
tion are not related. Katherine has been 
married; divorced. 



A. N., Fort Dodge, Iowa. — Photoplay 
conducted one contest — the Beauty and 
Brains — our first and last. Since our con- 
test, there have been many imitations; seems 
to be the usual procedure when we start 
something. Richard Barthe'mess in the art 
section? Just a minute while I run and tell 
the Editor. All right! 



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128 



HvssiE, Red Gvm. — I manage lo get along 
fomehow. It's nice of you lo worry about 
me. Of course I never have any romaine or 
ralad with Rusaian dressing, or caviar or 
baby duck or lemon-meringue pie and some- 
thing to wash it all down with, but still, I 
Eet along. Douglas Fairbanks is thirty- 
ieven. Mary Pickford is twenty-six. The 
Lee children, Jane and Katherine, are in 
vaudeville now and making a success at it, 
I hear. 



Abe. Berkeley, Cal. — That's a good one. 
Vou say, "Pleased to meet you Mr. Answer 
Man — but I doubt if you are a man or a 
uoman." I assure you I would of a neces- 
.-ily have to be one or the other; and God 
made me a man. Douglas Fairbanks' latest 
release was "When the Clouds Roll By." 
"The Mollycoddle" is probably being re- 
leased as you read this. Marie Walcamp 
hasn't retired; she went to Japan to make 
a serial; and while she was over there she 
married Harland Tucker, her leading man. 
The Tuckers are back in Universal City 
now. Mr. Laemmle was obliged to congrat- 
ulate two of his stars on their new hus- 
band: Marie and Priscilla Dean. 



H. loNsoN.— Whoever bet on Gladys Les- 
lie is right She played opposite Edward 
Earle in "The Little Runaway." Eureka, a 
new question. Answer, Gladys Leslie and 
Mary Pickford are two separate and dis- 
tinct persons and personalities. No to the 
marriage question on Carol Halloway and 
Antonio Moreno. Both are with Vilagraph, 
Brooklyn, N. Y. The leading parts in the 
'Place Bevond the Winds" were played by 
Dorothy Phillips and Jack Mulhall; in "The 
Martyrdom of Phihp Strong," Mabel Tru- 
ndle and Robert Conness; in "At First 
Sight." Mae Murray and Jules Raucourt. 
Canadian stamps are not usable; hence the 
column. 



^L■\RY Maton. — No trouble at all, Mary. 
My breath comes in gasps as I dictate 
faintly. "Eugene O'Brien is not married." 
Gosh darn it. I wish he would marry so I 
could change my story; its becoming mo- 
notonous. Mary Pickford is divorced from 
Owen Moore. Johnny Hines is twenty-five. 
"The Woman Gives" is Norma Talmadge's 
latest picture, with Jack Crosby in the lead. 
I had to reply via my column because Ca- 
nadian stamps are not usable in the U. S. 



K. T., Decatur. — I have never thought of 
it in that way. but I suppose it is true to a 
certain extent that the bald-headed row in 
theaters includes those gentlemen who get 
their tickets from the scalpers. Though you 
don't deserve an answer after that, still 
I am always kind-hearted, so — Alice Brady 
is Mrs. James Crane; her first two Realart 
pictures are "The Fear Market" and "Sin- 
ners"; in the latter, her husband is her lead- 
ing man. Nazimova is Russian, married to 
Charles Bryant. I'd advise you to keep up 
with the times. 



Mrs. Nellie M.. Leicester, England. — 
I can't tell you how much I appreciate 
a sincere letter like yours. It makes me 
feel stronger and much less flippant to know 
that someone really watches for my column 
and reads it with appreciation of its many 
faults — and then writes to mc as you did. 
It makes me wish I were ten times wittier, 
ten times more tolerant and wLsc. Tell your 
husband I'll try hard to please him. "Vour 
collection of pictures would seem to be 
M-cond to none. Your tribute to the Gish 
sisters is fine— and it is deserved ; I know 
no more charming and high-minded actresses 
on the stage or screen. I will try to merit 
always your good wishes. Won't you write 
often? 



Questions and Answers 

( Concluded) 

J. P., Oregon. — If the girls wear their 
skirts much shorter, they'll have to put their 
money in regular banks. Peggy Wood may 
be reached care Selwyn Theater, New York 
City. She made a picture with Will Rogers 
for Goldwyn, but is not doing any film work 
right now; she's the heroine of "Buddies." 
Laurette Taylor is in London now. 



"Clara Kimball Young's 
Eyes" Contest Winners 

HERE are the winners of the S500 
in prizes offered by the Equity 
Pictures Corporation to the amateur 
artists among Photoplay's readers send- 
ing in the best drawings of Clara 
Kimball Young's eyes. 

First Prize 

ALMA M. CARLSON, 4705 North Al- 
bany Avenue, Chicago, III. 

Second Prize 

MRS. ROY E. THOMPSON, Box 0, 
Cadillac, Mich. 

Third Prize 

R. GOODWIN, 143S West 77th 
Street, Cleveland, Ohio. 

Fourth Prize 

IRENE SULLIVAN, 452 Fort Wash- 
ington Avenue, New York City. 

Fifth Prize 

WILLIAM P. SULLR AN, Great Lakes 
Training Station, .Aviation Beach, 
Great Lakes Iil. 

Sixth Prize 

D. BESSE, 306 West Walnut Street, 
Yakima, Wash. 

Seventh Prize 

HERMAN \-AN COTT, .-4 Colby 
Street, Albany, N. Y. 

Eighth Prize 

ALLEN WOOD, 47 Morrison Avenue. 
West Summerville, Mass. 

Ninth Prize 

ETHEL GLOZER, 212 Beach Place. 
Tampa, Fla. 

The judges of this contest were: 
Clara Kimball Young; James R. Quirk, 
publisher of Photoi-I-ay Magazine, and 
Ro f Armstrong, Photopl.xy's cele- 
brated cover artist. 



Capt. B. T. Jones, Fayettesville, N. C— 
^'ou can obtain good photographs of any 
of the stars you mention by writing to 
them direct to their company address, en- 
closing twenty-five cents. In some cases, 
stars do not ask payment for sending out 
pictures, but often they do so it's best to 
be on the safe side. .Again, some of them 
give the proceeds to some favorite charity; 
so it's all right. Here's goes: Mary Pick- 
ford, her own company. Los Angeles, Cal.; 
The Talmadge sisters, their own studio. N. 
Y. C (address given in directory or else- 
where) ; Alice Brady, Realart; Dorothy Dal- 
lon, Fnmous Players studio. N. Y. C. ; Elaine 
Hammerstein, Selznick, N. Y. C; Margue- 
rite Clark, Famous Players. Thanks for 
writing. 



G. C. H., Norfolk, Va. — That picture of 
Miss Dalton you want is a still from one 
of her pictures — that is, a "still"' photograph 
of one of the scenes. Therefore I would 
suggest you write the Famous Players-Lasky 
Publicity Department, 485 Fifth Avenue, 
New York City, and inquire if they will 
sell you a copy and also get Miss Dalton 
to autograph it. Maybe they would give it 
to you — I dunno. Only, inquire. 



Dorothy, Spokane. — Seena Owen came 
from your city. Are you as pretty as Seena? 
Harrison Ford has been married. Dorothy 
Gish's latest release, as I write this, is the 
picture her sister Lillian directed, "She Made 
Him Behave." James Rennie. from the 
cast of the Ruth Chatterton legitimate com- 
edy, "Moonlieht and Honeysuckle," is 
Dorothy's leading man in this. 



D. W. S., Rochester.— Charles Ray's last 
for Ince will be "The Village Sleuth." This 
will be held over so that its release will 
come just as Ray's first independent pro- 
duction, "Forty-Five Minutes from Broad- 
way," is finished. This was George Cohan's 
stage hit. Ethel Cla>1on's new one is 
"Young Mrs. Winthrop" — Harrison Ford op- 
posite. Vivian Martin in "Husbands and 
Wives," a Gaumont release; Miss Martin is 
working now on her first picture for her 
own company. 



M. A. H., Mich— Eugene O'Brien still 
clings to his bachelor liberties — one of these 
liberties being to receive worshipful letters. 
Yours should be directed to Selznick. Better 
write and ask him if he demands any money 
for his likeness. You doubtless would con- 
sider any sum well spent in this direction. 
Nigel Barry played opposite Marguerite 
Clarke in the Bab stories. 



L. S., Zanesntlle. — You got considerably 
mixed on that matrimonial tangle, didn't 
you ? Owen Moore was married to Mary : 
and Tom Moore used to be .Alice Joyce's 
husband; both couples are divorced now. 
.Alice Joyce has a little girl, Alice Man.- 
Moore. Charles Ray's wife is a non-pro- 
fessional a^pd a charming person. I've been 

told. Pf y-'in anv time. 

'IP ' 

Laura. Boise, Idaho. — You are most aw- 
fully impertinent. "Kiss your wife and 
babies for me," you say ! Do you really 
accuse me of being a Benedick after giving 
all that caustic ad\-ice about marriage and 
saying all those cynical things about women ? 
My dear girl, the bravest married man dare 
not do that. Will Rogers is with Goldwyn. 
in Culver City. He is married, and his son 
Jimmie plays %vith him. Wonder if the 
company pays Jimmie a separate salar>- 
I don't know who is the tallest woman in 
pictures; but I believe Charlotte Greenwood 
is the tallest woman on the stage. Will 
that help? 



Evelyn, Worcester. Mass. — I know you. 
You're one of those flapp)er great-grand- 
daughters of the First Man in "Town. You 
are one of the Important People — as you 
so aptly put it, "A Puritan of the Puritans." 
Therefore my victory is very great, for to 
have one of you write to me. a perfect 
strancer. is indeed a concession. Nay — to 
have you write twice, is too much. You 
may call me Peter just so you don't tack 
Pan on the end of it. The only pipes I 
know about arc corn-cobs. I should ad- 
vise you. besides, to study a little, and read 
a little — and then, sit down and try to com 
pose a polite note such as one of your 
grandmothers would have been proud to 
write. .And pray, where are your questions' 
.All answers must aw.iit their turns, family 
connections notwithstanding. Now go on 
hack and try to climb your family tree. 



Photoplay Magazine — Advertising Section 



129 





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AddreM 

iStats mwieal tn«trum«n( in which you ar* «p.ri.if(|/ xntartaltj I 



\\ hen you write lo advertisers please mention PHOTOPL.\Y MAGAZINE. 



Photoi'i.av M \(,\zim:— AnNT.RTisiNo Section 



"We arc au\(jiiiM(.i 
by our loving friends 



A 



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Mellin's Fodd 



Girl 




^nd today for a trial size bottle of Mellin's Food togethe. 
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Mellin\ Food Company, 



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Kwy ..lTrrll..mr.il In IMKmU'I A Y MA<;AZ1NK I> ri>i«r«i.tp«l. 




"/ Said 






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IT is important that you say 
"Hires". Because Hires is pure 
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Nothing goes into Hires but the 
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maintained in spite of tremen- 
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Hires the genuine than you do for 
an artificial imitation. 

Don't trifle with imitations. 
Say "Hires" at the fountain or 
order in bottles, by the case, 
from your dealer. 



THE CHAKLKS K. HIRES COMPANY, PHILADELPHIA 

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Hires contains juices of 16 roots, barks, herbs and berries 




orienf 

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mcnuon fholopUy. 



N added charm of Flonent T.ilc is the color of the prouder. 
1 his is most unusu.il .ind distmctivc — just off the white. The 
nrc Oriental fragrance and delicate fineness of the powder itself also 
explain the popularity of Colgate's Flonent — llie new superfine Talc. 

Florient, you will remcmlvr, gained first place in an International 
Perfume Contest. As the pure delight ot its fragrance won favor 
— so will the grace and beauty of the new box in which Florient 
Talc comes to you. 

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AV tJOU\f;-\oui pji que Us ^f'phirf qtit m 
eut Jans Us /ardins dele odoranls ne sont guirf 
/■/us calmanli que man Tak Dier Kiss? 

—Kerkof, faris 

Translaiion: Do you not find that 
brccLos whispenne in trasirant 
summer gardens are no more 
' / J^i i^ soothing than my Talc Djer-Kiss? 

SO Parisian ^LG 

Madam, Mademoiselle, there is a. rare fra- 
grance, a refinement, a soothing coolness in 
Djet'Kiss Talc, which bring welcome relief 
to the hot skin in summer — whether used 
after the bath or to add its finishing touch 
to the toilette so dainty. 

If you have not yet learned how refresh- 
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use this Parisian Talc — Djer-Kiss Talc — so 
necessary the warm summer through. So 
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nxTR.\rT FAcn powor i< • i alc: 

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A. 11. S. Co, 

1920 






Photoplay Magazine — Advertising Section 



It is worth your while 
to know the truth 



The Trademark VICTROLA was 
originated by the Victor Talking 
Machine Company. It is applied to 
our various products — Instruments, 
Records, Styli, etc. — and seeing it on 
any Talking Machine, Record or acces- 
sory you may know that the article is 
genuine and was manufactured by this 
Company. 

Every talking machine dealer knows 
this, and you may assume that if you 
ask a dealer for VICTROLA products 
and he hands you something not manu- 
factured by the Victor Talking Machine 
Company, he is attempting to deceive 
you and is not giving you what you 
want or the service you are entitled 
to. 

Remember the Trademark 
VICTROLA cannot be properly or 
honestly used as referring to goods 
not manufactured by us. 




Victrola XVU. $350 
ViCifola XVII, electric, $415 

MaKogAjiy or oak 




Victrola 




VICTROLA 



HIS MASTERS VOICE" 



"TVtis trademaA and the trddemork.d vMord 
'y/KSrola" identify otI oor poxjucti. Lodt. 
(under the M I Look on the UiM I 

VICTOR TALKING KtACHINE CQj 
Camden. N. J. 



HCG U S PAT OFF 



Victor Talking Machine 



Camden, New Jersey 



Uliin juu urilw lo aav.TIialTi l.lvaii- imilliuJl I'lKmU'LA Y MACA/.INi;. 



1 



I'liitKii'i \^ .M\<.\/im: Ai)\ I im\<, Si.( iids 



EVERY NIGHTS A BIG NIGHT 



A feic of t/if ldt<:st 
PARAMOUNT PICTURES 
dlphabeticdlly listed 
"i' 

John Barrymore in 
"Dr. Jekyll and Mr. Hyde" 

I)irecttd by John S. Robertson 

"The Copperhead" 
With Lionel Baro'more 
Directed by Charles Maigne 

« 

Cecil B. DeMille's 

Production 
"Why Chan^eYourWif e?" 

'Every woman" 

Directed by George H. Melford 
With All Star Cast 



A few i»/ tlie Litest 
PARAMOUNT PICTURES 
alphabetically listed 

George Fitzmaurice's 

Production 
"On With the Dance!" 



WiUiam S. Hart in 
"The Toll Gate" 
A William S. Hart Production 




George H. Melford's 

i'roductiou 
"The Sea Wolf" 



William D. Taylor's 

Production 
"Huckleberry Finn" 



(param ount (^pi ctures 

KAMOHS PLAYERS ^LASKYCWRPORATIOS '/('^(I'l^ 





Ttcry ailvrrtl^cmnit lu rHOTOPLAY M.Vc:'ZlM. ii ».u..i ..uium. 




Tlie World's Leading Motion Picture Publication 



PHOTOPLAY MAGAZINE 

JAMES R. QUIRK, Editor . . . 



Vol. XVIII 



Contents 

August, 1920 



Cover Design, 

From a Pastel Portrait by Rolf Armstrong. 



Rotogravure 



No. 3 

Mae Murray 
19 



Priscilla Ueaii, Mildred Davis, Madge Kennedy, .. . . 

Alice Joyce, Renee Adoree, Bert Lytell, Doris 
May and Mary Miles Minter. 

It's Up to You Editorial 27 

Titles and Landlords - 28 

Anne Luther's and Helene Chadwick's Pet Peeves. 

Dante Was Wrong Betty Shannon 30 

"What Did He Know About Love?" Scoffs Louise Huff. 

"Such Stuff As Dreams Are Made Of" Norman Anthony 32 

Drawing 



Happy Endings 

Little Lila Lee's At Last Is In the Offing. 



Robert M.Yost 33 
35 



I Don't Want To 

The Height of Temperament — Master Bobby Kelso. 

The Hope That Springs Corinne Lowe 36 

A Real Life Story For All Who Have Had the Movie Urge. 

The Truth About Mae Murray Delight Evans 40 

They're All Wrong, Most of Those Things You Hear. 

(Contents continued on next page) 



Editorial Offices, 25 W. 45th St., New York City 

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. R. M. Eastman, Sec.-Treas. 
W. M. Hart, Adv. Mgr. 
Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; 
$3.00 Canada; $3.50 to foreiRn countries. Remittances should be made by check, or postal 
or express money order. Caution—Do not subscribe through persons unknown to you. 
Entered as second-class matter Apr. 24, 1912, at the Postoffice at Chicaco, III., under the Act ol March 3. 1879. 



Pictures Reviewed in the 
Shadow Stage This Issue 

Save this magazine — refer to the criticisms be- 
fore you pick out your evening's entertainment. 
Make this your reference list. 

Page 70 

Jes' Call Me Jim Goldwyn 

Page 71 

Romance United .\rtists 

Page 72 

The Dark Mirror. Paramount-Artcraft 

The Deep Purple Realart 

The Silver Horde Goldwyn 

Page 73 

The Dancin' Fool. Paramount-Artcraft 
Riders of the Dawn.W. W. Hodkinson 
Page 90 

The Fortune Teller. .. Robertson-Cole 

Dollars and Sense Goldwyn 

\n Eastern Westerner Rolin Pathe 

The Bottom of the World 

Robertson-Cole 

The Courage of Marge O'Doon 

Vitagraph 

Let's Be Fashionable 

Ince-Paramount-.^rtcraft 

Page 91 

The Garter Girl Vitagraph 

By Golly... Mack Sennelt-Paramount 

Mrs. Temple's Telegram 

Paramount-Artcraft 

The Devil's Claim Robertson-Cole 

Page 92 

Forbidden Trails Fox 

The Fool and His Money ... .Selznick 
Just a Wife . National Picture Theatres 

"No. 9q" Hodkinson 

Wolves of the Street Artograph 

The Thirtieth Piece of Silver 

American 

Love's Har\'est Fox 

The Flapper Selznick 

The Mirac'e of Money Pathe 

The One Way Trail Republi: 

The Terror Fox 

The Shadow of Rosalie Byrnes 

Selznick 

Page 93 

Burning Daylight Metro 

Scratch My Back Goldwyn 

Nothing But Lies Metro 

Evervlhing But the Truth . . . Universal 
The Path She Chose Universal 



Copyright, 1920. by the PHOTOPLAY PUBLISHING CoMPAMY, Chicago. 



5 



Contents — 



Continued 



Noncensorship Howard Dietz and Ralph Barton 42 

Six Reels of Delightful Poetic and Pictorial Satire. 



The Truth 

Can You Help Telling Little Fibs 

Suspended Animation 

Drawing 



Nanon Belois 44 

Then You'll Enjoy This. 

Stuart Hay 48 



Wear America First Norma Taimadge 49 

PHOTOPLAY'S Fashion Editor Bursts the Old Parisian Bubble. 

Humoresque Gene Sheridan 52 

A Gripping Romance of the Battle Between Art and Love. 

Artistic Efficiency— That's Dwan Adela Rogers St. Johns 56 

The Science of Directing as Allan Employs It. 



West Is East 

Intimate Impressions of Filmdom's Folk. 



DeHght Evans 58 
59 



Rotogravure 

Blanche Sweet, Theodore Roberts, Edward Kimball. 
Edythe Chapman, Cora Drew, Edward J. Connelly, 
Jennie Lee. Josephine Crowell. Frank Currier and 
Jimmie Rogers. 

i 

Close-Ups ... : • Editorial Comment 63 



A Western Union 

Douglas and Mary Pickford Fairbanks As They Are Today. 



Tough Competition 

Drawing 



C. W. Anderson 



Middle Age and the Movies Margaret Sangster 

- A Heart-to-Heart Talk With the Family Circle. 



Location ' . ■ _ . ; ".-V- : 

Drawing 

What Do Foi( Think About When You Go To Bed 

A Very Intimate Speculation With Close-Ups to Match. 

The Shadow Stage 

Candid Reviews of the Latest Pictures. 

Why Do They Do It? ' 

Perhaps Nobody Knows, But It's Your Page. 



Divorce a la Film 

The Sad Separation of Doris May and Douglas McLean. 

Grandpa of the Movies 

The Genesis of the Silversheet. 



Questions and Answers 
The Professor Uplifts 

Producers and Exhibitors Please Note. 

The Squirrel Cage 

Nut Sundae for Weak Days. 
Plays and Players 

What's Doing Behind the Silversheet. 



A. Gnut 
Cal York 



64 
66 
67 



Norman Anthony 68 
69 

Bums Mantle 70 
74 
76 
78 



Murdered Brain Children Randolph Baitlett 80 

• What -May Have Happened to Those Inspirations. 



The Answer Man 83 
Ralph E. Mooney 87 



94 

97 



{Addresses of the Leading Motion Picture Producers appear on page 14- 



,Get 
What 
You 
Ask For! 

THE Editor ot Photo- 
play IS receiving 
many letters stating that 
Other publications imitate 
this magazine so closely 
and so brazenly — seeking 
to be carried on by 
Photoplay's large circu- 
lation — that readers fre- 
quently are deceived into 
buying them under the 
impression that they are 
getting their favorite 
magazine. 

Do Not Be 
Deceived! 



When you ask your 
newsdealer for Photo - 
PLAY be sure you get the 
magazine with the Rolt 
Armstrong covers. That 
IS the only 



Photoplay 
MagaZrine 



Photoplay Magazine — Advertising Section 





Our NEW Own Make 
Mandolin Banjo 
Designed for Jazz 

Instantly a favorite with 
Orchestra Players because 
of its Great Volume, Supe- 
rior Tone. Perfect Scale and 
Easy Action. 




Bernardo DePace, the 
World's Famous Man- 
dolin Virtuoso^ says: 
*'The scientific methods of 
the Master Violin Builder, 
as evidenced by the gradu- 
ated Top and Back, Com- 
pensatint; BridKC and Tail- 
piece, render your Own 
Make- Mandolin acoustically 
perfect Its wonderful ^one 
and flawless fcale make it 
The Supreme Mandolin." 



Foundod.1864 

Everything Known 
in Music 



You^re Popular if You Play 
a Mandolin or Banjo 

You and I welcome the person who plays the mandolin or banjo. So 
will others welcome you — if you play. And besides the popularity, the 
assured welcome at any gathering, there is the immense satisfaction of 
deftly calling forth music to ht your personal moods. 

Both the mandolin and banjo are very easy to play. Both have the 
advantage of being easily carried. They go well with other instruments. 

Lyon & Healy Own Make Mandolin 

The finest mandolin money can buy is the Lyon & Healy Own 
Make. Made with violin back. Easily packed and carried. Beautifully 
finished, full-toned and sturdy. Priced from $75 to $125. Mandolas, SI 75, 
Mandocellos, S200. 

Lyon & Healy Professional Banjos and Mandolin Banjos 

These banjos and mandolin banjos are famous the country over. 
They are pre-eminently the best. Their patented truss construction gives 
that snappy tone." They are the choice of professionals who know 
orchestral requirements and should, similarly, be selected by the beginner; 
for the best instrument is the one to start with. Prices $45 to S125. 

6-Day Free Trial — Easy Payments 

Owing to the superior character of Lyon & Healy mandolins and 
banjos, a Six-Day Free Trial Offer is made. The purchaser's money is 
refunded if there is not complete satisfaction. Easy payments can be ar- 
ranged, thus making it possible to buy the very best instrument without 
financial hardship. Write for catalogue. Mention instrument you are 
most interested in. 

Unlimited Guarantee on Every Own Make Instrument 
Sold by Leading Music Dealers Everywhere 



Lyon & Healy Stringed Instruments 



LYON & HEALY 



90-92 JACKSON BLVD. 



CHICAGO 



\\litu you write to ailvenlsera please mi'uUou PiiOTVl'LiAY M^UAZIN£. 



PlKtKiIM.W Mu.A/.INi; — AUVEHTISING SECTION 




Read what ftie theatre manac fers 
say of 

PEllSaLLA DEAN in 




OF STAM BOUL 



UST closed four-day successful run of the biggest picture ever shown in 
Beloit. 'THE VIRGIN OF STAMBOUL.' Elaborate settings and musical 
score. All say it is the best picture they ever saw." 

Frank McCarthy. Manager 

REX AND STRAND THEATRE. 

Beloit. Wisconsin 



Univewal -Jewel 

500,000 



Production deluxe 

Directed by 
TOD HkOWNING 

Story by 
H.H.Van Loan 



" VIRGIN OF STAMBOUL' biggest artistic and financial opening Strand 
Theatre ever had. Huge crowds, immensely enthusiastic over picture. 
Congratulations. Send us more like this. It's a world beater! " 

Gv\ C. Smith. M.\n.\ger 

STR.^ND THEATRE. 

San Francisco 



•"VIRGIN OF STAMBOUL' broke all records at the Standard Theatre. 
Cleveland, today. Although this picture played Loew's Stillman and Loew's 
Mall in this city for one week each I had to stop sollin.g tickets three times 
and at nine-thirty there was a line of people over a city block long waiting to 
get in. I was compelled to run until midnight. ' THE VIRGIN OF STAMBOUL' 
is the greatest of great features." 

Thomas G. Cakroli.. Man.xc.er 

STAND.VRD THEATRE. 

Cleveland 



"Accept my congratulations on your wonderful picture. 'THE \ IRGIN OF 
STAMBOUL" opened to most tremendous business Sunday and has continued 
wonderfully all thru the week. Have been unable to handle the crowds 
at evening iH'rformances." 

NkDc>NAi,i\ Manager. 

\VM. FOX THEATRE. 

Washington, D. C 

HntS •dT«rtl5cmriil tu rUOTOPLAY MACAZINK U cuareotccd. 



I'llOIOl'l. \\ .VI \i, \/.l.M. .Vl)\ l,H I IMM. I ION 



V! 



r 




Be a kid again! 

Fill your pockets with doughnuts — whistle 
for your dog — and heat it over the hack- 
yard fence with Edgar. 

Don't miss Booth Tarkington's new Motion 
Picture series, 

WERE you ever twelve years old ? Did you ever 
hate your brother, de-spize your father and 
wish your teacher would be scalped by Indians? 

The funniest, loneliest little boy in the world is the 
twelve year Edgar. Loved by everyone but understood 
by no one. Alone with his dog he faces an unfriendly world. 

Edgar didn't really mean to be bad, but of course he'd 
get in wrong when Freddie was teacher's pet. And Alice 
the golden haired who made his heart go pit-a-pat only 
stuck out her tongue — 

Booth Tarkington knows the American boy as no 
author who has ever lived. 

And Goldwyn has made this picture just as Booth 
Tarkington planned it. No printed story could make 
boyhood so real. Only on the screen can you read a 
boy's soul. His fantastic notions — his dreams — his 
ambitions are right before your eyes — 

Go and take the whole family. Let the youngsters see 
you can laugh as hard as they! Don't miss a single one 
of Goldwyn's new Booth Tarkington "Edgar" pictures. 



GOLDWYN MOTION PICTURES 



Wlifii you write tu adM'itistrs i^-dn- imiiliuii l'lli)'[X>rU\ V MAijAZI.VL". 



in I'Hoiofi. \N M\(.AZiNK — Advertising Slction 

ROBERTSON-COLE 

N N U N C E S 



THE WINNERS OF THE 

LEW CODY 

I LOVE LETTER CONTEST 




MAUDE H. BELL 

1938 Ninth Avenue Greetey, Coio. 

ANNE RANKIN MURRAY 

Centennial Club Nashville, Tenn. 

BERNICE C. BOWNE 

890 Geary Street San Francisco, Calif- 

JEAN STANNTON 

4 3 West Street Northampton. Mass. 

C. N. NOR WORTH 

Hardeville South Carolina 

ELSIE GIBSON 

171 North Ashland Ave. Lexington. Ky. 

JOAN JOHNSON 

7 .AWen Street Danvers, Mass. 

HAZEL SHANNON 

4010 W. \'an Buren Street Chicago. 111. 

EDITH LUCILLE HUFF 

I I 9 Sou th Whiteford .Ave. Atlanta. Ga. 



FIRST 
PRIZE 

$150.00 



SECOND 
PRIZE 

$100.00 



THIRD 
PRIZE 

$75.00 



FOURTH 
PRIZE 

$50.00 



FIFTH 
PRIZE 

$25.00 



SIXTH 
PRIZE 

$25.00 



SEVENTH 
PRIZE 

$25.00 



EIGHTH 
PRIZE 

$25.00 



NINTH 
P R I z r 

$25.00 



After a careful consideration of the more than I 3.000 letters received from all parts of the world, the judges. 
Mrs. Wilson Woodrow. famous journalist; Mr. James Quirk, editor of Photoplay Magazine, and Lew Cody, 
star of "The Beloved Cheater." selected the letters of the above mentioned as the most perfect in every detail. 



i 



J 



IF VOU LIKED ■ ■THE <BELOl'ED CHEATE-K'- 
YOU WILL REVEL IN THE DELIGHTS OF 

"THE BUTTERFLY MAN^' 

cA IVhimsical Drama of Friyolons Wives and Jealous Sneethearts 




Ftco •■it»r«lMrnrnl In rUOTOrt.-^'V M.^CIZTNE U fUtrMfwd. 



Ppiotoim.w Magazine — Advertisint. Sectiox 




QsmopolitanFwductionsFresent 
Dhe Incomparable 

MARDNDAVIES 

In aSuperlativePhotoplay Special 
from theCosmovolitanMa^aiineS'toty 

"THE RESTLESS SEX" 

By Robert W . CHamhers'. 



Ash theMana^er o^yourfavorite 

MotionRcture Theatre to hook 
this Special. as it isMissDavie^ 




When yuu unit lo aaiinucrs v'l'ase meucioii I'llOToi'l A V M.vi.azIXE. 



12 



h'HOKJl'l. \^ .M\(.\ZINK — AU\LhllSIN<, SKfllON 

CLASSIFIED ADVERTISING 



/ 



Finish This Picture 

Fill in the missing lines. See how close 
you come to the original drawing. The 
above picture was drawn by Student Wynn 
Holcomb. We have a great number of stu- 
dents and graduates whose work appears 
in magazines and newspapers all over the 
country. 

Can You Draw? 

If you like to draw write for our book. 
Read about our new method Home Study 
Course in cartooning, illustrating, designing. 
Learn at home, by mail, in spare time. 

Become an Artist 

Illustrators, Cartoonists, Commercial Art- 
ists make big money. You can earn $25 to 
$100 a week and more. Learn under per- 
sonal direction of Will H. Chandlee, famous 
newspaper, magazine, advertising artist of 
30 years' successful experience. 

Book and Outfit Free 

Complete outfit free to new students. 
Write for handsome book, "How to Become 
an Artist." Tells what Course includes, 
shows many drawings made by Director 
Chandlee and many students. 

Write Postal NOW 

Don't miss our book. Even if you have no pre- 
vious knowledge of drawing, our Course will enable 
you to become a successful cartoonist or illustrator. 
Many students earn money while they are learning. 
If you are ambitious to get ahead, to earn more 
money, write for our free book and special offer 
now. You can do as well as our other successful 
students! Write now for free book, "How to Become 
;iM .'\rtist," M.iil Icltcr or post.il. 

WASHINGTON SCHOOL OF ART, Inc. 

1128 H Street, N. W., Washington, D. C. 



$1800 for a Story! 

f'r)K<^'r-:NTI.Y an Arofrican wrlt«r wu paid |18"0 for 
\\ «>nirlo iihort Mt'irr. Ur Irarnlnff to tcM Vn> ■l.'rir* cf htr 
^ drram* ttua wnman ha» found h*r way t > famn and for- 
luna. You can learn t" wril«, to^. A n*»w (Tactical couraa of 
Inatrurtion will ri¥fl *oii tho Iralntna right In rour own bumo 
durlnff rour apa^n timn. Kndors«d br •mioaot wrlt«n lo- 
cludlDff thf> lain Jark lx>fuion. 
Write Today t:: ::r:.:^i'\XJ:\ rA';»: 
Bp.rl.l .fT Jr I.. Ik ni».l«. Wnlo T"<l«r-N"W I 
HOOSIER INSTITUTE, Short Story Dopt. 
Dcipl. Cl/^ Ft. Wayno, lndlan» 



rrceBookonE^EOTSl 



' u ■ ■..,l„.,Mr i„f,.,m.ih..n nnd .-..Im,-- 
II. v« iit. .t^ nri unnii I 'nirid*. IVikI mtHlrl 
•'krich ol your tnvrnhon for h n^r C^pinion of iin 
I nlrnlnUIr naltirr. Prompt wrvicc. 20 ycnn' 
rti>rnrntc. Wiilc to<Uy. 
T ALBERT & TALBCRT, 4724 Tilbirl Bld|.. Washlncton, D.C 




i£La 




Rate 
40cents 
per 
word 



innnnnnnnnnn 



All Advertisements 

: .■ ( >; display and 
same good opportuni- 
ties for big results. 



^ J U I J U U U U U U U U U LTLTU 1 J U U U U U U U U U U'U 




nnn n n n n n r 



This Section Pays. 

r'j"' of the advertise: 
usmg this section duniik' 
the past year have rc 
pt-ated thi-ir copy. 



Rate 
40ceDU 




FORMS FOR OCTOBER ISSUE CLOSE AUGUST FIRST 



HELP WANTED 


MUSIC 


iri'.vDiiEiis <;ovi:RN.Mtr^'T i'ositio.ns open to 

mi'ii rtomi-n otct 17. SI 00 moiiih u|i. ("oraniuii edu- 
ratiiiii sufflrlenl. Write today .sure fur frw list lo- 
•■liloiis oiK'ii. Fraukllu Iiisiiiute. DcH. \V204. Jtodi- 
.atcr. N. Y. 


IN A.NY .STYLE Kit 'ilANTm— iilH EMIIP- 
nient Insures best results Saniiile C'oiJies and ifiaea 
subiultied on rl-«lue^l. I'mmpt Helivery. Muiic 
l'ul)M.iliiiig Press. JO:; West -liPth .SUeet. New Y'ork 


RAILWAY TRAFFIC INSPETTORS EARN ITUJM 
$110 10 ?200 PIT miiiith and expenses. Travel If 
iles1re<l. I'nUmltoiI adranoement. So ae» limit. 
\Ve train you. Ponltlofis fumli^tiEO under guarantee. 
Write for Ilo>klrt CM-se. .Standard Business Train- 
ing Institute, Buffalo. N. Y. 


OLD COINS WANTED 


OLD COIN- \ '' KILlJS Hi ■ -I'^ 
nanted. II ^ p«ld for ' 
Rare fVin 1 ■ In the Vi 
all odd look . a .d send 4c ! . 1 


WA.VTKD WOMJCN". ItWO.Mi; EXPERT DRES.S 
desigiii'rs. SI 2.5 nioiiih. .S.inii.le K'S.'*)n3 free. Write 
Iniineillately. Franklin Instituif. 1 (.'i i . W.soo. Rorh 
ester. X. Y. 


('•'ill ("iri'iildi. ll h .i. rnesn larse it :,; i. ;, u. ^ij 
now. -Vumismatir liauk. iJ.i '. TS. Fort Worth. Teias. 

PATENTS 



AGENTS AND SALESMEN 

540 TO $luo A WEI:K. FREE SAMPLES. GOLD 
SiRo Letters anyone ' an put on windows. Big demand. 
Liberal offer to general agents. Metallic Letter Co-. 
431-K N. Clirb. Chicago. 

• INSYDE TIRES— INN-ER ARMOR FOR AUTO.MO- 
hlle tires; prevent i)unctures and blowouts: double tire 
iiilleaRe. Liberal profits. Details free." American 
A.tf^sories Co.. CincliniatJ. Ohio, Dept. 129. 

TELL THE READERS OF PHOTOPLAY WHAT 
>' u have of inieiesi to them. You l aii reach them 
at a very small cost through an advertisement In the 
ilaASificd section. 86',» of the advertisers using this 
se -tioik, during tha past year have repeated. The seetiou 
is read nnd brings results. 

.-SALES.MEX— CITY OR TRAVELLING. EXPHHU- 
eiiio unnecessary. Send for list of lines and full 
nnrtUulars. Prepare In spare time to earn the big 
salarie'!— $ 1.500 to $10,000 a year. Employment 
services rendered Members. National Salesmen's Train- 
ing Association, Dept. 138-K, Chicago, lU. 



PATENTS SE.M> HIK lUEl; RiiuK 
tains valuable' inlurmuiiun for inventor.s- 
of your iitventi"n for I>ee Opinion of 
nature. Proiun service. tTv%enty year? 
Talbert & Talbert. 4724 Talbert Bldg . \. 
U. C. 



■ h 



PATENTS. WRITE FOR FREE GUIDE ROOK 
and Evidence of Conception Blank. Send mo<lrl or 
sketch for opinion of Us p>tent«l)le nature. HictiW 
Hiferenees. Prompt Attention. Rea5onat>)e Termi. 

Vi'-tor .!. I>niw & Co.. 7>'3 Nintti, Washinirton. I). C. 

BUSINESS OPPORTUNITIES 

DETE«'nVh>i I^VRN Ul«; MONEY. EXn:LJjr\"T 
opportunity, Exiwrience miiie»i-s;'ajy. Particulars fr«e. 
''Vrite. .American Deiei-tive System. 1968 l;r<>»d«ay, 
Nliv York. 



PORTRAITS 



M>U).4LLION lt>RTRAlTS OF NAZIMOVA. PICK- 
ford. and other stars. .<1.00. "Ict'^uley, 84 

jjutlec .St., New Ha ... fonu. 




ememher 



:;r:ri'!illilllli!m^ MIL. 

Every advertisement in PHOTOPLAY is guaranteed, 
not only by the ad^r^tiser, but by the publisher. 
When vou write to advertisers please mention 
PHOTOPLAY. 



Learn Wireless 

at Home Quickly and Easily 

.\ttra*tivt' ami i ntt-re-^t ing 
l ions at hulmtuntial Kulurit'H aro 
alwavs ready for the trained 
wirelt^HH oiM-rator. If yoxi wan*, it 
-;nrrosHfuI future, one filled with 
vital in ti-r prise anci advent urt- 
well as tinancial HiuvesR. Mtndy 
WireifHi*. It offers variet> and 
interest instead of the usual 
routine of offiee. shop 
or Htore work. 

SalBrii>!4 flUrt at Sli^i m tDonU>, wltti 
nil livinjr oKponffM pant. Thii» In- 
cludcB l)««rj. Indiciiur, Uundo'. 
■ic. which, when totaltM) anu 
j.iciod t" UiP t«alary. amt'iintji to 
|2l>l»or nmro ■ monlJi. WlroleM 
ofr<Tn Uif chance nf •d™nc4TTi«'nt 
In p<i!«{tio'<n in htirhrr hranchr* 
payinftaa hiirha* 115.000 a >«*ar. 

Travel Without Cxp«ns» 

If you ar"* eau'T to tm\ fl . i»n\- 
ituirt In vi«it fort-iirn c.nintn. N 
ant) iii.T»-«-»» y..ur knowlwU-,- 
of w.rld iitTaim. \Vir.-l.-H5 of- 
trrn you thr chanoo uf a llf.- 
time. On nhipboar.l y-ui nrr 
nitM a» an offirrr. IK'tntr :u>.l 
oatinv with tl-- " i."'l 
niinirlinir » id ■ 
All without o- 
toyoiil Tlir , 
nn land aro jt. 



Writ.- 



Illnir all Rtviit 
r* hnvi- hrlpo*! 
lie bnuklrt »x 
'ou a thoroiii;h 



SEND FOR FREE BOOKLH 

Uir. nntl th- (iit.ir<- il ..irrpH you. ' 



Wir.-Ir^* ln»lnin« i'» -cnr.- lin,.- at %.Mir honir. by mail, 
am) hrlp you ■cruT^ a worth «hilr> i..-«itt..n. 

•Send Coupon Today 
NATIONAL RADIO INSTITUTE 

Dapl. 270 t4(h ft U Sis N. W.. WAftHINOTON, O. C. 

irlirVt'i^Wltr 
pout BTaduatc 



Alio Adi)r«'*» 



STENOGRAPHERS' 

Earn $25 to $40 a Week 




©write 

tfie Hew Way 



80 TO 100 WORDS A MINITE CIARASTIED 
I'olitlh new -ti'iii , v>n ti> iiimt*.t It- 

Fiiik-er TrainiiiR! Hrink~ iiimiiinK •vt'" '!. 

1>erfc< l nr< iirii< >— Big Salirir* lx>arn at 
louie. Noiin<Tf«'r«'mv with i.n-»fnt work. 
.^I-p.Kc twolt (rcc. nil. Givi-* 

let tor* from hmutrt'dK with •iiliirios 
and .-./^.'.r. .\ rovi'lniion iu« to »ihhM 
anil salary imsnilili- to t.\iii«tn. Uon't tv 
»ali«ti.-.l w"ilh SI J 

loSl.'i n wk. 111 1(1 

Kani $.10 to tW - 
1.1 t y pen ri t i nx 
tiif now wa.v 
Writo t€)djv. 

Soil.l l^>»l:ll 

TiaOSS SCHOOl 
T.-.T.-l'oUouoHiU 
Sprinntiol't. 0*ii'> 




Pick Yours Quick! 



IF.S,S IHAS MAMlAlIlKIKS I RIli, 

^l.r.>l, ,| .. k. I.w tlirvc in '"II t_li- 
'Irr.* ^"'K AtT irrtline V Ar<T. U.S. •Pi 
bgii(l<ltM.I>MUi<4lnM<l. (.fn"inr VU. 
tl'lr rn.lor«'..vt. al I"* ^»n<^a 6 Y*«r 
(:"ii'T,'.l..r Tr» il 10 O.r.* Ff... Krn! 
..r l>M> Wr.l,.. kf.ii'Tc.N. 

TVPeWRITfR eM»»omoM 

■14 \t. W l.k. <ll,»»<. CHICAGO 




KrriT uom I'r . la. ill in ril*<luri,.\\ .M.\(. \/.l.M. i:; (;iiar.iiiln 



Photopi,\y Magazine — Advertising Section 




QUIT! 



STRONGFORT 

The Perfect Man 



Pills, laxatives, saline 
waters and purgatives will 
not cure that constipated 
habit — you ought to know 
it by this time. Be sensible 
— you have been whipping 
your bowels shamelessly 
into action, and weaken- 
ing their natural function- 
ing more and more. Now 
you are full of ailments — 
your system is upset — 
your blood is poisoned — 
you are sluggish and dull 
witted — your food will not 
digest well — you lack 
stamina — you are nervous, 
listless, lack ambition — 
have no energy — no 
vitality — your are failing 
in manhood — it's all your own fault. 
No matter what your condition or ail- 
ment may be — under my method of 
phvsical and health upbuilding known as 

STRONGFORTISM 

you can be restored in vigor and vitality 
and be entirely free from constipation or 
any other ailment or disorder let it be 
what it may — whether you suffer from 
early excesses, induced by pernicious 
habits, or whether losses weaken you, or 
you feel your vitality waning — Strong- 
fortism will restore, rejuvenate. Send 
three 2-cent stamps to cover mailing 
expenses, and I will send you my book 
" Promotion and Conservation of Health, 
Strength and Mental Energy." 
Read this book. It is fori our interest and welfare. 

LIONEL STRONGFORT 

Physical and Health Specialist 

1333 Strongfort Institute NEWARK, N. J. 



PATENPJSENSE 

"c7/^c Book for inventors & Mfrs? 

By Return Mail FREE. Write 
LACeVinLACeY, Oept E. MbaliinSton.Di: 




Just send me your 
name, age and 
address and I 
will send you 
my Free book 

SCIENTIFIC 
BOXING 

explaininpr exactly 
what my home 
course in Boxinv: 
and Physical Train- 
ing contains. 
Gibbons Athletic 
Association 
Dept. F 
Melropolilan Theatre BIdi;. 
St. Paul, Minn. 





"Keep Your Eye on Jim!" 

"It's not alone what a man does during working hours, but outside 
of working hours — that determines his future. There are plenty of 
men who do a good job while they're at it, but who work with one 
eye on the clock and one ear cocked for the whistle. They long for 
that loaf at noon and for that evening hour in the bowling alley. 
They are good workers and they'll always be just that — ten years 
from now they are likely to be right where they are today. 

"But when you see a man putting in his noon hour learning more about his 
work, you see a man that won't stay down. His job today is just a stepping- 
stone to something better. He'll never be satisfied until he hits the top. And 
he'll get there, because he's the kind of man we want in this firm's responsi- 
ble positions. 



"Every important man in this plant won out 
bookkeeper. The sales manager started in a 
branch office up state. The factory superin- 
tendent was at a lathe a few years ago. The 
chief designer rose from the bottom in the 
drafting room. Tbetrafficmanagerwasaclerk. 

"All these men won their advancements 
through spare timestudy with the International 
Correspondence Schools. Today they are earn- 
inur four or five times — yes, some of them ten 
times as much money as when they came with us. 

"That's why I say that Jim there is one of 
our future executives. Keep your eye on him. 
Give him every chance— be'll make good ! " 

Employers everywhere are looking for men 
who really want to get ahead. If you want to 
make more money, show your employer that 
you're trying to be worth more money. If you 
want more responsibility, show hira you're 
willing to prepare yourself for it. 

There's a simple easy way to get ready for 
bigger work, no matter in what line it may be. 
For 29 years the International Correspondence 
Schools have been training men and women 
right in their own homes after supper, or when- 
ever they had a little time to spare. More than 
two million have stepped up in just this way. 
Over 110,000 are studying now. Ten thousand 
are starting every month. Can you afford to 
let another priceless hour pass without making 
your start toward something better? Here is 
all we ask — without cost, without obligation, 
mark and mail this coupon. It's a little thing 
that takes but a moment, but it's the most im- 
portant thing you can do today. Do it now ! 



in the same way. Our treasurer used to be a 



HNTERNATIONAf CORRESPONDENCE SCHOOLS 

I BOX 6521, SCRANTON. PA. 

, Explain, without obliKatinK me, how I can qualify for 
I the posiUon, or in the subject, he/ore which 1 mark X. 

§ ELECT UlCir. ENUINFEU □ SALESMANSHIP 
EJaetrlo l.lrbtint (od K;i. □ ADVEK nSlNG 
Electric Wiring □ Window Trimmer 
- ■ OShow Card Writer 

□ Sign Painter 

□ Rallr oad Trainman 
[DiLLUSTKATING 

a""* Cartooning 
BISIXESS MlMflEHBir 

□ Private Secretary 
r BOOKKEEPER 
L Stenorraphttr and TrpUt 
n Cert. Pub. Accountant 

□ traffic M.\N.\CBR 
n Railway Accouaiant 
Q Commercial Law 

□ coon ENGLISH 
Q Teacher 

□ Comraun School Sabfoott 
Q Mathematics 

□ CIVIL SERVICE 

□ Railwav Mail Clerk 

□ «ri(iMi)iiii.F iipjRKtriiie 

Frooah 
Ilsllu 



ELECT ItlCir, ENUIMEEU 
EUetrlo Mrbtlnt and K;i. 
Electric Wiring 
Telegraph Engineer 
Telephone Work 
UeCIUMrAl, E.%HII«REIl 

InUschanlcal Uraltimaii 
Jnaohin* Nhup Praellea 

In Toolmaker 
jGaa Engine Operating 
"civil ENCilNEER 
Snrrerlnff and Bfapplnc 
niNE FOItF.niN or KNti'll 
8T1TI0N1IIT KNGLNEKU 
Marine Engineer 
Ship Draftsinan 

□ architec;t 

Contractor and llnlldtr 
IrchltcrtnrBl Ilradiaiaa 
Concrete Builder 
Structural Engineer 
Pl.l'HHINU ISU HEITL'^S 
Sheet Metal Worker 
Textile OforieervrSopt. 

IUl'HKMIST 
□ Navigation 



LJAl itiniiiiii.r orrK* 

□ into IC.palrlnr ICSp 

□ iUKICI'I.ITIlF iLJFr 

□ PonllrTUaUlnelDIti 



Name 

Present 
Occupation. 

Street 

and No 



City. 



.SUt«_ 



'//?/sA this Sketch/ 

Do vdii like todraw? Do you want to become an illustrator? Then 
finish this sketch and send it immediately. You may be one of those 
who can become a hiKhly paid newspaper cartoonist. Clare Briegs, 
who draws "When A Feller Needs A Friend," makes $100 a day. 
Outcault earned over $200,000 with Buster Brown. 

Through the Federal Course In Applied Cartooning. America's 32 
greatest cartoonists will help YOU become a professional. Think of 
receiving help from such authorities as Clare Briggs. Sidney Smith. 
Fontaine Fox, Frank King and many others. 

Send for "A Road To Bigger Things" 

If you are serious about developink; voiir talent for drawing, send for 
this book. It describes the Federal .\lastcrCourse in detail. Contains 
studio pictures of the Federal Staff. Shows how with Federal Training 
you can win success. Send 6 cents in stamps now to cover postage to: 

FEDERAL SCHOOL OF APPUED CARTOONING 
088 Warner Buildinic Minneapolis, Minnesota 




When you nTlte to advertisers please mention PHOTOI'LAV ^L!lGAZI^■E. ) 



14 
If 

n 
n 



PnoTOPi.AY Magazine — Advertising Section 



n training jor/lwftorship a 

and Wh>?rc sell. 




CuHtVale your minti. Dc\V?lop 
yourlilcrory gifVs.Masier the 
ot4 of s«lf"-e>:presaion. Make 
your spare Hmc profitable. 
Turn your ideas into dolUzrs. 

Courses in Short-Story Writ- 
ing, Versification, Journalism, 
Play Writing. Photoplay 
. Writing, etc. taught person- 
Dr.tsenWein aUy by Dr. J. Berg Esenwein, 
for many years editor of Lippincott's Magazine, and 
a staff of literary experts. Constructive cribcisnr- 
Frank, honest, helpful advice. Real teaching. 

One pups haa received over $5,000 for •tories and 
Artidea written mostly in tpAre time — "pl*jr work," h« 
c*IU iL Another pupil receiTed over $1,000 before 
completing her fint counc. Another, a busy wife 
and mother, is averaging over $75 * week from 
photoplay writing alone. 

There is no other institution or agency doing so much 
for writers, young or old The universities recognize 
this, for over one hundred members of the English 
faculties of higher institutions are studying in our 
Literary Department The editors recognize it, for 
they are constantly recommending our courses. 

Wc pubJuh Tht Writtr'a Library. 13 volumn; dcscnpuve 
bookln frM. W« alwo publish Th* Wrtlrr'a Monthly. ih« lead- 
mt nufuiM for latrary workm , nmple copy 10 cmts, annua] 
Bubacnption (2.00. Bmdea our tcaduof acrvicT,_ we offer • 
^nanuacnpi cririoam aervK*. 

150-Page illustrated catalogue tree. Phatt AJJrttM 

"Cfie Home Correspondence School 

Dcp't 9'. 5primjfield, Mass. 




That 
Tonic Air 

Of the Great Lakes makes this kind 
of breeze-blown travel on palatial D. 
& C. liners a vacation in itself. 

Six trips weekly Detroit to Mack- 
inac, the famed pleasure playground 
of the lakes. 

Daily Detroit to Cleveland and 
Buffalo. Rail tickets accepted be- 
tween Detroit and Buffalo. 



Detroit & Cleveland 
Navigation Co. 

A. A. Schantz, Trcs, aod 

J. T. McMillan, Vice-Pres. 
L. G. Lewis, Gen. Pas». Agt. 

.*V*»4i 2c Klampfttr pamphUt 
t» L. G. I^wtit, OVn. i'as.. 
Agt.^ Vttroit. MieK. 





DOYOULIKETODRAW? 

CARTOONISTS ARE WELL PAID 



■ill < 



Hot If 
<l„ii,. lo ^.l.jv. lop ,..,11 

(• mnncy i,*>nil R ctipy 
with r>r In atJinipii for 

LI. .-.rluin. 



REMEMHKR 



Thnt every lulvertiscmont in 
PHO'lOl'I.AY is K'"»ranti-id. 
not only I'v thcudviTtl.ser.biil by 
the publisher. When voii write 
please nieiitioii I'l 1 ( > l'( )IM . A V . 




Studio 
Directory 



For the convenience of our 
readers who may desire the ad- 
dresses of film companies we give 
the principal active ones below. 
The first is the business office; 
(s) indicates a studio; in some 
cases both are at one address. 



AMERICAN FILM SfFG. CO., 6227 Broadway. 
Chicago; isi Santa Barbara. Cal. 

BLACKTON PRODUCTIONS. INC.. 25 West 45th 
St.. New York; (si 423 Classen Ave.. Brookiyii. 
N. V. 



ROBKRT BRCNTON STL'DIOS. 
Ave., Los Angeles, Cal, 



5300 Melrose 



CHRI.'^TIE FILM CORP.. Smiset Boul. and Gower 
.St.. Los Angeles. Cal. 

FIR.ST NATIONAL BTXHIBITOHS' CIRCUIT. 
INC.. 6 West 48th St.. New Vurk; 

Mildred Harris ChauUu and Auita .Stewart 
Studios. 3800 Mission Boul.. Los An- 
geles, Cal.; 

Norma and Constance Talmadge Studio. 3 1 j 
East 4 8th St.. New York; 

King Vldor Production. 6642 Santa Moniia 
Boul., Hollywood. Cal. 

Katheriiie MacDonald Productions, Georgia 
and Girard Sis.. L03 Angeles, Cal. 

FO.K FtLM CORP., 10th Ave. and 56tli St.. New 
York: 1401 Western Ave., Los Angeles. Cal. 



GAR.SO.V STUDIOS. INC.. 
Los Angeles, Cal. 



1845 Alessandro St., 



(iOLDWYN FILM CORP.. 4 69 FUth Ave.. New 
York: (s) Culver City. Cal. 

THO.MAS INCE STUDIO. Culver Oty. Cal. 

5IETRO PICTURES CORP.. 1476 Broadwaj. New 

York; (s) 3 West 61st St.. New York, and 
1025 Lillian W^ay. Los Angeles. Cal. 

PARAMOU.NT ARTCRAFT CORPORATION. 48 j 
Fifth Ave., New York: 

Famous Players Studio. 128 West 5 6th 

St, . New Y'ork ; 
Lasky Studio. Hollywood, Cal. 

PATHE EXCHANGE. 25 West 45th St.. New 
Y^ork; (s) Hollywood. Cal. 

RE.U..\RT PICTURES CORPOR.\TION. 4 69 Fifth 
Ave.. New York: (s) 211 North Occidental 
Boul.. Hollywood. Cal. 

REELCRAFT PICTURES CORP.. 7 29 SeveuUl 
Ave.. New York: (s) 1107 North Bronson Ave., 
Hollywood, Cal., and 1729 North Wells St., 
Chicago, III. 

BOBERTSON-COLE PRODUCTIONS, 1600 Broad> 
way. New Y'ork. 



UiiTIIACKER FILM MFG. 
Parkway. Chicago. III. 



CO.. 1339 Diverse; 



sia^ZNKli PICTURES CORP.. 7 29 Seventh Ave.. 
New York: (a) 80 7 East 17 5th St.. New 
York, and West Fort Lee. N. J. 

I NITCU ARTISTS CORPOR.\TIi<N. 7 29 .Siventh 
.\ve.. New York: 

Mary PIckford Studios. IlnllywiHKl. Cai.: 
IHmirIbs Fairbanks Studios. Ilollywootl. Cal.; 
<'liarlrs Chaplin Studios. 1410 Lallrra .\vr.: 

Hollywood. Cal.: 
I>. W. Griffith studios, "rleiiial Point, 
Mamnrniiivh. N. Y'. 

I MVIIIISAL FILM MIO. CO.. Iflon BrDidway. 
.Ni» Ycirk: (») Universal Cllv. Cal. 

vita<;r.\pii rx>MrAN"Y of amebica. looo 

Brnadvvoy. New York: IRl East 1 5th St. and 
I/oetut Avp.. Brooklyn. N. Y.; and Hollywowl, 
Cal. 




A HUMAN DYNAMO 

I Wyi Make You Look Like 
One— Act Like One— Be One 

Today the world is calling 
for the man <jf pep. ginger 
and action. The man who 
IS on his toes every 
minute — ready to 
jump in and do 
rhings. The big 
man of powerful 
physique andun- 
tirinn enerny. 
The man who 
IS bubbling 
over with life, 
having the 
keen, alert 
b r a i o . t h e 
t'Tighl. fUsbing 
ryes and tlic 
spring and step of 
youth. This is a 
day oi critical 
cvcnti cominf; in 
rapid succession. 

Arc Yoa fit ? 

How do yoi 

ore op to th. .. 

qulrcmt.nu? C*n 



fe»I Iht firr of rovth njrri'f ltri>u«h 



t clliciei 
ot. you 



I Will G?e You Health. Strength. Development 

I will mak(^ a nrw m«n ■ | 
will till out roar chrst so . 

Surifyioir rourblood ami fi ^ I - 

rvelop yoar whoi<< budy - h- - r ■ 

aflerin both th« buRln*-fu> ar<: > u . lu 
strength and power to do thinvn u.at ou-.rra ».-u : : 
attempt to do. And I xill do all this m m short • ; r ■ ■ s 
will aay.*'! did Mt tMnh H poaalM*." I hav« ... ..^ c - 
this for thousands of othcra at>d my rrcords axe one a! irr,t;c^ 
What I h»v.f done for them 1 will do for y«HJ Come. th»ii, for 
times flies and n-cry day roaota. Let tfais rery daj rDc«ji the 
bevinninir uf new life to you. 

Send for My New Book "Mnscnlar Development" 

It telU the secret, and i- hAr,.i.<M>fne]* illuj<trmte<l with 25 foil- 
pajre phot..|(T«ph;. of mj:.« !f ar.d «...m» of thr WttrM'a best 
athlete* whom 1 have traintrd, al.-xi full particxilars of mj 
splendid offer to you. The valuable book and special offer wit) 
tK' Srot vou on receipt of onlv 10 cents, to cover coatof »r«p- 
ptriK and mailing. Stt n«ht down now and fill in the coupon. 
The sooner you Ket atarted on the road to health and str^-nffth 
the casii^r it will be To reach t-rrfert manhood. Don't drac a*«-T.ff 
dayloiiifcr— — - 



EARUE. UEDERMAW.Dtp L 708.2 03 Bm^;, NmYarkCkr 

EARLE E. UEOERMAN. Dwt. TOS, 203 BrM<»a. Hwm 

IK-ar Sir : 1 enclose hrrrwilh 10c for which rou are Co seAd mc 
without Hny obliicmtion on mj part vhateTer. a copr of your lasaal 
book, " Muscular Development. " Please write or print plainly.) 

Name 

.\<lilre8s 

City 



. SUte.' 



"Don't Shout"Ali 

"I hrat you. 1 can Kcai 
DOW fts well as anybody. 
•How ? ritfc tW iORLEY 
PHONE. 1 ve a pair in roy ears 
now. but ihey are in\-isble. 
ould ntit know I ha<l thrm in. 
mvwlt. only that I bear all right 
"The MORIIY PHONE for ibe 




DEAF 




to ihr cars what 
gias^^es arr to tbe eyes. 
\isiblr. comfortable, wnsht- 
and harmless. Aiiyoae 
aD4d;DSliL" Otct 100.000 sold. Wiite lor bMkld u4 I 
THE MORLEY CO..Dept.789.26 S.lSth St..PhUft. 

NINE MONTHS TO PAY 

Imm* i.iio po-;-i -Miin en o jr Iih-' 
•r»l Easy Monthly Paymant pI.iM 
—the most lilxTal trrmscver offeri d ' 
on a hifih Rratl'' bi -vcle. 

rACTORY TO RIOCR prices !t:iv 
you money. We m.ike our b « 
in our o» n naw mod«l factory 
mII direct to yoj y*o put r -\i 
quality in thrro and our h c\< ci 
muat ?nti«fv you. 

44 STYLES, eolom. and ^ Tca t.> 
choose i roin inoiir famoun RANGER 
Lnr Srnti forl'ia beautiful ratal g. 

Rlany parants B(ivan>-e the Anit 
pas mrnt and enrrireiic l>o^ n by odd 
Job;* - p.iptT r-'ute*. d'> ivrry for 
Btorei. • t c . mak* thabJcycIa •am 
monvy (<> nie- T ho -.rtiRll m -nthlv Parment!! 

DCLIVCRCO FREE on Ai^i nn al and 30 DAYS 
TRIAL. a^cUn-t tliebiry< ie y.»u want and trrm» 

thni iiif you -caiih or ea.-v pavmentji. 

TIDCC l«mp*. horni*. whoels, ^undrieA nr.A PW't' for all 

linCa birvclea-nt half » ' " 

b'lt write to.iay for t ' " bu 




f:nnIrrior» SEND NO MONEY 



MEAD 



CYCLE COMPANY 
Dept. A 40. Chicago 



or OpOl \.^asn broken jcwein,-. diamonds, 
w.itflu";. old Kold. silvor. pl.iiinuni. \V.ir Bonds or 
St:mip'- .invtbiiiK v.ilu.Tblc. Cish bv ictum ni.Til. 
(;»m)> rctiinic-d in 10 davs if vou nre not sati,-;tied. 
OIm Sack>i & RdHM U 204 LoMi BMi. Omlni On 



tti^ry advcrtlseracul lu rHOTt>ri-AY M.V<.;.\ZINE Is tuirantctU. 



Photoplay Magazine — Admchiising Section 




Let Me Prove I Teach Piano 
In Quarter Usual Time 

Write for my free booklet. Ask for the names and 
addresses of accomplished players of piano or organ near you 
who obtained their entire training from me by mail. I have 
students in all parts of the world and scores in every state 
in the Union. 

Although my way of teaching piano was laughed at when 
I first started in 1891, yet I now have far more students than 
were ever before taught by one man. Could I have fought 
my way up against prejudice like this, year after year for over 
a quarter of a century, unless my method possessed REAL 
MERIT? Investigate, is all I ask. 

ril teach you piano in quarter the usual time and at quarter 
the usual cost. If you have not previously heard of my method 
this may seem hke a pretty bold statement. But I will soon 
prove to you that it is not in any way exaggerated if you'll 
simply send me your name and address on the coupon below. 

My way of teaching piano or organ is 
entirely different from all others. Out of 
every four hours of study, one hour is spent 
entirely away from the keyhoard — learning 
something about Harmony and The Laws 
of Music. This is an awful shock to most 
teachers of the "old school," who still 
think that learning piano is solely a problem 
of " finger gymnastics. " When you do go 
to the keyboard, you accomplish twice as 
much, because you understand what you are 
doing. Studying this way is a />/f^/j-//r<'. Within 
four lessons I enable you to play an interest- 
ing piece not only in the original key, but 
in all other keys as well. 



I make use of every possible scientific help — many oi 
which are entirely iinkiioivii to the average teacher. My 
patentee! invention, the COLOROTONE, sweeps away 
playinti difficulties that have troubled students for gener- 
ations. Hy its use transposition — usually a "nightmare" 
to students — becomes easy and fascinating. With my 
fifth lesson I introduce another important and exclusive 
invention, QUINN-DEX. Quinn-Dex is a simple hand- 
operated moving picture device, which enables you to see, 
right before your eyes, every movement of my hands at 
the keyboard. Yok actiialls see the finders ttiove. Instead 
of having to reproduce your teacher's finger movements 
from MEMORY — which cannot be always accurate — 
you have the correct models before you during every 
minute of practice. The COLOROTONE and 
QUINN-DEX save you months and years of wasted 
effort. They can be obtained only from me and there is 
nothing else, anywhere, even remotely like them. 



DR. OUINN AT HIS PIANO— From the famous sketch 
by Schneider, exhibited at the St. Louis Exposition 

Men and women who have failed 
by all other methods have quickly and 
easily attained success when studying 
with me. In all essentia/ ways you are 
in closer touch with me than if you 
were studying by the oral method — 
yet my lessons cost you only i'S cents 
each — and they include all the many 
recent developments in scientific teach- 
ing. For the student of moderate 
means, this method of studying is far 
superior to all others; and even for the 
wealthiest student, there is nothing 
//etter at any price. 

You may be certain that your prog- 
ress is at all times in accord with the 
best musical thought of the present 
day, and this makes all the difference 
in the world. 

M\ Course is endorsed by distin- 
guished musicians, who would not 
recommend any course but the best. 
It is for beginners, or experienced 
players, old or \oung. You advance as 
rapidly or as slowly as you wish. All 
necessary music is supplied without 
extra charge. A diploma is granted. 
Write today, without cost or obligation, 
for 64-page free booklet, "How to 
Learn Piano or Organ." 



FREE BOOK 




FREE BOOK COUPON — 

QUINN CONSERVATORY. Studio PH 

598 Columbia Road, Boston, 25, Mau. 

Pleaft «i-nd mt, u lthoui cost or ohiieaiion, your (rrc 
booklcT. "How to Learn Piano or Organ," and lull par* 
liculars of your Courfc and special reduced Tuition 
offer. 



Marcus Lucius Quinn Conservatory of Music j 



Nam*.. 



Studio PH, 598 Columbia Road 



BOSTON, 25, MASS. 



When rou ivrlto to adrertlscra please menticii PHOTUI'LlAV .MAGAZLNB. 



1 ') 



I'lioioiM. v'l .M\(i\/i\i; Ai)\ I H I isiN(, Sk< HON 




"At Last-a/?ea/Job 
and /?ea/ Money!" 

"And if only I'd started earlier, I could 
have had them five years ago. I didn't 
realize at first what spare time study 
would do for a man. Taking up that I. C. S. 
r-ourse marked the real beginning of my 
success. In three months I received my 
first promotion. But I kept right on study- 
ing and I've been climbing ever since." 

Every mail brines letters from some of the two 
million students of the International Correspond- 
ence Schools tellinij of advancements and in- 
creased salaries won through spare time study. 
How much longer are you aoinK to wait before 
takint; the step that is bound to bring you more 
money? Isn't it better to start now than to wait 
five years and then realize what the delay has 
cost you? 

One hour after supper each nijfht spent with the 
J. C. S in the quiet of your own home will prepare 
you for the position you want in the work you 
like best. 

Yes, It win: Put It up to us to prove It. Without coit, 
without obligation. Just murk nnd mall this coupon 

INTERNATIONAL CORRESPONDENCE SCHOOLS 

BOX 6522, SCRANTON, PA. 

Kxplaln, without obliKatin^ me, how 1 can qualify for th« 
position, or in the subject, hfforf which I mark X. 

SALESMANSHIP 
AD\ tR USING 



KI.FCTRirAl, KNMNEKU 
Klertrle Mrbtlnr and U71. 
Electric Wiring 
1 c'k'ifraph Engineer 
Tulephone Work 
U(^< lUMCAL KNIjlNt FIt 
M«rliknl«Bl Ifraf Udibii 
Ukcliln^ Shop rriflte« 
Toulmakcr 
Ga* Engine Operating 
CIVIL ENGINEER 
Hiirvi*rliic and Uapplnf 
HINK K0I(|:HA> or frlNtJ'U 
STiTinMUT KNUINFF.U 
Marine Engineer 
Ship Draftsman 
ARCHITECT 
Contrkctor and llnlldrr 
irrbllertnral llrarUMao 
Concrete Uulldrr 
Structural Engineer 
PM'UniNfJ AM> MKlTI^» 
Sheet Metal Worker 
TeitlU Ot«ri««ror8iipt. 
_rilFMIST 

□ Navigation 



1 Window Trimmer 
jShow Card Writer 
]Sign Painter 
Railroad Trainman 
ILLUS I RA I ING 
) Cartooning 
I RTSINKSK MiNA(iKllENT 
t Frivaif Secretary 
BOOKKEEPER 
I 8t»nof rapher and I.TpUt 
jCeri. Pub. Accountant 
TRAFFIC MANAGER 
[Railway Accountant 
\ Commercial Law 
(GOOD ENGLISH 
'Teacher 
)(^oiBinon Hfhool Sabjenta 
Mathematics 
CIVIL SERVICE 
Railway Mail Clerk 
ATiOMOilll.F. OI'I-HATIHO 
Aoto lUpalrlns ICSpaaUk 
J AUUirri.i rUK || IKr«n«b 
□ Poiiltrr Italilnc iGltallan 



Name . 

Present 
Occupation. 

Street 

and No 



City- 



Copy this Sketch 

en<l l«*t mf -»•«■ » hill ^ mi « .in 
■ l>«nithit. Mnn> nt'waimin r 
,irtiHl«cnrnlnK$:^' fOtoSI'^i 
or more per week vtvrv tram 
od by m> connM* of prrnon.il 
fadividuAl le«M>nH l>> niitil 
PKTl'HK CHAKTH mnkr 
ortKinnl drft%» intz <• a •* > to 
learn. H*'n'l nk^-lch of I n* 
Ham ntth \jc in NtampH for 
■unpin Picturp Chiirt. lint ol' 
aiirci'mrul '■Itiili'nl'*. futmpl*-* ii 
of thiMr work nnd <•* idrncc i>I /i^M 

/'//,../ .r^tf If/ 

TheLandonSchool ."lOT Schohcld Bldg.,Clc>oUnd, 0. 





Two Million 
Motion Picture Patrons 

liave found PHOTOPLAY MAGAZINE not only 
most entertaining, with its splendid illustrations, its 
absorbing fiction, its enlightening articles about film- 
dom in all its phases, its sincere editorials, but also 

The Best Guide to Good Pictures 

PHOTOPLAY'S reviews of the pictures of the month in The 
Shadow Stage, by Burns Mantle and other expert critics, may 
be depended upon to tell you what's what in the movies. To 
be up to the minute on motion pictures, one must read PHOTO- 
PLAY. Perhaps >ou were too late to get your PHOTOPLAY' 
last month at the newsstand. Many were. To be sure that it 
will come to you promptly for the next twelve months, send the 
attached coupon, together with money order for $2.,^0 (for six 
months $L25), to 

PHOTOPLAY MAGAZINE 

Dept.G. 350 North CLirk St. CHICAGO 

Yonrly subscriptions in Cnnadn, $3.00; ForciKn, $3.50 



AaU your ihrntrc nmniiu*'!' whrti he will ahow 
I'hotoplny MnuAzinc Scrrrn Supplrmrnl! 



! PHOTOPLAY MAGAZINE 

Dept. G, 350 North Clark Street. CHICAGO 

Gentlemen : I enclose herewith ^ |j .^^ , for which you will enter my sub- 



scription for Photoi'L.ay ^L^G.^Z1NE for -'j^^'^^l 
.August, 1920, number. 



months, effective with the 



Sen(1 to 

Sfreet Address- 
City 



K.rtnr mlvrnijrmuu- In I'llnTOI'l AY M.\i: \/IM; l-'mitriuilccil. 



Photoima^ Ma(.a/im; — Ai)\ Kit i isin<. Section 




' isifalQiraiGSlralQlfalalraialraiar 




Olive 
Thomas 




WILLIAM 
FAVERSHAM 




J 




ELAINE 
a. HA>l>1ERSTEIN J- 

n ' • r 






|Qlr3|s|ra|s|ic]|aira|Q|!S|G|[iii9[ 



August is the Month 
of Fulfillment 

(^ROWING things 
are reaching per- 
fection and the Harvest 
Moon turns the world 
to gold. 

This August is marked 
hy the fulfillment of 
Selznick's promise to 
give you the stars you 
want in the kind of pic- 
tures you like to see — 
pictures that charm 
with sentiment^ lure 
with mystery; thrill with 
adventure; delight.with 
romance. 

That's why two new 
stars have been added 
to the Selznick firma- 
ment and why' 



& 



I 



Create 
Happy 
Hours 



' |{8lra|D|[33iaifaiG3|ra|£g|ra|Bira|C3| "' 

rTilT 






j0|ra|S|[a|aira|a|[g|aiiaiai^^^ 



When you write to ailrertisera picnso mention PIIOTOPUAY MAGAZINE. 



i8 



Photoplay Magazine — Advertising Section 




Is your skin 

exceptionally sensitive ? 



Is your skin especially hard to take 
care of? Wind, dust, exposure; do 
they constantly irritate and roughen 
its delicate texture? 

You can correct this extreme sen- 
sitiveness. Every night use the following 
treatment : 

Dip (I soft ivashcloth hi u anii n ater and 
hold it to your face. Then make a u arrn 
water lather of Woodbury^ s Facial Soap and 
dip your cloth up and down in it until the 
cloth is '^fluffy" icith the soft white lather. 
Rub this lathered cloth gently o-ver your skin 
until the pores are thoroughly cleansed. Then 
rinse first with u arni, then with clear cool 
ivater and dry carefully. 

Special treatments for each different type 
of skin are given in the famous booklet 
that is wrapped around every cake of 
Woodbury's Facial Soap. Woodbury's 
Facial Soap is on sale at all drug stores and 



toilet goods counters in the United States 
and Canada. .\ 25-cent cake lasts for a 
month or six weeks of anv treatment, and 
for general cleansing use. 

"Your treatment for otie week" 

.\ beautiful little set of the NN'oodbury faciu! 
preparations sent to you for 25 rents. 

Send 25 cents for this dainty miniature set ot 
Woodbury's facial preparations, containing your 
complete W'ooJhury Irealnniit for one -iveek. 

You ^vill rind, rirst the little booklet. "A Skin 
You Love to Touch," telling you the special 
treatment your skins needs; then a trial size cake 
of Woodbury's Facial Snap — enough for seven 
nights of any treatment; and samples of the new 
\\'oodbury's Facial Cream, Facial Powder and 
Cold Cream. 

Write today for this special new Woodbury 
outfit, .'\ddress The .Xndrew Jcrpens Co., 508 
Spring Grove Ave., Cincinnati, Ohio. 

If you li-ve in Cauada, jdJrrss The AnJre-n: 
Jergeits Co., Limiicd, fioS Sherhrooke St., Perth, 
Oiittirio. 




Conspicuous u'lSe pores can be corrected. Read 
the special treatment for this condition given 
in the famous booklet of treatments . "A 
Skin Yeu Love to Touch, which is u rapped 
around every cake of Woodbury' s Facial So<ip. 



Evrrj- aijTcrl:ii«niHit In I'lloTorL.VV M.VO.VZI.NK 1» giiiruitcca. 




pjilSCILLA DEAN' has completely reformed. Once a celluloid liidy-Hatlles, she 
stole diamonds and hearts with equal facility. Then she became a hcsrgar- 
maid — and her prince-charminjr was her own leading man, Wheeler Oakman. 




(Alfrod riionoy .Ii>hnston> 



LIKE a girl to whom our <rran<1niother's mother might have pointed as a model 
of conduft: Madge Kennedy. Slie is not always as prim as this. Madtre hegan 
hor career as "Bahy Mine"' hut she is working her way to more thoughtful things. 



A rare ns a wat<>r-l)al)v who docs not ii) for sorious drama: a hrnnd now 
^ portrait of that cninora-ohisivc lady, Alice Joyce. Loii^ a imu li-lovod star, .«hc 
recently added a new chapter to hi-r personal career hy becoming Mrs. .lames Kepan. 



(Alfred Cheney Johnnton) 



FKANCPyS loss was our jrain when Renee Adoree left her native land to visit our 
studios. A beauty of the musical revues over there, she becomes a dramatic 
actress here, with a director's voice her music and the sputtering lights her melody. 




( Hoovrr) 



Bl iri" LVTHLl/S rcront rise as an actor of real power camp as a coniplotc sur- 
prise. An iiijrrrttintinp jx-rsonnlity often oliseures ability. Now lie i< a lirilliant 
mill tra<:i(' derelict in one jiictnri'. and a elever crook in the next. (Married!) 



(WItzel) 



"T^ORTS MAY very often plays those fleli<:htfiil little wives in her co-starrimr 
'-^ pictures with Douglas MeLt>an. Doris should have no trouble this leap-year if 
she eared to persuade someone to play opposite in a little domestic drama of her own. 




(WItzcl ( 



Yor may not Ijclicvo it. I)ut this soutli-sfa-islniulcr is none (itlicr tlian Marv Milo'* 
Militcr, usually so di'imirc. If she over tires of tlio otrrnal drama of vouth and 
love, Mary-.Iiilii't Shclliy may always obtain a situation wifli Mr. Sciinftt. 



^Uhe V/orld's Leading cJ^ovin^ 'T'i^iure dyyia^azine 



PHOTOPLAY 

Vol. XVIII August, 1920 No. 3 




It's Up to YOU 

/ "1 HE photoplay field is comparatively clean, and every day is growing 
>- / cleaner. Tet there is a great deal of cheap, tawdry and worthless material 
going the rounds of the country's twenty thousand theaters — stories that 
are false in sentiment, untrue to life, equivocating in their handling of the great 
moral issues, misleading in their pretense of mirroring reality. 

And of course you deplore that. PHOTOPLAY MAGAZINE often hears from 
you about it. The producers hear from you. Your exhibitor hears from you. Tour 
favorite actors hear from you. J^aturally, you want to \now who is really to 
blame. We are here to tell you. You are to blame. 

The ultimate responsibility is yours. You cant lay it on the charlatan pro' 
ducer, the pin^brained director, the wrong-minded author, the greedy exhibitor. 

Fundamentally, you are just as responsible for what is unworthy on the 
screen as you are praiseworthy for the screens best Because the whole of screen^ 
craft, from the mightiest manufacturing organization to the youngest player, toil 
merely to give you what you want. 

Motion pictures are the mightiest artistic endeavor of the Twentieth Cen' 
tury, but they are also, and always, a business. We have laws to regulate busi' 
ness, but even the men who ma\e these laws and endeavor to force their execw 
tion recognize the existence of one mightier regulation, upon which all business 
is based: the law of supply and demand. 

If you insist upon having only strong, honest, self-reliant American man- 
hood and womanhood in your celluloid narratives you can have these, but dont 
vocally insist — and the same night on the same street give a financial demonstra- 
tion that you didn't mean anything you said. Discriminate, select, restrain that 
purposeless desire merely to pass the time in any form of optical entertainment. 

What your money says, goes. 7S[o censorship, no editorial thunder, no legis- 
lative pronunciamento can compare to the oratory of the lady on the silver quarter. 

Don't blame anyone else for unworthy pictures. It's up to you. 




Photo by lldivard Thayer Monroe 



No, those blossoms Anne is hold- 
ing are not Wistaria Productions. 



AXXE LUTHER, that titian-haired baby who used to 
ridorn the beaches for Sennett, is looking for a title. 
Not just a title — a good title. And it isn't the case 
>of the usual American title-hunt — out of the count- 
pan into the prince-fire, as 0. Henrj- used to say. No — 
Anne is looking for a good title for a good picture. And so 
far she hasn't succeeded. 

"They put me." says Anne in reproach of figurative film 
magnates, "in pictures with terrible titles. There was 'Moral 
Suicide' that I did for Ivan Abramson. Now, who on earth 
could be artistically respectable in a film like that? Then 
came a Wistaria production that didn't live up to the re- 
freshing brand name. This, in which I supplied the leading 
agony, was aptly camoullagcd under the drag-'em-in title, of 
'Why Women Sin.' There wasn't a single sin in the picture, 
so the producer was not to be blamed if he couldn't explain 
it. Well, that release was shown in Pennsylvania; the Board 
of Censors didn't like the title so they changed it to 'Neg- 
lected Wives.' " 

Well, Anne .says if somebody doesn't reform her, she'll 
have to do it herself. 

She played a dual role with Charles Hulchi.son in a Pathe 
serial, "The Great Gamble." And between serials and sin, 
Anne has been ruined for honest-to-goodncss stuff. For 
whenever her name is brought up in a discussion for a lead- 
ing part in a good picture, someone sitting in judgment is 
sure to say: "Oh, she plays in those serials and sex things." 

But Anne has decidetl she will work for herself an 
artistic transformation, or know the reason why. Was she 
not trained in (he most highbrow cinematic schools? Grif- 
fith—the old Reliance— Sennett-Keystone? 



Titles and 



Anne Luther 
is aching to act in a 
respectable picture. 



Anne was a red — or rather titian-haired. very 
little girl when she first adventured into the land 
of cameras and Cooper-Hewitts. She lived in 
Bayonne, New Jersey. (Born in Newark in 1894, 
— if you must have statistics.) She began to be 
ambitious in 1913, and started with Charles 
Dixon in "Hearts of the Dark." 

Griffith saw her and sent for her to come to 
the old Biograph studio. Anne had to give a 
good imitation of a fainting woman. And she 
was so embarrassed that she r.eally fainted! 

And that led to her being a member of the all- 
star cast of one of the first Grifllith "features"', 
"The Great Leap", in which appeared Henry 
Walthall, Mae Marsh, Lillian and Dorothy Gish, 
Blanche Sweet, and Miriam Cooper and Raoul 
Walsh. Later she performed for Lubin. Selig, 
Keystone and Fox. Now she is a Manhattanite. 

And won't someone please put her in a picture 
where she won't have to be sinful, neglected, or 
in chapters? 



28 




Landlords 



Helene Chad wick 
is hunting for a real-estater 
with a heart. 



REMEMBER the pallid heroine, the gel 
with the little old red shawl, who was 
thrust out on the back-door-steps into 
the snow and all that in Ihe old-time 
melodrama? 

You know, the Way Down East thing, with 
midnight drawing nigh, and nowhere to lay her 
weary head? 

Pretty sad, wasn't it? 

Made you feel weepy, that Act III. Scene 2, 
did, and you wished down deep in your heart 
that you were in the show, and could jump out 
from behind the prop pump and say to the poor 
heroine: "Dry your tears, Mary; I will give you 
a furnished room with an oil stove and ev'ry- 
thing." 

Reader, that heroine out in the snow had 
nothing on Helene Chadwick. Only, Helene's 
case is worse. Xot only has she no home at this 
writing, but her baby grand (piano) has no home. 
That makes it more intricate. 




is not a landlord botlierind 
Helene, )ust a villain in a picture. 

Here is the plot : 

Helene — of course you know this blonde divinity who 
really shines in her latest picture, "The Cup of Fury" — had 
a, bungalow. It was a regular bungalow. The kitchen had 
walls, and a stove, and you could cook dinner without the 
neighbors knowing what you had. Our heroine fell in love 
with the bungalow. She doesn't trust men. 

Failing in love with the bungalow, she set about making 
improvements upon it, proving that bungalows are superior 
to men. 

So she bought a piano. And she had it made in a special 
case, special finish and all that, just to match her bun- 
galow. Enter the \'illain — the landlord. ( Was there ever 
a landlord who wasn't a villain?) 

Villain: "Get outta my house." 

Helene: "Why?" 

Villain: "Golta tear it down to put up 'partment house 
here."' 

Helene: "Oh, s*ir, have mercy on me and my baby grand." 

Villain growls and exits with a guttural oath. 

So here we are at Act III, Scene 2, and Helene has no 
home and no nook in which to esconce the baby grand. 
Now here is the cue for the hero. 

Who will give Helene Chadwick a home? 

Three years ago Helene Chadwick was a stranger to the 
screen. She made her debut in an Astra-Pathe studio and 
won a part in "The Iron Heart," a thrill serial. Then she 
appeared in another of that kind, "The Double Cross," 
and repeated in "The House of Hate." 

Miss Chadwick is now with Goldwyn; the serial days are 
far, far behind in the dust of obscurity, and all's well — 
that is, all's well but for the Villainous Landlord. 



29 




. w 



Louise Huff is a studious yoiintJ person 
with mentality as well as pulchritude. 

di(J not Start right smack off on the subject of LOVE. Nat- 
urally, two well bred ladies who are interviewing each other for 
the first time do not soar to such intimate heights until they 
have reached a certain amount of conversational momentum. 
(And we were nothing if not well lired— "dainty" Louise Huff with her gen- 
erations of Georgia accent and gentility, and the picture of her grandfather 
who fought in the Civil War in a gold frame on her desk, and I with mv 
college education and a new red hat.) 

^ There were the problems of the weather, and the scandalous wav New 
V'ork taxi drivers cheat you on a rainy day, and (he new short-vamped French 
pumps, and transmigral ion of souls, and the possibilities of remaining a kuly 
in whatever walk of life, and the duty of children to parents, and Mexico to 
settle first. When we found that we agreed on all of these— then, then 
it was time to talk of love. 

"I believe ab.solulely in love," announced Louise Huff profoundly. Her 
forehead wrinkles when she wants to look profound. "But there are no two 
ways about it. If one person thinks he or she is desperately in love with 
another, and the other docs not return his or her affection — then it isn't 
love. Vou either love or you don't, and unless both the man and woman 
care for each other with the same intense, sure, satisfying emotion — well, it 
just isn't love. 

"When I hear girls stewing about and see them growing pale and thin be- 
cause they can't cat or sleep on account of what they think is love for some 
man who doesn't care two straws for them — I waiit to shake them. The 



Dante 
Was 
Wroni 



Bv BETTY 



thing for them to do is to put 
these men out of their lives, and 
get something better to occupy 
their minds until the right man 
comes along. 

'"Of course sometimes people 
make mistakes and marry others 
they think they are in love with, 
but that sort of marriage very 
often does not last. It is not 
true marriage — true marriage 
can only happen when people 
really love. Such a union is 
bound to be an unhappy one, 
anyway — often from the fault of 
neither husband nor wife.'' 
So Dante was wrong! 
AW this stuff and non- 
sense he wrote 




30 



L/OUise Huff 
does not agree 
with him about 
love — Anyhow 
he's all out 
of date. 



SHANNON 



about Beatrice, all this holy, un- 
returned affection that guided 
him through Hell and Purgatory 
(I hope I haven't my facts 
twisted), all these sickly senti- 
ments that he and the other 
poets have been slipping over 
us all these years about the 
beauty of despair — 
well, to be 






Louise Huff Has come 
back, after a tw o years' 
absence, a Selznick. 



P.u lo liy S.I ony 

There is Mary Louise, in other words Miss Jones, and 
in still other words. Miss Huff s young daughter. 

modern, there's nothing to them! 

Of course it is too much to expect of a poet that he be both a poet and 
right. His poetic license gives him lief to take all the liberties he wishes 
with the truth, just so he doesn't err as to metre. And anyway, why should 
Dante know anything about it? He lived way back there seven or eight 
centuries ago before the days of motion pictures, and automobiles, and per- 
manent waves and Greenwich Village. And Beatrice married another gen- 
tleman and died young, and Dante married some one else, who very likely 
wasn't at all pleasant because her husband insisted on pulling these Beatrice 
lines all the time. Of course he didn't know what love was. 

You see, Louise Huff does. That was what we were heading at. Louise 
Huff know^s absolutely what love is, because she loves some one and that 
some one else loves her back, and there's no question in the world about it. 
That some one else knew he was going to love her the minute he laid eyes 
on her, and she knew she was going to love him. (One of his fraternity 
brothers brought him along one day to a luncheon party so that there would 
be an even number.) And they were married a few months ago, and in spite 
of the fact that he is the president of a company that manufactures hy- 
draulic engines (and is only 34 at that) and has such a practical name as 
Stillman, and she can't tell a valve from a radiator, they understand each 
other perfectly. 

Like Fanny Hurst, she is going to go on leading her own life and doing 
her own work — but she expects to keep the dew on the rose and the dust on 
the butterfly's wing with seven breakfasts a week with her husband, instead 
of two. 

Then there is this difference, too: in Louise Huff's case there is Mary 
Louise, in other words Miss Jones, or in still other words, her young daugh- 
ter. Miss Huff was married before when she was very, very young — too 
young, it is to be feared, to know what love really was, 
(Catttinued on page 113) 



Happy 
Endinpfs 



"Men are only boys, 
grown tall; Hearts don't 
change much, after all." 

By ROBERT M. YOST 



ALL authors, before plunging into the 
body of their narrative, first consider 
the ending, for a story 
or a play must have 
a Happy Ending. But, 
of course, you know that. 
Perhaps that is why cyn- 
ical critics laugh when 
we speak of a play or 
a story being so true to 
li*'e and yet— having a 
Happy Ending. 

Happy Endings are 
necessaries that mark 
every step in our 
careers. The baby 
crying for its bot- 
tle, and getting it, 
achieves its Happy 
Ending. Later we 




Lila as she reached 
the Coast to begin 
her motion picture 
career. 




Nortlil.in.l Stiulu 



Lila Lee today. 



are told that if we are good we shall go to Heaven 
when we die — another Happy Ending. 

Directors are wondering now whether the pub- 
lic will be satisfied with endings of the other 
sort, based upon natural conditions in life. The 
chances are that the public will not; it never 
has been. It already has had enough ?»ihappy 
endings. 

A couple of years ago an Eastern produc- 
ing firm decided to star a newcomer. Her 
name was Lila Lee, the youngster who earned 
success in a school days act in vaudeville. At 
that time Lila was quite small, just a cuddly 
little kid and the Wise INIen of the East de- 
cided that the time was ripe to launch her in 
a number of stories, specially built to exploit 
her kid talent. 

Those Wise Men were going to take no chances. 
Little Lila was to be a success right from the 
• ' start. One of the greatest campaigns known in 
filmdom was inaugurated through every possible 
avenue of publicity, heralding the arrival of this 
prodigy. This was kept up for months. 

The public expected a pig-tailed Sarah Bernhardt — 
and they didn't get it. 

Fifty-seven varieties of reasons were offered in ex- 
planation of Lila's failure to meet the expectations of 
the public, but there really were only two. 

Lila had been lured into the field of motion pictures 
by the kind insistencies of friends who convinceil her 
that she could make good. She entered the business 
with a keen determination to succeed that has never 
wavered. 

First of all, she fell victim to over-advertising. 
Next, she was cast for the role of a very little girl 

33 



34 



Photoplay Magazine 



in productions written with a view 
to accentuating and developing the 
fact that she was only a child actress. 
With her fine inteiliKcnce. her stage 
experience and her native ability, Lila 
might have overcome even these 
handicaps, had not nature and Cali- 
fornia climate conspired to blast the 
hopes of the little star. 

Lila had reached the age when it 
was time for her to grow. She should 
have been a head taller — but she 
wasn't. So they sent her out to Cali- 
fornia to make pictures, a little 
freckle-faced, undersized kid. in 
dresses that flapped at knee length. 

Then came the great change. 

The climate took kindly to Lila. 
She could live in one house, all the 
time, regular hours, regu'ar meals, 
golden weather, pleasant work, pleas- 
ant surroundings. Old nature began 
sneaking up on the kid. Her feet 
grew down to meet the sidewalk and 
her head began to stretch toward 
the stars. 

In a very few months. Lila was 
just exactly, by actual measurement, 
a head taller than she was when she 
arrived in California. That's why 
her portrayal of little kid parts didn't 
come up to the expectations of the 
public. She was too busy growing. 

According to all the rules, the 
youngster should have been down- 
hearted. But she was determined 
that her career in motion pictures 
should have a Happy Ending. She 
is well on her way now to the suc- 
cess she socks, but there must have 




Lila Lee when she was known as 
■"Cuddles in a vaudeville s etch. 



been some dark days along the rou'.e. 

One day Cecil de Mille cast her 
for the role of Tucctty and good luck 
came back to Lila. There are a few 
things you remember particularly 
about "Male and Female." One v{ 
them is Tweeny. 

In "The Prince Chap"' the public 
is looking upon a new Lila Lee — the 
girl who came back — only she comes 
back a woman. But it was Tweeny 
that marked the turning point of 
Lila's return. 

Lila Lee is a stage name. The 
little brunette was born Augusta 
Appel. The story goes that Gus 
Edwards, the vaudeville producer of 
tabloid musical comedies, discovered 
her when she was a very tiny child 
indeed playing on the sidewalk with 
some other boys and girls. He saw 
all the possibilities for piquant "kid 
stuff" in small Augusta, and put her 
through a course of training and ulti- 
mately into one of his acts. Her 
success was instantaneous, and she 
held the position of the most popu'ar 
little girl on the variety stage, known 
only as "Cuddles." for ten year?. 
Now she is one of the most promis- 
ing of the younger leading women in 
pictures, for besides her two per- 
formances mentioned above, she has 
appeared as Wallace Reid's leading 
woman, and opposite Houdini in 
"Terror Island.'' 

' She is getting better every day. 
they say on the Lasky lot, and there 
seems no longer any doubt about that 
Happ\" Endine.^' 





AliRUNh rrii iMi t ncce^.■l;lrily a hi-uncltc any more, nor a hlondc a hlondc. N on (Jo to fcc your 
favorite film ifoddcKii in one paistcl and you home and indite a fonnct to her raven loeli». Then 
you go to ecc her again and -lo. ahc i? a hlondc! Norma Talniadife and Anita Stewart both have changed 

their celluloid coiffure." recently. 



"I Don t 
Want To 



You ihink of temperament when 
>ou read about the rough way 
in which Dave Belasco mauls 
emotionalism into his stars, do 

you not? 

You think of temperament when you 
read about chorus girls who pout when 
their Packard or Pic-Pic is late, or when 
the strawberries are not quite large and 
sweet enough on the Christmas morning 
breakfast tray, what? 

Temperament? 

Reader, those feeble flings are as the 
rippling rill alongside the roaring Niagara. 

Consider, if you please. Master Bobby 
Kelso, set three. 

One of those helpful persons, who 
always knows all about everything that is 
going on in Hollywood (which is a fairly 
large order, by the way) whispered that 
there was a great new child-find out at 
King Vidor's studio. Rumor had it that 
this child was a marvel, one who would 
disturb the laurels resting peacefully up- 
on various small brows. He was playing 
the all important part of Buddy in King 
Vidor's new oroduction, "The Jack-Knife 
Man." by Ellis Parker Butler. 

Bobby had never been in pictures, but 
his mother met Florence Vidor in a hair- 
dressing shop one afternoon just when 
King Vidor was searching for a child to 
play Buddy. Thus the discovery. 

When you see this picture, you are 
going to see a very fine piece of acting 
by a three-year-old. 

But dragging Mrs. Carter, in her 
plumpest days, about by the hair, wa< 




A troupe of assistant persuaders follow King Vidor around. 




Every angle of the plot hinges 
primarily upon him. 




But when he does do it. he s great! 



a mere bagatelle, compared with th.' 
things King Vidor has done in order to 
make Bobby Kelso act. 

For instance, here are some of thj 
things King Vidor carried around: 

Jelly beans — by the gross — they being 
Bobby's pet confection. 

Live rabbits, produced instantaneously, 
like those that come out of a magician's 
hat. 

Ice cream cones, whistles, chalk, musi- 
cal tops, string, and a rag doll, made of 
a towel tied around in the middle. Buddy's 
favorite consolation in moments of men- 
tal anguish. 

Also King Vidor was followed around 
by a troop of assistant persuaders, con- 
sisting of property men, electricians, as- 
sistant directors, cameramen and stag' 
hands, bearing kiddic-kars, tricycles, rock- 
ing horses, wagons, automobiles, live goats 
and other things. 

The favorite of this harem, is on: 
■'Hui;hie," head property man, who, next 
to King Vidor, occupies the chief place 
in Bobby's heart, Hughie is a great 
"feeder," He is generally elected to 
stand on his head off set, when they want 
Bobby to stare out the door or window, 
or to climb up the rafters, or im'tate 
Charlie Chaplin .when they want him to 
laugh. 

Bobby plays the role of a child who, 
through the death of his mother, falls 
into the hands of two old men, a shanty 
boatman and a singing tramp. 

There is scarcely an emotion that a 
child can know that Bobby does not havo 
to express. He is in at least half the 
scenes of the picture. Every angle o; 
the plot hinges primarily upon him. 

But when I had watched him makin : 
a few scenes, I decided to start a con- 
test to elect King Vidor successor to Job, 
the popular patience specialist. 

Bobby's favorite quotation was. "I 
don't want to." I didn't discover any- 
thing during the entire afternoon that h: 
wanted to do. 

BUT — when he does do it, he's great! 



35 




"Go into the movies" said Molly 
Bolton's friends, when at 26 she 
was left a widow with her own 
future to face. "You have a 
profile. Let it work for you." 
So she went into pictures and 
there she learned many things — 
not the least of which was Hope. 



Th 



I was one of 
those women 
born to eat 
the pale de foie 
gras that some 
man earned 
for her. 



W: 



'IIV don't 3'ou go into the movies?" 

Xowadays I suppose that no good-looking young 
woman is ever thrown upon her own resources 
without hearing this suggestion on every side. Cer- 
tainly I myself had been a widow only several weeks when 
Dorothy Tompkins, my best friend, came forward with the idea. 

"Well," she commenced, looking about her at the tiny room 
in the Madison Avenue boarding-house into which I had just 
moved a few of my most treasured possessions from the smart 
Park Avenue apartment where Tom 
and I had spent our brief married 
life, "what are vou going to do, 
Molly?" 

I shrugged my shoulders. 
"What can a woman do who 
doesn't know a single useful thing 
in the world?" I retorted. 

It was quite true — that estimate 
of myself. I had been unfitted for 
life in the most fashionable of pri- 
vate schools. I couldn't bake a 
biscuit serviceable for anything ex- 
cept a paper-weight. I couldn't sew 
and I couldn't even take a French 
sentence without balking at the 
hurdle. 

As I stood there at the window 
of my little room I realized indeed 
for the first time that I was one 
of those women born to wear the 
feathers and eat the pate de foie 
gras that some man earned for her. 
I had passed from an indulgent 
father who lived up to his profes- 
sional income to an even more in- 
dulgent young husband who con- 
sidered that his future success as 
an architect depended upon show- 
ing off every bit of his present suc- 
cess. Both props were gone now 
and save for the ten thousand dol- 
lars insurance Tom had left me, to- 
gether with the wardrobe and jewels 
he had bought me. I was dependent 
upon myself alone. 

Dorothy stared at me in silence. 
Then .'<hc l)roke in sharply upon my 
meditations. "What if you can't 
do anything?" said she, "Vou have 
a profile that can. Let it do the 
work. Go into the movies." 

I looked at myself in the frivo- 
lous little Louis (.Uiinze mirror that 
I had brought with me from the 



Park .\venue apartment and I can 
truthfully gay that the survey was 
without vanity. It was as im- 
personal as if I were a picture 
which I was now thinking of buy- 
ing. There was, in fact, a good 
deal of bitterness in this acute 
study of myself. Yes, I wa3 
good-looking — undeniably so. My 
head was set proudly on my long, 
column-like white throat. My 
figure was broad-shouldered and 
slim — like Juno's. Tom always 
said, after she had taken to tennis 
instead of strolling about Olympus 
in a Mother Hubbard cloud. Add 
to these items my mouth, which was cut with the arrow-heads 
at the corners that Hardy speaks of in his portrait of Eustacia, 
my satisfactory nose and large gray eyes and you get the com- 
plete catalogue of me as I was that day. Yes, thought I bitterly. 
I was good-looking — the very kind of woman born to set off 
the feathers that some one else bought for her. 

"The movies," I echoed drearily. "I'm too old 'o- those " 
"Nonsense." said Dorothy, "what's twenty-si.x nowadays?" 
"But I can't act — not the least little bit. " 



Told by 

CORINNE LOWE 

Illustrations by Walter Tittle 




our? w e waited 



36 



Hope That Sprin 




''How do you know you can"t?" 

I smiled a little. "Because I always made such a hit in 
amateur theatricals." 

"It does sound fatal," grinned Dorothy, "but anyway, you 
really don't have to act in the movies. You just move 
around." 

DURING the next few weeks most of my other friends came 
forward with the same suggestion. I smiled now to think 
of their gentle confidence that the whole movie world would 
put out bunting and flags to welcome the new- star. Yet in 
the end I yielded to their constant arguments regarding movie 
money and the ease with which it was made. And one March 

day I stood before the casting director of the studios. 

"Parts?" The casting director grinned cheerfully around his 
pendulous cigar. "No, we haven't any of those to give out. 
But if you really want to get. into this ga-me, you could do all 
right as an extra." 

"An extra?" I repeated in bewilderment. The only associa- 
tion which the word held for me was with the expensive pri- 




She hadn t intended 
becoming an actress. 




acted, and acted and waited. 



vate school which I had 
attended. "What in the 
world is that?" 

"Why," answered he. 
"the extras are the good 
old cowboys that bunch 
around the sheriff's office 
and fill up a few chinks 
in the Western scenery, 
they're the evening dress 
girls and white collar boys 
of the ball-room and ca- 
baret scenes — " 

"The noble Romans." 1 
interrupted with a faint 
smile, "the mob scene?" 

"You're on." 

It didn't sound very stately, tlid it? And when I thought 
of Dorothy and my other friends, of their swift assumptions 
that my face would prove my fortune, my heart sank. 

"And how much is the extra 
paid?" I faltered at last. 

"Oh, anything from five to ten 
dollars a day. An evening clothes 
scene always pays more. You 
would get about seven and a half 
for that." 

Quite evidently the extra of the 
movies was not the expensive one 
of the boarding-school. To me, 
who had been nourished so care- 
fully these past weeks upon reports 
of the earnings of Mary Pickford 
and Charlie Chaphn, it sounded 
meager enough. Still, seven dollars 
and a half a day for such easy 
work — just sitting at a cabaret table 
or walking across the ballroom 
floor — that would be forty-five dol- 
lars a week! My spirits were be- 
ginning to rise when the director 
spoke again. 

"Of course," he explained, "the 
employment isn't steady. You can 
only expect a day's work or so 
every week or two — that is to say 
here in New ^'ork during the winter 
months. Summer it's different. 
Then we're making up some of th; 
big pictures that may give you two 
or three weeks work." 

Seven dollars and a half a day 
and that only occasionally! I sat 
there staring at him blankly. 

"I tell you what you do," said 
he suddenly, "you let me take your 
name and address and when there'> 
something to do I'll call you up." 

"Then you think I shouldn't 
have any trouble getting a job as 
an extra?" I inquired. I was cer- 
tainly meek enough by this lime. 

"My dear young woman," he re- 
torted promptly, "do you know 
what an extra is? It's somebody 
with a face, .\nybody can be one — 
young, old, rich, poor. Of course," 
he added politely, "you're the kind 
that would always be most in de- 
mand. You're pretty, under thirty, 



37 



38 



Photoplay Magazine 



well-dressed and above all, you've got a good figure. Thai's 
really more important in the movies than the face. Now, 
how about your wardrobe in general — got lots of fluffs?" 
• What has that to do with it?" 

For answer he waved his hand toward the ante-room be- 
yond. 

"Right out there," said he, "there are probably two or three 
girls waiting to see me this ver>' minute who would know what 
I mean. They've got good sets ol features, but poor sets of 
clothes, see? They can't scrape up enough coin to buy the 
pretty evening dress or the swell afternoon gown that a lot 
of the big scenes need. Consequently, we can't use 'em any 
place except peihaps the street scenes or something like thai." 

I thought of the clothes 
I had bought just before 
Tom's death — of the silver 
cloth evening gown that he 
had told me made me look 
like a fairy-stor>' mermaid, 
of the new brocade evening 
wrap, the gorgeous set of 
furs — and I blinked back a 
tear. How little I had 
thought when I bought 
those gay feathers with 
Tom's money to make a 
good show for Tom's clients 
that I should ever use them 
in earning my own living. 

"I have a — a — great many 
clothes," I answered un- 
steadily. 

"Fine. Now then let me 
write down all about you. 
You see. we keep the names 
of professional extras in our 
card-index and whenever 
we're making a big picture 
we call on them." 

I furnished him there- 
upon with a complete his- 
tory of myself — age, weight, 
height, education, previous 
inexperience, and promised 
to send him a few photo- 
graphs. 

"Now don't you worry," 
said he kindly as I rose to 
go, "you're not going to 
have any trouble. YouVe 
got the kind of face that 
will film well. And, say, 
there's a lot in that last. 
You haven't any idea how 
many beauties there are in 
this world that screen to 
look like frights — they 
might be the girl your 
mother and sister always 
pick out for you to marry." 

Following his advice, I 
made a round of the other studios and enrolled in the same 
manner. After that casting of my nets I settled down to what 
soon proved the most unsettled life in the world. For two 
whole weeks I waited there in the little Madison Avenue 
boarding-house for some returns from my enrollment. Wait? 
No stage carriage ever did it so hard. 

JUST as I was beginning to despair I received a phone mes- 
sage from the director whom I have quoted .so extensively. 
If I would go over to Jersey the next morning I would find my 
first job wailing for me. They were going to do a big scene 
in a hotel lobby and I was to take my handsomest evening 
dress with me. 

Afterwards I found out that I had been very lucky in being 
called at all. It is only very young and stately folks who trust to 
the telephone. More crushed and wiser spirits make a busi- 
ness of turning up every day either at the studios or at one of 
the agencies. These agencies, by the way. are patronized by 
many extras and, although they charge a ten per cent commis- 
sion, they do possess certain undoubted advantages. 




I had brought with me nothing; save a bo.x of rouge and a lip stick. 



Well, to go back to my first day of being an extra. I had 
been told to present myself at the Jersey studio at nine o'clock 
in the morning. In order to do so I arose at half-past six. 
Even this early start gave me a chance at nothing more sub- 
stantial than the roll and coffee on which in my European days 
I used to wobble forth to see two art galleries and a dozen 
churches. By the time I had taken subway. Fort Lee ferry 
and the Jersey trolley I was ready for a real breakfast. 

I arrived promptly at nine at the studio. Some other extras 
had been not only prompt, but precocious, and when I entered 
the hallway I found a number of my fellow-workers — mostly 
young men and young girls — grouped about their suit-cases 
and chatting just as cheerily as if they had not already put in 

a Wall Street man's "day." 
I had seen a number of 
extras in the city offices, but 
this was my first real in- 
sight into their daily mode 
of thought. Watching them 
and listening to them. I real- 
ized that they all knew each 
other, that they had met 
frequently in the various 
studios and that there ex- 
isted between them that 
cheerful freemasonr>' you 
always find among those 
who earn their daily bread 
in some precarious wav. 

"Hello, Sally!" I heard 
the entire group turn to 
greet a girl just entering the 
door. She had almond- 
shaped, slatey grey eyes be- 
neath a fringe of dark 
bangs and over these bangs 
tilted a cherr>-colored straw 
hat. "You look fresh as a 
daisy," commented a good- 
looking young man as she 
drew nearer. 

"Yes," replied the new- 
comer, "and where do I get 
the right. I'd like to know. 
Heavens, what a day yester- 
day was!'' 

"Wasn't it awful?" gri- 
maced one of the girls. 
"Were you in that awful 

mob at s yesterday?" 

"Huh. didn't I stand there 
all afternoon trying to get 
to somebody until every 
one of my toes felt like a 
boil? Me for the agents 
after this. Let them take 
their commi.ssion. I say. At 
least you don't have to 
stand around all day long. 
Besides, they give you your 
money right on the spot 
how long some of these producers take to come 



and look 
across!" 



NOT until I looked over this group of extras did I realize 
that the movies, like Browning's hero. cry. "Grow old 
along with me. " Mixed through this assemblage of pretty 
young girls and men in their twenties were several stately 
dowagers and one or two elderly men of professional appear- 
ance. It was with one of the former — a woman of past fifty 
with one of those unwaning profiles that every woman cries 
for — that I gradually lapsed into conversation. 

"Funny how I got into the movies." she confided to me. 
"Of course at my age I never dreamed of such a thing, but 
one day I came along with my daughter to one of the studios. 
'Why don't you go on in this big scene?" asked the director, 
walking up to me where I was waiting in the hall. 'Me?' 
answered I anil laughed. 'Sure,* said he, 'there's no reason 
why any able-bodied mother with a handsome lace dress 
shouldn't be working these days. Don't you realize that the 
movies represent life and that life is full of people past forty?'' 



Photoplay Magazine 



39 



'■But it's rather hard work, isn't it?" I asked. After that 
early rising, that long trip to Jersey and the hour of waiting 
which I had already put in here in this studio hall, I was com- 
mencing to abandon my first theory that all there was to this 
life was walking across the drawing-room floor. 

"Oh, you get used to that," she retorted cheerily. "After 
all, life's lonely without any work and I'm certainly glad for 
a profession that finds any use for the woman of past fifty." 

"So am I." It was a handsome, beautifully gowned woman 
with snowy white hair who joined the conversation at this 
point. "Why, I was bored stiff before I started being an extra. 
Just think of having nothing to do but look at your Queen 
Anne chairs and wonder where to put your new Bokhara rug! 
I tried all sorts of things to get out of myself — spiritualism, 
social work, Bolshevism, women's clubs. But I wasn't a club- 
woman by nature — I just hated to get up and say, 'I move' — " 

"So you said, 'I movie,' " I interrupted with a laugh. 

"Exactly. And I tell you it's all opened up a new world 
to me. I love every bit of it. And as for the people that I 
meet in the studios, why. I didn't know there were so many 
brave, cheerful, real folks in the world!'' 

They were brave, cheerful, real. I recognized this as they 
stood here in this dreary hall almost two hours before the 
director came to assign them to their dressing-rooms. I recog- 
nized it still more when, together with twenty girls and women, 
I found myself in the big dressing-room with its two side- 
lengths of mirror, its long benches and its community dressing- 
table. 

When I got to that flocking-ground I felt for the first time 
an oppressive sense of embarrassment. Sitting down on the 
extreme end of one of those long benches, I watched the others 
opening up their bags and taking out their toilet articles. And 
as I sat there listening to the chatter about me it seemed to 
me that I had strayed for a moment into 
the pages of some novel that I was read- 
ing. The other characters knew each 
other and knew exactly what to do. I 
alone knew nothing. 

And how they did chatter! W'asn't it 
awful — their having been kept up until 
two in the morning that other day at the 
So and So studios — but it was nice in a 
way, for they had got paid for an extra 
day's work! And, what luck, two of them 
had been called by their agent to go up 
on that picture in the Adirondacks where 
the sledding accident had occurred, but 
that very day they had been busy on 
something else. One of them — a fat girl 
with red hair — admitted a not unreason- 
able terror of balconies. She was one 
in a certain picture when it fell and, 
though she herself had got off without a 
scratch, she had vowed then and there 
that she would never set foot above the 
snow line again. 

All the others roared at this confidence. 

"Keep your vow, Mopsy." shouted 
Sally of th^ almond-shaped eyes as, 
smearing the grease-paint over her face 
and neck, she looked down across the 
intervening figures on the long bench 
where we were all sitting to the redundant 
curves of her friend, "We want balconies 
made safe for the rest of us." 

I laughed at this last sally, but I was 
really concentrating my whole mind upon 
the elaborate character of my companions' 
make-up. Let me confess it right now. I 
was so ignorant of one's obligations to 
the camera that I had brought with me 
nothing save a box of rouge and a lip 
stick. It was like trying to lumber with 
a pair of manicure scissors. 

Very soon the girl beside me discovered 
my bewilderment. 

"This is your first experience, isn't it?" 
asked she, giving me a long friendly look. 

I nodded. 

"Well, just wait a minute and I'll show 
you how you make up. Don't get fussed. 



It'll all come natural to you after a few times. Take me — I was 
as green as you are a few months ago — so green I thought I 
ought to look red." 

Vou didn't look red for the screen. That was quite evident; 
and under my companion's course of instruction I applied the 
grease-paint, the powder and the eye-lash stick which all th.; 
others were using. Although I was belated in these attentions 
to myself, I finished long before most of the girls and I had 
time as I sat there to find something inlinitely pathetic in the 
anxious forward bend of each figure on the bench to the sec- 
tion of mirror directly in front of it. How much it meant to 
these girls to look their very best! I forgot for a moment 
that I myself was now one of "these girls," that a great deal 
depentled upon today's trial. I thought of myself as the wife 
of Tom Bolton, rising young architect, who had strayed into 
the pages of the novel she was reading. 

"/^NE hears so much of the movie stars," I sentimentalized, 
"and now here at last are the movie moths — poor, fragile, 
lovely creatures arawn to this lamp of fortune, fluttering dizzily 
about it and so, so apt to be singed before they are through." 

Certainly they maintained that figure of speech. With the 
hard lights falling upon their bare arms and shoulders and 
their pink silk "unders," with their shin- 
ing, marcelled hair and the drifts of 
powder on 'face and neck, they did recall 
a Hock of powder-winged, perishable moths 
or butterflies. Vet it was really impos- 
sible to pity them long. They were too 
(Continued on page 112) 

They recalled a flock of powder-winced, 
perishable moths or butterflies. 




\tiiiiii;i|)|;f,,iLe:J; 




Mae Murray is the puppet princess, the marionette 
mistress, of her pastel apartment. That pout of hers 
is natural, not affected. 

TO begin with, everything, or nearly everything that 
has ever been written about her, is wrong. 
They have said she is Irish. She isn't. 
They have said she cultivates persistently the 
mental attitude of a boarding-school child who only went to a 
theater once or twice — and then to see Julia Marlowe and E. 
H. Sothern in their Shakespercan repertoire. 

They say she has a perpetually innocent and injured ex- 
pression with which she seems to say: "Where do babies come 
from?" 
They're all wrong. 

Mae Murray was really born Mae-somebody-else. She re- 
minds me of the child of Continental parents who, at the 
rather immature age of ten, has seen all the best pictures — in 
the galleries — heard all the finest music, met all the best people. 
She has Latin rather than Celtic blood in her veins. When 
Lasky wanted to star her, he picked parts for her to go with 
the invented biography which made her a Murray. The original 
idea was, I believe, to exhibit her bee-stung lip and her shining 
hair and her Follies figure to the world in a series of Irish 
plays, like "Sweet Kitty Bellairs." 

When Mae Murray started out to make a name for herself, 
she was undoubtedly a very young girl with only one object 
and ambition: definite, materia! success. She says herself she 
supposes she was "just a fluff," She prospered. Any girl 
with a bee-stung lip and a retrous.se nose and trusting eyes — 
not to mention two perfectly grand hosiery advertisements — 
was bound to prosper. She started when she was fifteen. Be- 
fore she was twenty she had won fame in the national institu- 
tion of beauty, the Follies, in the popular midnight perform- 
ances of Manhattan, on the roofs, and had become known as 
"the Nell Hrinklcy Girl," And that wasn't all. She had wit 
enough and initiative enough to use the dancing craze for all 
it was worth. She was the naive proprietress of a Manhattan 
restaurant which coined money. 

Altogether her characterization in "On With the Dance ' — 



The Truth About 



The explosion of a few theories re- 
ding: the young ladv on the cover. 



garding 



Soitia — could not have been easy for her to do. Having seen 
so much of material Manhattan, and its dance-palaces, and its 
Pekingese — both dogs and humans — ^she must have had to ex- 
ercise her perspective and her sense of humor strenuously be- 
fore she could give such a degree of reality to that little dancer. 
She settled, I believe, in this Fitzmaurice production, all those 
arguments about whether Mae Murray could act. The adver- 
tisements were misleading; it was Mae's acting and not Maes 
dancing or Mae's costumes that you most appreciate, 

SEE her in the studio. She reminds one of ftothing more 
or less than a particularly apt child, with a penchant for 
learning and an age-old understanding. She always has a sort 
of listening e.xpression: her eyes droop and she purses her 
mouth in an earnest and gratifying attention. That pout is 
natural, not affected. 

See her at home. She is the puppet princess, the marionette 
mistress of this pastel apartment of hers. She has wide lounges 
that you sink into, and silk-and-lace imitations of umbrella 
trees with cushions beneath, and soft pastel rugs and hangings. 
Vou can tell, by glancing from Miss Murray to her apart- 
ment-furnishings, just what came with the apartment and what 
she put into it, .\ wolf-hound named Reno is a cood dog and 
a gentle dog — the only wolf-hound whose acquaintance I ever 
cared to cultivate. 

Some woman once said she loved to sec Mao Murray walk. 
This woman probably thinks Mae was born with a walk like 
that. This woman doesn't know that Mac practices walking 
and pr.ictices dancing every day of her life. She has a con- 
suming energy that seldom lets her rest a minute. If she's 
not dancing she's reading: and she loves to entertain. 
She has a wholesome awe of great people — particularly 



40 



Photoplay Magazine 



41 



authors. She said she'd always been afraid of them until she 
went to a party which was attended also by several very dis- 
tinguished literary gentlemen. She found them good fun and 
wanted to see them again. They all wanleei to dance with 
her. 

SHE is married, you know. I don't mean just married; her 
husband occupies a large place in her scheme of things. 
Since Robert Leonard first directed her at Universal, she has 
includetl him in her artistic as well as personal plans. And 
it has always been her wish to continue this partnership of 
theirs in business as well as in domesticity. 

Her costumes are ail \-ery carefully planned. She believes 
that instead of focussing the audience's attention on one par- 
ticular costume, an actress shoukl rather see that her costume 
is so much in character and keeping with her personality that 
the audience barely notices it. It should harmonize, never 
astound. 

Mae Murray nas found her metier. She doesn't belong in 
any dramatic chorus. She will be distinctly original or she 
will not be anything at all. She is not a New York butterfly, 
flying from couturier to tea and from tea to dinner-dance. You 
see, her profession is dancing and while she still loves to 
dance — in a restaurant or at a private party — and steps out 
for this express purpose several times a week, the illusion is 
gone, while perhaps the best part of the glamor remains. She 
is rather a reincarnation of one of those French ladies who 
used their charms to direct the destinies of nations, having all 
the time a very definite purpose behind their frivolity. 

Mae Murray, in the future, will select her own plays. She 
is tired, she says, of playing the eternal ingenue, and will be 



quite obdurate in her demands for intelligent parts calling for 
characterization. Stage plays will be studied and good books 
read, for she has promised her public she will give them 
only the best, now that she is her own boss, and she intends 
to make good. 

The nicest thing I know about her I promised not to tell. 
But since the personality of any person, even a celebrity, may 
best be describetl by actions, not ideas, I am going to break 
my promise. 

Mae Murray is not a reformer. She is too busy to bother 
about her neighbor's morals or her fellow-man's business. But 
not long ago something happened to make her change her 
serene philosophy and reflect rather more seriously on life 
and what it's all about. 

She went down to the East Side of New York City for 
first hand instruction as to the Russian dance she had to per- 
form in "On With the Dance." She went to a settlement. 
She stayed, talked to the children, and became genuinely in- 
terested in them. She went back again and danced for them. 
And gradually she got to know their families — the mother of 
one of them gave her a shawl to use in her picture — and she 
met their grown-up sisters, girls in late teens and twenties, who 
worked in the factories and sweat-shops — girls who had so 
little pleasure that their lives were merely a series of early- 
to-bed and early-to-rise and work like — everything. Mae got 
busy. 

With the aid of Frances Marion and her chaplain-hu?band, 
she planned a club for these girls. She invited them all to her 
house and saw that they had a good time. She does all she 
can to make their lives a little less barren — and if you suggest 
to her that she is doing a charitable thing she will turn blazing 
eyes to you and say indignantly: 

"It isn't charity — I like them." 



Mae Murray 



Reno, third member of the Murray-Leonard menage, is a 
good dog, a wolf-hound to whom you must be introduced 
before he will deign to bark at you. 






ryEEL I— The mere beholder gets 
Dramatic personnel and title, 
Director, author, owner, etc.. 

Including other things quite vital. 



Verse hy 
Howard Dietz 



oi 



J^EEL 2 — The heroine appears, 
A simple, dimpled sort 
creature. 

She registers some hates and fears 
To show that she's the star and 
feature. 



N 



JDEEL J — We get the atmosphere — 
A desert scene with tents and 
arabs, 

Each bearing the accustomed spear 
And wearing the accustomed 
scarabs. 



o n c e 11 




eONV-£RTGD 



VV/E used to sneer at movies; they were vulgar 

To our aesthetic, cultured sort of mind; 
Amusement for the lowbrows or people who had no brows 

And passions of an ordinary kind. 
But now we must admit we are converted; 

You'll find us at the pictures rain or shine. 
No matter what the features, we're just the sort of 
creatures 

Who stand in line from seven until nine. 

friend of ours once said that he liked Chaplin. 

•O tush!" we said to him, and likewise, "Pooh! 
You mean to tell us that you are honestly infatu- 

.\tcd with such entertainment, too?" 
Hut now our tone assumes a new crescendo — 

We'll say this Chaplin chap is more than there; 
.^nd when he's on the proRram, we'll instipate a pocram 

To reach the theater Rate and pay our fare. 

To think we used to stand aloof from "Fatty.'' 

Or Roscoe. as the better class would say; 
To think we wouldn't truckle to this renowned Arbuckle— 

But those arc horrid thouphts of yesterday. 
SulTice that now we're with him soul and body. 

SufTice that now we're fans, to say the least. 
And happy that the cinema is shunted by the minima 

.■\nd that our snobbish pasts are now deceased. 



A Primer for 




The Fadc-Oiit 

When stars are out-of-date and played out. 
We sav ibat ibcv bave iiiade a iadf-oul 




Shooliiig 

To "shoot" a scene is nothiii;: new- 
Din t tors shoidd he shot at. too. 



42 



TDEEL 4 — Ike hero's introduced ; 
He spies the heroine and 
hurries. 

His hair is neatly oiled and spruced ; 
The lady peeps at him — and scur- 
ries. 



nEEL J — The action now begins; 
^ A fight ensues, a desert scram- 
ble; 

The hero jumps right in and wins. 
Although his chances are a gamble. 



~DEEL 6 — We pass the awfid pinch. 
^ The heroine applauds her 
splendid 

And virile hero — then they clinch. . . 
The censor's iuime..the picture's 
ended. 



s o r s h i p 



Picture Patrons 





The Box-Offiee 

The ticket-seller s boxed that wav 

To stave off your attack 
When you re disgusted with the plav 

And want your money back. 




Location 

A picture filmed in Singapore 
Was taken at your verv door. 




Decorations by 
Ralph Barton 

^ ^i^e MOVIE? 




T 



HE picture theater's always dark 
So things you throw won't hit the mark. 



II 



The actor in the movie play 

Can't hear the things you often say. 

Ill 

The spoken drama s always longer; 
The movie hero's always stronger. 

IV 

The spoken drama thinks it's witty — 
The movie heroine is pretty. 



DEOPLE who are critical, ultra-analytical, 
Comment on the movies as they be 
In a query passionate — This is how they fashion it: 
'"Are they fit for juveniles to see?"' 

We attack these querulous people, though it's perilous- 
We would change their hue and eke their cry. 

Give us pictures anyway — dollar way or penny way — 
If they're fit to reach the adult eye. 



43 




The Truth 

A Near Tragedy that Grew 
Out of "Little White Lies" 

By NANON BELOIS 



DO not imagine for a moment that Becky Warder was 
stupid, or uRly, or — attractively speaking — in any other 
way undesirable, when we tell you that she was a 
good girl. She was not the sort of person whose 
goodness people proclaim because there is nothing else to say 
for them, but Becky was a good girl. She was at the same 
time a pretty one, and a charming, warm, impulsive one whom 
people liked, and who liked people in return. 

But Becky had a weakness — it might almost have been called 
a fault. The truth — that is the truth about little things — was 
not in her. With the big. important things — well, they were 
different. They were big and important and if one didn't tell 
the truth about them, one was lying. If one deviated from the 
exact facts in speaking of little thing.s — that was fibbinc 
There was a vast difference between the two, in Becky's mind. 

When the Hobarts invited Becky and her nice, big, adoring 
husband Tom, over for dinner and the evening, and Becky 
did not feel like accepting, did she decline in as truthful a 



manner as it w-ould have been within the power of any womao 
under the circumstances? No — "I'm so sorry we cannot come. 
We are going out of town," she would answer sweetly, looking 
at Mrs. Hobart with great serious brown eyes. 

"But. my dear, " Tom Warder would say to Becky after she 
had confided one of these little white lies. "We are not going 
out of town. Why under the sun should you say we are? 
The Hobarts can easily find out that we did not go." 

Becky's innocent eyes would take on a hurt look. 

"But darling." she would reply, "pt-rhaps it isn't exactly 
true, but saying you will be out-of-town is so much more 
interesting, and it arouses comment. I — I — I — just couldn't 
help it." 

There didn't seem to be any way of arguing with her about 
it. No woman could be perfect. She was sweet, splendid, 
and generous and Tom attempted to forget about her habit of 
playing with the truth, but being a man of scrupulous honesty, 
it bothered him. Not that it ever occurred to him. in his 



44 



Photoplay Magazine 



45 



confident, mannish way, that Becky ever would try an\- ol 
this petty deceit fulness on him. Tom knew that Becky loved 
him, but he saw no need for this sort of thing, and he was 
afraid it might lead sometime to a serious misunderstanding on 
the part of their friends. 

BREAKFAST in the sun-filled breakfast room with Becky 
near him in a lacey cap and a soft clinging gown, of some 
lovely neutral shade that emphasized the vividness of herself, 
was the happiest hour of the day for Tom Warder. They had 
been married several years, but there was an illusive some- 
thing about Becky — perhaps it was that quality of mind that 
never permitted her to be trapped into an absolute statement 
on any subject — that kept Tom always the eager lover. He 
never understood her, but he was always hoping to come up 
on her unawares and find out what was really going on behind 
those eyes. 

They were breakfasting thus on the very day on which our 
story opens. It was spring. The sun poured its early morning 
fiood of gold over the table. Tulips of a pink thai matched 
the color in Becky's cheeks blushed in a huge bowl on the 
table. The canary trilled its heart out in a cage by the 
windows The world was very, very sweet. 

"What's the program for today, dear?" 

Tom always asked this question as he arose from the table. 
The day would not have been started properly without it. Ii 
was not that he was tr}*ing to keep track of Becky or her 
whereabouts; he was just very much interested and .hoped 
that she would have a good time while he was off pegging at the 
ofSce. 

Becky looked a bit confused at Tom's question. She caught 
her breath, her lashes fluttered down for a moment, then she 
answered with a laugh: — "Why — just a bit of shopping, and 
— 'bridge later." 

Becky was not in the habit of fibbing 
to Tom. But if he had been as observant 
as he gave himself credit of being, he 
would have noticed her momentary em- 
barrassment. Instead of suspecting, he 
took her in his arms for farewell. 

"You are my dearest little wife, and 1 
lo\e you, my dear," he whispered 
tenderly. 

"You are my darling husband — and 
Tom, I do love you more than anyone 
or anything else in the world," she whis- 
pered back. 

Again, if Tom Warder had been ob- 
servant, he might have noticed a new 
note in Becky's voice — a sort of argu- 
mentative undertone, as if she were carry- 
ing on some sort of discussion with 
herself, trying to persuade herself that 
something she had in mind was perfectly 
all right. 

As a matter of fact. Becky had an en- 
gagement. She had an engagement with 
a man — a thoroughly good looking, fasci- 
nating, dashing man. She was at the 
same time excited, anxious, intrigued and 
fearful. The man was married to one 
of her very best friends. 

Becky was going shopping with Nadinc 
Gray. That much of what she told Tom 
was true. But she was not going to play 
bridge. Afterwards, at three o'clock pre- 
cisely, she was to meet Fred Lindon at 
the Museum of Natural History. She 
was filled with conflicting emotions be- 
cause in her heart of hearts, she knew 
that there was no real necessity for this 
engagement with Eve Lindon's husband, 
though there was a surface excuse to 
justify it. 

Becky first had met Fred alone a 
fortnight ago at the request of Eve. Fred 
Lindon was a notorious and unscrupulous 
man with the ladies. And Eve was a carp- 
ing, weeping, and suspicious wife. She 
was enthralled by these same ciualitics in Man- 
her husband, which made him so fasci- with 



nating to other women. The fact that he treated her with the 
utmost harshness and unkindness seemed to make her the more 
in love with him. If she had been less insistent in her claims 
on his aftection, and more clever and indifferent, they might 
have got on after a fashion. But Eve was the sort who talked 
loudly of her woe. 

A month earlier she had decided that she would not stand 
her husband's actions any longer, and in a jealous rage had 
taken bag and baggage from her home on the upper East Side, 
and had established herself in a suite at a fashionable hotel. 

It had been her hope that her husband would succumb to 
the emptiness and sadness of a wifeless home, and would plead 
with her to come back. But he did not. And before two weeks 
were up, Eve had sent for a detective and for Becky Warder 
too. To the detective she gave instructions to watch her 
husband's every move. She had a good weep on Becky's 
shoulder, rehearsed to her all the ghastly details of her treat- 
ment at her husband's hands. (Eve was the sort of a woman 
who reveled in ghastly details) and then persuaded Becky to 
see Fred and ha\e a talk with him. 

DECKY had rung Fred up at his home, and had gone to their 
•D first meeting with the twin fires of indignation and of noble 
helpfulness glowing in her eyes. It is true that she had said 
nothing to Tom about it — Eve had asked her not to tell a 
soul. And then Becky knew from experience that Tom would 
not have approval of her mixing in other people's private 
troubles in this manner. 

"Becky" — Fred's voice had caressed the name, "how fine 
of you to ring me up for tea. It's great to see you without 
.Eve and Tom hanging about. I never could get near enough 
to see what you really looked like." 

Becky had not expected this from Fred. In all their years 




ud luppincss based on niiitiial trust. A w ite \^ ho trifles 
her husband s confidence is traveling a dangerous road. 



46 



Photoplay Magazine 




and a fourth, and again 
and again. If Becky hac 
faced the matter out with 
herself, had told the truth, 
she would have reckoned 
that she was traveUng a 
dangerous road. 

By the morning on which 
our story begins, Becky was 
quite convinced that Fred 
had been abused. 

Becky was a little bit 
late at the Museum. Fred 
was on time. His cynical 
mouth was twisted in an 
amused half smile as he 
waited in the main hall. 
Self satisfaction and com- 
placency were written on 
every feature of his face 
He stepped forward eager 
ly to meet her, reached for 
her hands, and held them 
boldly. Becky drew them 
determinedly away. The 
fib she had told to Tom 
that morning was weighing 
a little more heavily than 
most of her fibs on her con- 
science. 



The 

N.ARR.\TF.D by permU- 
duction, adapled by 
play of the same title by 
by L. Wiiidom with the 

Becky Warder 

Tom Warder 

Eve Liiidon 

Fred Lindon 

Stephen Roland 

Mrs. Crispigny 

Jcnks 



If husbands and wives would look facts squarely in tlie face, if they would nip 
any misunderstanding in the bud, there would be fewer domestic tragedies. 



of acquaintanceship he had never expressed anything but the 
most impersonal interest in her. It threw her off her guard; 
she almost forgot the speech she had prepared. 

"I've come to talk to you about Eve — " 

The outcome of the conversation was not at all as Eve 
would have wished it to be. Fred was skillful in the ways of 
playing with the feminine weaknesses. By a subtle method of 
flatter)- combined with an artful sincerity of manner, he half 
persuaded Becky into the belief that he, and not Eve, was the 
abused one of their conjugal experiment. 

When the time came for her to run home, if she meant to get 
home ahead of Tom, and the old dear was always hurt if she 
was not there to greet him. Becky discovered that she was 
no nearer patching up the Lindons' quarrel than she had been 
before meeting Fred. It was her sincere wish to do so. Also, 
she was almost sorry for Fred, but she did not intend to let 
him see it. 

"This has been a very unsatisfactory afternoon. Fred, " Becky 
had said, about to hurry away. "You have rcfu.scd to let me 
talk with you about the very thing I wanted to. What shall 
I tell Eve?" 

"Let's make it tomorrow afternoon again. We can talk 
this thing out then." had been Fred's reply. 

So Becky had agreed to their meeting — impelled (even a 
more truthful woman than Becky would have refused to admit 
it to herself) somewhat by the sudden and unaccustomed regard 
that Frc<! displayed for her. But she was really interested 
in doing her bit towards bringing her friends together. 

And so Becky and Fred had met a second time (there had 
been no need of bothering Tom about the matter) and a third. 



"We've been playing 
about enough, Fred." she 
said. , "and we've been 
around together too much in public. This day has got to end 
it. I want to talk to you seriously. Let's go over to my 
house." 

Fred consented, though he held his own opinion concerning 
this as their final rendezvous. They went to the street, sum- 
moned a taxi, and drove away. 

If either had known that a heavy-faced man with a star 
under his coat had been partner to their conversation, and that 
he had started off post haste to the nearest telephone booth 
at their departure, they might have been disturbed. They had 
been entirely unaware of his interest in them. He seemed 
engrossed in the exhibits. 

"Operator'' Daniels called for Eve Lindon's apartment. Tlie 
bell interrupted Mrs. Lindon as she examined a report of the 
detective service that gave the exact whereabouts of her hus- 
band for every hour of the day for the past two weeks. 

"Mr. Lindon and Mrs. Warder are on the way to Mrs. Ward- 
er's house." he said. 

Eve Lindon's face took on dark lines as she turned from the 
phone. "They'll explain this— or— I'll tell Tom Warder," she 
stormed. 

SETTLED in the taxic.ib. Becky tried to talk with Lindon 
seriously about going back to "his wife. The situation was 
really beginning to get on her nerves. Fred laughed. 

"Eve can get on nicely without me." He reached for Becky's 
hand, but Becky drew it away for the second lime that after- 
noon. This tinie she was really anpr>-. 

"This proves to mc that you are 35 much to blame as 
Eve — even more so. Just remember that Tom Warder is 



Photoplay Magazine 



47 



my husband and your wife is my friend," she said, indignantly. 

They rode the rest of the way in silence. Becky refused 
10 listen to an apology. 

Jenks, the Warder butler, let his mistress and Fred Lindon 
in. As he closed the living-room door, his wise old head shook 
rather sadly. Even Jenks knew Lindon's reputation. 

"Come, let's be friends again. A pout is very unbecoming to 
you." Fred gave every appearance of penitence. 

"You're so silly, Fred. We'll be friends, of course — ^but you 
know I am just a plaything for you — the old story. It's time 
you asked Eve to let you come back. She adores you." 

"Becky — you know that I am not playing with you — I really 
care for you, I always have — Becky — " Lindon's pleadings were 
interrupted by a ring at the bell. A minute later, Jenks in 
great perturbation, squeezed himself through the door from the 
hall, and announced in a low voice (that could not be heard 
outside), that Mrs. Lindon was calling. 

Becky and Fred both started visibly at the name — then 
Becky gathered herself together. "I will see her in a minute," 
she said. Jenks squeezed himself out again. 

"Get out into the garden" — Becky opened the French win- 
dows, and Fred ran to shelter behind a clump of flowering 
bushes, while Becky braced herself for the ordeal of meeting 
Eve. 

"Eve, dearest." Becky stepped forward with great show of 
affection, but her heart was thumping against her ribs. Eve 
returned Becky's hand shake stiffly, and snapped her lips, to- 
gether frigidly. When they were seated Becky looked Eve 
sweetly in the eye. 

"Well, how is Fred behaving? Has he shown any signs yet?" 



the truth, and now she did not have time to decide whether 
this was a big important thing, or just a little one. 

"I see him every day! Why I haven't seen or heard of him 
for — for ever so long!" 

There was stillness, while Eve glanced haughtily and scep- 
tically about the room. When her car had rolled out of sight. 
Becky stepped through the window and went out to Fred. She 
sat down beside him on the bench. 

"She carried on terribly, Fred," Becky exaggerated. But 
she meant to. "You've got to go back to her. She said she 
would die if you did not." Fred slipped his arm around her 
shoulder, but she drew away. "Fred, you know why I have 
been seeing so much of you?" Becky looked at him closely 
as she asked this question. 

"I had hoped for the same reason that I have been seeing 
you — because you care for me," Fred answered. 

"Don't try to flatter me. I know exactly how you regard 
me. I know that I have been foolish in meeting you. I almost 
felt sorry for you. I feel sorry for you still. Can't you go back 
to Eve and be happy as Tom and I are? Eve is a good 
woman and she loves you. That is not to be despised, Fred. 
I wish you would promise me, because I am not going to see 
you again." 

"I will never ask Eve to come back," Fred answered, — and 
then, because he could not bear to let any woman slip through 
his fingers when he had 'considered that she was nearly his — 
"you wouldn't send me off this way so unceremoniously, Becky, 
— let me come tomorrow for the last time." 

Becky thought for a moment. After all. there was Fred's 
(Cont blued on page 115) 



Truth 

sion from the Goldwyn pro- 
Arthur F. SlatLer from the 
Clyde Fitch, and directed 
following cast. 

Madge Kennedy 

Tom Carrigan 

Helen Greene 

Kenneth Hill 

Frank Doane 

Zelda Sears 

Horace Haine 



"How should I know?" 
Eve answered vindictively. 
"That's what I've come to 
ask you about." Then — "I 
think there is a woman in 
the case." 

Becky's eyes widened in 
horror. 

"Another woman! How 
foolish! Eve, that dread- 
ful suspiciousness of yours 
is the cause of all your 
troubles." 

Eve bit her lip. Then 
almost triumphantly — "I 
knew you'd excuse him. 
Why is it that you see him 
every day?" 

If Becky was the sort 
who could be frank with 
other women, she would 
have admitted to Eve that 
she had been seeing a good 
deal of Lindon and would 
have told her exactly why. 
She might have comforted 
Eve, might have read her 
a lecture on her weaknesses 
and given her some worth 
while advice on how a wife 
should not behave toward 
her husband. But it was 
easier for Becky to avoid 




"It was all a lie to get you here . said Beckj 



• 



Wear America First 



The third of a series of articles by 
the Lest dressed star of the screen 

By NORMA TALMADGE 

Illustrations by John M. Barbour 





MET a frienr] of mine a few flays ago 
who was rushing arounrl to gel ready 
for a trip abroafl. 

"I'm so excitef] ! " she exclaimerl. "This 
is the first chance I've had to go to Paris 
since the war, and I really must have 
some clothes!" 

I asked my excited friend what she 
had been doing for clothes during the 
four years when it was 
impossible for the average 
person to cross the At- 
^ lantic, and when only a 

vf.ry few daring buyers 
took their lives in their hands in order to find 
out what the French creators were making. 

"Why, of course, I had to have my things 
made here then," she replied, "but now — isn't 
it splendid that we can go over again?" 
Ah, Old! 

I assented to the "splendor" of it somewhat 
absently, for I was thinking of a remark I 
had heard a few days before. 

"Americans boastful?" queried a man 
who has the habit of doing his own think- 
ing. "I should say not. Why, when 
any one asserts timidly that there are 
a few things we do rather well in this 
land of the free, there are at least twenty 
loyal Americans ready to rise up and 
shout that we do nothing of the - 
kind, or if we do that it isn't nearly 
so good as the things 'they' do on 
'the other side.' They complain 
that we can't make clothes 
like the French, not cloth like 
the English — in fact, the only 
statement they might not con- 
tradict is that we make better 
fighters than the Germans." 

Now, I have a convic- 
tion that it might be a 
good thing for all of us if 
we were to sit dowr> oc- 
casionally and think out 
lor ourselves some of the 
reasons why we should bt 
proud to call our- 
selves Americans. I 
think you will find 
that one of them is 
the fact that we do 
create in this country 
—European - worship- 
pers to the contrary. 

There are certain 
myths that die hard. 

One of them related to German kultur. Another is the con- 
viction that some American women have that they can't be 
properly dressed unless every stitch of clothing they wear 
bears the trademark of a Paris house. 

I am not saying that Paris doesn't lead the world in the 
dresses she makes. I might correct myself there, and say in 
the style of the dresses she makes. 



Everyone knows that the French creators of clothes have 
a chic, a feeling for line and color that is unmistakable, but 
when it comes to expecting French clothes to hold together — 
ah, name of a name! as our Parisian friends would say 

The French gown is put together with genius and a few pins. 
I chanced to be present one flay when the head of a house 
that imports many of the dresses it sells was supervising the 
unpacking of a crate of French gowns. .She took fjne out. 
looked at it and shook her head. 

"I do think they might learn how to sew." she 
said mournfully. 

f 

OXE of the false gods that has been overthrown 
in this country in the last few years is the 
l^elief that all gfjofj music must have the German 
stamp. But sf^me impious Americans began to 
raise their voices and protest that genius isn't the 
God-given right of any one country, and that we 
had right here in America young men and women 
of great ability. Furthermore, they insisted that 
our fjwn musicians be given a hearing. The result 
is that American makers of music are being ac- 
claimed, both in our own land and abroad. 

The very same situation holds true in regard to 
clothes. In most things we can rival successfully 
the French — in some types of clothes we can beat 
them so far that there isn't any comparison. 

Above the uproar that this statement will call 
forth I want to be heard, saying that I mean it. 

At the present time we have in America three or 
four houses that make dresses with quite as much 
chic and dash and feeling for color and line as 
there is in French clothes, but these stylists do 

A feature of the summer suitf 
with short jackets it the exceed- 
ingly bright ribbon sash. If you 
fringe the ends and paint or em- 
broider above them a design ic 
color, you will have the Lates*' 
thing in sashes 

not as yet tower 
above the French 
couturiers. 

However, in tail- 
or-made things we 
are so far ahead of 
the French that 
they aren't even in 
the running. 

But the English, 
you exclaim? 

Yes, the English 
make lovely sports 
clothes, but when it 
comes to the tail- 
ored suit or dress for street wear we beat the world in style, 
in finish and in beauty of line. 
Take furs as another example. 

Did you know that a great New York house recently opened 
a Paris branch? 

And this Paris branch was started because European wom- 
en couldn't buy on that side of the water furs that had 




so 



Photoplay Magazine 



5^ 



the beauty and style and workmanship that we produce. 

There are some very interesting reasons back of all this. 
One of them is a question of figure. Another has to do with 
class distinctions. 

The French woman is petite. The average woman in France, 
especially in Paris, is much smaller than the average American 
woman. " And the Paris creators of dress build their gowns 
for small women. That is why some of our own people, espe- 
cially those built on the ample lines of their native land, look 
so funny when they essay French clothes. 

One of the fine arts of the couturiers in America is the 
' adapting" of French styles to meet the demands of the Amer- 
ican figure. 

There are only one or two classes of women in each country 
abroad that dress well. Outside of these classes are the workers 
in the cities and the peasants to whom style changes mean 
nothing. But America is the land of good clothes 
for everyone. Our class distinctions here are 
elastic. Mrs. Butcher today may be Mrs. Mil- 
lionaire tomorrow, if father strikes it lucky in oi 
or stocks. And ]Mrs. Millionaire will demand the 
best clothes that the markets of the world can 
produce. Moreover, the workers in the ordinary 
walks of life in this country draw salaries that 
permit fashion to be a serious topic with their 
wives and daughters. 

So that in this country our problem is not 
dress a small class of women beautifully, but 
to dress beautifully all the women of America. 
That is why there is rather more uniformity 
in the clothes produced in this country, every- 
one must be dressed weh instead of the fortu- 
nate few. 



AFRIEXD of mine, who was purchasing 
some dresses in a noted Paris establish- 
ment last winter, noticed that the woman 
serving her kept eyeing her suit curiously. 
Presently she went away and returned with 
'"Madame."" The latter picked up the jacket 
of my friend's suit and inspected it carefully. 
Then she offered a handsome reduction on the 
gowns if the suit might be left over night at 
her establishment for copying. 



The habit of keeping the 
suit-jacket on in restau- 
rants and other places has 
led to the extensive 
popularity cf the waist- 
coat. 



In bygone days the tailors of Vienna and Paris 
were the best in the world. Perhaps they have 
migrated to a land where their ability brings 
greater returns. Perhaps we have raised a race 
that eclipses their work — whatever the reason 
may be, the fact remains that when you buy a 
tailored suit from a first-class establishment in 
this country you may rest secure in the knowl- 
edge that nothing in the world can equal it. 

The tendency of the present season in tailored 
clothes IS toward brilliancy. Your suit may be black or navy 
blue, but if you want it to be in the mode you will insist that 
it have a vivid waistcoat or bright buttons. One of the clever- 
est creators of tailored clothes in this country startled his cus- 
tomers recently by exhibiting a suit for summer wear in 
canary-colored broadcloth and black oilcloth. The .^ikirt was 
in the' black oilcloth with large diamond-shaped motifs of stitch- 
ing in the canary-yellow. The jacket was in the yellow broad- 
cloth and reversed the procedure of the skirt by stitching of 
black silk. A yellow tam stitched in black completed this 
daring costume. 

The maker of tailored clothes in this country, however, is 
so sure of his work that he seldom goes in for effects that are 
bizarre. The plain skirt, trimmed with braid or stitching, the 




jacket that drops from hip to fingertip length, the narrow 
shawl collar and the one-button closing is the type of suit that 
is generally seen. With these may be worn the most vivid of 
blouses or vests and these may be made at home at compara- 
tively small expense. 

The habit of keeping the suit-jacket on in restaurants and 
other places has led to the extensive popularity of the waist- 
coat. This does away entirely with the necessity for wearing 
a blouse. In fact, one of the smartest houses in this country 
is showing lingerie so elaborate that the camisoles aje designed 
to take the place of a blouse or waistcoat for hot weather wear 
with one's suit. 

This year we have seen another encroachment in the field 
that is supposed to be man's own. Formerly we had one skirt 
with our suit. When the skirt got ""shiny" the suit could no 
longer be worn, even though the jacket was still in good con- 
dition. This year practically every smart tailor 
is turning out two skirts with one jacket — and 
here is where our versatility goes man one bet- 
ter. He, poor creature, is content to have two 
pairs of trousers identically the same. But we 
have a pretty plaid skirt, with blue predominat- 
ing, as the additional skirt for our navy blue 
suit, while if the suit be black we have the 
tailor add another smart skirt of black and 
white checked material — that gives us the effect 
of an entirely different suit even though we 
y^r\ wear the same jacket with both skirts. 

FOR sports wear this year there are some 
exceedingly good looking tweeds, and these 
are made with a skirt full enough for comfort- 
able walking and with a hip length jacket. 
Tweed hats to match the suits are a feature of 
these sport costumes this year, and soft blouses 
in bright shades give the needed note of bright- 
ness. 

In suits as in dresses it is the day of the 
short skirt, but here especially one must con- 
sider one's figure. The large woman will do 
well to avoid the skirt that is more than seven 
or eight inches from the ground, although the 
slender girl may wear her skirts as short as 
the dictates of good taste permit. 

For hot weather W'ear there is an infinite 
variety of silk suits this year. The coolest 
looking are those of shantung, that are shown 



Th is does awayentirely 
with the necessity o£ 
wearing a blouse. 



in oyster-white and the natural shade. 
A great many of them are embroidered — 
for embroidery appears on practically 
everything this summer — and they have 
large, practical pockets that will appeal 
to the business girl or to the woman of 
the suburban town who comes to the 
metropolis frequently. Also there are 
many coat-dresses being shown this sum- 
mer that are ideal for travel or street 
wear in hot weather. Blue taffeta suits are also smart for 
street wear or travel in the hot months and are usually ac- 
companied by sheer little blouses of batiste or georgette. 

One of the features of the suits this summer is the sash that 
accompanies them when the jacket is short. These are ex- 
ceedingly bright and are done in Roman-striped ribbon, silk 
tricolette or the new crepe weaves. If you will buy enough 
of the latter for a sash, fringe the ends and paint or embroider 
above them a design in bright colors you will have the very 
latest thing in sashes. This matter of making one's own acces- 
sories is a money-saver in these days of high prices. 

One of the most sensible ideas that has arisen in regard to 
clothes is being put forward this summer by the leading 
(Continued on page iii) 






Humoresque 



A romance of the Lower 
East Side and Fifth Avenue 
with colorful adventures 
along the road between 



By 

GENE SHERIDAN 



Sarah drew 
her son to her 
and sat Kim 
on her knee, 
and crooned 
over Kim as 
Ke played 



LITTLE Leon Kantor emerged from his fathers brass shop in smelly Allen 
street with measured careful steps and paused to survey the neighborhood 
with an unwonted dignity of bearing. His exit was quite unnoted by his 
father Abraham, busy behind the shop partition converting factory made 
candlesticks from Brooklyn into aged and timestaincd antiques from Russia. 

The street was surging with traffic and the medley of childlife of the foreign 
quarter, chattering in mingled putois of American, Russian and Yiddish. Leon, prim 
in gala new clothes, strode down the street in the full pomp of his newly attained 
seventh year. This was his birthday and in consequence a day of vast importance 
in the household of ]\Iama Kantor, up over the brass shop. Our pompous seven- 
year-old, holding aloof, keenly enjoyed the sidewalk comments on the grandeur of his 
raiment. He passed without noticing a group of ragamuffins at a crap game on the 
walk. He did not so much as glance at the milling fringe of pushcart vendors along 
the curb. 

A little girl, wan and thin, stood leaning against a tenement wall, alongside a 
garbage can. She peered into the can and pulled forth a fuzzy something that she 
folded under the ragged bit of a shawl about her shoulders. Then she stood rocking 
back and forth, maternally clutching the something to her bosom. 

Leon's curiositv was awakened. He stepped over to the scraggly little girl. 

"What you got?" 

With an air of great tenderness, she revealed her treasure. 
"Gee — a kitten. I know a feller as is got a dog!" 
She smiled and Leon took courage. 
"I can wiggle my ears. Can you?" 

She shook her head and Leon proceeded to demonstrate his ability in that direction 
to her amazement and delight. Genius commands recognition, and Leon got it. He 
turned to find that he and the girl had become the center of a mouth-gaping group 
of .Mien street kids. With a quick motion, the girl, sensing peril for her charge, 
pulled her shawl over the kitten. In a flash the gang of gutter boys were at her 
with reaching hands. 

"Watcha got hid? Bet it's a pup." 

The crowd pushed in and the girl tightened her hold, with a look of standing ready 
to fight to the last. 

Leon, quite forgetting his new suit, remembering only that he and the girl were 
friends by virtue of her smile, plunged into the gang with both fists, as she, taking 
advantage of the distraction, ran away. 

The melee over, Leon picked himself up. sore with much pommeling, his new 
sui? drab with the grime of .Mien street. A hard hand seizetl him and the harsh 
voice of his father was in his ears. 




Si 



Photoplay Magazine 



S3 



•'So this is the birthday you got it!" 

But INIama Kantor was in a kindlier, more forgiving mood 
as they entered the stuffy quarters over the brass shop. She 
rendered first aid with water and a towel as her husband stood 
by in grim disapproval of the young man. 

"It is his birthday, papa, and here is one dollar that I have 
saved — it is you should go buy him a present." 

Abraham first argued that fifty cents was enough for a 
birthday present, then yielded, kissed his wife, took Leon by 
the hand and went forth. 

Mother Kantor smiled to herself as they departed and 
looked about the tiny rooms they called home — home for 
father and mother, two older boys, Leon and a little sister — 
and the imbecile eldest child. It was better than Russia and 
persecution, but it was far from comfort. It was their narrow- 
niche in the world of moil and toil. Life was work, work, 
work with hope away off on the horizon. 

The mother turned her ministering attentions to the imbecile 
son who sat as always in an invalid's chair, vacuous and pale, 
as near dead as li\ing. She had the persecutions of Russia, 
the long flight in the bitter winter, the bitter hate of an au- 
tocracy, to thank for the idiot son, Mannie. 

The children came trooping in from the street, with selfish 
eager eyes for the resplendent birthday cake with seven candles 
for Leon's seven years. His birthday was to mean something 
to them after all. They waited the supper with impatience 
for the pleas of the mother. 

THE gift shopping tour of Leon and his father was taking 
more than the calculated time. And it was all the fault 
of Leon. In an Allen street shop, where all the things fascinat- 
ing to childhood were spread in alluring array, stood Leon 
with his impatient father. Abraham, guided by all the best 
judgment of childhood desires, was insisting on bestowing 
upon Leon a woolly dog that wagged its head and tail — all 
for the reasonable price of fifty cents. Leon v.ould have none 



of it. The boy clutched at a violin bearing the tremendous 
price of four dollars. Argument was to no avail. Neither were 
excellent harmonicas and other noisy but inexpensive affairs. 
It was violin or nothing for Leon. So Abraham seized thj 
boy by the hand and led him protesting away, pushing him 
up the step's ahead of him and back into the tenement home. 

Leon stood weeping bitterly. Abraham hastened lo e.xpla n 
with many gestures. Four dollars for a violin! That was too 
much, even for a birthday. Abraham stopped short in his 
declamations, amazed, and questioning the tears in the eyes 
of his wife. 

"Thank God, my dream has come true; it is coming true — 
he will be a great musician. I have dreamed it for years and 
now it is coming true. He will make us all rich and he will 
be famous." 

The mother stood patting the boy on the head. Abraham 
expressed doubts. This was a considerable flight of fancy for 
the hard-headed maker of antique brasses. 

"He shall have a violin. I have it for him." The mother 
ran quickly down the stairs into the shop and produced from 
a hidden corner under the counter an aged, battered instru- 
ment, dark with the dust of long neglect. 

The family, clamouring for food, sat down to the table and 
fell to with chattering, quarreling, noisy vigor. Leon had 
before him the cake with the white frosting and the seven 
candles, all alight. 

When the boy went to bed that night on the cot he shared 
with his father he dreamed of violins. He dreamed of playin; 
for a little girl, with a shawl about her and a half-starved 
kitien in her arms. He even awoke and felt under the cot 
to make sure that his birthday treasure was still there. 

Morning in Allen street has no poetic setting. There is 
the noise of milk bottles on fire escape landings, the jostling 
of pushcarts on the pavement below, the rattle of elevated 
trains, and the crying of sleepless children. 

Leon was the first in the Kantor household to awake that 




54 



Photoplay Magazine 




"I can t allow you to sacrifice yourself to a cripple. 

next morning. He felt under the cot and pulled forth his 
precious violin. He tucked it under his chin, as though born 
to the instrument, and drew the bow across the strings. The 
first note brought his father bolt upright, but the boy paid 
no attention to him. There was a wrapt look in the face of 
the child and there was a calming peace in the notes that he 
drew from the disreputable old violin. 

Abraham listened with a mingling of skepticism and hope. 
Maybe the boy's mother was right — this boy of seven was 
playing — music, and never a lesson in all the world! 

The father slipped out of the bed quietly, without disturbing 
the boy and made his way to the mother's side where she 
stood in silence with tears streaming from her eyes. 

"You should not be feeling bad." Abraham patted his wife 
on the shoulder with his best approach to tenderness. She 
replied with a smile through her tears and a wide gesture with 
her generous arms to indicate that she was happy with the 
world before them. She drew her son to her, and sat him 
on her knee, and crooned over him as he played. 

"Come with me, Leon, and we buy the real violin." 

Thus was Abraham converted. 

AMONG the neighbors in that Allen street settlement was 
Solomon Ginsberg, a wholesaler of the brasses from which 
Abraham's Russian anticiues were derived. This Solomon Gins- 
berg was by local repute something of a scholar as well as a 
merchant and it was but natural that Abraham, in quest of 
authority on this cultured matter of music, should seek the 
counsel and advice of Ginsberg. And so it was arranged that 
Leon would play for Ginsberg, who would know what to do. 

Leon, again dressed in the magnificence of his birthday suit 
and bearing the four-dollar violin, was taken by his father 
and mother to the Ginsberg apartment. 

As Leon played, Abraham watched closely the face of Gins- 
berg and saw there an expression that meant the justification 
of the visit. 

"Have I the right?" he asked as Leon finished. 

"It is a trust — a gift," replied Ginsberg. 

Leon tucked the violin gently into its case and went to the 
corner of the room to greet the little girl he saw there. He 
remembered her as the lady of the kitten episode. 



He wiggled his ears again at little 
Minnie Ginsberg and she laughec 
Mother Kantor looked on with approval 
and even Ginsberg nodded. Anything 
that genius does is genius. 

"I'll play for you someday," Leon 
volunteered to the little girl. 

She clasped her hands with a rapt 
look. 

"Outdoors in an orchard, yes? And 
with the apple blossoms falling like 
snow." 

"Yes, yes." Minnie nodded in violent 
approval and caught her breath. 

"Wc will call again, Mr. Ginsberg." 
Abraham interrupted 

"Yes," Ginsberg was cordially en- 
couraging. "I will see my friend who 
knows of all such things and then you 
shall know what he says about the study 
for Leon." 

But Fate, aided and abetted — or at 
least invited — by the able Abraham was 
to do more than friendship. 

Among those who came to the Kantor 
shop for old brasses were two rich wom- 
en from "the .Avenue," who had more 
of a taste for bargains than a knowledge 
of the antique. When their limousine 
stopped in Allen street before the shop 
.\braham was quick to sense an oppor- 
tunity. 

"Here Leon," he called to the boy. 
"You should go up stairs and play the 
feedle a little." 

. " Leon needed no urging. Abraham's 

customers were within the shop and 
seated for bargaining in brasses when 
Leon's first notes, limpid and pure, came 
floating down the stairway. The shop- 
pers stopped to listen. 

Abraham smiled with a glow of fatherly pride. 
"It is my son," he said with an air of vast simplicity, at 
the end of the melody, "and he is already seven." 
Mrs. Van de Venter was overtaken by an idea. 
"Seven — is that all? I wonder if we might not have him 
for our ne.xt musicale?" 

And so it came that one day .■\llen street was agog with 
the news that Leon Kantor and his violin had rolled away 
uptown in a big limousine with footmen and everything. 

IX a great salon in the great gilded home of Mrs. Van de 
Venter on the .Avenue the pathetic little boy from .\llen 
street stood, abashed and frightened. The audience of wealth 
and splendor about him overwhelmed his .\llen street eyes. A 
hush came over the room and the child plucked at the strings 
of his violin. Through his brain surged the waves of a mcloclv 
he had heard at a park concert. 

Leon lifted his violin and shut his eyes. The room faded 
away and he was in an apple orchard with the blossoms shower- 
ing from the trees. He had seen a picture like that once 
And he was playing the famous sonata he had heard in the 
park. 

When he had finished there was a long silence — then as a 
storm breaks in summer came the applause. 

.■\ man came forward with Mrs. \'an de \'enter. 

"Where docs this lad live?'' the guest asked. "I am always 
anxious to pay tribute to genius.'' 

When Leon went home it was in the big limousine again, w;th 
a new fifty-dollar bill and a crested, scented note to his parents. 

So it came that within a month Leon was taking vioh'a 
lessons from the most famous master in all Xew York and the 
Kantors were dreaming tlrcams of a new life. 

When Leon had reached the age of seventeen he had con- 
quered a city and the brass shop in Allen street seemed a 
long way in the past for the Kantors. Leon's dream of the 
orchard had borne golden apples anil he had been able to pro- 
vide handsomely for the household. Father Kantor now sat 
late at the breakfast table and improved his mind and manner 
with the morning paper. The brothers were promising youn? 
men and sister Esther a young woman of appealing grace. Bcl 



Photoplay Magazine 



55 



none of the household had shown more progress than Mother 
Kantor, who had travelled the nation over as the guardian 
of the prodigy musician. 

Leon had played in nearly all the country's big cities and the 
call of Europe was in his ears. His mother broke the news. 
And there W'as a storm of protest from the family. 

"I've got to go — more studying," Leon broke in, and that 
silenced them. Even Father Kantor had no answer. Leon's 
deft violin lingers constituted the family asset. Any study 
or anything else that might better that asset was good. 

"But better that you be with me sometimes," Kantor pro- 
tested to his wife. "That I should be here all summer alone 
with the kids!" 

Leon had an idea and a solution. He had long ago risen 
to the dignity of the possession of a manager, one very effi- 
cient Mr. Hancock, a person of vast abilities and a sort of 
a guarantor of maximum profits and minimum troubles for 
the temperamental performer. 

"Mama shall stay with Papa — I am only going to study — 
and Hancock can come with me. He needs a change and a 
fling himself." 

As Leon said, so it was. 

It was the third night at sea, with Hancock the manager 
away tending strictly to his own business, that Leon came 
into collision with a young woman at the head of a compan'on- 
way. He drew back, cap in hand, apologizing. 

In the dim light she stared at him a moment, then broke 
into a laugh and held out her hand. 

"Leon Kantor — can you wiggle your ears 
as cleverly as you used to?" The light of They heard the cor 
recognition flashed into his eyes. frozen lest the cl 



"It's Minnie Ginsberg!" 

Their hands met in a hearty greeting. 

"It's funny our meeting on the ship among so many pas- 
sengers — and how delighted papa will be." 

"You — you've grown up," Leon stammered. He was trying 
hard to reconcile his mental picture of the weazened little girl 
with the shawl and the alley kitten in Allen street with the 
handsome and graceful young woman before him. 

"You have, too, Leon, and I want to tell you how much I 
have enjoyed all your success." 

"And you?" He smiled at her in the half dark. 

"Oh, I've been trying, too, only with singing. I'm on my 
way to Vienna to study. You know, it is always study, study, 
and practise, practise, practise. 

"Yes, I know, Miss Ginsberg." 

"Please call me Gina — I'm Gina Berg, it's the old name 
transformed by an astute father." 

In due course Leon and Gina's father, now Mr. S. S. Berg, 
met, appraised each other at a glance and passed on their 
ways, pleased but neither especially impressed. Gina did not 
tell Leon of what their progress from Ginsberg to Berg had 
been, how her father had grown from the wholesale brass busi- 
ness to the steel industry and fortune. Berg was taking his 
daughter to establish her for a season at Vienna. He would 
take a walking trip through the Tyrol and then return to home 
and business in America. 

The young people saw a great deal of each other for the 
remainder of the trip. At the steamer dock 
in Liverpool they said their farewells, 
[position through, Lcon was going for two weeks in the Lake 
larm be broken. country. (Cotitmued OH page 119) 





Here s a Director 
who docsn t let a 
technical education 
interfere with Art. 



Artistic Efficiency — That's Dwan 



By ADELA ROGERS ST. JOHNS 



Ax electrical engineer with an artistic temperament. 
An artist with an electrical engincerinK education. 
A brisk, efficient young man with humorous eyes 
and a sympathetic mouth, held firmly in place by a 
business-like expression that occasionally strays from the paths 
nf virtue into an audacious grin. 

I had just been congratulating myself that I had directors 
cla.ssified for all times when I met Allan Dwan. I could simply 
say. when a new one dawncfl upon the horizon. "Oh yes. >ou 
belong in Section O, with the tcmperamcnial ones — the nut 
ones — the raving ones — the gentle, benign ones — the serious, 
literary, highbrow ones — the rough nock ones — the brilliant 
ones, etc." 

.\nd along came Allan. 

He is an extremely husky gent — this Dwan. 



Rumor hath it that Doug Fairbanks himself once admitted 
he'd take a lot off Dwan before he'd feel inspired to "tangle" 
with him. When you look at him you remember that 
Napoleon was a short man. (Gosh, how his Majesty would 
have liked movies, Josephine had a hard life, hut she ought 
to be thankful she didn't have to live with Nap after the cinema 
royalty began to flicker.) 

Being, as I- knew he had been, an electrical engineer by 
previous engagement. I suppose I should have boon prepared 
for shocks. (Oh, oh!) But when he told me unblushingly 
that after four years at Notre Dame— that romantic, seasoned 
old institution in Indiana— he rubbed all the bloom off by 
actuallv being graduated from Boston Tech, I almost had to 
have the kind of medical attention prohibition is making so 
popular. 



56 



Photoplay Magazine 




I regretted the useless, if decorative, tassel 
on my tarn and prayed inwardly that the pins 
in the back of my collar didn't show. If they 
did, and I knew Tech men, I might never get the 
story. 

Tech men are like that. They radiate an 
efficiency that is fascinating. You feel cast into 
outer darkness if there is a curl out of place. 
Because you know what kind of a mind you have 
to have to get into Tech — and at that, it's like 
Sing-Sing, getting in is a heap easier than getting 
out. An eight-day clock is a gay and giddy irregularity com- 
pared to a Boston Tech mind. 

But Allan Dwan saw the poetry in electricity and the busi- 
ness possibilities in the movies. So you see it is a bit difficult 
to classify him. 

There wasn't a single smidge of cretonne in his nice, brown 
leather, tobacco office. He's an anecdotal sort of person, not 
given to talking about himself e.xcept by inference. .'\nd if 
you don't remember every picture he ever wrote, acted, or 
directed, you can tell him so without wounding him with your 
abysmal ignorance. 

"Didn't you know there were business men in the pictures?" 
he asked. 

"Yes," said I, "I supposed there w'ere, but I thought they 
kept them well out of sight. How in the world did you happen 
to choose the movies?" 

Allan Dwan straightened some papers that didn't need 
straightening on a table that was a disgrace to any right- 
minded movie. 

"It's a good profession — a good business," he remarked, 
"as good as any. I saw the business possibilities, and I saw 
the adventure. The combination of business and adventure is 
what has kept us from reverting to the stone ages, you know. 
Pictures seemed to me to combine them 
best. 

"It was a funny thing, though" — He ■ >, 

paused with a reminiscent grin. "I was 
sent out to the old Essanay studio in 
Chicago one day to install some Cooper- 
Hewitt lights. They were new then, an 1 
took an expert to handle them. While 
I was adjusting them, I watched things 
that were going on and became in- 
terested. 

"Now comes the horrible part of m_\' 
confession. I had written a story. 
Personally, I thought it was a durned 
fine stor\- and the more I read other 
people's, the more I decided I'd have to 
send it out for the poor editors to see. 



Sometimes the simplest methods pro- 
duce the best results. Allan Dwan 
discovered by experiment that the best 
lightning can be produced by scratch- 
ing it in on the film with a pin-point 
whereas the older and more costly way 
was actually to photograph static elec- 
tricity, which never looked like the 
real thing. 



57 

It struck me as I watched that it had 
enough action in it to make a film. So 
the next time I was sent out, I took it 
along. They bought it. Then I wrote 
some more. They bought them, too. 

"The company was being reorganized 
in some ways — a lot of the old bunch 
had left to go west to form the Ameri- 
can — and they made me scenario editor. 
I thought it over and decided there was 
a great, an absolutely stupendous future 
ahead of this new thing. So I took it. 

"That was eleven years ago. I've 
done everything around a movie lot 
since, even act — at least I thought it 
was acting — but never mind that. I've 
weathered a lot of storms, I've seen 
things come and go. I've tried stars, 
stories, worked like a dog. 

"And I say it's the doggone most 
fascinating game there is — directing 
motion pictures. It's a sense of power 
and a sense of creation in one. It's a 
gamble. Even if you know something 
about it, you're not so sure you know 
anything about it at all. 

"The pictures that I loved, that I 
thought were great, have been flivvers 
nine times out of ten. The ones that 
I sort of turned up my nose at went 
over^with a bang. The things I 
was sure you couldn't do, the 
public liked and the ones I was 
patting myself on the back about, 
never caused a ripple. 

"You can shoot fifty thousand 
feet of film and then you may be 
wrong. What's the use? Do it 
the best you can and say your 
prayers. Maybe it will sell, may- 
be it won't. 
T am a business man. I have 
commercial mind. It is my 
personal opinion that things that are 
'too good' are generally not good 
enough. A man can make the most 
artistic picture ever filmed, but if it 
plays to empty houses it hasn't 
achieved a thing for Art or for 
Humanity. This old stuff about not 
( Coiitmiied on page log) 




WEST IS EAST 



A Few Impressions 
By DELIGHT EVANS 



ROHKRT GORDON 
Came Up to See Me : and 
Sat Down in 
The Swi%'el Chair that Squeaked. 

He 

Didn't Like it; it 

('•oi on his Nerves — 

Vou Know How it Is — 

Vou Get Interested 

In What you're Saying, and 

Lean Forward Suddenly — 

And the Chair Groans, 

And Takes all the Enjoyment 

Out of Ordinary Conversation. 

But Mr. Gordon 

Took Some Candy 

I had on my Desk, and • 

Tried to Forget the Chair. 

Ever Hear about 

His Beginnings in Pictures? 

He had Hung Around the Lask\- Lot 

Plaving Extras in Ballroom Scenes. 

One Day Cecil dcMille 

Told him 

He was to Dance with 
Litt'e Mary in 

The Scene before the Shipwreck 

Of 'The Little American." 

Think of that— 

With Little Mary! 

Robert Rehearsed 

In his Faithful Dress-suit, 

And Came Back after Lunch 

Full of Ham Sandwich and 

High Hopes. 

Only to Find 

Another Young Man 

In his Place with Mary ! 

Robert's Dress-suit w^ouldn't Do — 

Something Had Happened 

To the Trousers. 

But that On'y Made him 

More Determined than Ever, and 

Today, all the Girls 

Are .Asking 

For Dress-suit pictures of him. 
He's an Awfully Nice Boy 
About Twenty-five, with 
Brown Eyes, and 
A Nice Wife. 
He's Going to Ha\e 
His Own Company-, and Pl;iy 
All Sorts of Parts— 
' The Tennessee Shad'' 
One of the Stories 
He ha? in Mind. 
He Sold Ribbons Once — and 
His Favorite Screen Leading Woman 
Is Alice Joyce. 
(I'm Going to Have 
That Swivel Chair Removed. 
I flidn't Have 

.\ Single Piece of Candy Left.) 

TI ANITA HANSEN 
J May Be 

The Most Fearless Serial Queen, 

Ks[)e(ial'v Now that 

Pearl White has Gone 

Out of the Business, but 

.She'd Rather 

Face a Couple of Lions 

Any Day 




Photo by Llimiere 

He's an awfully nice boy. 

Than the Traffic Cop 
On the Corner of 
Fifth Avenue and 
Forty-second Street, 
New York. 
Thev Say 
That Once 

When she was. Making a Scene 

In the Jungles — of the Selig Studio — 

With about a Dozen 

Lions-and Tigers around, she 

Looked Up at an Airplane 

In which a Daring Pilot 




blic l.iu^li> .It roaring lion5. 



Was Doing the Falling Leaf 
.And Banking his Passenger 
.About OS — if vou Know 
What I Mean! 
Juanita 

Pointed up there 

With One Hand as she 

Stroked her Favorite Lion 

With the Other, and 

Remarked: 

"It Must Take 

-A Lot of Nerve 

To Be an Aviator." 

She's a Blonde with 

Blonde Eyebrows that 

She doesn't Try 

To make Over. 

.And she Says 

She Never Did Like 

To be a Target 

For Pies and Lobsters — 

That she'll Never Go Back 

To Comedv 

If she Can Help It. 

I JUST Met an Author 
Who Admits 
That there May be 
.A Few People 

Who Know More about Pictures 

Than he Does: 

Bayard Veiller — 

You Pronounce it 

Vay-ay. Why? 

I Don't Know. 

But he 

Wrote "Within the Law " 
.And a Lot of Other Plays; and 
Knows a Thing or Two 
About the Broadway Drama. 
So Metro Made him 
Production Manager. 
He Came East 

On a Literary Shoppine Spree, 
Signing 

Irvin S. Cobb and 
Henry C. Rowland and 
Arthur Somers Roche and 
Others to do 
Original Stories. 
\ cillcr says 

That Magazine'^ have Been 
The Shop-window 
For the ^lovies : 
Writers wrote 
With Pictures in View. 
Now Whv Not Gel Them 
To Turn Out 
First-run Stuff? 
He doesn't Care 
Much about Technique. 
\ Theatrical Producer 
S.iid to him. when he Sicncd 
A New Plav wilting Contract — 
■Well. Bayard— there's 
One Comfort : you won't 
("live me Anv 
Hich-brow Stuff!" 
lUil if \ou Want 
.\ Hijzh brow Playwright. I think 
Mr. \ ay-ay Can Give \ou 
As Good an Imitation of one 
As anybody. 



58 




(Hartsook) 

YOl' iioed no intHxluctioii to Theodore Roberts. 
One of the foremost uet<)rs on the American stajje, 
he hrou^lit all his mellow art to the screen, with the 
result that he often "steals the picture." 



Rising Young 
Performers 




(Wltzel) 



THE father of Clara Kimball Young. Eklward Kim- 
hall, frequently acts that role in his dau^rhter's 
plays. He is siM>n to become an individual star in a 
picturlzation of "Old Jed Prouty." 





W'I'H Kdyfhe ( liiiiiiniiii coiiu's also the tliou^'hl i>f 
her hiislianil, .laiiies NelU. These two hiive 
playe<l toK«'ther sliic»' both were sta^e favorites. She 
was lately seen as .lack I'ickford's mother. 



ACHA.Ml'ION mother of the .screen: Tura l>re\\. 

You have si'i'ii this sweet face many times in the 

vision of tlie waywaril son who dreams of home. 
Jauies J. ('<irbetf is scmetimes "the son." 



A public which Is tireless In -Its appreciation of water- 
babies, blondes, stalwart heroes and serial artistes, might 
have a tendency to pass by the tine actors who make up 
snch a large part of our shadow-drama. Here are all 
these Hffures. rich most of them In the experience of a 
granil old day In the legitimate theater; true to yesterday's 
traditions and today's. If you will watch for them in the 
next picture you see. you will take off your hats to them, 
for without them, or that which they represent, young love 
would not seem so swoet. big battles so well worth waging, 
or the happy sunset tinale so satisfying. 




THP]RE is no luore versatile actor than Edward J. 
Connelly. Well-known in the lefjitimate, he has 
<lone heavy parts in pictures ; hut reformed with a 
vengeance as "Uncle Nat" in "Shore Acres." 




SINCE Biograph days, her face has heen familiar to 
millions. The famous stars she has mothered in 
various pictures make a list too Ioiik to tell. Jennie 
Lee might he called the Griffith mother. 




(Photoplayors' Studio) 

SHE has played countless characters hefore and 
sinca Rut it is as the merciless "Catherine 
I>e Medici" in "Intolerance" that Josephine Crowell's 
name will go down In shadow-stage history. 




(Evan.'i) 

FRANK CrUIUEU has l)tH>n called the dean of 
cinema actors. At any rate, he is one of the 
youngest of our performers of elderly gentlemen, and 
makes as fine a father as the screen has known. 




CAMK a plaintive li-ttcr U) tlic Editor: "Why can't you put a kid's picture in 
okasioiialy ?" The eijrlit-yoar-oldV request is granted herewith. This is Jimniie 
liogers. son of Will, who shares honors with his dad in the hitter's picture-;. 



CLOSE-UPS 

&dUorial Sxpression and Timely Comment 



A Bubblino" While producing giants of the 
' motion picture world view 
rount. with alarm the scarcity of good 

plays, there still lies apparently unconsidered 
the real literature of the generation just gone. 
While producers are reported to be paying vast 
sums of real money for "Westerns" by Bill 
Bjinks or Bertram Bjones, there lie, within 
dusty book-covers, the masterpieces of J. Fenni- 
more Cooper on whose works the copyright has 
long since expired. 

Willie Wallflower, the demon dramatist 
of deadwood, demands $25,000 for his latest 
mystery tale, yet "The Moonstone" of Wilkie 
Collins is forgotten, but may be re-woven into 
moving picture form for the price of the book, 
a dollar or so. 

And what a veritable gold-mine there is in 
Dickens. Some of the pioneers in the photo- 
plays produced Dickens in a crude, inelastic 
fashion, but what say to a production of 
"Nicholas Nickleby" or "Oliver Twist" today 
with Marshall Neilan's kid star, Wesley Barrie, 
in the leading roles? 

And what about the absorbing stories of 
Hawthorne, Poe, and the rest of the American- 
made classics done into film plays with all the 
improved and advanced paraphernalia, method 
anci mode now commanded by the director and 
the camera-man? The fact that some of these 
were done in a shabby hang-dog way five or 
more years ago is all the more reason why they 
should be done again. 



Too Much 
Conference. 



One of the curses of movie- 
making in the contemporary 
manner is that everyone in the 
business knows all about it, and, generally speak- 
ing, everyone knows more than anyone else. 
There is too much advice, too much conference, 
too much talk. The average studio resounds 
as we imagine a Bolshevik parliament resounds 
— everyone has a great deal too much to say, 
and a great deal too little to do 

The scenario department pities the actors, 
the actors tolerate the scenario writers, both of 
them honestly regret the commercial ignorance 
of the production department, and the director 
feels loftily lonesome, as befits a great superior 
mind. There are a few studios where each 
department has come to recognize the special 
expertness — possibly — of the other departments, 
but in most of them there is a lack of team 
work, a willingness to solve every one's prob- 
lem save one's own, which makes it a wonder 
that pictures are gotten out at all, instead of the 



prodigal number which actually do appear. The 
average director can tell you instantly why he 
hasn't made a masterpiece in the last six 
months — they won't give him a story. The 
author can tell you why his piece failed to beat 
"The Miracle Man" — poor scenario and ignor- 
ant direction. The scenario department admits 
that real playwriting is hopeless as long as the 
director can have his assistant rewrite the script 
enroute to location. And, when all together, 
they unite to damn the general manager or 
curse the policy in the home office. 

But these are juvenile faults. Slowly, the 
photoplay is establishing traditions. When 
these are more generally recognized, perhaps 
when there are more of them, you will see 
departmental pride, specialized excellencies, as 
the rule instead of the exception. 



Autocracy's According to The New York 
■p Times, the Bolshevik govern- 

Kevenge. m ^nt in Russia is giving official 
. support and recognition to the movies, and has 
even instituted schools in its studios for the 
training of actors and actresses. And here, 
sharper than a serpent's tooth or Mr. Lear's 
well-known ingratitude, bites the sinister point 
of the story: the young actresses are almost ex' 
clusively from once-aristocratic families! 

Is there a master intellect behind all this? 
Is this an arch-plot of the reactionaries, a de- 
signing and suspensive contrivance worthy 
Napoleon or Hal Reid ? Figure it out for your- 
selves. Humanity, as The Man From Home 
said, is pretty much the sarr.>" ^rom Kokomo to 
Pekin. Whether you live in Boston or Bolshe- 
via, you may have observed that the neighbors 
can't resist a Mary Pickford. Is some ex- 
Romanoff at this moment practicing as a curled 
Pollyanna to lead her benighted people out of 
Sovietism ? We opine that a strike of the gov- 
ernment-trained movie actors in Russia would 
cause any government to come to their terms 
or lie down and die. First of all, Russia must 
be attuned to — what shall we call the neighbor- 
hood theatre of Muscovy — a kopeckodeon? 
When seeing pictures has been made a fair sub- 
stitute for something to eat and something to 
do and something to believe, then will come 
the turn of the worm — the strike of the acting 
autocracy! And then the art ticket for a new 
government: for president, Lew Codovitch; for 
national treasurer, Myron Selznicksky; for sec- 
retary of state and fashions, Bebe Danielskaia, 




Mr. and Mrs. Douglas Fairbanks 

Ta}{en in the garden oj their Cahfornia home especially for Photoplay Magasnic. 



64 




A WESTERN UNION 

MR. AND MRS. DOUGLAS FAIHBANK3 
HONEYMOON LANE 
HAPPINESS AL'WAYS 

COME HOME ALL IS FORGIVEN 
PHOTOPLAY 



6S 





66 



Middle Age 
and the Movies 



A heart to heart talk 
with the Family Circle 

By MARGARET E. SANGSTER 




THE little woman sitting opposite me at the luncheon 
table looked up from her club sandwich. 
"Do you like the movies?" she questioned abruptly. 
"Do you go to your picture theater — often? And just 
what sort of features do you most enjoy?'' 

I looked up. a shade startled, from my c!ub sandwich. For 
the little woman was a stranger to me— a casual sharer of' my 
table at the tea room where I usually take my luncheon. 

"Yes,"' I answered, "I do like the movies. But why?" I 
paused. 

The little woman laughed, in a slightly shamefaced manner. 

"You must pardon me for seeming inquisitive and rude," 
she said, "but I'm afraid I was thinking out loud. You see I 
own a motion picture theater. And, of course, it's a vitally 
important question to me — just what the movies mean to 
people. I always want to ask strangers what they like, and 
what they don't like, and what films 
they'd show in my theater — if it were 
their theater." 

I laid down my fork and looked across 
the table into the little woman's earnest 
face. 

"I suppose," I said, "that it is hard 
for a theater owner to know what sort 
of films to show. It's hard to know 
whether a theater should be run in a way 
that very young people will like — Wild 
West pictures, perhaps, and serial thrill- 
ers, and much comedy, or — " 

The little woman was leaning across 
the table, her eyes alight. 

"Do you know what I do?" she asked. 
And then, not waiting for an answer, "I 
try to make my theater the sort of place 
that middle-aged folk will enjoy," she 
told me. "It's the middle-aged foik who 
need the movies — really need them — most of all." 

I must have looked my surprise. For, after a minute, she 
continued. 

"When I say middle-aged folk," she told me, "I mean 
the people whose children have grown up and left home — ■ 
married, perhaps, and started homes of their own. I mean 
the people with gray hair that is turning white, the people who 
attend church and prayer meeting, who get up early in the 
morning and go to bed early at night. I mean the sort of 
people who either don't approve of or can't afford the theater, 
the people who aren't invited, any more, to parties — who feci 
too old to dance. The movies have a very vital place in the 
lives and hearts of such people. 

"Twenty goes to the moving pictures for excitement and 
fun — to see romance and life, to dream rosy dreams of the 
future. 

"Forty-five goes to the moving pictures to look back into 
the past, to find lost memories and to escape from the realities 
of living. That's the difference! 

"Look around you," the little woman was warming to her 
subject, "the next time you go to the movies. See the number 
of middle-aged couples in the audience. You'll be surprised at 
the way they follow the picture; at their whole-souled interest 




Niargartt E. gangster 



and their heart-warming laughter. They respond mo-e quickly 
than the young people to a good story — they keep up with the 
serials and show an intelligent appreciation of the news reels. 
They can be relied upon as the steady patrons of any well kept 
theater." 

It was after I had finished luncheon — when I was hurrying 
back toward my office — that I began to think, seriously, of the 
little woman's conversation with me. It was then that I began 
to consider her point of view. .\nd I found myself agreeing 
with her, step by step. I found myself endorsing each one of 
her theories. 

I have, for a good many years, been connected with a certain 
religious weekly. And for that reason I know, as well as any 
one knows it, the point of view of the mother and father who, 
at the age of fifty or fifty-five, find themselves left at home — 
left quite alone upon an extremely empty family shelf. 

Many of these mothers and fathers, as 
the little woman remarked, do not ap- 
prove of, _or cannot afford, the theater. 
Many of them disapprove strongly of 
card playing, of public restaurants, and 
even of concerts. Their evenings, with- 
out the reflected youth of thc'r children 
near them, used to be drab affairs. The 
fading firelight and a dull book or two 
and the commonplace happenings of the 
commonplace day were their only mental 
relaxation until the moving picture 
theater made its appearance. Until the 
movies took their place in community and 
city, these middle-aged people faced only 
a growing boredom, a growing restlessness, 
and a growing soul hunger for something 
new. Life was like a walk up a dusty hill 
on a hot day — with nothing for refresh- 
ment at the top but suet pudding. 
And then came the movies. And those people who had dis- 
approved of the stage, of card playing, of dancing, and the 
cabarets, found a new and unobjectionable form of amusement 
— an amusement that required no bodily exertion, no mental 
strain, and no conscientious excuses. 

Now, instead of the dull book and the fading fire, mother 
and father go out, arm and arm, to the pictures. They come 
back an hour or two later, animatedly praising Mary Pickford, 
or discussing the relative merits of Bill Hart and Douglas 
Fairbanks. They tell each other how much that little Mary 
Miles Minter looks like Jane-Anne did when she graduated 
from grammar school; and they wonder whether Charles Ray 
is as young as he looks — and how proud his family must be 
of him! 

During the time of war I've seen many a mother watching 
a topical weekly — one, perhaps, of khaki-clad boys marching 
through France — with tears streaming down her face. I've 
seen many a father grip the arms of his chair with rigid hands 
during the battle scenes. And only last night I saw a man's 
arm (and he must have been sixty-five years old) steal about 
the shoulders of a woman whose hair was softly white, while 
a love scene was flickering across the silver sheet and the 
orchestra was playing "Hearts and Flowers." 



67 




'Jjrjati by l^rnun c/tnlhony 

Moving Picture M.igiiatc: "We're going to builJ a new studio, but .ne undecided 

where to luiild. Wc want it convenmcnt for the players." 
Director: "\Vliy not Reno?" 



What Do You Think About 
When YouVe Going To Bed? 







Do you really think it does any good to have 
the hair singed? Of course, we know it 
helps the barber buy shoes for h 
babies, but, on the level, do you 
think your hairs enjoy being 
singed ? Bedtime is the mystic 
Hour when this subject may 
confound you as it is obvi- 
ously confounding Elsie 
Ferguson. 





Sometimes wc go to bed thinking of how nice 
it would be if we could awaken to a break- 
fast of broiled guinea-hen and champagne on 
th c morrow. Judging from the opulent scene 
above, C. K. Y. could order that kind of a 
dejeuner and it would be forthcoming. 
Wonder what has startled C. K. Y.? 



Funny how you never think of 
getting the new meat-chopper until 
you re all undressed and just about 
ready to put out the light. You had 
it on your shopping-list, today, too. 
Or maybe this isn t what Norma 
Talmadge is thinking of, at all. 
When one is a film favorite with 
the fans of Petoskey, Mich., and 
Petaluma, Cal. there is always a lot 
to think about. 

W e can =ee it in a glance. Hilda is 
going to be fired in the morning. Just 
as Mary Thurman (on the right) 
slipped out of her dark-blue kimona 
she discerned a long black hair upon 
the off shoulder of that strictly 
personal garment. Hilda has black 
hair. Mary s own is ruddy red. 
Do you blame Mary for resolving 
to dispense with Hilda s service on 
tbc morrow? 




I'hoi.. hy J. C. Milllgr.n 



When cuckoo sounds the arrival of midnight hour 
and we begin to discard our exterior raiment we 
indulge in introspection. It is a sportive pastime, 
thinking of the things we have done and the things 
we have left undone during the day. Sometimes 
we take a wide peek at our reflection and say to 
ourselves: "Well, this wasn t such a bad day. 
We are not alone in this quaint conceit. You 
will note that Mildred Davis, Harold Lloyd s new 
leading lady (above) has the same habit. 




69 




The 
Shadow 
Stage 



Rez. V. S. Pat iJH. 



A Review of the new pictures 
by Burns Mantle and Photophix 
Magazine Editors 



"Romance, w ith Doris Keanc as the attractive heroine 
and Basil Sidney as the enamored young rector, is one of 
the few recent pictures applauded by audiences. 

WK are all imitators of one kind or another. We 
live in an imitative world. All the philosophy and 
. most of the wisdom known to man was chipped 
ou( of stone or scrawled on papyrus centuries be- 
fore it found its way into senatorial debates or fourteen- 
point editorials. 

Why. then, should we complain if the motion picture is 
imitative, or that every director carries in his box of tricks 
all the tricks of all the other directors 

with whose work he is familiar? Or that ^^^^^^^^^^^ 

the weakness of the picture is its re- 
peated duplication of the "old stuff?" 

We complain Rcnerally because wv 
grow weary of repetition. But we com- 
plain specifically because the imitators 
imitate so badly, and because of the 
thins; they select for imitation. 

The fact that every director who 
stages a battle scene imitates other 
battle scenes is not important, because 
all battle scenes must of necessity b:' 
much alike. One fight in the hills be- 
tween four cowboys and fifty Indians, 
in which the Indians invariably jxet the 
worst of it. is much like anolher fight 
in which there are fifteen would-be 



seducers and only one stronghcart to 
protect the heroine. The poverty that 
i)reeds virtue and the high life that 
spells sin have been imitated for several --------------------- 

centuries in all dramas, and will con- 
tinue to be imitated for centuries to come. .\nd the fact that 
08 fxTcent of all pictured and -acted romances are concerned 
with two women and one man or two men anil one woman 
rather justifies (he continued use of that familiar and popular 
formula. 

That is not the kind of imitation film fans and lilm critic^ 
object to. It is the imitation of tendencies anil themes rather 
than of pictured backgrounds and scenes that discourages 



THIS department is 
designed as a real 
service to'Photoplay 
readers. Let it he your 
guide in picture enter' 
tainment. It will save 
your time and mo)iey by 
giving you the real wortli 
of curroit pictures. 



By BURNS MANTLE 

•them: the imitation that produces a hundred lurid se.\ plays 
because a half dozen have been successful; the imitation that 
demands that all scenarios shall be adapted from acted plays 
or printed stories because one or two firms have specialized 
successfully in this field: the imitation that is just now 
prompting the buying of the screen rights to such plays and 
stories at ridiculously high figures and refusing to pay a 
tenth the amount for an original yarn. 

And my own pet objection is to the 
producers and directors who. with the 
proof before their eyes, refuse to see 
that the really big screen plays today 
are invariably the simple and convinc- 
ingly plausible adventures of real 
people. There was nothing sensational 
about "The Miracle Man." except that 
it reached down and took 3 mighty grip 
upon the fundamental aspirations and 
beliefs of human beings. There i- 
nothing sensational about "Hunior- 
esque." except that it tells a story on 
the screen concerning a group of human 
beings who are recognizable to other 
humans who sit in the audience watch- 
ing them. There is nothing sensational 
in "Jes' Call Me Jim." but it is Will 
Rogers' best picture because it. too. in 
its main story and its chief character, 
is of the true stulT. 
^^^^^^^^^"^ These pictures, and a half dozen 

others that have found their way into 
ihe best-seller lists of the screen, are not without a padding of 
hokum. Such of the literati as wander into the cinema tempk> 
will >n\it at them for their obviousness and their sentimentality 
Each of them is in some degree imitative, and no one of them 
i^ startlingly original. But they are big in the sense that 
they are basicly human, .ire simply told and are at least 
>iiggestively true. 
Vet I see picture after picture in which seemingly no attempt 



70 



rnotoplay Magazine 



71 



has been made to tell the story plausibly or to illustrate it 
reasonably. And the pity of it is that a good half of them are 
not bad stories to start with. They are ruined in the making. 
The effort is always to overdo. If the heroine is poor she 
is living in the most dilapidated of tenements. If she is rich 
she occupies nothing less than a mansion. If the hero fights, 
he must fight enough men to smother him. If the cowboy 
rides to the rescue he must gallop no less than eighteen miles. 
If the girl is virtuous she must also be simple. If the villain 
is a rotter he is a non-union rotter and works at it twenty- 
lour hours a day. If the jailer is a brute he must wear hob- 
nailed brogans the better to stamp upon the face of the 
prisoner. If a small crowd is suggested a mob is shown. And 
so it goes. 

I SAY "Jes' Call Me Jim" is Rogers" best picture. And to 
me it is. Yet its story is founded on two of the oldest aids 
tc a quick sympathy in the theater known to playwrights — 
the tortured inventor who is thrown into the asylum by the 
man who steals his patents and the homeless waif who is thus_ 
robbed of his daddy. These were old when Mount Ararat 
was a swamp. But the point I'm making is that even an old 
story is an interesting story, if it is well told by interesting 
people. 

Jim Fenton is an old simpleheart of the woods. Paul Bene- 
dict, his friend, is an inmate of the county asylum. Jim is led 
to believe, through the village milliner, who has taken charge 
of Benedict's little boy, that Paul is not insane, but the victim 
of a plot. He effects his release, hides him in his cabin, 
throws the pursuing authorities off the scent, and finally has 
the satisfaction of seeing him recover his health and prove in 
court that he is the lawful owner of certain patents stolen 
from him by the villain. 

Familiar movie material, you"ll say, reading the outline. But 
see the picture and you'll see how it is possible to take a 
story that could have been as easily spoiled as any of them 
and by the employment of intelligence in its adaptation and 
direction, and by the refreshingly real and wholesome appeal 
of a man like Rogers, make of it a fine evenings entertain- 
ment. In this picture Rogers gives the lie to all those who 
have been insisting that he is only a rough comedian blessed 
with a likable personality. Show me an actor who can play 
with more genuine feeling than Rogers does the basicly 
theatrical scene in which Jim sends Benedict's little boy into 
the woods to pray for the recovery of his father and I'll intro- 
duce you to one of the leaders of his profession. It is a 
gripping bit of drama. Little Jimmie Rogers is as genuine as 
his dad playing the Benedict boy; Irene Rich is a lovable 
milliner, and there are excellent performances by Raymond 
Hatton as Benedict and Lionel Belmore as the br-rutal thief 
of the patents. Thompson Buchanan dug the story out of J. 
G. Holland's novel, ''Seven Oaks," and Clarence Badger 
directed it. It is one of the real films of the month. 

ROMANCE— United Artists 

I CAN say for Doris Keane's "Romance" that it is one of the 
'few pictures I have recently sat through that was 
applauded by its audience at its close. This. I take it, was an 
indorsement of the romance itself, which has a definite senti- 
mental value on the screen just as it had on the stage. There 
was nothing unusual in its picturization to warrant enthusiasm. 
Miss Keane is an attractive actress, though her beauty 
occasionally flattens under lights that add years to a face that 
is still youthful and lines to eyes that are brighter than the 
camera permits them to be. 

The story is told, as it was on the stage, with the aid of an 
artificial prologue in which the aged Bishop of St. Giles relates 
his own romance to a youthful grandson who asks his per- 
mission to marry an actress. The play proper follows, de- 
tailing the interlude in which the passion of the bishop (then 
a young rector) for the gifted prima donna, Rita Cavallina, 
might have been the undoing of his career if she had not 
been a finer woman than her record of many loves indicated. 
It is rounded out with an epilogue in which, the story finished, 
the youth is so impressed that he hastens after his actress 
fiancee with the intention of marrying her before he loses her 
as grandpa lost his song bird. 

Basil Sidney, Miss Keane's English leading man, who is 
also her husband, plays a stodgy but plausible young rector 
of St. Giles and Norman Trevor lends dignity and weight to 




Slixrley Mason is a sweet youngster in the story-book 
romance, "Love s Harvest, and she grows up for her 
hero just m time. 




Olive Thomas is most delectable as "The Flapper, a dar- 
ing little boarding school miss who imbibes ice-cream 
sodas and everything 




"The Silver Horde,' Rex Beach's picture of the Alaskan 
snow wastes, gathers momentum with every scene and 
ends with a romantic flourish. 



72 rnotopiay Magazine 




"The Deep Purple would suffer for lack of sufficient 
punch were it not for Miriam Cooper and her co-stars, 
who save it from mediocrity. 




J. Warren Kerrigan wears a monocle in "No. 99. and 
you 11 probably know all through this entertaining play 
that he's falsely accused of being a crook. 




"The Courage of Marge O Doonc i.« a red-blooded tale 
of the rugged North that will make you want to go 
up there, bears or no bears. 



ihe role of Cavallina's patron. Betty Ross Clarke is an 
attractive ingenue and Gilda Veresi and Amelia Summer\'iUt' 
have small parts. The direction by Chet Withey, is able and 
the old New York settings attractive. 

THE DARK MIRROR— Paramount- Artcraft 

THE D.\RK MIRROR" is also a blurred mirror. A highly 
improbable melodrama in the telling of which the author, 
director and star are constantly being forced to admit that the 
story they are relating is not at all true. The two heroines, 
played by Dorothy Dalton, are twin sisters. Separated in 
their infancy, neither is conscious of the other s existence, yet, 
like the Corsican brothers, so close is the bond between them 
that each subconsciously reacts to the emotions and ad- 
ventures of the other. 

Thus the girl who was brought up by wealthy foster parents 
in refined surroundings is given to dreaming that she is the 
other girl, who has fallen in with a band of crooks. In her 
dreams she is variously pursued and mistreated and prevented 
from following her naturally wholesome impulses. But as 
the audience is aware that each of these episodes is a dream, 
the story is never convincing and excites the flippant remark 
rather than the gooseflesh thrill. In the end the unfortunate 
sister is drowned and an amateur psychoanalyst clears the dis- 
turbing complexes of the other, making a happy ending 
possible. 

Dorothy Dalton gives a vigorous performance in the melo- 
dramatic episodes, and does her best to make them seem real. 
She is still a lovely camera subject, though, strangely enough, 
considering her experience, her beauty is frequently minimized, 
particularly in the close-ups, by the too-hea\y shading of her 
lips. The lip-fault in pictures is as common as the foot-fault 
in tennis, and should be as quickly penalized. 

THE DEEP PURPLE— Realart 

PRODUCER R. A. Walsh is to be credited with the employ- 
ment of a real all-star cast for "The Deep Purple." 
Without these exceptionally gifted players — notabiy \'mcent 
Serrano. W. B. Mack, W. J. Ferguson, Miriam Cooper and 
Helen Ware — it would be a very ordinan,' crook play. As it 
is played it holds a reasonably sustained interest in the familiar 
adventure of the up-state innocent who is lured to the city by 
the plausible thief on promise of marriage, and there forcibly 
inducted into the crook's game. She is finally rescued by 
Stuart Sage, as the understanding juvenile. The backgrounds, 
both interior and exterior, are splendidly pictured and the de- 
tail carefully worked out. The individual performances are 
all excellent, proving, as said, the wisdom of spending money 
on actors to save a weak storj', or the extravagance of wasting 
so good a cast on a story unworthy of them^ just as you 
please to look at it. "The Deep Purple" perfectly represents 
the type of crook play that by repetition has lost its punch. 

THE SILVER HORDE— Goldwyn 

SI.M1L.\R virtues have saved many a Rex Beach picture. 
They may be 80 percent "trick stuff." Sections of the 
>now wastes of .-Maska that decorate them may be nothing 
more than a quarter acre of salt and potted firs in Hollywood, 
Cal. The story may bend suddenly toward the highly imagina- 
tive or . slide off into pure picture stuff that irritates more 
frequently than it stimulates. But ever>- Rex Beach slor\- I 
liave seen on the screen is told with a certain masculine 
directness that is refreshing, and no one of them has ever 
been permitted to become so downright silly as to insult the 
intelligence of us bourgeoisie. 

"The Silver Horde ' is a good picture in spite rather than 
because of its commonplace romance. It combines with a 
well-told stor>- the virtues of the scenic and the weekly pic- 
torial. Few pictures have been more convincingly aimos- 
liheric. thanks to the frequent cutting in of scenery bits show- 
ing the Canadian lakes and rivers and a fine set of salmon- 
tishing views. It is a perfect job of assembling, and Larry 
Trimble's scenario is at least a near-perfect job of plot build- 
ing. This stor>- has a firm foundation from the moment Boyd 
Emerson, befriended by Cherry Melotte and George Bolt in 
the north, starts East to raise the money necessary to start 
an independent canner\^ It gathers momentum with even,- 
scene, without doubling on itself or becoming entangled in 



rhotoplay Magazine 



73 




side issues; it picks up a legitimate thread of comedy in the 
person of the youth who expected to help supply fish for the 
tannery with a bamboo pole; it develops some f,'enuine thrills 
during the trust crowtl's attempt to blow up the independent 
traps and it ends with a romantic flourish that sSlisfies the 
romantic and offends no one. But Beach and Trimble and 
Frank Lloyd, the director, all fell for the hackneyed incident 
of the polite villain who is proved the father of the Indian 
woman's child, which was a foolish and unnecessary bit. seeing 
that it weakened an otherwise reasonable conclusion. The 
cast is an especially well chosen one. 

THE DANCIN' FOOL— Paramount-Artcraft 



THE DANCL\' FOOL " is another of the month s pictures 
in which the virtues of a human story overcome the 
handicaps of a feather-weight and fantastic comedy plot. It 
really doesn't matter how trivial a story may be, if it is sound 
at heart. The world, it happens, is full of "dancin' fools," 
bright lads who just can't make their feet behave and find it 
irksome to buckle down to work with the lure of the jazz ring- 
ing in their ears. It isn't as easy to accept the wise Wallace 
Reid as an unsophisticated country youth as it is Charles Ray. 
but he has enough of the same engaging quality of youthful 
exuberance to endear him to a large public, and he carries the 
hero of this story through a series of city adventures with un- 
common skill. His regular job is that of a $6-a-week clerk 
in his old-fashioned uncle's jug business, but he happens to 
meet Bebe Daniels, who is dancing at a cabaret, and after she 
has taught him the newest steps he becomes her partner. Of 
course uncle discovers him foolin' away his evenin's, and 
fires him for the fourteenth and last time. But Wallace refuses 
to be fired and ends by saving uncle from selling out his busi- 
ness to a couple of TuUy Marshall villains just as it is about 
to boom. Then he marries Bebe, which is bound to be a 
satisfying ending to anyone who has taken note of the physical 
attractions of this young lady. It also happens that Miss 
Daniels is something more than beautiful. She has that 
"certain subtle something'' that differentiates the real from 
the merely personable heroine, and her announced elevation 
to stardom is easy to endorse. Raymond Hatton is excellent 
as the Uncle Enoch of the jug business, and Willis Marks, 
Tully Marshall, and Lillian Leighton help considerably. 

RIDERS OF THE DAWN— W. W. Hodkinson 

WHATEVER else may be said for or against the Zane Grey 
movies, they certainly do move. "Riders of the Dawn" 
is as full of excitement as an extra inning baseball game, and 
as thrilling, if it happens you are a Zane Grey fan. I'm not. 
Not, at least, a regular Zane Grey fan. I like the story back- 
grounds his adapters and scenarioists extract from his no\'els; 
like the themes, and usually the selection of the players. But 
I wear>^ of the fighting and the fires; the heros who cannot 
only whip their weight in wildcats, but are not at all averse 
to taking on a crowd of bellowing hippopotami. Old Kurt 
Dom in this picture (he being Roy Stewart in makeup) not 
only bowls over a quartet or two, but he fights at least one 
army, and maybe two, of rioting I. W. W. bolsheviks, killin:^ 
five or six of them with a single bullet, as nearly as I could 
make out. Villains to the right of him, villains to the left 
of him, crumpled and fell each time Kurt raised his pistol 
arm. Which is neither good sense nor good direction. An 
honest-to-goodness fight with reasonable odds against the hero 
is always twice as exciting as one of these overdrawn scenes. 
The story is of a war hero's effort to readjust his affairs in 
the wheat country after his return from France. He is much 
in love with a belle of the township, when the villain rings in 
a French girl on him — a French girl with just enough English 
to insist that Kurt is her naturally, though not legally, begotten 
husband. Which discourages the heroine considerably for 
three or four reels. But after the fighting and the fires are 
over, the truth is told. The French intriguante admits she 
is a liar, the villain confesses he should be hanged, the bolshe- 
viks take again to the road and their tomato can kits, and all 
is as well in "The Desert of Wheat" as could be expected. 
Robert McKim. the producers' favorite highclass bad man, 
stressed his villainies rather (Icsperately, probably under the 
instructions of his director, Hugh Ryan Conway. 

( Continued on page go ) 



Even Katlilyn Williams and Leatrice Joy leave Eugene 
^X'alter s play "Just a Wife" — just a film, warmed over 
from its stage form. 




The rather melodramatic title of "The Path She Chose 
may be misleading, for it is an interesting story with a 
true-to-life appeal. • 




Dorothy Dalton does her best to make "The Dark 
Mirror"' seem real, but it excites the flippant remark 
rather than the gooscflesh thrill. 



r 




E3 



Title Kce. U. S. Pat <K: 

' I 'HIS is YOUR Department. Jump right in with your contribution. 

IVhat hare you seen, in the past month, that was stupid, unlife- 
like, ridiculous or merely incongruous? Do not generalise; confine your 
remarks to specific instances of absurdities in pictures you have seen. 
Your observation will be listed among the indictments of carelessness on 
the part of the actor, author or director. 



Roast Chicken for Tkeda 

IN "Kathleen Mavourneen." with Theda Bara, some strange 
things occurred. For instance, in one scene, Kathleen 
(Theda) sits before a great open fire, and just as she is falling 
asleep, one of the chickens, wandering about the room, walks 
directly into the fire and does not come out. 

G. M. 0., Auburn, New York. 

Economical Mr. Oakman 

IN "Eve in Exile," with Wheeler Oakman and Charlotte 
Walker, the hero (Oakman) wears one suit from the open- 
ing flash to the final close-up. He went traveling, entertained, 
wooed and won "the Girl" all in this one suit! 

J. A. F., St. Mary's, Pa. 

Coming Events, Etc. 

IN "Out Yonder," with Olive Thomas, the heroine is sitting 
on a rock reading a book when the hero finds her. She 
discovers him because his 
shadow falls across the 
book. The next scene 
shows him standing back 
of her with his shadow 
falling in the other direc- 
tion. C. F. F., 
Philadelphia, Pa. 

A Little Love, a Little 
Kiss — 

ST.^RS who contemplate 
having their hands 
kissed in their new pic- 
tures please note: Alma 
Tell as Lady Joane in "On 
AVith the Dance" gives 
Peter her right hand in 
i'arewell. and Peter kisses 
it. The close-up shows 
tears, presumably Lady 
Joane's, on the lejt hand, 
which Lady Joane then 
kisses passionately. 

A. F.. Toronto. 




Tsjot the Cameraman, Anyway 

IN Earlc ^^illiam s pictur "The Wolf, a sub-title says something like 
this: "When the wolf howls .... someone must die. Then a flash 



Screen Advertising 

SFAERAL well-known 
national products are 
given a lot of advertis'ng 
in Cecil DeMille's "Why 

Change 'S'our Wife?" Thomas Meighan is shown holding a 
razor which is unmistakably a Gillette; two — no, three maga- 
zines are displayed to advantage, but the worst comes when 
Thomas, after talking to Gloria Swanson, walks over and 
selects a record of a popular song, "Hindustan." with the 
record maker's name (Victor) very plainly seen, number 
18507 A. But — when in another sequence of the story he 
visits Bcbc Daniels after the theater and she picks up a record, 
it's the same "Hindustan, number 18507 A." Maybe Thomas 
sneaked it there under his coat. But why must pictures be- 
come a medium for advertising certain products? 

R. H., Chicago. 



is shown of a howling wolf. It was all right except that anyone with 
sharp eyes could see a chain leading toward a convenient tree from the 
wolf s neck. What do they mean "someone must die?' 

N. Hoyt. Angel Island, Cal. 



Where— Did— He— Get— That— Hat? 

IN "A Leap to Fame," in the court room when the alleged 
spy knocked out the cops and made a break for liberty, 
Carlyle Blackwell rushed frantically after him, with hair stream- 
ing, leaving his hat on the reporter's bench. After the chase 
and recapture of the spy, when they are returning to the court- 
room and "the girl" is let off on the way, we see Mr. Black- 
well standing on the running-board of the taxi bidding her a 
gentlemanly farewell, as he gracefully tips his straw hat to her! 

G. A.. Estancia, N. M. 

Silly — They Didn't Want to Be Seen! 

CAN you tell me wh' Frank Mayo, riding a motorcycle to 
intercept the crook m "The Peddler of Lies" has no head- 
light burning? Neit^ c have the crooks when they escape in 
cars. Operator, Yoakum, Texas. 

Civilized Savages 

IN a scene supposed to 
be in the Zulu Islands 
in Blanche Sweet's "A 
Woman of Pleasure." one 
of the native savages was 
vaccinated ! 

Also, in "April Folly. " 
Lady Diana, seeing that 
April had no train ticket 
and was about to be put 
off, kindly offered her an 
extra ticket she happened 
to have in her purse. 
That's foresight for you! 
Charles Willis. Jr., 
Richmond, Va. 

Dear Little Lasca! 

IN "Lasca." Edith Rob- 
*■ erts in the title role 
stabs the hero in the back. 
A few minutes later, full 
of remorse, she gently 
bandages his arm. 
L. H., Rochester, 
N. Y. 



Well. That Was An Old 
Picture 

VITAGRAPH recently 
released a picture 

called "The Juggernaut." Earl Williams, as John Ballard, al- 
though working his way through college, is able to afford to 
wear a silk shirt. I'm a college man atld I know it can t be 
done nowadays. G. L. G.. Madison. Wis. 

In Other Words— He Was Beaten Up 

IN Rupert Hughes' "The Cup of Fury." the I. W. W. agitator 
.\iiddtt' is hit on the left jaw by a blow from the ship-yard 
boss. In a subsequent sub-title he plans how to account for 
his black eye. Next he is shown at home — with his wife bath- 
ing his forehead: and later with his head bound up. 

M. E. S., Richmond, Ind. 



74 



Photoplay Magazine — Advertising Section 



75 




Your nails tell strangers all about you 



Ho\jo yoN can keep them always well groomed 



I 



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hangnails form. 

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your cuticle smooth and unbroken, the 
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H 



Perkaps Thomas Ince knows best, bat it does seem unkind 
to divoroe Doris May and Douglas Mac T^n. doefn*t it ? 



api-ei . 
ge: pa:i e=?^!v- 
10 5Dr 
•Fet 

head the publ; 
'"Twenty-three 
and -Let's Be F. 
■■D'\-u know.' 



.-CSC gUj - 

::v can't 



: promiscuously. 
I asked, 
rd at me with that qu 
-ne to know since s;. 
naif Hotirs Lea\-e.'' •"Mar> s .\ 
^ ^e." 

ne iaid solemnly. "I do. I've never been 
f'-- -T-ed before and I simply can t understand how s.^-r.e Tvi->r>!e 
habit of it the way lhe>- do. The 5 . 

: — de::''e ''y impleasar.t. I ^ee' Ml:e ?. 
the de 



Hai oeen 
doesn't f 
-He 



a oeiier 
girl. ^ - ^• 
the s- 
didn't 

'■.\nd now — " 

accuf. 
to $5C 



there but 



jgether? 

time." he f vely. "Six 

-es. She wa* — a one little w '. haven't a 

- world to say against her. ^' . . i ask for 
eirl in lots of ways. She v. : panner. that 

v:. :. Arjp lots in cor; vays weathered 

1 successfully, were the right size and 
. niore than once a week. 
He shook his head sadly, 
is like that, isn't it? Just when \-ou get 
.5? (iays. the\- raise the price of potatoes 
. where are you?" 



Divorce 
a la 
Film 



A little iuside infor- 
mation on Movielancl"s 
latest separation. 

Bv GENE NORTH 



He gazed meditatively into space, 
redectively chewing a lettuce leaf 
which must have belonged to the 
spearmint family because it didn't 
seem to evaporate properly. 

BUT seriously. Douglas MacLean 
did see the world through blue 
glasses that day. Thomas H. Ince 
had just informed him that his co- 
starring partnei^hip with pretty 
Doris >Iay had come to an end. The 
pictures for Paramount Ancraft, 
which the two were engaged to make, 
had been completed and the Powers 
That Be ( who have the papers locked 
in the safe, you know") had decreed 
that henceforth the\- should be sepjarated. 

.And Douglas MacLean. who has probably done more to 
e^taMi^h corr!e<^v of the siimt-less, slap-stick-less \-ariety than 
is to be an independent star. The second 
Paramoimt held on his services has been 
e.xcrcisc>- > at present deep in his first starring vehicle, 

•The Ya: billies'' (I know. I felt exactly that way 

-.it. I may be wrong. But after I'd had it repeated three 
- and spelled twice. I was afraid they'd make me walk 
so I shut up.") 

^"es. it s hard to lose a good wife, even just a professional 
one."' went on MacLean. "and Doris has been a good one. 
A? 3 film vk-ife. she is par excellence. Now it's all ended. Oh. 
-esay I shall have other good wives. I have had some 
ones in the past B it I shall always remember Doris.]' 
There was a no- , ?s in his voice. Outside his swiftly 

moving dramas, kc ~d acts as little like a comedian as 

anyone I ever saw. i That in a world where ever\ one in 
comedv wants to do tragedy and a lot of tragedians do a lot of 
comedv.") He has brown eyes of the kind that lady novelists 
describe as "nice and honest." Minus a little twinkle. the>- 
would be soulful. 

-You are married aren't >-ou. Mr. MacLean? " I asked, since 
the conversation seemed to be running on things matrimonial. 
"Oh ves." said Mr. MacLean enthusiastically. 
I have been forced to ask that question of a number of men 
a number of times ( professionally— professionally V Some 
answer it flabbily, as if thev were agreeing with a rich aunt 
(Continufd on page 123) 



Photoplay ]VL\gazine — Advertisixg Section 





A sweater for every frock 

— now that you can wash them yourself 



•'I do believe that's another sweater, Betty! 
You have more sweaiers than any other 
THREE girls I know." 

"Well, as a matter of fact, my dear, it 
isn't a new one — it's just washed.'" 

"That fuzzy, woolly sweater washed ? I 
simply don't believe it!" 

**Of course it's washed, goosey. In Lux 
suds just the same as your blouses. It 
does look new, doesn't it?" 
Lux whisks into the most wonderful suds. 
You just swish your sweater around in 
them and squeeze the rich lather again 
and again through the soiled spots. There's 
not the least bit of rubbing. 

Rubbing hard cake soap on wool is 
simply fatal, you know. Either you get the 
tiny fibres all mixed up and maned, or 
else you pull them so far apart they never 
can go back. And of course when you 



scrub the soap out again, you're scrub- 
bing the pretty colors out, too! 

The Lux way is so different. It's so care- 
ful and so gende with the delicate wool 
fibres. You can trust the brightest Shetland, 
the fuzziest Angora to these pure suds. 

Your newest gay golf sweater with its 
short sleeves and big checked scarf that 
tucks through the belt and floats away — 
don't let it grow loose and baggy, nor get 
ridiculously small and tight. Launder it the 
Lux way. It will come out soft and shapely, 
fit just as perfectly as the day you bo ugh tit. 

Lux is so easy to use, so wonderfully 
quick. And it can't possibly hurt any 
fabric or color that can be trusted to 
water alone. Your grocer, 
druggist or department store 
has Lux. — Lever Brothers 
Co., Cambridge, Mass. 



HOfF TO irASH Sir EATERS 

USE two tabiespoonfuls of Lux to a 
gallon of water. Whisk into a rich 
lather in very hot water and then add 
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sweater up and down in the suds — do 
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to drv- in the shade. 




Cttyrtgkttd 1930, by Ltvtr Bris.Ct 



When you write to advertisers please mentioo PHOTDPUAT MAG.\2r\E. 




This was one of the most romantic ot the 250 stereopticon slides tliat made up 
"Miss Jerry. " The lovers are William Courtenay and Blanche Bayliss cf 25 
years ago. "Miss Jerry was a newspaper reporter. The "still below shows 
her out on a "sob" story. Note how the "sets" were made in those days. 



The Grandpa 
of the Movies 



RELEGATED to the limbo of the past is the 
remembrance of most of the early efforts that 
helped bring the art of motion pictures to 
the high plane it has reached today. Even 
now, many maintain, the possibilities of the film are 
only beginning to be realized, but it is interesting to 
look back just a quarter of a century when Dr. 
Alexander Black was seeing visions as he looked into 
what then doubtless seemed a far, far future. 

On October 9, 1804, William Courtenay and Blanche 
Bayliss appeared as the first motion picture stars, in 
Dr. Black's moving stereopticon, "Miss Jerry," a tale 
of love, ncwspapcrdom and Wall Street. 

Dr. B!ack, now a noted novelist, was a newspaper 
man with an interest in photography years ago. It 
occurred to him that ordinary stereopticon slides 
could l)e s ipped in and out of the then popular stere- 
opticon lantern in such a way that they overlapped — 
li u r.iiiKin'j; iixm di.<-olvc into one another in a way 
which suggested motion. He experimented, found his 
idea worked, wrote the drama called "Miss Jerry" 
in 250 scenes, engaged actors and made it with rough 
— very rough sets. His second drama was called "A 
Capitol Romance." Grover Cleveland, then president, 
posed for it. Dr. Black's motion picture dramas took 
forty-five minutes to present. He stood beside the 
screen and told the story as the picture appeared. 
He toured the country and made a great hit. The 
Paramount Magazine, in a recent issue, showed Dr. 
Black's invention. 




Photoplay M voazink — AnvFiirisiNr. Sixuov 



79 




MADC WITH A VEST POCKET KODAK 



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like a watch. 



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tu .lavLUiici^ ijlL-ase mcution PHOTOri-iV .MA(JAZ1.\£. 



Murdered Bram Children 



Being a .small portion 
of the docket in the 
Great Assize Court, 
in the case of the 
Scenario Author vs. 
the Producer, Direct- 
or, Cameraman, Scen- 
ic Artist, Cutter, et al. 

By 

RANDOLPH 
BARTLETT 

Decorations by Norman /tnlhony 



SUPPOSE you were the proud father of a newly born 
infant. To you it was the mo.^t wonderful thing in the 
world. It was beautiful, enhaloed in sweetness and light. 
The least movement of its small hands, the least flicker 
of its eyelids denoted intelligence of a precocity- that almost 
frightened you. At once you were overcome with a sense ol 
your responsibility to this splendid oftspring. and were deter- 
mined that it should be reared to manhood in such wise that 
all the world should bow to this, your child. 

Suppose now that you showed it to one whom you had con- 
sidered a friend, not so much to get his opinion as to permit 
him to gaze and admire, and suppose he said: 
"Ugly brat! Why let it live?" 

Suppose, feeling only contempt for a person so blind and 
ignorant, you showed the wonder child to another friend and 
he looked pityingly at you and said: 

"What is it? The missing link?'' 

Still the pride of paternity persisted, but one after another 
those wnom you had long regarded as good friends cast sky- 
ward noses at the child. This did not weaken your own love 
and faith in the infant's destiny, but merely made you bitter 
toward all the world. And that is why scenario authors become 
pessimists. 

Every man, woman and child who has written moving pic- 
ture scenarios ha? some fa- 
vorite scene, some delectable 
brain-child, not necessarily 
the main part of a plot, nor 
the theme of a drama, nor 
the big scene, nor the su- 
preme thrill — but just some- 
fragment of fancy that its 
mental parent knows is one 
of the most exquisite things 
ever given to a waitinf 
world. It would embellish 
any picture, fit into any 
story, perhaps, and so with 
magnificent persistence the 
father of the idea writes it 
into every script, only to 
sec it foully murdered by 
one or another of those au- 
tocrats throuch whose hands 
each picture must pass. 

The producer thinks it is 
over the heads of the pub- 
lic, and slays it: the stuflio 
manager thinks it would 
clog the action, and decapi- 
tates it: the casting director 
says the right type cannot 
be found, and garrotes it; 
80 




I .SB- — 



the electrician foozles the light effect and smothers it: the 
cameraman throws it out of focus and gibbets it: the director 
decides it would be too much trouble, and stabs it: the star 
iloesn t like her close-up in it, and strangles it: the editor needs 
footage and guillotines it: and if, by some twist of luck it 
should pass all these perils, the negative will be lost in the 
cutting room. This is the history of, not one, bui many scenes, 
of which a few have been compiled. Here, for the first time. 
;hese favorite sons shall see the light of publicity, and you 
shall decide whether or not they belong upon the screen. 

One of the most populous of the private graveyards is that 
of Charles E. W'hittaker, author of numerous shadow tales for 
Paramount, Clara Kimball Young, Maurice Tourneur and 
others. The gem of the collection, the most tearwashed of all 
the tombs, is this: 

A French actress, after a terrible tragedy at home, comes to 
America, and living quietly in the country makes friends with 
a young American boy, about ten or twel\e years old — a 
dreamer, not a roughneck: polite, not flip: clear-skinned, not 
freckled: romantic and decently clad. In the actress" garden 

is a statue of Pan. and she 
tells the boy of the love 
symbolism of the ancient 
deity and his pipes, giving 
the lad a whistle which he 
learns to play for her. She 
finds her romance, but 
tragedy again comes to her. 
and she goes back to her 
garden, where she finds the 
bov's whistle, broken. 

"They told me it was too 
highbrow,"' moaned Whit- 
takef. as he sketched the 
fable. 

Luther Reed, now in the 
Thomas H. Ince scenario 
department, tells of the 
following crime perpetrated 
by another concern: 

".A light woman of Paris, 
tired of her companion, a 
wealthy munition maker, is 
about to leave him for a 
vulgar liason with an apa- 
che, when she meets a blind 
sergeant, now dependent 
upon the irovemment for hi< 
living. For the first time 
in her life she is stirred by 
a worthy passion, and she 
takes the blind man to her 
(Continued on pa^r io(^) 



"\Ve see this dream eh 
and her perfectly-marcelled 
locks, standin(J in a lacy 
nightie — but the curl papers 
and cold cream never get 
heyond the scenario depart- 
ment. 




Photoplay Maca/im: Adn i :h i isinc. Skction 



8i 




~-ni m. 



Drink, 



cca 



DELICIOUS AND REFRESHING 

The Coca-Cola Company Atlanta. Ga 



When you writa to ailviriiscr'i iiliasp mention I'IIOTmIT.A Y MAOAZTNi;. 



82 



PHOTOI'I.AV Ma(. \/,INE — A0\ KHTISING ShXHION 





AQQp meirna 



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Your hair simply needs frequent and regular washing to 
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This is why the leading motion picture stars, theatrical 
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\ oil can Kl'l Watkins Mulsifikd Cocoanut 
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AND 



^ QUESTIONS 1 



ANSWERS 




\/OU do not have to be a subscriber to Pliotoplay 
Magazine to get questions answered in this Depart- 
ment. It is only required that you avoid questions 
that would call for unduly long answers, such as 
synopses of plays, or casts of more than one play. Do 
not ask questions touching religion, scenario writing or 
studio employment. Studio addresses will not be 
given in this Department, because a complete list of 
them is printed elsewhere in the magazine each month. 
Write on only one side of the paper. Sign your full 
name and address; only initials will be published it 
requested. If you desire a personal reply, enclose self- 
addressed stamped envelope. Write to Questions and 
Answers Photoplay Magazine, 25 W. 4^th St., 
New York Citv. 




M.-VKY D., Los Angeles. — Bert Lylell is 
a lucky man. If one woman was ever true 
to me for five years, I"d — but why specu- 
late? It could never happen. Do you like 
Lytell better in pictures than you did on 
the stage? "The Right of Way'' was my 
favorite Lytell piece. Bert is five feet, ten 
and a half inches tall ; weighs 

one hundred and fifty five 

pounds, and has brown hair and 
hazel ey^s. Haven't his age. 
He is married to Evelyn 
\'aughn; they have no children. 
He's signed up with Metro. 
Come again. 



LORR.4YNE H., MlLW.\UKEE. — 

It was a bad day when I got 
j-our letter — gloomy inside and 
out. But what mere male is not 
susceptible to flattery? Not 
this one. Yon cheered me con- 
siderably. Viola Dana was born 
in 1808; she is a widow; her 
husband John Collins, the direc- 
tor, died of influenza. Yes, Tom 
Meighan is married to Frances 
Ruig. Jack Barrymore was 
born in 1882. He was divorced 
from Katherine Harris Barr>'- 
more, an actress in his sister 
Ethel's "Declasse" company. Do 
I like blondes or brunettes? 
Yes. 

M. D. S., Newton Centre, 
M.-kSS. — The spirits are certainly 
kept busy. I suppose the Shade 
of Cleopatra is the most popu- 
lar. I don't mind confessing to 
you that I'm ouija bored. No — I can't tell 
you my favorites, and I've never talked 
with ]Viiss Elsie Ferguson. So now I sup- 
pose I am relegated to the limbo of lost 
and forgotten things, said he sorrowfully — 
and inaccurately. 



Friend, Havana — I am young but that 
isn't why I make you laugh. Yoti are 
young — that's why. Dick Barthelmess un- 
iloubtedly will get around to your letter in 
due time; he's a very busy young man. 
Friend, and there may be a thousand letters 
ahead of yours. T don't want to discourage 
you or anything. Pearl White has red hair 
and, yes, she wears a blonde wig. 



G. C. T., SuLPHt-R Sprtngs, Tex.— IMy 



head still aches from that violent green 
paper. You girls love to torture me, don't 
you ? There's nothing about stationery in 
all its most ghastly phases that I don't 
know. Lillian Gish is not married. She 
has left the David Griffith company to star 
for Sherrill, or the Frohman .Amusement 



The Ingenue 

By Jane Bernoudy 



Corporation. .Alice Brady's hr^i two Real- 
art releases were "The Fear Market'' and 
"Sinners." She is working at this writing 
on "The Dark Lantern.'' \'iola Dana isn't 
married to Lieut. Omer Locklear. But 
some busybody saw him fly away with her 
— in his airplane — and jumped at conclu 
sions. 



.\. N.. Oakland. — So you saw Wallace 
Reid in "The Rotters." the legitimate play, 
and would much rather see him in pictures. 
Yet I have had other letters which raved 
over Reid in his part of the chauffeur in 
this spoken production. James Crane 
played with .Alice Brady in '"Sinners." \o\x 
say their love scenes were so realistic. No 
wonder — he's her husband. 



RiBLA, Argentina. — Now you're a con- 
tributor after my own heart. Your letter 
heljK-d me a lot. Sony you think I'm not 
rough enough. You must want me to be 
the Tom Meighan of .Answer Men. Down 
where you live, you tell me, they are chang- 
ing the way of telling time. After twelve 
o'clock at noon they go right on 

, counting thirteen, f o u r te e n 

fifteen, etc., to twenty-four, 
when they start at one again. 
They don't do that here. Im- 
agine knocking off work at 
eighteen o'clock I Yes, tell your 
friends to write me. I'll give 
them very sarcastic answers; 
will that please you? 



Miss EsiiLY, Boston. — You're 
wrong — an editor isn't a man 
who puts things in the maga- 
zine ; he's a man who keeps 
things out of the magazine. 
David Powell in "On With the 
Dance." Karl Kermes was the 
justice of the peace in Constance 
Talmadge's picture, "Up the 
Road with Sallie.'' Constance 
has traveled a long bright road 
since that Select picture. 



Neoma A., Beaumont, Tex.^s. 
— You may now enjoy life. I 
am overjoyed to be able to tell 
you that your favorite, William 
S. Hart, is not married. Never 
has been married. Lives with 
his sister Mary in Los Angeles. 
Recently sustained several 
"broken ribs and was badly 
bruised as a result of falling from his horse 
while making a picture. Hart and his 
mount were dashing in pursuit of the 
"villain'' when an overhanging bouch 
caught them and frightened the horse, 
which threw Hart. He's getting along 
nicely, according to latest reports. Think 
of all the sympathetic letters he'll have to 
answer when he recovers! Nazimova's 
first name is .Alia. 



Maria. — I'm thinking \ery seriously of 
writing a book about myself. Everybody's 
doing it, why not the .Answer Man? Bill 
Hart has written several books, but never, 
as yet, the story of his life. "Pinto Ben 
and Other Stories" is one of Bill's com- 
Dositions. AntoiU'.< Moreno, I hear, is en- 



ASSES of curls rippling and falling. 
■^^■^ Eyes wistful and blue. 
Scarlet lips, parted revealing, 
Pearls not a few. 

Cheeks like the first flush of morning, 

Soft like the breast of a swan. 
Voice like the breeze through the tree tops, 
In the cool hours of dawn. 

Flirting, Deceiving, Coquetting, 

Never Alone. 
Listening, Laughing, Forgetting, 
Nobodv'Home. 



83 



84 



Photoplay Magazine 



i.'a;;ed upon his autobioeruph>-. Wonder 
who's wrilintf it for him? He's much ion 
hu5>- himself. Bes-ic l.uve is still in her 
teens. 

' Susie, Gloversvilll. X. V. — Well, women 
may suffer — but every man knows ih •>• 
never suffer in silence. So you iro to ^oe 
pictures three times a week. That's ab >ui 
my average, too. Ann Little. Lasky, Holly- 
wood. Walter McOrail. S I'.ni k. Fort Lee. 
X. J. Others answered 
elsewhere. 



H. .Ml . \\ .. Mhkki.MA.v, Xkh. — Ljf.itc 
(ieorae is Alice Brady's stepmother. Miss 
Brady's own mother, William Brady's first 
wife, died years ago. Miss George is one 
of the leading ligures on the American stage. 
She has a son. Mary Fuller has been retired 
for a !ong time now. I doubt if she'll ever 
return to active participation in pictures. 



KaTHEKIXE. MOOKEKIELD, WeST Va. VoU 

think I fle-erve a pat on the head. H'lw 



and Wanda Hawley? Xo — but I'd like to. 
However — Miss Dorothy is heart-whole 
and fancy-free. Wanda Hawley is ver>- 
much in love with J. Burton Hawley, who 
has been her husband for some time. 
Wanda is a Realart star now and so is 
Bebe Daniels, who was Harold Lloyd's lead- 
ing woman before she went in for drama. 
Are Harold and Bebe married? Well 



(■ W F. 



D. D., F s T o H I A . 
Ohio. — ^L^ny a true 
word is spoken careles;- 
l\ . That man who once 
said "The public be 
damned" was sure'.v a 
prophet. I don't ha\e 
jam on my brea<. any 
mo-e. Elsie Ferguson 
will probably be in 
Japan when you read 
this. She's going to 
rest, not to make pic- 
tures. She was born in 
Xew York, and she 
stands five feet, six in- 
ches, in her stock— 1 
mean in her heel-less 
slippers. Wlu w ! 



D. D.. Blikai.o. 
Yes, prices are terrible. 
Lverytime I go into a 
shop to buy a tie I be- 
come angry over the 
price and argue with 
the clerk. Then I leave 
in a huff — and go some- 
where else and pay 
more. Dorothy Ciish L- 
five feet tall. Bobby 
Vernon stands five feet 
two inches. He's with 
Christie comedies. Con 
stance Talmadge isn't 
engaged. Yes, I know 
there are rumors. 
Charles Ruy's wife was 
Miss Grant, 



Connie Miller, Lon 
DO.v, England. — X'ornui 
Talmadge's latest re- 
lease is "The Branded 
Woman.'' Miss Tal 
niadge conducts the 
Fashion Department in 
Photoplay and has a 
signed article, illustrated, 
every month. Watchout 
for them. Thanks for 
> our good wishes. 
Please write soon again. 




Cakio. — Sylvia Breamer has 
been married, but ob- 
tained a divorce. Her 
husband was an Aus- 
tralian theatrical man- 
ager, I believe. There 
is a report that Miss 
Breamer is engaged. 
She has the leading 
feminine role in '■.\lha- 
lie," Syd Franklin'? new 
picture. Doris May. 



C. M. L., Shi;ihi:li), 
i'.v— One way to judge 
an intellectual woman 
is by how much she 
bores you. I hearti'y 
approve of higher edu- 
cation for women: for 
instance in the matter 
of dress, coiffure, ami 
I irriaue. Xiles Welch is 
iiiarricci to Dell Boone. 
Welch is a free-lance, 
meaning that he is not contracted lo any 
one company but plays engagements here 
and there. He is the leading man in "The 
Courace of ^L^rl:e O'Doonc" and the fol- 
lowing James Oliver Curwood picture, for 
We-tern \'ita«rapli. His personal a<ldress 
is ()()5o Leiand Way, Los Angeles. I give 
it in this case hccau-e a letter there will sure 
ly reach him and he is hard to keep tra< k 
of. W. v.. Lawrence played oppn-itr 
Fannie Ward in "Common Clay." Fannie 
is living abroad now. 



Artist Stuart Hay's " conception ot a Free Public 
Animated Library in 2020. 

IT IS safe to predict that unless they discover an everlastinj* motion picture 
film in the next hundred years, the animated libraries of 2019 will 
have a terrible time keeping stocked up with reels t>{ the popular novels of 
the Elinor GK'n type. W'e are presupposing that a mere century or so will 
not make any i^reat difference in men. Dickens and Dumas will, no doubt. 
Have the same nice, steady, constant, respectable followinf! as today. And un- 
less putting tbem into pictures peps tbem up into a more lively form, it s dolLirs 
to dou)<linuts that the cans containin)* Professor Huxley s work.« of science \\ ill 
remain dust-covered and unasked for in the vault marked " H. " 



BtLLY, Florence. — 
You have a fine list of 
favorites. Yours are 
mine, too Henry B. 
Walthall, always remem- 
bered as the "Little 
Colonel " in "The Birth 
of a N'ation." appears 
in Allan Dwan's produc- 
tion, "The Splendid 
Hazard." He does fine 
work in it. Mar>- 
Thurman ma>" be 
reached care Allan 
Dwan's company. The 
same Mary who used to 
be such an ornament to 
Sennett comedies is now 
a full-fledged dramatic 
actress — and a good one. 
Mary decided sensibly 
that beauty wasn't 
everything, so she 
pitched in and began to 
learn a new technique. 
She's certainly made 
good. 



M. D. S., WlLLLXMS- 

PORT. P.*. — June El- 
vidge, that statuesque- 
brunette, may be reached 
in care of Mayflower 
Pictures. 400 Fifth .\ve- 
nue. She plays in 
Charles Miller's pro- 
duction. "The Law of 
the Yukon." Edward 
Karle, remembered from 
Edison and Vitagraph- 
O. Henry days, and 
.Nancy Deaver. a blonde 
newcomer, share honors 
with June in this north- 
ern tale. Miss Elvidge 
is Miss Eividnc now: 
she has been married. 



H.\RRY M. F.. Wash- 
ington. D. C — T am 
ver>' sorr>-, but we have 
no record of Ted Lorch. 
Does anvone know Ted ? 



t.ill are you? \'ou're right — it is my bre ni 
and butter, answering all the questions; but 
if these hiuh prices don't come down, it 
won't be my bread and butter any longer. 
I'll be luck\- if I have a crust to nibble. If 
only some of you i;irls would come through 
with the cakes you were goini; to send nv ! 
.\ny Scotch Iri-h girl who can write such 
a uood letter ha* hopes of getting there in 
anytliini: -he wants to do — even journalism. 

B. X., FnxHOKO. — Do I love Dot Gisii 



T. R. K.. Xebr.\sk.\.— 
I would suggest that you 
write to the Talmadges 
- to Xoniia or to Constance, because Xatalie 
is abroad right now — and put it up to them. 
You know I can only give information as it 
is given to me. Louise Glaum was a Triande 
v.impire a few >ears ago. She's still playing 
vamps, but she h.as her own company now 



Bkrnice B. Hernfbfrc, Xtw York Citv. 
— I'm not the P:ditor, child. You can dc- 
|H'nd on that. If I were, I'd never have 
discontinued runnine pictures of screen 
(Covlinufd on page 108) 



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PARisviVAUDOU 



NEW YORK 



The Professor Uplifts 



By RALPH E. MOONEY 



TO the Editor of The Photoplay Magazine, 
Dear Sir: 
It is with trepidation that I take up my pen to com- 
pose this letter. To be plain, sir, I fear for the result. 
Vou have been most kind in suggesting that I, Erasmus Samuel 
Weatherbutton, professor of the conte or short-story at Wall- 
ingford University, might have a Higher Mission in the up- 
lifting of the Motion Picture Industry. Yet I find myself 
able to make but a poor return for your interest. For. sir, 
as I write, I find myself in a condition of such hopeless befud- 
dlement that I am totally unable to fulfill the mission you 
propose for me. I have visited a picture theater, but remain, 
nevertheless, wholly at loss to suggest a program for the 
Uplift and Improvement of the Photodrama as an Art Form. 

You suggested that I fill the post of Critic Extraordinary for 
your journal ; that in such post I review the productions on 
exhibition; and that, having reviewed them, I indite criticisms 
of them and letters of pleasant chatter concerning them, not 
with the simple intention of descanting upon the productions 
from the public's or the critic's viewpoint, but with the Higher 
Motive of Uplift, as explained previously. This, I agreed to 
do. This, I have attempted, but I fear I have failed. 

Your note of instructions informed me that I was to review 
the performance at the Palladium on the same evening. It was 
to be a premiere or first night production. Now, although I 
have long been aware of the existence of motion pictures, I 
ha\'e never found time to witness them and, accordingly, was 
in somewhat of a dilemma as to how to go about the matter. 
A friend, who is accustomed to social procedure, informed me 
that it was customary to wear evening clothes to dramatic 
openings. 

I was put to considerable inconvenience while en route. 



Being the result of a personal investi- 
gation by Professor Weatherbutton for 
the enlightenment of Photoplay readers. 

Firstly, my silk hat has never sat me well and, indeed. I have 
been informed by a reliable haberdasher that my head is ex- 
tremely hard to fit with any style of hat. Secondly, while in 
the army I was so bullied and badgered for neglecting to salute 
officers that the thing has become mechanical with me. Going 
to the Palladium. I met two captains and a lieutenant. I 
knocked my silk hat off three times. 

At the box office I rccjuested the critic's scats and was told 
there were none. I tried to explain, but was so jostled by 
folk about me and so shrieked at by the young woman in 
charge, that I waived the point and placed money before her. 
\ ticket snapped out from a slot .so suddenly that, what with 
the jostling, I lost my hat again and, stooping to recover it. 
lost my nose glasses. When all was set straight. I proceeded 
to the door of the auditorium amid much ill-mannered laughter. 
.'\t this point, let me remark that I was misinformed concern- 
ing the wearing of evening clothes. !Mine were a subject of 
constant and audible remark. 

Furthermore, the theater provided no cloak room, a fact 
which forced me to hold my coat on my knees and to place 
my silk hat beneath my chair. 

As for the evening s production, I found it chaotic and con- 
fusing, with little to hold the interest and certainly with no 
logical conclusion. It was, I grant you, somewhat Dickenson- 
ian in concept, but the producers had failed just where Dickens 
is strongest — in linking the assorted plots together and making 
the conclusion the direct and inevitable outcome of the pre- 
vious actions of the characters. Another fault is the too great 
dependence which motion picture makers place on printed 
legends explaining the matter in progress. It is a terrific in- 
convenience to the critic, busy as he is with note book and 
pencil. I was constantly raising my eyes to glimpse a fading 



87 



^8 Photoplay 

caption and I missed so many of them, while noting down 
important thoughts, that I was often entirely at sea as to what 
was coing on. I merely mention these details and leave it lo 
others lo correct them. A critique may be suggestive, but 
never concrete. 

And now I shall try to describe each fletail of the perform- 
ance as it impressed me. From this, the managers, who, as 
you say. are eagerly awaiting my message, may be able to 
draw inferences that will help them. 

The opening scene of the evenings production I found to 
be meritorious, impressive and understandable. I heard the 
noise of the picture machine, raised my eyes and saw before 
me an inscription which read: "General Pershing Reviews 
Overseas Veterans." A splendid sight and excellently pro- 
duced, except for the fact that the infantry companies did 
not keep so good a front as we were accustomed to in my old 
regiment. 

I saw the purpose of this at once. I flatter myself. The 
author was sketching in his atmosphere. This is undoubtedly 
a good enough technical usage, but. as time went on. I observed 
the man was o\erdoing it. For example, instead of proceeding 
from his "atmospheric" opening to his ston*-. he laid out more 
background, depicting a line of battle-ships under steam. And 
when he went on and supplied us atmosphere from a Philippine 
cigar factory and a reception to the Archbishop of Senegal and 
a sketchy view of the natives of Mozambique, I felt it was 
going too far. 

X'aluable parts of the production were wasted because of its 
creator's fever for detail. With no previous explanation, an 
unfortunate, enfeebled woman was shown, back bent above 
the washboard. After a moment, with a display of faintness. 
she collapses into a nearby chair. Thereupon, with nothing to 
indicate why or wherefore, her husband peeped roguishlv 
through the doorway, winked, and proceeded to" enter the 
room, followed by two deli^'ery men bearing the contrivance 
known as a washing machine. The woman revived, clapped her 
hands, and kissed her husband. 

A caption was then displayed, as follows: 

"Be Good to Your Wife. Buy Her an .\utomoto Washer." 

After which the woman in question was shown sitting in an 
arm chair, reading a book with an infant in her arms, while 
the washing machine performed its salutary functions. This. 
I submit, was technically wrong. If it was intended as a moral 
for the picture it was stated too soon. The end of the per- 
formance, after the wife's trials and troubles have been out- 
lined, after her soul has been laid bare, is the proper time to 
state the lesson of a motion picture. If. on the other hand 
it was intended as a motif, it was acain wrong. The motif, or 
theme-exposition, has its uses in Music, but I do not believe 
it can be applied to motion pictures advantageously. 

Then, wholly without preparation, we were plunged into 
what I take to be the author's comic underplot. .-X succession 
of ludicrous characters here indulged in various forms of horse- 
play which ended in their be-smearing each other liberally with 
pastry. Good enough for dull wit. but as "The Comedy of 
Errors" is to "Twelfth Xight." in relation to real humor. 

On the heels of the comic underplot, came the depiction of 
the author's first main plot. This, based upon the theme-ques- 



Magazine 

tion, "Should a Husband Know?" was melodramatically Inter- 
esting, but dealt with everything else under the sun bu; the 
answer to the question. It told a story of a young man who 
was nervous and who smoked cigarettes visiting a pretty wife. 
Her husband, who was strong and smoked cigars, found out 
about it. He began to hold his head. 

A friend of mine who frequents motion picture exhibitions, 
tells me there are three types of serious photoplay plots: 
( I) That in which a man holds his head all the time. (2) that 
in which a woman holds hers and ^3 ) that in which they both 
hold their respective heads. This was of the first type. The 
strong husband attempted to kill the nervous young man and 
held his head: he was persuaded not to do it — by the wife — 
and held his head: he dismissed them and, when left alone, held 
his head. Then all three progressed through various stages of 
dissolution and poverty until the nervous young man ran away: 
the woman attempted to destroy herself, but was saved by the 
husband, who effected a reconciliation with her and then — 
even at the very last — would sit near her and hold his head. 
Leaving us to infer that a husband should not know? Or 
merely that some husbands should not? Who can tell? 

AH of this was confusing enough, but you may imagine my 
puzzlement when at this point the author jumped in again 
without preparation to a secondary main plot. This was a 
rather indecorous affair dealing with a gentleman who. when 
born, was so affected by a thunderstorm that ever afterward 
he suffered temporary amnesia when it thundered. The gen- 
tleman married the only daughter of an enemy and avowed 
that she should be the last of her line. No issue should she 
beget by him. 

However, during a thunderstorm she took advantage of his 
arnnesia — but why go into details? A baby was born. The 
angry gentleman held his head and suspected his wife. She 
convinced him the child was his own. Thereupon he lost his 
fortune and went away to work. The neighbor, under pre- 
tense of investing the remnants of the woman's personal for- 
tune, contrived to provide her with riches. 

Of course, when the husband had made another fortune and 
returned to his home, he was suspicious of the luxury in which 
she lived. He held his head, then announced he would leave 
her and take his little son with him. Whereupon, in order to 
keep the child with her. she convinced him that the boy was 
not his. Then the neighbor explained his investment proceed- 
ings, the wife was forgiven and — she convinced that incredible 
husband that the baby was his after all, 

.\nd then — then what? 

Then the grand climax? 

The intermingling of all the plots in Dickens" best style? 
The final disposition of the characters of the plots? 
No. None of this. 

With the completion of the third plot, the performance was 
brought to a summary end and we were dismissed with no 
knowledge of what followed in their several careers. 

Information was afforded that those who came late might 
remain to witness a duplication of the material already wit- 
nessed and I departed, hat in hand. 

I carried my hat, of necessity, because of the efforts of a 
tobacco eater who sat behind me. 



■^^4;$^ 3 



Her Alibi 

SHE had read. She had one ambition: to succeed as a film star. But had she not been assured, 
lime and again, via the printed page, that to succeed in the films a young girl must be willing 

to sacrifice everything? Simply everything? 

So she went to the City, and wormed her way in to see someone in authority at her favorite 
studio. 

"I am willing," she said suulfully, "to do anything — anything — to succeed!" 
The authority seemed unimpressed, "\o place right now." he replied. 
She tried another studio, bringing photographs and arguments. 

"I am willing" — again — 'T don't care what it is — I'll do absolutely anything to succeed!" 

They .said they'd put her name on the waiting list. She tried others, each time using more 
heart-throbs in her voice, more transpiircnt stockings, more rouge on her lips. But everywhere she 
met with the same answer: "Nothing lor you." 

Finallv she became discouraced: besides, her money ran out. When she got home she told the 
folks, "it's not worth it. Some girls may do it, but I never could sell my soul to succeed!" 

And they believed her. 



PiioTOPr.AV Magazinf — AnvEnTisiNf, SF.rTiON 



89 





The most humiliating moment in my life 

When I overheard the cause of 
my unpopularity among men 



A CHICAGO girl \vi itt's to iTic : 
"Oh, if I had only read one of 
» 30ur articles years ago! Many 
times 1 have heard women criticize 
voii for publicly discussing such a deli- 
cate personal subject. But I know 
what I Avould have been saved had I 
known these facts sooner, and I know 
that man\ of these women who criti- 
cize you would benefit by taking your 
message to themselves. 

"I learned the facts about myself, as 
unpleasant facts often are learned, bv 
overhearing two girl friends talk about 
me. 

" '\\'hy don't the men dance \vitli 
her,' one of them said." Here came a 
lew words I couldn't catcli, and then 
— 'of course she's imconscious of it, 
poor dear, but she does suffer fright- 
fully from perspiration.' 

"It was the most humiliating mo- 
ment in my life! I, who had pri<led 
myself on my daintiness, had ovtr- 
looked what men coidd not." 

An old fault — common to most of us 

It is a physiological fact that there 
are verv few persons who are not 
subject to this odor, though seldom 
conscious of it themselves. Perspira- 
tion under the arms, though more ac- 
tive than elsewhere, does not alwavs 
produce excessive and noticeable mois- 
ture. But the chemicals of the body 
do cause noticeable odor, more ap- 
paretit under the arms than in any 
other place. 

The underarms are under very sen- 
sitive nervous control. Sudden e.xcite- 



inent, embarrassment even, serves as a 
nervous stimulus sufficient to make 
perspiration there even more active. 
The curve of the arm prevents the 
rapid evaporation of odor or moisture 
— and the result is that others become 
aware of this subtle odor at times when 
we least suspect it. 

How well-groomed men and women 
are meeting the situation 

Well-groomed men and women every- 
where are meeting this trving situation 
with methods that are sitnple and di- 
rect. Thev have learned that it can- 
not be neglected any more than any 
other essential of personal cleanliness. 
They give it the regular attention that 
they give to their hair, teeth, or hands. 
They use Odorono, a toilet lotion 
specially prepared to correct both per- 
spiration inoi>ture and odor. 

Odorono was formulated b\' a physi- 
cian who knew that perspiration, be- 
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yond the reach of ordinarv methods of 
cleanliness — excessive moisture of the 
armpits is due to a local weakness. 

Odorono is an antiseptic, perfectiv 
harmless. Its regular use gives that 
absolute assurance of perfect daintiness 
ihat women are demanding — that con- 
sciousness of perfect grooming so satis- 
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cause of both the moisture and odor of 
perspiration. 

Use Odorono regularly, just two or 
three times a week. At night before 
retiring, put it on the underarms. Al- 
low it to dr\, and then dust on a little 



talcum. 1 he next morning, bathe the 
parts with clear water. The under- 
arms will remain sweet and drv and 
odorless in any weather, in anv circum- 
stances! Daily baths do not lessen its 
effect. 

Saves gowns and cleaners' bills 

Women who fiiul that their gowns are 
spoiled bv perspiration stain and an 
odor which drv cleaning will not re- 
move, will find in Odorono complete 
relief from this distressing and often 
expensive aimoyance. If vou are 
troubled in any unusual way, or have 
had any difficulty in finding relief, let 
us help vou solve vour problem. Write 
toda\- for our free booklet. You'll find 
some verx- interesting information in it 
about all perspiration troubles! 

Address Ruth Miller, The Odorono 
Co., 514 Blair .Avenue, Cincinnati, 
Ohio. .'\t all toilet counters in the 
United States and Canada, ^^c, 60c 
and $1.00. By mail, postpaid, if your 
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Men will be interested in reading 
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Address mail orders or request as follows : 
For Canada, to The Arthur Sales Co., 61 Ade- 
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Paris; for Switzerland, to The Agencie Anier- 
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The Odorono Company 

514 Blair Avenue, Cincinnati, Ohio 



N\1icn vou uTlte to a<li'cnl9tr3 iilcisc lUMal'ti I'lIOToi'L.A V AZI.N'E. 



(,<: 



Pid I lopi.w M u.A/iM. -Adm hi isiN(i Si;( HON 




The Shadow Stage 

( Continued from page 73 ) 



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THE FORTUNE TELLER — 
Robertson 'Cole 

THE poor directors do have a time of it. 
Not >o long ago they were beine called 
to l)ook because they were too free in their 
cxajigeralions of the stories from which they 
look their plots. Xow they appear to be 
swinging to the other extreme and following 
the plots too closely, particularly in the case 
of the ^tage plays they reproduce on the 
screen. "The Fortune Teller" was a failure 
as a play largely because it was not reason- 
ably filled in. The prologue introduced the 
heroine as a dissolute fortune teller travel- 
ing with a circus. As a young woman she 
had been turned out of her home by the 
husband who had unjustly accused her of 
l)ein'.r too friendly with another man. The 
circus plays the old home town and the for- 
tune teller's son, whom she left as an infant, 
comes to her for a reading. She discovers 
that he. too, is in trouble and is able to help 
him. To be near him she quits the circus 
and stays in town. In two years she is es- 
tablished as a famous psychic, without her 
son knowing her real relation to him. Ex- 
■ posurc threatens and she is about to leave 
rather than jeopardize her 5on"s future, when 
a satisfactory explanation is made possible. 
The picture goes back of this episode and 
show~ the original quarrel with the husband, 
but it does not in any way develop the epi- 
sodes concerned with the gradual regenera- 
tion of the fortune teller or the real drama 
of her efforts to help her son and still keep 
her sreat secret, wherein the real suspense 
of the situation lies. Neither are the titles 
properly utilized to make clear the lapses, 
^lariorie Rambeau gives as effective a per- 
formance as the mother as the scenario and 
the director permit, but she is pretty se- 
verely handicapped. 

DOLLARS AND SENS^ — Goldwyn 

GOLDWVN could, if Goldwyn wanted to, 
adopt a general title for all the Madge 
KeniuiK comedies. Call them "Jes' Like 
Madue." and add an explanatory subtitle. 
Tiial for the current showing would be 
•She Runs a Bakery."' In this picture 
Madge again slips gracefully into those easy 
picture making channels in which a succes- 
sion of attractive scenes takes the place of 
a soundly reasoned logic. In "Dollars and 
Sense" she starts as a chorus sirl. is stranded, 
sidesteps the temptations offered by a rich 
man who considers stranded chorus ladies 
fair game and accepts a job in the bakery 
of a young philanthropist who had rather 
'.;ive his bread to the poor than sell it. She 
quickly puts the bakery on its feet, and falls 
in love with the proprietor, but their ro- 
mance is halted when he is taken ill. Then, 
to help the plot, the bakery suddenly be- 
comes bankrupt and Madge is forced to 
reconsider the sale of her good name in or- 
der to raise funds to pay the youth's bill at 
the hospital. She is willing to make the 
sacrifice, but the man who would buy is not 
such a rotter as she thought him, and in- 
stead of taking advantage of her predica- 
ment he arranges for her marriage with the 
baker. A pleasant little short story in five 
reels. Miss Kennedy is daintily effective, as 
usual, and has a personable hero to play 
i opposite her in young Kenneth Harlan. 

AN EASTERN WESTERNER — 
Rolin Pathe 

IV I he only Charles Chaplin does not hurry 
back to the job he is likely to find that 
the only Harohl Lloyd has replaced him in 
the affections of that vast public thai dote^ 
on the rough but often riotously amusing 



comedy of the screen. Lloyd's "An Eastern 
Westerner" presents that agile youth at hia 
best, and its first reels are a perfect sample 
of how legitimately funny a farcical comedy 
tan be made on the screen. Harold's at- 
tempts to avoid dancing the "shimmy"' in 
a dancing place where the wriggling is for- 
bidden, and his later experience in lr>-ing to 
sneak into his room without arousina the 
family, which he would have succeeded in 
doing if he hadn"t stepped on the cat. are 
real bits of unforced comedy. Later his ad- 
ventures in the West are more wildly ex- 
aggerated, and less effective in con.H-quence, 
though the comedy tricks of the usual pur- 
suit and capture, escape and recapture, are 
full of laughable incidents. A burlesqued 
poker game is also ingeniously built up. As 
Chaplin's successor, this bespectacled youth 
is striding forward in seven-league boots. 

THE BOTTOM OF THE WORLD— 
Roberston - Cole 

THERE are more wonders twLxt heaven 
and earth, and within reach of the re- 
cording eye of the camera, than were ever 
dreamed of in the stuffy offices of the sce- 
narioist. The record of Sir Ernest Shackle- 
ton's search for the South Pole, as shown in 
the two-part film. "The Bottom of the 
World." is one of the fine achievements of 
the screen, comparable only to the thrilling 
adventures of the ill-fated Scott's dash north- 
ward some years ago. The director of the 
local theater who gave it the featured posi- 
tion on his proiiram exhibited excellent 
judgment, and the decision to show it in 
two parts, holding over the second chapter 
from one week until the next, displayed good 
showmanship. It is far more holding in its 
interest than ninety-eight out of a hundred 
feature films, and more instructive than any 
number of ordinary educational films. It 
bears the stamp of authority and of actu- 
ality. It literally brings the day by day liv- 
ing conditions, the hardships and the com- 
pensations of the explorers' lot, to the audi- 
torium of a theater. And the fact that the 
spectator knows most of the pictures were 
carefully posed for his entertainment docs 
not rob them of their fascination. It is a 
promise of the finer achievements of the 
screen that will come to view as time goes 
on and the intrepid camera men push their 
way into the weird and allegedly inaccessible 
corners of the world. 

By Photoplay Editors 

THE COURAGE OF 
MARGE O'DOONE — Vitagtaph 

ONE of those tales of the rugged North 
with its red-blooded men and its brave 
women. I don't know why the men should 
he any more red-blooded and the women 
more brave in the rugged North than in the 
rugsed Middle-West, but they undoubtedly 
are. Vou don't mind it when the woman is 
that weird and wistful mite, Pauline Starke; 
and the man a new Niles Welch, who left his 
striped shirts at home and forgot his ar- 
row-collar eyes, emerging a very real actor. 
It s a James Oliver Curwood story, as you 
probably guessed; directed by David Smith, 
brother of .Mberl K., whose work would be 
just as praiseworthy if his name were Jones. 
You'll enjoy this, particularly if you see it in 
July or .August. 'V'ou'll want to go right up 
North, bears or no bears. 

LETS BE FASHIONABLE — 
Iiicc-Paramouiit-Aitcraft 

AS if prohibition weren't enough, alonf; 
comes Thomas H. Ince to rob us of 
one of our next-best things. To make it all 



ETcry «drffrtl»<rnioiil lii rHOTOPr..VY M\<:v/Im 



Photoplay Maoazixe— Advertisint. SErnox 



The Shadow Stage 



9r 



( Continued) 

the harder, the swan song of those cupids of 
comedy, Douglas McLean and Doris May. 
is their best picture since "Twenty-Three 
and a Half Hours Leave." Luther Reed 
has made his funniest scenario from a story 
supplied by Mildred Considine. Reed's sub- 
titles are sure-fire: they scintillate. You're 
with the newly-wedded Langdons from first 
to last, thanks to him. Douglas McLean 
is again a younger and handsomer Willie 
Collier — only more so. Doris May in pa- 
jamas is the Month's Best Optical Moment. 
Any crabbed critic who can sit through this 
without laughing right out, must be either 
blind or insensible. As the exhibitor's re- 
port will say, "You can't go wrong — don't 
miss it." 

THE GARTER GIRL — Vitagraph 

EVERY now and then some write hope 
is hailed as "the new O. Henry." And 
then he fades out. That there is only one 
O. Henry is attested to by this screening of 
his "Memento." Faithfully translated into 
scenario form, very well directed by Edward 
Griffith, a youngster out of Uncle Sam's 
service who is going to show them all some- 
day, and naively acted by that baby-star. 
Corinne Griffith, it is fine entertainment. 
Corinne is Rosalie Lee, a vaudeville girl 
who turns down her well-meaning partner 
to find love in the country and clergyman's 
garb, only to discover that you can't always 
tell who has the garter you flung into the 
audience as part of your act. Rod La- 
Rocque as the disappointing young clergy- 
man who is fond of garters, could not be 
bettered. Earle Metcalfe, an old Lubinite. 
comes back with a wallop as the actor. 
While Miss Griffith herself is a complete 
surprise. Here is one young woman with 
great beauty and charm who becomes a bet- 
ter actress with every new picture. 

BY GOLLY— Mack Sennett-Paramount 

THE month's dreariest comedy. Anyway, 
that's what the program calls it — a 
"comedy.'' Charlie Murray worked hard 
and so did Baldy Belmont. Harriet Ham- 
mond looked her prettiest. But the result 
was one of those things you like to forget 
as soon as possible. Mack must be asleep 
at the switch. 

MRS. TEMPLE'S TELEGRAM — 
Paramount'Artcraft 

AXOTHER one of those serious attempts 
to be very, very funny. If Bryant 
Washburn, one of our best real comedians, 
and Wanda Havvley, one of our best real 
blondes, were not in it — but they are. and 
you've no idea how they help things along. 
A plot that is mostly "business,'' a fat man 
who is played by Walter Hiers, who is funny 
if you like him, Wanda and Bryant — and 
there you are. Take it or sleep through it. 

THE DEVIL'S CLAIM — 
Robertson-Cole 

THERE is a good deal of hocus-pocus 
about "The Devil's Claim.'' The com- 
bination of Greenwich Village and Hindu 
atmosphere is like eating Italian spaghetti 
and chop suey in the same meal. Hayakawa 
is seen as an intellectual vampire who steals 
bright ideas from bright young girls and 
then sells them (the ideas, not the girls) to 
I the magazines. As usual, he is better than 
the story. Colleen Moore makes a charming 
, Hindu-ess, which proves that a lady's ability 
need not be limited to her name. 





August Nights 

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Don't put aside your Puffed Grains when breakfast ends in 
summer. Children want them all day long, and there's nothing- 
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taste like food confections. Yet every morsel is whole wheat 
with every food cell blasted. 

The finest foods ever created 

Puffed Wheat, Putted Rice and Corn Puffs are the finest grain foods in 
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Never were cereals so enticing. The grains are fairy-like in texture, the flavor 
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Yet they are major foods, with every food cell steam-exploded, so digestion is 
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They will take the place of pastries, sweets, etc., if you serve them all day long. 
-And at meal-time they will make whole-grain foods tempting. 



Puffed Wheat 



Puffed Rice 




Corn Puffs 

On ice cream 

The Three Bubble Grains Puffed Grains taste like airy nut- 

meats, and they melt into the cream. 
The dish is made doubly delightful. 

Puffed Grams are made by Prof. .Anderson's process. A hundred million 
steam explosions occur in every kernel. They are the best-cooked grain foods 
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PiiOTOPl.AV Maoazim: — Advertising Section" 



The Shadow Stage 

( Continued ) 



A Single Drop Lasts a Week 

Flower Drops— the most concfntratf-d and 
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A sinirle drop lasts a w<-fk. 

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Gray Hair Disappears 

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FORBIDDEN TRAILS - Fox 

ACO\VBO\' is named a; a guardian to 
a beautiful sirl. The cowboy is Buck 
Jones and the !;irl is Winifred VVestover. 
We never saw such a troublesome child. She 
is continually getlins mi.xed up with bandits 
and kidnapers. The cowboy should have 
checked her in a nice quiet orphan asylum. 
But he doesn't. He marries her. A lively 
picture, but, as Sherlock Holmes misht say, 
elemental. 

THE FOOL AND HIS MONEY— 
Selznick 

EUGEXE OBRIEX in a George Barr 
McCutcheon story. .-^ picturesque young 
author hides from the madding crowd in a 
Swiss castle. A lovely lady (played by 
Ruby De Remer) flies to that gorgeous spot 
for protection against her cruel husband. 
The lady is an .American heiress and the 
husband is an Italian count. That's why he 
is cruel. Pretty romance, pretty snow 
scenes and a pretty light between the author 
and the husband. And, as we have said, 
Eugene O'Brien in a George Barr Mc- 
Cutcheon story. 

JUST A WIFE — 
National Picture Theatres 

TUST a Wife. Just a film. Eugene Wal- 
J ter's stage play is not a great success in 
its warmed-over form. Perhaps this elabo- 
rately devised plot belongs to the stage. It 
has drama and situations. You miss any 
human appeal. It is stilted and unnatural. 
However, we will give three silent but well- 
meant cheers for Lcatrice Joy, who makes 
emotional acting positively painle.-s — to the 
audience. 

"NO. 99" — Hodkinson 

N.'\l\ E and merry entertainment. J. 
Warren Kerrigan is still seen as a con- 
vict who, with the help of a pretty young 
person, walks into a houscparty in prison 
arcy and emerges its honored guest. We 
knew all along that he had been falsely ac- 
I cused of the crime that put him under such 
: a cloud during the first reel. Bui "Xo. 90"' 
is harmless entertainment. Mr. Kerrigan 
wears a monocle. 

WOLVES OF THE STREET — 
Artograph 

DO you remember when the man who 
owned the movie theater also took the 
tickets? Do you remember when the girl 
in the booth was a'so the chief soloist? Do 
you remember when pink, blue and green 
slides were used for the illustrated songs? 
Do you remember when Tom Ince was mak- 
ing Indian pictures? Do you remember 
\\hen Mary Pickford was a face and not a 
name? Do you remember the sort of 
"thrillers"' that were shown then? When 
you sec "Wolves of the Street" you will 
think of them happy ilays before the war 
tax and the super-extra deluxe special. This 
picture was made in Denver by a new com- 
j pany and there is a chase and a knock- 
down tight in every scene. Just like the 
good old days. 

I THE THIRTIETH PIECE 
OF SILVER — Amcric.111 

THIS is a lilm version of the old ;:dme 
"button, button, who's uot the button." 
A collector of rare coins his one piece that 
lie values above all others. Xo wonder; it 
was the thirtieth piece of silver given to 



Judas for the betrayal of Christ. The gen- 
tleman also has a wife, whom he prizes 
highly. He lives in fear of losing his two 
treasures. The coin is constantly disappear- 
ing and the wife is constantly threateninc a 
domestic row. The picture is foolish, but not 
dull. Margarita Fisher and King Baudot 
have the leading roles. 

LOVE'S HARVEST— Fo.x 

LON E'S Harvest " is a light romance that 
has walked right out of the covers of 
a story book. It is straight from the nevir- 
never land of popular fiction. Shirley 
Mason plays a child role and only grows 
up in time to slip into the arms of the hero 
in the last reel and tell him that love is the 
most wonderful thing in the world. A dog 
named Buddie figures prominently in the 
story. Buddie does tricks and s*j does 
Shirley. 

THE FLAPPER — Selznick 

A PERFECT nut sundae jag b "The 
Flapper." It is all about the goings-on 
of a silly, harmless and charming boarding 
school flapf)er who wants to be tough and 
doesn't care how many ice cream sodas she 
drinks. It is a resular banana frappe of a 
picture; amusing without being inebriatine. 
Olive Thomas is the most delectable flapper 
that ever evaded a chaperone. Her tiny 
step-sister has an important supporting role 
which she plays enchantingly. 

THE MIRACLE OF MONEY— Pathe 

WHEX Hobart Henley pa.sses the age of 
forty- live, we hope life will be good 
to him. For he is a staunch champion of 
middle age. When all the other directors 
are demanding youth, he turns his camera 
on those who have passed beyond first ro- 
mance and deals gently with the.«e bachelors 
and spinsters. Do you remember "The Gay 
Old Dog"? "The Mirac'e of Money" is its 
successor. Two old maids uo on a hunt for 
life, love and happiness. Their quest is inid 
with touches of humor and sentiment. 

THE ONE WAY TRAIL— Republic 

EDYTHE STERLIXG is a lively youns 
woman in "The One Way Trail." Just 
because she spells her name with a "y" in- 
stead of an "i" you need not think she is all 
lady-likc and refined. In a story of the 
lumber country, she is in the thick of the 
thrills. The story is just the conventional 
melodrama but there are some interesting 
details that make the picture cnlerlainina. 

THE TERROR- Fox 

MORE Tom Mix stunts and more We>tern 
thrills. This time Tom is a sheriff and 
it is his duty to find out who is siealinc 
so d from the mines. Chases and gun -play 
keep him fairly busy. Mi.x must slay up 
nights thinking of new ways to break his 
neck. 

THE SHADOW OF 
ROSALIE BYRNES -Selznick 

IN" movie stories of twin si>liTs, why is one 
lister good and the other one bad ? Why 
does the good sister have to suffer for the 
misdoincs of the bad one? Why do pro 
diicers consider one dual role picture a neces- 
-ity in the screen cancer of any actress? 
.\nswer these questions and we shall tell why 
"The Shadow of Rosalie Byrnes'" came to 
Ih". Filaine Hammerstein, who always sug- 
gests common .sense and a good disjxisition, 
does her best with unconvincing material. 



I•^^r) uiheillTn.eiii III riliiT"?"! \Y MxnxZINi: la siiirAntrril. 



PiKiKii'i.AV Magazine— AnvFRTisiNT. Sivciiox 



The Shadow Stage 

( Concluded) 
BURNING DAYLIGHT— Metro 

THIS tale of Wall Street and the Klon- 
dike is served up in Jack London's best 
fashion. After a great run of Western 
stories you realize that Jack London pos- 
sessed an art that is not easily imitated. For 
''Burning Daylight," outwardly just like 
many other tales of the East and We-t. ha> 
an inherent story value that makes it better 
than average picture entertainment. Mitchell 
Lewis plays the role of the miner who nearly 
meets his Waterloo on Wall Street. Helen 
Ferguson is a charming heroine. 

SCRATCH MY BACK— Goldwyn 

RUPERT HUGHES' comedy is as origi- 
nal as its title. Moreover, the title 
isn't just a bit of flippancy. It has some- 
thing to do with the story. And what's the 
story? It is too good to describe. 

"Scratch My Back" is something new. It 
is told with a combination of artlessness and 
sophistication that is enchanting. The sub- 
titles win the floral horseshoe that goes to 
the person who can write captions that are 
funn\' without being obnoxious. Mr. 
Hughes may be an Eminent Author but let 
us not hold that against him so long as he 
can be so merry and bright. Sidney Olcott 
helped a lot with his direction. T. Roy 
Barnes makes his screen debut in this pic- 
ture and Helene Chadwick is the leading 
woman. 

Just this much about the story: a gentle- 
man who always does what he wants to do 
scratches the back of a strange lady (or ihf 
strange back of a lady ) , as she is sitting in 
the theater with her husband. Does she 
have him arrested? No, she is grateful. 
Does she rid herself of her husband and 
marry the gentleman? No, she does not, 
nor does Mr. Hughes hint at such a thing. 
It is a picture that is different. 

NOTHING BUT LIES — Metro 

A WILLIAM COLLIER farce that has 
been transferred to the screen and to 
Taylor Holmes. It is too mechanical to be 
amusing, even though Taylor Holmes does 
his best to please. Justine Johnstone (ask 
any man-about-town who Justine Johnstone 
is) brings her blonde beauty to the produc- 
tion. It is her first appearance in the deaf 
and dumb drama. We prefer to see her on 
the stage. 

EVERYTHING BUT THE TRUTH— 
Universal 

IT is not a sequel to the Taylor Holmes 
picture. It is just another fibbing farce 
that jumps around like a Mexican bean. 
And, like the Mexican bean, it gels no- 
where. However, it is told in sprightly 
fashion and it has fairly amusing subtitles. 
And there is plenty of Eddie Lyons and Lee 
Moran. 

THE PATH SHE CHOSE — 

Universal 

IF you think this is another "Why Girls 
Go Wrong" melodrama, you are wrong. 
It is a sensible and human interest story of 
why girls go right. The heroine is a girl 
who emerges from a sordid family life in 
the slums and makes a success in the busi- 
ness world. Her story has true-to-life ap- 
peal. The girl is pleasingly played by Ann 
Cornwall. 



NEXT to Barthelmess and H. R. H. the 
Prince of Wales, Constance Talmadge 
is probably the most "reported engaged" 
person in the world. Once she was even 
reported engaged to Dick Barthelmess. Then 
to Irving Berlin. A rich tobacco merchant 
is the latest ''fiance,"' but Miss Talmadge's 
intimates say there is nothing in it. 



m 



K 



In 



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AGNUTT 




D[I) voii know tluit every Swedish inovie 
.lircctor sj)i-nks al least one foreign language? 
( Jencrally it is Sw edisli. 

AVOCNCi nuin should kiss a s'rl on either 
the left or the ritjht check." says a writer 
on hvnienc in a weekly paper. Whereupon Mr. 
J'uiu'li remarks that, 'as the oiition of either 
cheek i« yiven. many young men will no doubt 
hesitate helween the two. 

CIII'KR itp. In Budapest drunken- 
ness is "under certain circum- 
stances" ))unislial)le by death. 

"C.\Y, Harry, we've got to figure 
••^ out some way to get hack that 
oil stock we've been selling." 
"What's the idea?" 
"I just got a telegram saying the 
darned property really has oil on it." 

— L «■/<?. 

DO you dream at night? Then 
you're all right. .\nd here's sotiie- 
thing else for our directors to worry 
about. For criminals do not dream. 
They are essentially men of action 
whose minds never wander from pur- 
poses to morals, and consc<|uently 
their sleep is undisturbed by any 
nightmares. 

A bunch of investigators got busy 
on this and established it as a fact. 
Their recor<ls show tliat of one hun- 
ilred and Iwcnty-five criminals under 
observation not one was disturlxd in 
any way in his slumbers. 

And you always thought they «ere 
haunted at night by their crimes. 

THE former infantry major, now 
in civics, sauntered into the bar- 
ber sliop. ICight barbers snapped out 
of restful postures and stood stifily 
by their chairs. The major hesitated, 
feeling there was something he .should 
ilo about it. Then it all came to him 
in a flash. 

"As you were!" he bellowed. 

— American Legion Weekly- 

OXr. fnxls it harder and harder to 
live within one's income these 
days, but suppose one had to live 
'.villioiit it! 

YOU fellows who are being rushed 

* by the girls this year, just sup- 
pose you lived in New Guinea. Every 
year is. Leap Year there! 

The men consider it below their 
ilignity to notice women at all, nuich 
less make overtures of marriage, 
ronscqucntly the proposing is left to 
the women. And, yes, there's a 
siring lied to it. 

When n New Guinea woman falls 
in love with a man she sends a piece 
of siring to his sister, or to anothe 
lady relative, who tells llie favorc I 
man that the particular woman is in 
love with him. Xo courting follows, 
however, for such a pursuit is con- 
'idereil a waste of time. If the man thinks he 
would like to wed the lady he meets her alone 
ami thry decide whether to marry or drop the 
idea. 

pOS.SIIlI.Y it w.ts in New Guinea that the 

* '■lory originateil aboul I lie unromantic young 
fellow who was anked whether, after he bail 
taken a ymnig lady hoim- from the ihealei-. he 
li;id kissed her. 

"No!" he replied. "I figured I had ■lone 
about enough for Iter for one cveuing." 

VT/ IIKN" the proicctcil trans-. Vustrali.ni line 
*• fiom flodnadatta to I'ort Darwin is com- 
puted the Iravrlrr on it will be coiifronteil with 



what will be, probably, the dreaviesl railway 
ji;urnev in the world. 

The greater part of the route lies through a 
ilesert region, practically devoid of life, and ut- 
terly uninteresting. 

At present, however, the unenviable distinc- 
tion rests with that portion of the Southern Pa- 
cific Railwav which runs through Arizona and 
Southern California. Here, for a distance of 
nearly i.ooo miles, the traveller sees naught save 



w 




There's something ahout'you. old thing, that stirs me strangely. 

— Courttsy London Sketch 



.-ilkali desert, whose evcr-shilting sanil dunes 
fornieil, in the oM nre-railroad days, the only 
graves of many Innn'reds of poor wretches who 
sought to reach falifornia hv_ what w.i» tlien 
known as the ".Southern Trad." 



"Cl'PPOSrNG t give you your supni i . ' --.iid 
1^ the tireil-lonking woman, "what w ill ymi do 
to earn it?" 

"Madam," said the wanderer. "I'd give you 
lie .ipportiniity ov seeing a ni:in go t'roo a wliole 
meal w ithout ' fnvlin' fault w ill a -ingle t'ing." 

The wiimaii thought a moment, and then told 
him to come in, nn<l she'd lav the table. _ 

— Loudon Ofi'iion. 



U-L. Monte Carlo is in full swing now. 
Money is passing over tlie tables at the 
rate of a billion and a half a month. 

Sl'NKF-R Abaji Biscy, a Hindoo scientist, 
has invented a crook-proof ouija Ihiard. It 
is made of steel and constructed so that those 
working it cannot see what it writes. 
He does not say whether it is fool- 
I'roof. 

WHILE thousands of persons are 
taking the ouija board .piite 
-eriously — it does do funny tlur ts. 
• I'lesn't ' it? — still its manufact.irers 
assure us that it was only intendi-1 as 
a toy. and the name — there's nothing 
mysterious about that cither. It's just 
the Trench oui and the (jerman ja, 
meaning "yes, yes." 

IT is surprising ■ how many uscf ;! 
things come into general use sitnji'y 
on account of some slip. HI itt.-.i;- 
pai>er, for instance, was the re- ; t 
iif a workman's spoiling of a l>.;i. 'i 
into which he had forgotten to 
any sizing material. Nobel ■li-i 
ered dynamite by a slip, and the 
bayonet was the result of a soldnr s 
suggestion that, as the powder w.is 
done, they should lix their long 
knives into the barrels of their ritle~ 
and charge. 

But one of the funniest .iccidenta' 
discoveries relate? to bottled beer. In 
the reign of Queen Mary a certaiti 
llean of St. Paul's and Mastir i 
Westminster School had to tly t i ■ 
Continent for his life. He was ai c • 
by the silvery Thames al^ thi • 
the warning reached him. Some ; - 
later he not only returned to l.i:^- 
land, but to the very spot for the \-cry 
same purpose, with rod and line. 

(Jrowing thirsty, he rcmemhci ! 
that he had left "a bottle of hi < 
the hollow of a neighboring tree v. n 
he had suddenly taken night 
years before. The bottle was : 
but when he removed the c.nk :! 
went olT with a bang. 

I SEE that the old liglit-hous* 
where we used to picnic on the 
shore has been destroyed by ,1 storm." 
Mr. Biggs observed, looking up from 
his ]>aper. _ , „ 

"Well. 1 m not surpi;iscd. Mrs 
Biggs resiiondcd as she picked un hi • 
sewing. "I always said it won' 1 
Kcallv. I can't understand lu'". 
Government is of such poor judcr..^ ■ 
as to build light-houses in such c\ 
l>osed places as thev do."— The Honu 
Sector. 

Y(TL"\'E probably heard that lin. 
pulled by some punster, " h' 
questioned as' to his ancestry, t' • 
iiseJ to have some Scotch in him. .\lso t! ■ 
about the chap who was said to be of ^ 
rxuaction because he coubl extract so 
Scotch from — . But Sir Thomas Mackcniu 
( .nnmissioncr of New Zealand, tell- a new 

The New Zealand forces — a part of the fan 
■ •us \nzac9 — contained quite a large number 
natives and one of the dusky warriors waited o . 
Sir Thomas, claiming that he was a .Scotsitiar 

• Why do you claim to be a .^^cot ?" asked Si 
Thomas. 

"Well," replied the Maori, "rvc Scoltis! 
blood in my veins. >jv grandfather .tie a Scote'. 
Prcgbvtcria'n minister.' 



94 




'T^O make milady more beautiful, Nadine 
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are Nadine's gifts to lovely women, to meet 
every toilet requirement. 

And the assistance they give milady will enhance her 
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Milady will have a soft, smooth, velvety skin, with just a 
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Millions of discriminating women have learned the old, 
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You can satisfy your Nadine needs at your favorite toilet 
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NATIONAL TOILET COMPANY 

Paris, Tennessee 



Kadi ne Pr excavations 

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fragrance. 

Nadine Talcum 30c 

Nadine Face Powder 60c 

(Flesh. Pint. Brunette. White) 

Nadine Flesh Soap 30c 

Nadine Pou^e Compacte. . 50c 

(Light. Medium. Dark) 

Egyptian Cream. . . . 60c 

(Heals and Whitens) 

Nadmola Cream (2 sizes) 
(For clearing complexion) 

60c and $1.20 





NADIMOl_A 

THe SKiNPUCi^ lEO. BECOriMeNOEC "^ob Cue 

IMC Twt EKiN OF BLEMISHES 

VC AS Oi'*tCTiiD FOn A Hnt*%0- 
LllK.rU OF ■"'"I IT «>H.L RCMOVS f >ItCKl.ti LIVtK 

3*i.uo»-»»«a. ium tf Bi.AC~- "f^a 

OTMtn OiSCOuOnATtOMS 




drink 




Unusual delicious 
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quality — these are 
the features which 
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The exclusive ^ ard process 
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fruit with finest sugar and 
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at fountains or in bottles 

Prepared by OraniJc-Crush Co. 
Chicago 
Laboratory, Los An^elct 
Stnd for frft hook. " The Story *f 
Orange CrusA^' 





ancf 



Real news and inter- 
esting comment about 
motion pictures and 
motion picture people. 



/ CAL. YORK 



PUBLIC sentiment is a chameleon. And 
never more so than in that romance 
which culminated in Mary Pickford's mar- 
riage to Douglas Fairbanks. At the rumor? 
of its budding public sympathy seemed to 
be with Mrs. Beth Sully Fairbanks — until, 
as soon as she had obtained a divorce from 
Doug, with a reported monetary compensa- 
tion of something like a half million dollar.^, 
she married James Evans. Mary Pickford"; 
followers, particularly those of the Catholic 
faith, received a real shock when she 
divorced Owen Moore, whom she had 
married at seventeen. Her marriage to 
Fairbanks capped the climax of public dis- 
favor. But now, with the Nevada court 
instituting proceedings to investigate the 
Pickford-Moore divorce, the pendulum has 
swung again, in favor of the famous newly- 
weds. Says Old Public Opinion : '"They're 
married now — let 'em alone I"' And we hope 
the matter will rest there and that Mary 
Pickford and Douglas Fairbanks may be 
permitted to have a real-life honeymoon 
that will last a long, long time. 

PRESIDENT WILSON has become a 
most ardent movie fan. During the 
long days of his illness, nothing entertained 
him so much as a reel or two of film. Hard- 
ly one day passes now that he does not 
call for his projection machine and operator 
to reel him off the latest comedy — for 
comedy is his preference, and one good one 
is always shown at every performance. But 
if Woodrow Wilson likes one form of screen 
drama better than another, it's a detective 
film full of thrills. 

CHARLES ABBE, a character actor, who 
is playins a pauper in a forthcoming 
production with Corinne Griffith, came 
down one morning in the elevator of hi.- 
hotel in Charleston where he was on loca- 
tion with the Griffith Company, with his 
make-up on and dressed in the nondescript 
dilapidated attire of "Old Hank Dawe." 

Several prosperous looking Southerners 
were in the car. One of them studied Abbi- 
closely, trying to reconcile his refined, clean- 
cut features, framed by his Baconesque 
white hair, with his poverty-stricken attire. 
As Abbe stepped from the elevator the 
Southerner remarked to his companion: 

"Say, Jim, this old clothes scheme is a 
great thing to beat the high cost of dress- 
ing. I think I'll put on overalls, too." 




The answer to Mary Pickford's advertisement for an equine wreck: Lavender, who 
appears in "Suds."' So fat did he become from good fare that toward the end of the 
picture he had to be made up to look as if he were really on his last legs. It s a new 
Mary in^this adaptation of ""Op o' Me Thumb. " 



AFTER the war was over, Roi)crt War- 
wick walked into a film office in hi- 
uniform, his overseas cap. and his Sam 
Browne belt, and smilingly signed an ad- 
vantageous stellar contract with Famous 
Players-Lasky for S_?,ooo a week. Now he 
is suing that company for ^525,644. 23, for 
alleged violation of contract. The story 
goes that Warwicks pictures failed to get 
over in proportion to the salary he re 
ceived. The powers of Paramount offered 
him an alternative: would he take a salar\- 
reduction and play supporting roles? 
Warwick would not. Famous decided it 
couldn"t lose any more inoni-y in a legal suit 
than on Warwick"? pictures, so they simpK 
let him go ahead and litigate to his hearl'.< 
content. 

MRS. MAY PRESTON DEAN has dis- 
covered a unique way of adding to her 
fund for the Los .\ngeles Orphans. Her 
daughter Priscilla was married a few months 
ago to Wheeler Oakman. Both arc pro- 
fessionals and therefore temperamental. So 
Mother Dean made a rule. It was, ■'Ever\ 
time Priscilla and Wheeler have words, the 
part)- who started things must place one 
dollar in the bank on the mantel.'" And 
although the Oakmans are happier than 
most married couples, you"d be surprised to 
know how much that little old bank is hold- 
ing ! 

JUNE WALKER, the brune baby vamp 
of Clifton Crawford's stage comedy, "My 
Lady Friends," has been signed for film 
service, as Photopl.w predicted sometime 
ago. She will be Bobby Harron's leading 
woman in that young man's first stellar 
vehicle. Miss W^alker is not new to pic- 
tures: she was an extra at Essanay in the 
good old days. 

OF the many film folk booked for foreieii 
trips, only a few really sailed. The 
whole Talmadgc family, including ^lother 
Peg, Constance. Natalie and Norma Tal- 
madge Schenck announced their intention to 
depart for Europe early in May but only 
Mrs. Talmadge and Natalie got across. The 
rest of the family, swamped with work right 



now, may follow later. John and Anita 
Loos Emerson have postponed their 
scheduled sailing. While Mr. and Mrs. 
Douglas Fairbanks, who had made all plans 
for an early voyage, were forced to cancel 
their bookings and stay at home. Their 
manager says it's because they must oblige 
United Artists with new releases. Gossip 
says it's because Mrs. Charlotte Pickford 
didn't like to be left at home. She has been 
ill. but accompanied the honey mooners to 
Manhattan. Mary's mother, comrade and 
guardian until Fairbanks came on the scene, 
naturally finds it hard to play only an at- 
mospheric role in one of the world's greatest 
romances. 

PRISCILLA DEAN has utlered against 
the overall craze. She doesn't think it 
will last; what's more, she doesn't approve 
of blue denim for girls. 

"Personally," saifl Miss Dean. "I should 
just as soon see a woman walk down the 
street in a bathing-suit as in a pair of 
overalls." 

"I'd sooner," remarked Hoot Gibson, who 
overheard. 

WILL ROGERS is one of the few motion 
picture stars whose mail is not clut- 
tered with requests for autographed photo- 
siraphs, scented notes and other flatteries 
usually received by film celebrities. For 
one thing, he boasts of his love for his wife 
and their four children. .\nd besides, ho 
isn't the matinee idol type ot hero. 

Not long aso, however, a large square 
envelope came to him by special delivery. 
He opened it and read: 

"Dear Mr. Rogers: 

"All my life I've been the butt of my 
family because I'm the homeliest man in 
town. They are all pretty good looking 
folks, but I'm a sort of throwback that 
don't seem to belong. Now. they tell me 
you've got a reputation along that line, so 
I'm writing you to send me a large photo- 
craph of yourself to hang next to my shav- 
inc mirror for consolation. 

"Sincerely yours, " 
(Name deleted to spare writer's feelings.) 



97 



98 



Bp T 



Loved B>^ 
CHildrerv? 




PiimoiM. A^ M \(.\ziM-; — Af)vkktisin(; Skchon 

Plays and Players 

( Continued j 



I JAP ROSE 
^' SOAP 

If you could see a cKemical analj'sis 
of tKis ultra refined toilet soap ^ou 
tOouId know vJK]? it is al'cOa>'s so 
pleasing and refresKing to use, and 
vjKj) it lea\)es the skin in suck per 
feet condition. 

You tOouI<J know too, the cWiUren 

lo-Oe it. And you would know that it (J what 
its delicate transparency suggests — PURE. 

Roses in tlie cKceks, flufliness in tKe 
hair, fragrant cleanliness everytOKere— 
that's Jap Ro 





lamous Ff?ENCH Depilatoo' 

for rGmovin^ hair 

A <tp|i>'Atclv iMrfiiinccI poudcr: removes hair, leaves skin 
siunoth, white; lor arms, limls, lace: 50c. also $1.00 siJ^e 
whicli in< litiles cold cream, iiiixing cup and spalula. At 
drUK and <lcii.mment stores. 

Semi lOc for Mai siimiAe and booklet. 
HALL& RIICKEL, 112Waverly Place. New York 




'1^ Do ^ ou Want a Vouthlul 
BlOOMISti COMPliXION? 

USE 

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Som. tl.inKunusual. jusl 
what you are lookinp 

for. It fmpnrts to the comploMon n poft and 
velvcl.v tfxturi' nnd nouiTBlirH the tismii'B with- 
out injiirinit the nkin. Tr.v Howon Hentilifier 
once nnd yiu will lie ili-lit;hted. I'rire iVic. 
If your dfftlpr mnnnt Kupplv you. will 
liinl] II to von po»tii«li1 on rri fliit nt 63. 
ROSllN TOli n (0 . 1299 McAlhsta Sl, SAN FRANCISCO. TAl. 




For centuries sages have sought the secret of successful matrimony. It remained for Cecil 
De Mille to give it away. It seems to be up to the wife : A'f»rr cniwy )oiir huthand white 
he is shaving. If all better halves followed this rule, all homes would be happy — and 
then what would Mr. De Mille do for a living? It Ttw inconsiderate of Gloria Swanson 
to insist upon Tom Meighan buttoning her up the back at this crucial moment, wasn t it? 



WE should like to know — why all of 
David Wark Griffilh's brightest stars: 
Lillian Gish, Bobby Harron, and eventually 
Dick Barthelmess are branching out for 
themselves? In the new Harron pictures 
to be released by Metro, D. \V. will have a 
supervising power; but his stellar blonde 
who was never a star while she worked 
with him — Lillian — who will direct her? 
.^nd who will Griffith find to take her 
place? Lillian is said to have tired of see- 
ing her name always in the supporting cast, 
although exhibitors all over the country 
were fond of billing her above the produc- 
tion, much to the displeasure of Mr. 
Griffith's business office. It is rumored, too, 
that the younger Gish, Dorothy, is cliafing 
at the Griffith reins and soon will leave the 
camp. And why did Thomas Ince separate 
those heavenly twins of comedy, Douglas 
McLean and Doris May, just when every- 
one was beginning to like them? 

GL0R1.\, Gloria— who has Gloria? 
This is one of the leading questions in 
filmdom today. Miss Swanson, who first 
became famous for her bizarre oriental head- 
dresses and costumes in Cecil DeMille's 
domestic dramas, is now in retirement as 
Mrs. Herbert K. Somborn, wife of the 
president of Equity Pictures. But Para- 
mount -.Artcra ft ays it has Gloria tied up in 
contracts until January i, lo:,;, while 
Gloria's husband says Gloria's contract is 
up December 1020. Gloria meanwhile, 
as has been noted before, is in private life 
awaiting a most interesting domestic event. 

BORN to Mr. and Mrs. Tom Forman, on 
May 4, a son. Tom, formerly a Icad- 
iim man of high visibility, turned scenario 
writer and then directt-r for Lasky. To Mr. 
and Mrs. Robert McKim, also on May 4. 
a daughter. M(Kim is one of the best — or 
worst, depcndini: upon your viewpoint — 
villains in relluloirl, while his wife, Dorcas 
Matthews, is well known as an actress. 



MR. AND MRS. SHLLDON LEWIS 
have deserted the flicker drama for 
the varieties. Lest you forget. Mrs. Lewis 
is professionally know n as \ irginia Pearson. 

THE latest and wildest rumor is that 
Madame Olga Petrova will go to the 
Orient next September to make a picture in 
which she will have the cooperation of the 
Chinese government. 

BEG your pardon; the latest wild rumor 
is that former President William 
Howard Taft is the head of a new film 
syndicate, which will film patriotic features. 
Mr. Taft will be remembered as the rotund 
sientlenian who at one time figured so large 
ly in the news-reels. 

CECIL B. DeMILLE will continue to 
sive hectic advice to married folks via 
the Paramount -.\rtcraft screens for five 
more years. They say he could have gone 
with almost any other company. But who 
wouldn't rather be a director-general of 
one larce concern than merely an associated 
director or producer or something? 

TULIEX JOSEPHSOX. whose reliable 
J remingwood has spelled out many a 
clever scenario of small-town but not sm.ill- 
time life for Charlie Ray, has left Ince for 
Famous Players. Josephson it was who 
received the accolade from this magazine, 
which hailed him as "the New Write Hope " 

IT is quite likely that Madge Kennedy 
will leave the Goldwyn Company at the 
end of her present contract, thereby follow- 
ing in the footsteps of Pauline Frederick arii! 
Geraldine Farrar. Samuel Goldwyn say^ 
that while he was in Paris he engaged a 
new French star, a lovely iiirl, nineteen year* 
old, who has had some experience in Fri'ndi 
productions. But he won't tell anyone h< r 
name. Possibly he is learning to pronoumt 
it. 



Erory adi'FrllM.'m.Mit In mOTOPLAY MAGAZI.vr Is niarwilwa. 



Pjiotofi.ay Magazine — Advertising Section 



99 



Plays and Players 

( Continued ) 

TEDDY SAMPSON' created, directed and 
starred in a pt-rjonally conducted serial 
drama that might be entitled "Running the 
Border" or ''How I Assaulted a Policeman," 
the other evening at Tia Juana, the famous 
resort just across the line from San Diego. 

Teddy and Lottie Pickford made the trip 
to see the ponies run and watch the green 
tables and the numbered wheel. Along 
about the witching hour in the evening when 
courage is high, Teddy disagreed with a 
Mexican gendarme about something and em- 
phasized her feelings by slapping his face. 

When part of the Mexican army arrived 
to arrest her, Teddy had disappeared, and 
they failed to locate her. 

As a matter of fact, the diminutive star 
hid in a food cupboard in the kitchen, un- 
til the lights were out, when a couple of 
Los Angeles men of influence, who knew her 
and didn't wish to leave an American girl 
in such straits, disguised her as a boy and 
'Tan the border" with her. 

Now Teddy has decided to let the Mexi- 
cans run Mexico any darn way they please. 

COSMO IL'\MILTOX, who is working 
with William DeMille in the prepara- 
tion of his new novel "His Friend and His 
Wife"' for early production, says he is go- 
ing to teach his daughter to darn his sox 
and consider it a privilege. If he means 
it, he"d better keep her in England. If she 
comes to Hollywood, where a good many 
women earn salaries of enormous propor- 
tions, he may get awa-y with the sox but 
he"ll have an awful time with the privilege. 

M.\RY ALDEX, who has just completed 
the leading role in "Milestones,"' is 
planning a trip to England in the early fall. 
Whether she will make pictures there is not 
yet known, but she says since so much 
of her mail comes from that section of the 
globe she wants to go over and get ac- 
quainted. 

ARTHUR XELSOX MILLETT has been 
granted a divorce from his wife Xeva 
Gerber, on the grounds of desertion. Jane 
Xovak is suing her husband, Frank New- 
burg, for divorce. The Newburgs have a 
three-year-old daughter. 

WE have discovered the meanest man in 
the State of Pennsylvania. He is not 
a censor, but the man who robbed a little 
girl of her shoes while she was wntching a 
picture. The little girl had come into the 
theater to see her particular celluloid idol, 
but it must have been one of those long 
and Capitol programs because while the 
little girl was waiting for her idol to appear, 
.=he fell asleep. Her shoes were unlaced 
and stolen before she awoke. W'e don't 
know how she got home. 

MRS. ELEAXOR H. PORTER, author 
of "Pollyanna," which Mary Pickford 
has immortalized in celluloid, died at her 
home in Cambridge, Mass., the last of May. 

DLTRIXG her husband's absence in Xew 
York on business, Florence Vidor was 
loaned to the Thomas Ince company to 
play a leading role in ''Beau Revel." King 
Vidor has purchased Clare Kummer's stage 
play, "A Successful Calamity," for early 
production, and Mrs. \'idor will appear in it. 

TAMES HAI.LOCK REID, better known 
J as "Hal" Reid, veteran playw'right and 
father of Wallace Reid, died at his home in 
West Xew York, X. J. He was fifty-six 
years of age and had written more than 200 
stage plays. Reid is survived by a wife and 
small child, besides his first son, Wallace. 




Hires For the Nation's Homes 

HIRES, a fountain favorite, is now everywhere available in 
bottled form also. Hires in bottles for the home is the 
same o^ood drink that \ ou have found it at soda fountains. 

Nothing goes into Hires but the pure 
healthful juices of roots, barks, herbs, berries 
— and pure cane sugar. The quality of Hires 
is maintained in spite of tremendously in- 
creased costs of ingredients. Yet you pay no 
more for Hires the genuine than you do for 
an artificial imitation. 

But be sure you ask your dealer for "Hires" 
just as you say "Hires" at a soda fountain. 

THE CHARLES E. HIRES COMPANY 
PHILADELPHL'X 

Hires contains juices of 16 roots, barks, 
herbs and berries. 



Hires 



in bottles 




I 



Wlieu vou irrlte to advorflserg plea.'!* mention l'Il()T< I1M>.VY .MACAZI.VE. 



ir)0 



CLEAR YOUR 
COMPLEXION 



I'lioioi'i.AV M \(. AZiNK — Ain iJt risiN(. Si:( rioN 

Plays and Players 

( Continued) 




WITH 

CUTICURA 
* SOAP * 

This fragrant super-creamy 
emollient for cleansing, puri- 
fying and beautifying the skin 
and complexion tends to pro- 
moteand maintain skin purity, 
skin comfort and skin health 
if used for every-day toilet 
purposes. Largest selling 
complexion and skin soap in 
the world. Sold everywhere. 

^■f^Cuticura Toilet Trio'^P© 

Consist inK of Cuticiira Soap to cleanse nnd 
purify, Cuticura Ointment to soothe ana 
heal, and Cuticura Talcum to powder and 
perfume. Everywhere for 25c. Sample each 
free by mail. Address postal: Cuticura 
La bora tories, Dept. AA, Maiden, Mast. 

Cuticura Soap shaves without mug. 



None Better 



No matter what 
the price 



deniiiiK' nrl im ic pliotiiKriiptiM of ><Hir fiivorilo movie 
niiF" SiZf III. YnnrM for .">llr <'m h or I'.: for .S.') (10. 
Von Hill clcliuhted with llii' 1>i'hiiI.\ iiml iirti»tic> 
IIiiIhIi of llic-«' Kfiinlnc I'hoto. 
urapliM. Miilio vour M«'Ioclioii 
from 111'/ f<i|lo\vlii« llxt: 




'I'h.'ila nan 



Cnrlvl. 
11. 



tly Ilavnr 



Aiilla .<<t<'war> 
Norma Talniade* 
l-rarl Whll" 
m.ii K. Wll.. 



f r.„. I..X l<u.l.n,.n '^T^* wilitam, 

AII>-*< j€.yr«' - 

.lac-k KTrliran 
Mar) Mll>» Mli 
Mnhrl N'.rman 
(Ilua lVtr..v.i . 
Marv I'Irkr.inl 
lllunrhr. .^w.-ot 



Ma 



rlc .Sn.i 
, ..f II,.. 



Oran.' Wllliiii 
(Mara K. Yoiins 
C%,n"tanc*. illnncy 
(iliiria .Snranx.n 
Tli'imaa MrtBhan 
.Shlrl.-y Maann 
J..hn riarrvm.irr 
Wan.la llawL.v 
nr ,«.|"ilnr »l,.r. 



50c Each 12 for $5.00 

' .lii'. if.ilh r. fuTi.liwI if iiol «jiIi»fn. lorv Mciil 
1,1 .11. I- ullh 11,1111,. nil. I a.|.|ri...« |,li,,i,l> wrllli'Ti lo 
S. BRAM. D*pl.S2, 209 W.4Sth SI., NawVorhClly 




Ever since his "Frog" in "The Miracle Man " Lon Chaney has been sentenced 
to a nightmare career. You see him, here, getting into the harness which 
transforms him into a cripple. He can wear it only ten minutes at a time. 



ELSIE FERGUSON' will not be seen on 
either the .stase or screen for some time. 
She is fioins to the Orient for a rest. But 
on her way home, she may stop in Los 
.■\ngeles and make one picture. She always 
insisted tliat she never would make a picture 
in the West as she di.slikes the Coast colony. 
But she apparently has chanjred her mind. 

THINGS to worry about: Alice Delysia, 
a French beauty and actress, signed a 
contract to come over here to act for Morri> 
Gest and make pictures for William Brady 
on condition that her wine would be fur- 
nished. Georges Carpenlicr has signed 
with the film company that launched him 
as a silent star for three more years. 

1 

WH.\T Mary s fabled little lamb was lo 
Mary, K. Tanaka was to Douglas 
Fairbanks. Wherever Doug went, there was 
Tanaka. for he was Fairbanks' "man." But 
sometime ago he disappeared. Search was 
made for him — but no Tanaka. Imagine, 
therefore, Fairbanks" astonishment when he 
showed up the other day, with several of 
his countrymen and a card inscribed, "K. 
Tanaka, Teikoku Motion Picture Corp.. 
Tokyo, Japiin." He"s a full-fledged movie 
magnate, dresses the part, and says he has 
been making pictures in the land of cherry 
blossoms right along. 

WHILE we're talking about Doug: 
watch out for his new picture. Mar>' 
Pickford and Charlie Chaplin are in it, al- 
though you won't see their two distinguished 
names in the cast. In the Monte Carlo 
scene, Mary and Charlie look part a> 
"extras," neither turning toward liie camera. 
Mary may be n rognizetl by the back of her 
golden head. Charlie appears also in a 
street scene in a very emotional role as a 
passer-by. You can't see his face, but if 
vou watch closely you'll spot him ; you can't 
possibly mi.slake that walk. Mary Fair 
banks and Charlie received S7.50 each for 
their services. 
Don't miss 'em ! 



M.XRGERY WILSON. the "Brown 
F^yes ■ of "Intolerance" and since then 
rather obscured, has started a company. 
She will direct comedies and later branch 
out into features. 

H.^RRY L.\UDER, the Charlie Chaplin 
(i! kilts, will make a series of two-reel 
comedies for Paramount. We have yet to 
discover if his Scotch burr is as attractive in 
canned comedy as in canned song. 

ANEW legal suit involving prominent 
members of the film colony is not ex- 
actly rare, but Helen Holmes started some- 
thing never before attempted when she got 
herself sued by her manager, Harr>- M. 
Warner, for Sjcooo for "temperament." 
Warner says hu^ serial starring Miss Holmes 
cost .S5o,ooo more than it should have cost 
because Helen was habitually late for work, 
keeping the company waiting, and that on 
one particular occasion she refused to work 
at all because of an extra girl in the cast, 
demanding ."^5.000 before it was due. .\lto- 
gelher they are having a merry time of it. 
Well, three hours for lunch is a little loo much. 

TOM S.ANTSCHI. the fighter of "The 
Spoilers." who is working in Goidwyn 
pictures now. i5 commonly described as "that 
tall fellow who is so funny."' He is so 
much over six feet that he says if il"s all 
the siinie he"d rather iell his height in yards 
instead of feet. 

The other day hi met an elderly woman 
of his acquaintance who is an ardent worker 
for the .Xnti-Cicarette League. Sanlsthi 
threw away a perfectly good cigarette, but 
that did not satisfy her and so she l>egan 
lo talk to him on her hobby. 

".After all,"' she s;\id, "you must admit 
we have a lot of argument* on our side, 
and you haven t one really good one on 
yours. Now. have you? I challenge you lo 
tell me one advantage there is in sniokinc " 
Sanlschi drew hinis«lf up to his tallest 
and gazing down on the little woman, said; 
"Well, it might stunt my growth,"' 



l.iirj- a»lTirtUciiionl In rnoTori-Mr M.m:.\ZIVB I» jiurMitwJ. 



Photoplay Magazine — Advertising Section 



lOI 



Plays and Players 



( Continued) 

FAIRE BINXEY, that smaller sister of 
Constance — in other words, one of the 
"Fair and Warmer" Binneys — is playing the 
leading feminine role, opposite Georges Car- 
pcntier, in that French idol's first motion 
picture. There is a rumor that Realart may 
star Faire as well as Constance, one of these 
days. 

WILDA BENNETT, a graceful bru- 
nette who has been a musical comedy 
favorite, will make her lilm debut with 
Metro. Miss Bennett, who toured the coun- 
try in "The Only Girl" several seasons back, 
was the prima donna of the play-with- 
music, "Apple Blossoms," which had a long 
run on Broadway. You pronounce it Wild-a 
— with a long "i." 

THERE will be a good many regretful 
exhibitors and patrons when they learn 
that the co-starring team of Douglas Mc- 
Lean and Doris May is to be dissolved. 
From their first appearance together in 
"Twenty-Three and a Half Hours Leave," 
these two youngsters c^ragged picture-goers 
and the almighty money into the bo.x-offices 
of the country. But Thomas H. Ince evi- 
dently has decided that Mr. McLean is just 
as big a drawing-card without Miss May. 
and he will star the >oung man alone. It 
is not said what work he will assign to 
Dorris May, or whether she will even re- 
main with the Ince company. 

WILLIAM COLLIER. Senior, is going 
to try it again. If you remember, his 
previous filming for Triangle wasn't a huge 
success. But he was on Broadway last sea- 
son in a new comedy, "The Hottentot." 
which a good many Manhattanite? were 
paying top prices to see, so evidently the 
picture people thought him a good bet. At 
the same time his son, Willie Collier, Jr., 
known as "Buster,'' join? the juvenile rank* 
at the Lasky studios. Buster made a real hit 
in a Thomas H. Ince picture called "The 
Bugle Call,"' some years ago. 

TWO popular plays of last season — which 
are still running, either on Broadway 
(meaning the real White Wa3' or any one of 
the innumerable theater streets that branch 
off it) or the subway circuit on tour — 
have been sold to the screen. "Wedding 
Bells," in which Margaret Lawrence and 
Wallace Eddinger, fine comedians of the 
stage, scored, has been purchased for Con- 
stance Talmadge. And "Smilin' Through,"' 
Jane Cowfs successful semi-spiritualistic ve- 
hicle, will be used for Norma, as soon as 
Miss Cowl has exhausted its money-mak- 
ing powers on the legit. 

BRYANT WASHBURN has left Para- 
mount and it is rumored he will be a 
star under the management of A. J. Calla- 
han, who "presents" Bessie Love. Both 
actor and manager were with the old Essa- 
nay company in Chicago. 

THE fiance of Sylvia B reamer, who had 
been given up for dead, has returned 
from two years overseas. He is Lieuten- 
ant F. C. Lewis, of the United States Army 
Intelligence Corps, who was gassed and 
reported killed. He returned to Los Ange- 
les in April. 

"<-pWIN BEDS" has reached the screen 
1 at last. The Carter DeHavens— Mr. 
and Mrs. — recently severed their contract 
connections with Paramount, came East and 
bought the farce, which will be produced 
at once and released as one of the four- 
a-year productions of the Carter DeHaven 
company. 




For You, Also 

Teeth that glisten^ safer teeth 

All statements approved by high dental authorities 



You see glistening teeth wherever 
you look today. Perhaps you wonder 
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Ask and they will tell you. Millions 
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cleaning. This is to urge you to try 
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Why teeth discolor 

Your teeth are coated by a viscous 
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It dims the teeth, and modern science 
traces most tooth troubles to it. 

Film clings to teeth, enters crevices 
and stays. The ordinary tooth paste 
does not dissolve it, so the tooth 
brush fails to end it. As a result, few 
people have escaped tooth troubles, 
despite the daily brushing. 



It is the film-coat that discolors — 
not the teeth. Film is the basis of 
tartar. It holds food substance which 
ferments and forms acid. It holds 
the acid in contact with the teeth to 
cause decay. 

Millions of germs breed in it. They, 
with tartar are the chief cause of 
pyorrhea. So all these troubles have 
been constantly increasing. 

Now they remove it 

Dental science, after years of 
searching, has found a film combatant. 
Able authorities have amply proved 
its efficiency. Millions of people have 
watched its results. 

The method is embodied in a denti- 
frice called Pepsodent. And this tooth 
paste is made to in every way meet 
modern dental requirements. 



Active pepsin now applied 



The film is albuminous matter. So 
Pepsodent is based on pepsin, the 
digestant of albumin. The object is 
to dissolve the film, then to day by 
day combat it. 

This method long seemed impos- 
sible. Pepsin must be activated, and 
the usual agent is an acid harmful to 
the teeth. But science has found a 
harmless activating method. Now 
active pepsin can be daily applied, and 
forced wherever the film goes. 



Two other new-day methods are 
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Watch the results for yourself. 
Send the coupon for a 10-Day Tube. 
Note how clean the teeth feel after 
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as the film-coat disappears. 

This test will be a revelation. It 
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a new teeth cleaning era. Cut out the 
coupon so you won't forget. 




H^HBMMiM PAT orr I 



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Dept. 637. 1104 S. Wabash Ave.. 

Chicago, 111. I 
Mail 10-Day Tube of Pepsodent to | 

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I02 




PilOTOPLAV M \(..\ZIMi — AUVKH I ISINO SlC I loN 

Plays and Players 

( Continued i 



Hermo Hair-Lustr 

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The Anlisrptic Powder to Shake Into Your Shoes 

And si>riiikle in the Foot- 
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%>^.^/~\^'i>a\y dnrint; the war, 

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Ask your exhibitor when he is 
Roinfi^ to show the Photoplay 
Magazine Screen Supplement 
— Glimpses of the Players 
in Real Life. 





Althou^li Bill Hart is corraling a little culture in a studio off-hour, lie likes to keep 
his saddle handy. He was seriously injured recently m a fall from his horse. A 
report says he will retire from the screen upon the completion of his present contract. 



JKWEL CARMEN', a star whose radiance 
has been considerably dimmed by litiga- 
lion, will come back as the feature of four 
productions a year to be made by Roland 
West. The first will be tilled appropriatelv, 
•'Out of the Darkness." 

THE role in "Way Down East" that was 
originally assigned to poor little Clarine 
-Seymour is now being filled by Mary Hay. 
Miss Hay is a Follies luminary and had been 
singing and dancing in Ziegfeld's Midnight 
Frolic, and when Miss Seymour died, Grif- 
lilh chose her for the part. Miss Hay also 
caused a ripple in lilnidom when it was 
rumored she was engaged to Dick Barlhcl- 
mess. Like all the other Barthelmess mar- 
riage rumors, it was gracefully denied by 
both parties. But just the same people who 
.-Iiould know arc whispering that while the 
wedding ceremony is not yet scheduled, lit- 
tle Miss Hay already has said yes and it is 
only the extreme youth of both parties that 
is postponing the public announcement for 
a year. 

M.ADGE TITHER.ADGE. a popular per- 
sonage on the English stage, recently 
came to this country and appeared in motion 
I)ictures. Did you know it? Xeithcr did 
\\e until an item from London quoted Miss 
Tiiheradge as being disgusted with .Ameri- 
can producers and off the whole bloomin" 
industry. Miss Tiiheradge siys that out in 
California they asked her lo wear an eve- 
ning gown in the morning and that some- 
times she had lo appear in a ball-room 
Mcne before luncheon! 

TOM MOORE has always denied vehe- 
mently that his devotion lo his small 
d.iughtcr .Alice has kept him from disciplin 
ing her when the neetl arose. Of course, he 
has conceded, he wouldn't think of putting 
her to bed in the daytime nor refusing her 
ice-cream and as for spanking her — well the 
mere suggestion makes him shudder. No, 
s;iys Moore, the thing to do is to reason 
with the child. .A few days ago, while 



Moore was working at the studio, his chauf- 
feur came dashing up with the news that 
.Alice was lost. Moore ran out without his 
coat and with make-up enough on his face 
to cause a sensation anywhere except where 
studios flourish on every corner. Reaching 
home, he found his daughter there before 
liim, smiling at him and quite surprised 
that her father was not smiling as usual. 
Tom took her on his knee and told her this 
story: 

"Once upon a time there was a little girl 
just your age who went out in the woods 
to look for nuts, without asking permission 
of her nurse. She lost her way and al- 
though she walked and walked and walked 
she couldn't lind the right road. It came 
night and she was hungry and thirsty and 
her feet were sore and her head ached. She 
was scared, too, and the ground was hard 
but all she could do was to lie down and 
try to sleep. Her father and mother were 
alarmed when she did not come home and 
linally the whole town turned out lo hunt 
the litl'e girl. .All night long they went 
through the woods calling her name, but it 
was not until the next day they found her. 
They took her home and she was ill for a 
long time, but she promised her parents 
never to go away alone again." 

Moore stopped, thinking he had made the 
desired impression. But to his consternation. 
-Alice, cuddling down in his arms, instead of 
dwelling on the moral of the tale, said only 
the-so words: 

"Did she lind any nuts-'" 

R.XLPH BFSHM.AX is no longer a come- 
dian. Following in his father's foot- 
steps, ho has gone from comedy to drama 
with the facility of any flapper. He is a 
member of the cast of Slary Roberts Rine- 
harfs "The Empire Builders." 

THE Japanese film industry isn't so slow. 
.A new company announces a capital of 
lifty million dollars. We wonder if they 
have .American press-agents in Japan. 



I'icry ailrprtlsonirnt In riloTnri AY M.vr. AZIN'B l» i!uar4nt>vU. 



PnOKlPr.AY iNI VC.AZIXE — Al)\ Kit I I.SIN(. Sl-;( TION 



in- 



Plays and Players 

( Continued J 

ETHEL BARRYMORE will do 'De- 
classe" for the screen. Paramount Art- 
craft, which was to have presented all 
three Barrymores in a screen version of 
"Peter Ibbetson" will present, sometime in 
the future, this individual success of Miss 
Barrymore's latest season. Reasons for 
dropping the "Peter Ibbetson" plans have 
been given by Mr. Lasky. He says he 
thinks the public wouldn't be much inter- 
ested in seeing a brother and sister in senti- 
mental sequences on the screen. So when 
this play is finally produced, it probably 
will contain only one Barrymore — John. 

HERE is hard news, so prepare your- 
self for a blow. William S. Hart says 
he is going to leave the screen for good 
and all. Five more pictures and then all 
is over between him and the public. After 
that, it's the lone trail. Hart was badly 
injured in IMay when he was thrown from 
his horse while riding at breakneck speed 
past the camera. He broke several ribs and 
was considerably shaken up, but is reported 
to be convalescing rapidly. 

Al H. Woods tried to capture Hart for a 
stage production. Mr. Woods has been 
making so much money with Theda Bara"s 
play that he has decided to go in for screen 
stars with the same intensity with which he 
cultivated bedroom larces. Mabel Xor- 
niand is also mentioned as another Woods 
possibility and so is June Elvidge. It is 
;aid that Mr. Woods has gone a-gunning 
in the studic ind has succeeded in interest- 
ing several celebrities in stage contracts. 

ALL who know her will testify that Alice 
Joyce is probably the most crowd 
shy star in motion pictures. She was in 
New Orleans on location recently, stopping 
at the leading hotel of the city. Her ar- 
rival was heralded in advance and she was a 
constant subject of newspaper comment and 
compliment. The result was that she was 
stampeded by fans, and the rush became so 
great one day that she had to ask the man- 
agement of the hotel for a guard. 

Mothers with children who were certain 
to be great picture stars waylaid Miss 
Joyce in the lobby, they waited by her 
car and they even got past the sharp-eyed 
clerks and arrived unannounced, at Miss 
Joyce's door. One of these, a be-diamonded 
lady, became very indignant when Alis.- 
Joyce's maid informed her that the star 
was dressing and could not receive visitors. 

"I do not see why," snapped the woman 
"Miss Joyce is a public character and public 
characters are public property.'' 

Exit lady, angrily, and Alice learned 
something new about the law of possession. 

DORIS KE.AXE, statuesque star of 
"Romance''— more than 2,000 of them — 
is an ardent fan of Mary Pickford. An 
English cinema manager likes to tell how 
Doris came into his office about four years 
ago when she had just arrived in London 
to play in her great success. 

"I want to know where I can see Mary 
Pickford's pictures," she said. 

The manager found his schedule and told 
her where she could go. It was far from 
the fashionable West End, but the actress 
took a taxi and went to the little theater to 
find Mary. Incidentally the En;;lishm:in re- 
lated how "Romance" was almost a failure 
at first. But the star had a gre-it manager, 
who held on until the tide turned — and Ed- 
ward Sheldon's play and Doris Keanc's act- 
ing ultimately registered a wonderful suc- 
cess. It was in London that sh,' first met. 
later loved and married. Basil Sydney, her 
youthful acting husband. Rumor has it 
that she could have married any one of a 
score of Dukes, Counts, and Lords, but she 
preferred Basil. 




Millions Saved on Dinners 

By serving Van Campus Pork and Beans 

Van Camp's have made Pork and Beans a delicacy. They changed all old 
conceptions of this dish. They made it convenient, made it delicious, made it 
easy to digest. 

Multitudes of housewives discovered this new dish. They serve it in place 
of meat at a fraction of the cost. They serve it often, for everyone enjoys it. 

Thus millions of dollars have been saved on dinners by Van Camp's. Now 
this prize dieh awaits you at your grocer's — in any size of can you wish. Find 
out how much it means. 

This famous dish 

The Van Camp beans are selected by analysis. They are boiled in water 
freed from minerals to secure tender skins. 

They are baked in modern steam ovens — baked for hours at high heat without 
bursting or crisping the beans. They come out whole and mealy, easy to digest. 

They are baked with a matchless sauce, whose tang and flavor give zest to 
every atom. 

They are baked in sealed containers, so the flavor can't escape. 

You will never know how good baked beans can be until you try Van Camp's- 

Pork and 
Beans 

Three sizes, to serve 3, 5 or 10 

Baked With the Van Camp Sauce— Also Without It 

Other Van Camp Products Include 
Soups Evaporated Milk Spaf^hetti Peanut Butter 

Chili Con Came Catsup Chili Sauce, etc. 

Prepared in the Van Camp Kitchens at Indianapolis 





Van Camp's 

Tomato Soup 

Also 17 other kinds, based on 
famous French recipes. 




^ ^ 1; s 

Spaghetti 

Italian style, made with the 
rarest materials. 



Van Camp's 
Evaporated Milk 

From hiKh brcd cows kept in 
sanitar>' dairies and inspected. 



When you write to advertisers please meutlou PUOTOPLAY .MAGAZLNJi. 



PnoTopi.w M\(.\/iM> Ai)vf:ktisin(; Section 




Plays and Players 



( Continued ) 

MARY MILES MIXTER has won her 
>uil against the American Film Com- 
pany for alleged arrears in salary. She was 
awarded .S4.000 by ihe court, while Ameri- 
can lost its counter suit for Si 00.000 dam- 
ages. So what good did it to to say Mary- 
was twenty-sbc years old, anyway? 

ERIC VON STROHEIM has announced 
his engagement to Mi>s \'alcrie Girmon- 
prez. who played with him in "Blind Hus- 
bands." \'on Stroheim first met his fiancee 
about eight months ago at Universal City, 
where he was directing and she was acting. 

GLADYS B ROCKWELL has severed her 
connections with the Fox company. 
She has been with this organization for a 
long time, rising to stellar heinhts under 
its management. Future plans unknown, e.\- 
cept that she plans to take a long and much- 
needed vacation. 

OLR own census bureau reports that, 
during the past three years, nine out 
of ten press stories have begun in this 
fashion : "According to a recent announce- 
ment made by James Fishback, president of 
the Frantic Film Corporation, George K. 
Davenian's next vehicle will be 'The Dawn 
Man,' adapted from the widely read novel 
by Remington Underwood. Auga^ius Mc- 
Megaphone will direct the forthcoming 
super-production and the plot will be 
sccnarioized by Helen Rubberslamp.'' 

OUR census bureau further reports that 
any woman figuring in a taxicab ac- 
cident at four o'clock in the morning, any 
woman named in a divorce suit, any woman 
arrested for shop-lifting, or any woman ac- 
cused of deserting her husband and children 
is described in the newspapers as a ''prom- 
inent motion picture actress."' Once we 
recognized the name? of one of these women 
and recalled that she occasionally played 
small parts. And. oh yes, another one ap- 
peared as a dancing girl in "Intolerance."' 

PRISCILLA DEAN started something 
when she married Wheeler Oakman, 
her leading man. Josephine Hill, also a 
Universal luminary, recently announced her 
marriage to Jack Perrin, a serial performer 
for the same company. 

ENID BENNETT and Fred Niblo have 
left the Ince kindergarten to tr>- their 
wings in the independent or grammar grade 
of pictures. Enid was at first directed by 
her husband: then Ince gave Fred "specials'* 
to do. Now Miss Bennett will have a sepa- 
rate company for herself, releasinc medium 
not yet divulged, and so will Niblo. Mr. 
Ince, you know, has no further use for stars 
— he is one himself. With Maurice Tour- 
neur. .\llan Dwan. George Loane Tucker. 
Mack Scnnett, and Marshall Ncilan, he 
formed the "Big SLx." 

AND speaking of Woods, here is the 
very latest Theda Bara rumor. Out in 
Calilorniii they claim that the real Theda 
is (lead. That .^he died at the time rumor 
had her <lead. That the prcstnl Theda is 
really Esther Bara. who has nobly consented 
to step into Theda's shoes, vamp and all. 
The same rumor says that Fox tried to put 
Esther Bara on the screen but found she 
didn't measure up to Theda's standards, — 
-uch as they were. The only thing wrong 
wiih this rumor is that it i.^n't true. Esther 
and Theda h.ive been ?<-en loccther. Esther 
(l(H-sn"t look enough like Theda to fool the 
public, \r\i\ then there b only one Theda. 
She i<n t dead. She is on the road with 
"The Blue Flame." 



I-noTorL.W .M.\n.\ZINB 1» suirmU^ 



Photoplay Magazine — Advertising Section 



Plays and Players 



( Continued) 




\Vinifred Westover has gone to Sweden to play in pictures there. 
Wouldn t it be nice if the Swedish Biograph would rename her Signe or 
Solveig? It seems a pity for a girl with a face like a Swedish sunrise 
not to have one of those fine old Scandinavian names. 



QUEEN jNIARIE of Roumania had about 
made up her mind to appear in mo- 
tion pictures when she decided that $50,000 
for one production and ten per cent of the 
profits wasn't enough money. And so she 
held out for a raise. However, you can see 
she has the makings of a star. 

WALLACE MacDONALD, popular 
young juvenile, was accosted by a 
second-hand clothes man the other day. 

"Have you any use for your old clothes?'' 
he asked. 

"Yes," returned Wallace, "I'm wearing 
'eml" 

WILLIAM WALLACE REID, JR., re- 
ceived an automobile-coaster for a 
recent birthday. "Bill" was elated and 
promptly took it to the front walk of the 
Reid home in Hollywood, to try it out. 
Five minutes later he came running into the 
house. 

"Dad," he inquired breathlessly, "what 
are the speed laws? I don't want to have 
all the trouble with the cops that you've 
been having." 



IT has always seemed to us that the star of 
any George Bernard Shaw play, in screen 
translation, would be the caption writer. 
All of the epigrammatic Irishman's works 
are soon to be seen in celluloid. We can't 
help wondering if the producer who bought 
the rights has ever read the plays. 

LOS .■\NC.ELES has been for some days 
in the grip of a "No Parking" law, 
which prohibits parking automobiles on any 
important down town streets between the 
hours of eleven and six. Protests from all 
sections are filling the air and none more 
vigorous than those from the motion pic- 
ture lots, where stars and the purchasing 
and publicity departments have united in 
a waU. If the ordinance is not repealed, the 
Hollywood Board of Trade, which recently 
issued a statement to the effect that the 
picture industry had tripled its population, 
business and values, can triple asqin, since 
many of the activities that hitherto have 
been taken to the center of the big city will 
move out to Hollywood, where you can 
park your bus without paying a large fine. 



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Murdered Brain Children 

(Coutinued from page 80 1 

iiome. Throu(;h brinKine happint??? into hi* 
life she lindi- her own reeencration. Blinded 
.1- he ii. the helpless, sergeant sees the deeper 
-ifie of those wilh whom he comes in con- 
tact, and through the plot is woven the 
Ijtttermtnt not only of the woman, but 
ilso of her previous companion and the 
ipache. What did they do with the story? 
They made the soldier a famous sculptor, 
-weet as Xi-w Orleans molasses, and effected 
tlie regeneration of the munition maker and 
tlie apache by having the former shoot the 
latter and then commit suicide. I should 
liave been happier had the child been mur- 
■lered outright and not compelled to live 
mutilated thus." 

Vou may have noticed that when the 
heroine arises from her downy couch to 
greet the dawn or the hero as the case may 
be, she U always immaculate, and her toilet 
is a perfunctory affair. The chief ambition 
of .^gnes Christine Johnston, of the Ince 
staff, is to show the trouble a girl takes to 
make herself presentable for her beloved. 
This is how she has offered it for screening: 

"SCENE 13: IRIS IX on BOUDOIR 
of SHERO. She is asleep in bed. She 
wears a very plain night-gown — not the 
usual moving picture lacey variety — she 
is spending all her money on hats with 
which to dazzle the hero and there- 
fore economizes on things he doesn't 
see, like night-gowns. Her hair is done 
up in curlers — those dreadfully un- 
comfortable iron things. She is sleep- 
ing on one. which evidently sticks 
straight into her scalp. 

"She wakes, makes a wr\' face as she 
rubs the spot where the curl-paper 
hurt. She has spent a night of torture 
but it is all for the sake of the hero 
and she smiles. She rises, covers her 
face with cold-cream, then applies lemon 
with one hand and boiling water with 
the other. She winces. The Tortures 
of the Spanish Inquisition have nothing 
on the modern beauty treatment. But 
Shero smiles dreamily into the mirror, 
knowing that she will emerge, radiantly 
beautiful and the hero will certainly fall 
for her this day." 

" 'I'm going to change that boudoir scene.' 
•he director tells me. 'We ll take a silhouette 
shot of her in the moonlight, with her hair 
flowing down around her lacey pajamas." 

■'I protest. 'But that's how she loves the 
hero — she is making herself beautiful for 
him.' 

" "Nonsense ! We'll shoot a scene of her 
kissing a letter or a glove.' 

" 'But girls don't do that." I am cryine 
by now. "When a girl loves a man she con- 
centrates everything on her looks. She suf- 
fers agonies of beauty treatments for him.' 

" 'But the audience doesn't want to see 
the star in curl papers and cold cream.' 

"'The women would be tickled to death to 
find her so human." I persist, 'and as for the 
men — it s time they learned what we undergo 
for them.' 

"But the director turns a pitying smile 
upon me and hurries off. Sometimes I see 
tlie ghost of this dream child in the shape 
of the shero brushing her perfectly marcelled 
locks, standing in a lacey nightie, but the curl 
papers and cold cream never get beyond the 
scenario department." 

Edward T Lowe of the C.oldwyn stafif 
has a standing kick against the clinch at the 
finish — the inevitable emotional halfnelson 
that has come into recognition by some 
producers as the onl\- way .1 picture can be 
permitted to end. Says Sir. Lowe: 

"How many times have you .seen the 
, riticism which berates the imbecility of the 
scenario writer for inevitably ending the 



Kvery idtcrl Itoinciit In I'llOTOI'LAY MAGAZINU U guarwUcoO. 



Photoplay Maoazinf. — Adxertising Section 



107 



Murdered Brain Children 

( Concluded ) 



stor\- with a clinch between hero and hero- 
ine? Well, in at least thirty stories which 
I can recall off hand, the general average of 
the last scene would run about like this: 
"Scene 313. Closeup of William and 
Mary. Play for artistic lighting effect 
as William looks into Mary's eyes and 
sees the answer to his question. Mary 
starts to hang her head shyly and as 
John starts to take her in hs arms, 
IRIS OUT before thry clinch. 
"But why. or. WHY:* doc; the last scene 
usually appear like THIS : 

"lyiary starts to hang her head shyly 
and as John puts his arm about her, 
she snuggles her head contentedly upon 
his breast. Then he raises her face to 
his and as their lips meet in a kiss, and 
he strains her to him, IRTS OUT." 
Frank M. Dazey. who is furnishing the 
scripts for .\nita Stewart and Mildred Harris 
Chaplin, confesses to a weakness for a 
certain bloodcurdling incident as follows: 

"My favorite d— d (director deleted") 
sequence comprises some fight scenes between 
two turtles. My argument for them i? that 
'animal stuff' is always interesting, and that 
the screening of two turtles alternately pro- 
truding and withdrawing their ugly heads 
to take vicious but hopeless snaps at each 
other's impregnable shell would be an amus- 
ing novelty. The directors — to date — have 
protested 'It can't be got — and turtles don't 
fight anyway !' To this my reply, always 
rejected as inadequate, is that I've seen 'em. 
And there the matter rests." 

Rex Taylor, of the Goldwyn staff, has a 
subtitle in his system that you will see on 
the screen one day if his health and strength 
hold out. The idea is that the hero, in 
hardluck, goes into a small town hotel and 
.settles himself in a chair. The clerk is clos- 
ing up for the night and suggests that the 
hero take a room for the night. Now comes 
the big title. The hero replies: 

"I've got insomnia so bad I can't sleep," 
and settles himself for the night. 

"A lot of people and directors have told 
me that this isn't funny," says Taylor. "I 
think it is, and I'm going to see how it goes 
with the public some day, if I have to con- 
spire with the cutting department to do it." 

What has sent .Albert Shelby LeVino of 
the Metro staff, up in the air more than 
once is this, in his own words: 

"In the last few years I suppose I've had 
to use an aeroplane some ten or more times 
for various purposes. The hero or the 
heroine had to get some place in a hurry; 
or the villain had to gum the works by 
being first on the job; or there was a mili- 
tary situation ; or it was just a stunt that 
characterized the person doing it as a bit 
reckless and sporty. So as a bit of passing 
comedy, as a cutin to flight scenes particu- 
larly when the plane was doing a loop, or 
the falling leaf, or a tailspin or any one of 
the numerous anti-prohibition moves a plane 
can make in the hands of a world-weary 
pilot, I always have had the mental picture 
of a worthless, absolutely good-for-nothing 
indolent negro watching the aerial antics. 

"And, whether he was just a roustabout 
at the hangars — or a darky husband bask- 
ing in the warm shade of his wife's wash-tub 
— or a soldier attached to the aviation sec- 
tion, the comedy seemed to me there when 
the lazy coon was jokingly asked how he'd 
like to take a ride in the sky-tumbling craft. 

"He looks up at the plane with eyeballs 
that show the white which is the base of 
spinal yellow — shakes his head decidedly no 
— and says: 'I may be a lazy dawg — but I 
ain't no skye-terrier !' 

"On one occasion this was eliminated be- 
cause the director didn't think it funnv; 



another time the star thought it was and, 
since the said star didn't have the gag-line, 
deemed it had better be cut out ; again, the 
coon wasn't funny; on another occasion, 
the cutter didn't like darkies on the screen 
anyhow ; once more it was eliminated for 
footage. But I'm not downhearted. My 
child's time shall come.'' 

Gerald C. Duffy of the Goldwyn scenario 
department has a pet scene that he has 
written four scenarios around, sold the 
scenarios, and still the scene has never been 
produced. 

"I have given up hope for production," 
he says, "so I am sending it to you in hope 
that, at least, it will enjoy publication and 
be off my mind. It will never. NEVER be 
aimed at by a motion picture camera. I 
offer it to you in the boots" in which it died : 

'SCENE? AUDRY'S BEDROOM: 
Pop is in a terrible fi.\". The tie has at 
last been placed around his collar, 
though its disordered arrangement makes 
it resemble a spattered blot of ink. The 
Jap is holding up the tuxedo and wait- 
ing impatiently for Pop to make up his 
mind to get into it. In proportion to 
Pop's regular clothes it appears to him 
about the size of his vest. He eyes it 
in disgust for a moment and then, 
realizing there is no alternative, punches 
his arms into the sleeve-holes and draws 
it around him. He wriggles in anguish. 

INSERT TITLE : 

YE CANNOT BE BOTH GR.\ND 
AND COMFORT.\BLE 

BACK TO ACTION. Pop feels like 
plum that has outgrown its skin and is 
about to burst. His collar saws his 
neck, his .Adam's apple bangs against 
the barrier for freedom, his clothes 
smother him." 

This is a curious companion piece to Miss 
Johnston's picture of the girl dolling up for 
conquest. The male of the species has his 
sartorial tortures. 

Jack Cunningham, who turns 'em out for 
Robert Brunton and George Loane Tucker, 
is not a bloodthirsty gentleman in private 
life, yet list to his wail : 

"I have had some pet ideas that I never 
have been able to foist upon an unsuspecting 
producer. One of them is a title that I 
yearn, — with all of the fervor of Bill Nye's 
famous mule — to see spread across a lurid 
twentv-four sheet. .And that is: — 

"'Murdered at Midnight!!!' 

"I have thought up, I don't know how 
many, howling melodramas and, at the top 
of the first, or title, page of each and every 
one, I have set down the thrilling words: 
'Murdered at Midnight!' No one will have 
it. One or two of the melodramas have 
been sold — maybe only one — I am unused to 
figures when talking about the number of 
stories I have sold. But, some way or an- 
other, probably an accident, the title has 
been lost. 

"At last, T have given up in despair, and 
now freely hand this pet title — 'Murdered 
at Midnight' — to the world, unless the man 
who reads copy on this symposium dislikes 
it and shoves in some aenemic desisnation 
like, 'Sudden Demise at Twelve o'clock'!" 

There y'are. Jack— in print at last. We 
shall take great pleasure in watching the 
screen for the appearance of any of these 
murdered children, dragged from their tombs 
by borrowers of ideas, and while the original 
parents thereof will, perhaps, be glad to see 
them brought to life, it will be interesting to 
see whether this exposure of the slaughter 
of the innocents, will result in belated rec- 
ognition of their virtues. 




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( Continued from page 84 ) 




You d know without being told that when Roscoe Arbuckle bought a new car, he 
would have to have it made to order. An ordinate kind of car that anyone could 
use, wouldn't appeal to him. So when he left off slapstick and went in for 
comedy-drama, he celebrated the event with a new Fierce-Arrow, a touring car 
with special body, which set him back just $25,000. "Fatty" took Bebe Daniels — 
beside him — and Lila Lee. in the tonneau, with him when he "tried her out." 



Follies girls. Phyllis Haver, Marie Prevost, 
and Harriett Hammond are great upholders 
of the American drama, it seems to me. I 
can't tell you the number of the house in 
which Norma Talmadge first saw the light 
of da}-. I can only tell you it was in 
Brooklyn. 



Vork. Hazel Dawn, care A. H. Woods, New 
York. Others are verv much out of mv line. 



C. L. R., Fredericktown, Mo. — I have a 
smattering of live languages and a slight 
knowledge of some dead ones. Why? Did 
you want to write to me in Sanskrit? It 
would be as intelligible as some letters I 
receive, I'm sure. Cullen Landis, Goldwvn, 
Culver City. Cal. Jack Mulhall and Tom 
Forman Lasky studio, Hollywood, Cal. 
Landis and Forman are both married — and 
both fathers. Landis has a little girl and 
Forman became the daddy of a son on 
May 4 last. 



M. H. T., Dec.\ti r. III. — You can best 
judge a woman by the men who make love 
lo her. I don't know who is most popular 
of those seven actors you mention. Each 
has his share of boosters. Why. Bill Hart 
is still very popular. So is Doug'as Fair- 
banks. And I don't notice that the Talmadge 
sisters have been falling off any. Read 
Xorma's fashion articles appearing monthly 
in this magazine. Maybe you can under- 
stand them better than I. who am one of 
these mere males who can't make head nor 
tail of a fashion plate. 



M.\RY C. CoBiRG, Oregon". — Dorothy 
Gish always answers her letters. She has 
blue gray eyes and blonde hair. Not mar- 
ried. Her latest pictures arc "Remodeling 
a Hufband" and "Her Majesty." The lat- 
ter may be renamed for release. Constance 
Talmadge's latest arc "The Love Expert" 
and "The Perfect Woman." They have 
bought "Wedding Bells." the Selwyn stage 
i comcdv. for Constance's future use. 



JfST Be.\. — Can't give you the name of 
the actor who has worn a mustache since 
fifteenth episode of "Hands Up. " I am sorr>- 
if he is very tall. ver\- dark, and very ro- 
. mantic-looking. Write me again when you 
have recovered. 



tl 



S. L., SniENECT.ADY. — \ bomb-proof cellar 
is out of date. It's the bum-proof cellar we 
want now. I can't give you a list of the 
ten greatest actresses. Some worthy one 
woultl be sure to be missing and I wouM be 
arriised of favoritism forever after. Pro- 
nounce it Xa-zim-ova. with accent on second 
syllable. Bebe Daniels pronounces her name 
Bee-bee, but doesn't object if you call her 

Baby. 

Ellen B.. Rogers. .\rk. — You say that 
was an expensive suit of Mary's — ^^40.000 — 
and you would like lo see her wear it. I 
think that's a pretty bum joke. Marillyn 
Miller isn't in pictiiiTS, but is with Ziegfeld 
FoMies; address her at Xew .\mslerdam 
Theater, Xew York City. Ann Little, Lasky, 
, Jeanne Eagles, Playhouse Theater, New 



Florence. W-xshingtox. — A chap may 
have a deeree or two or three in scientific 
research, but that won't help him to find a 
good job. Bill Hart's first picture for him- 
self was "The Toll Gate." Alice Joyce i* 
with \itagraiili. working in their studio in 
Brooklyii and occupying a stellar dressing- 
room next to Corinni' Griffith. .\ll the Yita- 
graph stars seem to he pretty friendly. Tom 
Mix is married to Yictoria Forde and a Fox 
contract. 



K. K., AsHL.\N-D. Xebraska. — Some in- 
spired scenario writer oucht to utilize the 
new theory of grafting goat glands. Well, if 
that aviator who llew se\tn miles towards 
the sun came throuch with no ill effects, 
prettv soon we'll have chapter thrillers filled 
with' bold Martian hcroe.': and pretty little 
\'enus heroines. Louise Huff has signed with 
SeUnick for five years. Marie Walcamp 
with Universal. Lola Fisher is not on the 
■icrecn but on the stage. Yivian Martin has 
her own company. Fannie Hurst mav be 
reached in care of Cosmopolitan Troductions. 
(Co'itiuucd oil />(i,C'' 



Enry nirerUicnKnit In PUtm>I'LAY NLIC.VZINK it «uir»me«d. 



Photoplay Magazixr — Advertisint. Si-ction toq 
Artistic Efficiency p ^uw^kwit- ^ intvwii^k^mmjij^ 



That's Dwan 

( Continued from page 57 j 

commercializing Art is the bunk. What, 
in the last analysis, does commercialize 
mean ? It means to cash in on, doesn't il ? 
As a matter of fact, pictures that are up- 
lifting, that make people happy, are com- 
mercial pictures. 

■'The great problem of the pictures is the 
welding of art and business. Waste is not 
artistic. Inefficiency is not artistic. 

"The director is the man who has control 
of the money. The director is the man 
who can make or break a picture financially 
and artistically. Most clirectors are not 
business men. Therefore the films have had 
to arrange for business managers, for men 
who, when the director had laid out the 
thing artistically and outlined the results 
he could achieve, will find out how it can 
be done at the lowest cost. These men 
contract for material, set salaries, tend to 
.ill the commercial delay. 

"When harmony can be completely estab- 
lished between these two factions, pictures 
will become better, because there will be 
no waste. 

"A dollar is a dollar to everybody but 
a director. He may know it when he meets 
it in private lite, but professionally, it isn't 
within the range of his acquaintances. But 
a dollar is a dollar, and it takes a lot of 
dollars to make it worth while to make 
pictures. And if it isn't worth while, the 
most artistic director in the world won't 
.get to make any. 

"If you haven't made your lemons yet, 
you will. But there are always some sure 
•fire appeals that may tide you over — a child, 
or an animal. Sex, of course, is the most 
universally interesting thing in the world. 
As a matter of fact it is the only universally 
interesting thing. Eve invented it, and 
Cleopatra perfected it, and now it's safe 
in the hands of the movies. Its more uni- 
versal than patriotism or the League of 
Nations, because after all, the League of 
Nations is only to prevent wars, and every- 
body wants to prevent wars so the men 
won't have to go and leave their women 
any more. (It isn't safe, anyway.) 

"Pictures must be made fast. If you 
muddle around with them, you lose your 
clear vision. You cannot hurry art, of 
course, but you can hurry commercial pro- 
duction. Get your art in hand before you 
start to produce and you'll save a lot of 
time and trouble." 

"I've just one prediction. The day of the 
book, the published story, is done. The 
original stor>' has come back, is coming 
back, must come back." 

Dwan is now making his own production 
for the ^layfiower. He has just completed 
three pictures, "The Splendid Hazard ' "In 
the Heart of a Fool" and "The Scoffers." 



Of a Different Color 

LO THEODORE, how's you-all?" 
Theodore Kosloff looked askance 
ai the slouching negro who accosted him at 
the American Legion benefit in Los Angeles 
Saturday evening. 

Not recognizing the black man, he sidled 
off. 

But when he saw the Ethiopian pick up 
a saxophone case lettered "W. R." he realized 
he had been "sold.'' For the fresh colored 
person was no less than Wallace Reid, in 
the make-up used by his Jazz Band. 





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I 10 



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Questions and Answers 

( Continued from page 108) 




Beb. CR-\BTREt. Oregon. — I'm afraid 
Charles Ray isn't your long-lost childhood 
friend. Ray happen? to be his real name. 
He was born in Jacksonville, Iliinois. in 
1891 ; educated in Illinois and at Los Angeles 
Poly tech. School. He was on the stage in 
musical comedy and stock before goinu into 
pictures with Thomas Ince. He is married. 
Ray has a new contract with First National, 
he has bought many popular stories and the 
first two produced will be ' Forty-Five Min- 
utes From Broad wav" and "Peaceful \al- 
ley." — 

Forcet-Me-Xot, Arlixgtox. — Ah — you 
have asked a leading question! Why is it 
that a successful screen team always dissolves 
partnership as soon as it becomes successful? 
Because both members of it receive offers of 
individual stardom and neither can resist the 
temptation — being only human. However, 
it's true thai just as soon as a leading man 
becomes popular he ceases to be a leading 
man and becomes a star. And that's why 
there is such a scarcity of leading men, my 
dear — and you and all your little-girl-friends 
are responsible. Alice Joyce's latest picture 
is "Dollars and the Woman." I have seen 
it and it's fine. 



Olive F., Lexington .—Thank you for 
your appreciative letter. I had a real thrill 
when I read about how you like my dep:irt- 
ment and would like to meet me, up to the 
line where you say, ".And my husband re- 
marked at the time — " That's always the 
way, Olive; I'm used to these platonic 
appreciations by now. Harrison Ford plays 
with Wanda Hawley in that little blonde's 
first stellar picture for Realart, "Mi*;^ 
Hobbs." 



J. M., Coi-rMBLS, Ohio.— A knowledge 
of typewriting would help you to be a movie 
actress only in so far as it would help \ou 
answer your fan mail. If I were \ou 1 
should study a lot more and think it over. 
Vou want to know if all the actors and act- 
resses are as kind in real life as they are on 
the screen. There are verj- few real-life 
Pollyannas and Dr. Jekylls, my dear ! 



M. L., MiCHiG.AN.— By the time vou read 
this. Mary Pickford Fairbanks will prob- 
ably be abroad. But you can write her 
anyway, care her own studio in Hollywood, 
and your request for a picture will be 
granted. How? Well, you see, Mary will 
autograph a lot of photographs before she 
sails and all her secretary will have to do 
is slip them into an envelope. Douglas 
Fairbanks will not play with his wile in 
pictures, so far as we know. Their com- 
bined salaries would be so large that no com- 
pany could afford to pay it in one lump. 
It's bad enough as it is. Mary's latest re- 
lease is "The Duchess of Suds," from "Hoi> 
O' My Thumb " 



Teddv, Memphis — Vou may consider me 
very discreet, I assure you. That reminds 
me of the little girl whose mother asked if 
she had told God how naughty she'd been. 
"Oh, no, mother," replied the young hope- 
ful. "I thought we'd better keep it all in 
tile family." Now I have that off my chest. 
I must upbraid you for your perfectly ter- 
rible stationery. Be\ond a doubt it's the 
most vivid purple I have ever seen, not even 
ixct|)ting the ink that Theda Bara used to 
use when she wrote to me. Natalie is in 
"The Love Fxperi " w ith Constance Tal- 
madgc, also playing with Norma right along. 
Norma hasn't bobbed her hair, I assure you. 
Can a sixteen-year-old girl get into the 
movies? Di'pend- upon the sixtcen-vcar-old 
girl. 



A. M.. AiGfSTA.— If I ever have to be 
castaway from a ship wreck on a desert is- 
land I hope I shall lind the supply that 
Bill Farnum found from the wreckage in 
"Wings of the Morning." ranging from am- 
munition and firearms to a pipe and smok- 
ing tobacco. Of course it may not have 
been Bill's favorite tobacco: still, I sjip- 
po-e he was glad to Have anything. Mad- 
laine Traverse has left Fox and gone I 
know not whither. Mary Pickford is twen- 
ty-sL\ and she isn't going to retire. 



Irene, Milwaikee. — When we find a 
man who is as distinguished as Alice Joyce 
is beautiful, maybe we shall put him on the 
cover — perhaps. We think the public likes 
to see a feminine luminary's shining like- 
ness on our cover and we aim to please the 
majority. Zasu Pitts isn't married; I 
haven't her exact age. but she isn't very 
old; I should say in her late teen? or early 
twenties. Wallace Reid's one son Bill isn't a 
regular movie actor, yet. But Will Rogers' 
son Jimmie is. 



M. L.. Midland. Texas. — Your letter was 
a thoughtful and good one. I am sure Earle 
Williams will be glad to know the mother 
of four grown sons and one little daughter 
admires his work enough to follow ever> 
picture he makes. Wliy not write to him 
in care of Vitagraph? Irene Castle hasn't 
quit the screen. Her latest is "An Amateur 
Wife." She married again, you know — Rob- 
ert Treman. of Ithaca. New York. Write 
again sometime. 



W. P. B.. Exeter. N. H.— Violet Heming 
was "Evcrywoman" in the picture of that 
name. Wanda Hawley was Beauty: Clara 
Horton. Youth : Bebe Daniels, \ icc. and 
Margaret Loomis, Modesty. Marguerite 
Courtot, Myrtle Stedman, and David Powell 
played the leads in "The Teeth of the Tiger." 



Gladvs M., Marshfilld. — I am as patient 
as a Chinese exponent of the philosophy of 
passivity — as a rule. But when you ask 
me for your sake to send you thirty, (30' 
count 'em, addresses of various screen stars 
— why child. I couldn't do that for anybody. 
However, you will find many of them given 
elsewhere, besides these: Geraldinc Farrar. 
Associated E.xhibitors : Dorothy Dalton, 
Paramount-.\rtcraft : Shirley Mason. West- 
Coast Fox ; Bebe Daniels. Lasky studios. 
Hollvwood. 



The MvsTir Rose.— I am obliged to lauch 
at you for taking your favorites so seriously. 
Never take anyone too seriously ; they are 
bound to believe it themselves and then — ! 
Please don't be angry with me. 1 have the 
best of intentions; in fact, one whole avenue 
in that well-known Hades is literally lined 
with mine alone. Write to Enid Bennett, — 
care Ince. in Culver City, and tell her what 
you told me; I'm sure she will be glad to 
hear it. No. Dick Barthelnu-ss is not going 
to play with Dorothy Gish any more, but he 
will play opposite Lillian in "Way Down 
East." Clarine Seymour, our little "Cutic 
Beautiful." died in April. It is very sad to 
think of an.\one with so much to live for 
passing on so soon. Miss Seymour was not 
married. 

\ iRGiNiA. Kankakee — So you like Rubyc 
OeRenu-r and Constance Talmadce. So do 



I — but I can't send you photographs of 
them because I haven't any myself. In fact, 
I was going to ask you to request two from 
each so that you could supply me. On .sec- 
ond thought, you'd better not: I don't want 
to get this collecting fever. Rubyc Pe- 
Remer, Selznirk. 
(Continued on page 114) 



livery idtcrtlMniciii In riIOTuPI_\Y MAUAZI.NK guirmteoil. 



Photoplay !\T\r,AziNF — Advertising Sectton 



Wear America First 

( Continued on page ji j 

millinery people, and I am going to discus- 
it with you next month as well as do a 
little talking on the kind of hat that make- 
cach type of woman look prettier. 



FOR a long tramp in bad weather oni 
may now be just as smart as when tin 
:^kies are bright. There is a new tweei: 
that is guaranteed to be rain-proof ain 
that does not lose its shape after encountoi 
ing a violent storm. For added practi- 
cability the skirts of these sports suits ai\ 
devised so that they may be turned inii 
divided skirts, making them especially valu 
able for the woman who adds mountain 
climbing to her other accomplishments. 

The raincoat, too, is a totally differeni 
garment today from the raincoat of formn 
years — that dull, drab garment that was fci 
utility alone. One of the smartest new rain 
coats is a white rubberized silk enhancni 
with stitching in bright scarlet silk. To bi 
worn with this is a jaunty little sports h:ii 
of the same material that shows a plain 
white crown and the brim entirely covernl 
with rows of the scarlet stitching. Add :i 
.scarlet umbrella to this suit and you ha\i 
a costume that will enliven the rainiest da\ 
imaginable. 

For the woman who travels considerabi; 
— and that means most of us in the-t 
nomadic days — there is a suit that has tin 
skirt knife-pleated in the machine pleatinL' 
that will withstand any amount of hard 
usage. One may sit in a train all day or 
carry this skirt in a suit case on a Ion'.' 
journey secure in the knowledge that youi 
pleats are proof against all such conlingen 
cies. 




The Last Word 

H.\ROLD LLOYD and his battery mat. . 
Harry (Snub) Pollard were talkinv 
uver some of the old time troupers who hai; 
worked with them in Los Angeles. Thr 
name of one Jimmy Patton came up durin- 
the conversation. 

"The last I heard o' Jimmy," said Pollard, 
"last I heard o' him he was dead down in 
Texas." 

"That's usually the last you hear of 
anybody," Lloyd remarked. 

And Harry is still thinking about iht 
answer he ought to have had ready — but 
didn't. 



The Proverbial Chip 

IT isn't every four-year-old boy who gels 
a check each week for services rendered, 
so perhaps it is little wonder that Jimmii 
Rogers feels just a wee bit important when 
the cashier out at the Goldwyn studio pa\ - 
h'rii each week for supporting his lather 
Will Rogers in pictures. 

There is nothing crude about Jimmic' 
sense of importance; he never brags or com 
pares his bank account with that of tin 
other children in the Rogers family. Y\' 
he evidently looks upon himself as a man 
of money. A few days ago his father said 
to him, just after their salary envelopes had 
been handed to them : 
"Want to trade, Jimmie?" 
Without a moment's hesitation, Jimmie 
answered : 

"Xot without knowing how much you 
heve in yours." 



N„t.- W Iw.t 1 li. 




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than any Haxopliono on the market tAday. That mui-lk ■ 
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Instruments gooa without saylnif." 

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Andrew Jacobson. Tenor Arthur Ki>.sander, BariCOM 
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Soloist with Sousa's and 
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and abandoned the use of a 
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when 1 say there ii not a 
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that in anyway approaches 
the New Wonder Saxo- 
phone." 





Jean Moermans 

A Saxophone Artist of rare 
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t he Soloist of the Pat Gilmore 
and the Sousa Bands. He 
studied at the Royal Con- 
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When you write to advertisers please mention PUOTOPLiY MAGAZINE. 



I I 2 



Pll()l01'LA^ M \(.A/.INE — ADVF.I<riSlN(. SiCCTION 




BEAUTY is good fortune 
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Even those accustomed to other methods of hair 
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The Hope that Springs 

(Concluded jrom page jg) 




'AOORABLy FR£MeW- 
aQUI§IT€Ly f RASRANf 

AT bfOOK. oeALER,- A LAME BOX-SO SHf. 

A60UR>(OI§&OCL 

ALSO fm<m'ss^ Rou@£ I^^Ka 

(ft UNIQUE NiATURALNtSS- I^^Hjl 



brave, too cheerful, too full of some spirit 
of helpfulness won from their precarious 

existence. 

In nothing else was this spirit so clearly 
revealed as in the way they all crowded 
about me with words of encouragement. 

"Xow just take it easy and don't get 
nervous. " Sally of the almond-shaped eyes 
kept saying to me. "I just know you're the 
kind that's going to film fine." 

By the time we all had got into our eve- 
ning clothes evcr>'body was excitedly ad- 
miring everybody else. 

"Honest, Sally, you look like a thousand 
dollars,'' someone cried out across the room. 
"Where did you get that swell dress?" 

"Rich cousin," retorted Sally laconically. 
"She and her sister give me lots of things. 
If they didn't I could never be an extra. 
Where would I get the money to buy new 
evening dresses and wraps? Isn't it lucky, 
though, that I can wear anything from a 
thirty-four to a forty-four? I always say 
I got a regular poor relative's figure." 

It was now twelve o'clock. Most of us 
had risen sLx hours earlier. Those six hours 
were only a prelude, however, to the real 
days' work. Not until half-past two were 
we finally summoned to the studio where 
the carpenters had been busy constructing 
the lobby of a big New York hotel. In 
the meanwhile a lunch of sandwiches, coffee 
and pie had been served us. I learned that 
this was almost as unforeseen as manna. 
For, although some of the studios possess 
lunch-rooms and others dispense refresh- 
ments such as we had today, the timeliness 
and the presence of food is so uncertain in 
the movie world that the average extra ex- 
pects as little sustenance as a camel in the 
midst of the desert'. 

"There are two things you have to learn 
to do without, once you get to be an e.xtra," 
remarked Sally, swinging her golden-slip- 
pered feet from the big table upon which 
she was sitting. "One is food and the other 
is the back of a chair.'' 

As she dispensed this sunny philosophy 
my own back was aching. I remembered 
that I had been sitting here on this same 
bench for more than two hours and a half. 
Heavens I And I had conceived the extra's 
work to be merely sitting at a cabaret table 
or walking across the drawing-room floor I 

Even so, however, I had as yet no idea 
of the discipline involved. I was to get a 
further revelation when we all descended the 
two flights of stairs to the hall outside the 
studio. Here we were met by the director. 
He had decided that, after all, he would 
make this a day-time scene and would we 
all kindly change to our street clothes. 
Imagine any other class of women receiv- 
ing the news that hours of primping have 
been in vain ! Yet my fellow martyrs ac- 
cepted this announcement quite as a mat- 
ter of course. 

"Well," said the fat sirl who feared bal- 
conies as, pulling her brocade evening wrap 
about her, she began her ascent of the stairs 
to the dressing-room, "I might have known 
it. They're always changing their minds at 
the last moment. Take all your clothes to 
a studio, that's what I say — all your clothes 
and a mackintosh." 

It was three o'clock when the man at 
the camera really started. In my trusting 
way I had imacined that you performed 
once and then all was over. Not so. The 
"grinder," as I heard the girls, call the 



camera, was as painstaking as a miniature 
painter. Seven times I rei>eated my own 
"action" — the involved one of walking across 
the lobby to the hotel desk and back to a 
big leather settee. For three hours we waited 
and acted and acted and waited. .\11 of 
thb might have been somewhat trying even 
in the temfjerate zone. But this studio was 
so hot that an electric cabinet would have 
seemed quite clement in comparison — and 
I was swathed in the long squirrel coat I 
had worn on my trip. 

AT last, at sLx o'clock, we were dis- 
missed. I heard my companions con- 
gratulating themselves on the earliness of 
the hour. It might so easily have been 
eight or nine, they said. But. as for me, 
I was unsoftened. I was hungry. I had 
never been so tired. I was prostrated as 
an Eskimo in the tropics. And as I dropped 
into my little room on Madison .\venue that 
night I reviled each person who had ever 
come forward with the ghoulish suggestion, 
"WTiy don't you go into the mo\ies?" 
Never, never would I tr>- being an extra 
again. 

Yet I did try it. Whenever I got a day s 
work I took it. Some of these days. I 
may add, were much easier than the one 
I have just described. Others, on the con- 
trary, were infinitely harder. Often I put 
in fifteen or sixteen hours. Often I went 
without food. -And it frequently happened 
that I spent more than a dollar on the 
phones and car-fares preliminary- to getting 
me a five-dollar job. But I persisted and 
after some months I got my reward. Per- 
haps it was my looks, which proved to be 
the kind that did film well. Perhaps it was 
my wardrobe. .At all events. I was given 
a small part in a big picture and the di- 
rector is most encouraging about my future. 

This luck of mine is not. however, the 
common fortune. As a rule, indeed, the 
movie moth does not become the movie 
star. She — or he — can look forward to 
nothing much save days such as I have 
described. For this reason the person who 
wants to be a movie extra must regard it 
merely as an income e.xtra. And it is not 
strange, therefore, that the ranks of super- 
numeraries are toade up of four leading 
types. 

One of these is the chorus girl or man 
who wants to make a little money on the 
side. The second is the actor or actress of 
the legitimate stage waiting for an engage- 
ment. Next comes the woman who is bored 
with life. .\nd last is the wife or daughter 
of the small-salaried man, who uses the 
screen as the magic to bring her the gold- 
mesh bag. the ostrich plume, or any of the 
little frivolities that Home Sweet Home will 
not provide. 

However, much as all of these may realize 
the steps between them and stardom, they 
are all unconsciously sustained by hope. 
Some day some director may notice a par- 
ticular bit of promise in face or gesture. 
Some day a small part may be given them 
in which they have a chance to show their 
real fitness. For hope is more active in 
the movie world than any place else. It 
never stops moving across the screen of 
one's consciousness. 

So. even now, I myself am looking for- 
ward to the day when I c.^relessly open 
my pay-envelope upon a three thousand 
dollar check. 



Ercry adn-rtisciucnt In PHOT<>PL.\Y MAGAZINE (• gt.«riiitcc<t. 



I^IIOTOPLAV MXGAZINK — AUMCHIISING SECTION 



Dante Was Wrong 

{ Concluded from page 31 j 

Vou sec, Louise Huff does. That was 
what we were heading" at. Louise Huff 
knows absolutely what love is, because she 
loves some one and that some one else loves 
her b.uk, and there's no question in the 
world about it. That some one else knew 
he was going to love her the minute he laid 
eyes on her, and she knew she was going 
to !ove him. (One of his fraternity brothers 
brought him along one day to a luncheon 
party so that there would be an even num- 
ber.) And they were married a few months 
ago. and in sjiile of the fact that he is the 
president of the company that manufactures 
hydraulic engines (and is only 34 at ihal 1 
and has such a practical name as Stillman, 
and she can't tell a valve from a radiator, 
they understand each other perfectly. 

Like Fanny Hurst, she is going to go on 
leading her own life and doing her own 
work — but she expects to keep the dew on 
the rose and the dust on the butterfly's wing 
with seven breakfasts a week with her hus- 
band, instead of two. 

Then there is this difference, too: in Louise 
Huff's case there is Mary Louise, in other 
words Miss Jones, or in still other words, 
her young daughter. Miss Huff was mar- 
ried before when she was very, very young — 
100 young, it is to be feared, to know what 
Love really was. 

Louise Huff says she hates to tell how ii 
was that she went on the stage, because it is 
just like every novel that was ever written 
about any Southern girl. '"The family for- 
tunes having dwindled away, she suddenly- 
found that she must earn her own living. 
She had been trained to do nothing — what 
could she do to earn her own bread?" 

The case of the dwindled fortune, the lack 
of training, and the necessity to earn bread 
were true. So she went on the stage. The 
play was "Graustark."' Louise received the 
sum of twenty-five dollars a week without 
expenses. "It was a good thing we played 
in the South,'' she says, "because I had kin- 
folks in every town wt plajed in. They 
didn't approve of my being on the stage, 
but they did take me in and board me. 
Heaven knows I couldn't have made ends 
meet on that salary if they hadn't." 

From "Graustark"' our brown-eyed heroine 
went to a road company of "Ben Hur." 
She played "Esther" — with a Georgia accent. 
That lead to New York stock, and .stock to 
pictures with Lubin in Philadelphia. 

Miss Huffs last regular work was with 
Jack Pickford, until she came back a few 
months ago alter an absence of two years, 
as a Selznick star. 

Louise Huff is a simple, unaffected, studi- 
ous young person with a mind as well as 
pulchritude. She is always studying some- 
thing — botany, astronomy, history or some- 
thing equally deep, and she says that when 
she finishes pictures for good she wants to 
go back to school. She was only 15 when 
she went on the stage, and she never has 
had all the schooling she hankers for. She 
also wants to write. Perhaps some day she'll 
write a handbook on Love. 

Just at present Miss Huff lives in a big 
apartment house on upper Fifth Avenue. 
Very soon she is to have a house in the 
"upper East seventies," and if you will look 
in any New York social register you will 
know what that means. 





g B & B 1920 



A mere touch will end it — 

So with corns 



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The method was perfected 
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It means to those who know 
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Your druggist sells it. 




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114 



Pno'i(»ri.\N M\(,\/.i\i. Ai)\ I It I iM\(. Sia iios 



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What $1.25 

Will Bring You 

More than a thousand pictures 
of photoplayers and illustra- 
tions of their workand pastime. 

Scores of interesting articles about 
the people you see on the screen. 

Splendidly written short stories, 
some of which you will see acted 
at your moving picture theater. 

The truth and nothing but the 
truth, about motion pictures, 
the stars, and the industry. 

You have read this issue of 
Photoplay so there is no necessity 
for telling you that it is one of the 
most superbly illustrated, the best 
written and mostatlractively printed 
magazine published today — and 
alone in its field of motion pictures. 

Send a money order or check 
for $1.25 addressed to 

Photoplay Magazine 

Dept. 7-G. 350 N. Clark St.. CHICAGO 

and receive the September isaue 
anei five issues thereafter. 



PHOTOPLAY MAGAZINE 

Dcparlmcnt 7.G 
350 North Clark Street, CHICAGO 

Criillrmcn : I t-nclose herewith SI.2.T (Can- 
ada $l..')ii) for which you will kindly enlcr ni\ 
subscription for Photoplav Magazine for six 
months, effective with the Sept., 1920, issue. 



Send to. 



Street Address. 

Citu 

j State 




ARTIST Stuart Hay s conception of the cue of the future: the new waiting line, 
the sub.^titute for "Standing Room Only." Ladies may do their window-shop- 
ping and gentlemen enjoy tea, chess, and conversation while comfortably seated in the 
cue-chairs, which you will note from one long train which winds around the square, 
not returning to the theater until the Thcda Bara of the box-office gives the signal that 
the house is empty for the next performance. Rialto and Rivoli. New York, please note. 



Questions and Answers 

(Coiitiiuied from page no) 



Elizabeth, St. Louis. — William Shea is 
(lead. Mary Fuller and Pauline Bush are 
rt'lircd. Irene Castle is seven inches over 
five feet tall and weighs 115 pounds. Her 
eyes are gray and her hair is brown. Norma 
Talmadge is five feet two, weighs 110 lbs. 
Sister Constance is three inches taller than 
Xorma and ten pounds plumper, though 
vou d never guess it. would vou? 



present writing. Farrar is an American, born 
in Melrose. Mass. Her father. Sidney Far- 
rar. was once a ball -player. She is a most 
dazzling and remarkable personality. Gerrj'. 



Betty Migxon, St. Loims. — .\ great 
French poet once rcmarkecl that one can 
live for three days without bread, but not 
without poetry. I am ashamed to confess 
that I can only appreciate poetry when 
fil cd with ham sandwich or lemon meringue 
pie .\m I not a piliable obect? .\h — but 
well-fed, well-fed. lleraldine Farrar is now 
willi the .Associated Exhihilors. another one 
of those new companies. I can"t keep track 
of tliem, so I don't expect you to. Cu-ral- 
(lim's I'lr't one. to be released through Palhe. 
is "The Riddle Woman" from the stace 
play which was enacted by Bertha Kalich. 
Lou Tellecen will not act with Farrar in 
this, as he has opened in a new play of his 
; own, called "Underneath the Bough" at the 



Peggy, Topeka. — .\m I a myth or a real 
person? If I were a myth I wouldn't he 
able to answer you at all. As I am a per- 
son, I shall leave it to you to decide if I 
am real. Maruuerite Clark played "Come 
Out of the Kitchen " for Paramount She 
also made the "Bab" pictures from Mary 
Roberts Rinehart's sub-deb stories. 



Jennie. Delawanna. — I am sure Robert 
Gordon will be distressed when I tell him 
that his looks are driving you crazy. Of 
course I understand you mean to be com- 
plimentary, still I wouldn't want you to sav 
that about me. You won't, anyway. Gor- 
don may be reached right now care \'ita- 
graph studios. Brooklyn. X. Y., where ho 
again is playing opposite .\licc Joyce Mary 
Miles Minter of the Realart company is 
working at the Lasky Hollywood -tudios. 
Richard Baithelmess. Griffith studios, Ma- 
maroneck. New York. 



Erory ulrrrtliriiidit in I'lHiTtU'LAV .MA(1A7.INK U jiurantwj. 



Photoplay Magazine — Advertising Section 

The Truth 

(Continued from page 47) 



I 1 



side as well as Eve's and no one could deny 
that Eve had acted abominably. 

"Yes," ?he answered, "but tomorrow only. 
That must be the last time." 

SINCE Eve had obtained no satisfaction 
from her interview with Becky she did 
what she had threatened; she went to Tom's 
office slraiiiht from the house, arriving at 
his office building ju~t as he was stepping 
into his car to drive home. Eve told him 
that Becky and Ercd had been together prac- 
tically every day for the past two weeks. 
Tom took it lightly, told Eve that she and 
Fred were a couple of naughty children who 
should be spanked. 

However, when he turned the corner 
about two blocks from the house, he saw 
someone who looked suspiciously like Fred 
coming out the front door. Though he tried 
to forget Eve's talk as merely that of a 
jealous wife, he found himself a trifle upset. 

Becky was waiting for him in the living 
room, curled up like a harmless kitten on the 
couch, and trying to look as innocent. She 
sprang up and threw her arms about Tom's 
neck, but his evening kisses were less ardent 
than usual. 

She noticed his attitude at once, and pulled 
him down beside her on the couch. "\Vhat's 
the matter, dearie? Don't you feel well?'' 
"Becky, I've just seen Eve." 
Becky was startled. 

"Oh, has she been weeping on vour bosom, 
too?" 

The two of them laughed, and for the 
moment Tom's doubts vanished. He drew 
his wife to him. 

"I love you better than all the world," 
said Becky. Tom knew that what she told 
him was true. He held her silently for a 
moment. Then the thought of Eve and 
what she had told him, and the remem- 
brance of Fred leaving his house crept like 
a serpent into his garden of happiness. 

"Becky," he held her face between his 
hands, so that he could look into her eyes, 
"Becky, have you been seeing Fred Lindon 
every day?" 

Confusion routed the expression of con- 
tentment from Becky's face. Her lip 
twitched a little nervously, her eyes avoided 
those of her husband for a moment, then 
widened into vast surprise. 

"Why — no! Certainly not I" she an- 
swered. 

Tom could not miss her confusion, but 
he did not want to understand it. He did 
not want to believe that Becky would lie 
to him. 

"Becky, didn't I .see Fred Lindon leaving 
the house as I came home?" 

"Why no— at least I didn't see him," 
Becky avoided. "You — you see I just got 
home from the bridge party." 

Tom frowned. 

"Becky, I want you to answer me truth- 
fuUv. Is Fred Lindon trying to make love 
to you?" 

"If Mr. Lindon should try to make — a — 
a — respectful love to me, that's a compliment 
to you, isn't it?" she answered indignantly, 
unaware in her anger that she was answering 
Tom's question. 

Tom reached out and took Becky's hand, 
and looked at her solemnly. 

"I have every confidence in your motives, 
Becky, but no woman can have the friend- 
ship of a man like Fred Lindon long, with- 
out paying the highest price for it. No mat- 
ter how wcW you knew, and those who 
love you knew that you had not danced, all 
the same the world would make you pay 
the piper." 

There was something so protective about 
Tom. Becky snuggled down happily in his 
arms. Now that he knew that she had been 
seeing Fred, she felt all happy and .safe. 



"You don't e.\pect to see Fred tomorrow? ' 
Tom asked suddenly. 

"No," answered Becky. 

".'\nd you promise me that if he should 
come, you won't see him? ' 

Becky nodded her head up and down, and 
crossed her heart. 

.'^t this juncture Jenks entered the room 
with a telegram for Mrs. Tom Warder. It 
was from Becky's father, Stephen Roland. 

"Imperative you send me ."^so by special 
messenger. Good things. Can't lose." 

Becky looked worried, and she handed the 
message to her husband. 

"Not another cent this month, Becky,' 
Tom spoke firmly. "We must put a stop 
to your father's gambling." 

Becky pouted just a tiny bit. She knew 
she was wrong, but she did feel sorry for 
her father. She turned away from Tom, 
but he came to her and put his arms about 
her. As he did so, an inspiration seemed 
to flash over Becky's consciousness. Her 
face lit up, and she grasped the lapels of 
Tom's coat. 

"Oh, honey,'' she cooed, "I — I couldn't re- 
sist a hat today — the duckkst little hat. It 
was all yellow." 

Tom was relieved to be out of the un- 
pleasantness of refusing money to Becky's 
father so easily. 

"How much?"' 

"Fifty dollars," Becky answered. 

Tom shook her slightly. "You can't be 
taking this way of getting money to send 
your father when I don't want you to?" 
he a'^ked. 

There was no need for reply, for at that 
moment Jenks entered with a huge hat box, 
saying that the messenger was waiting for 
the money. Becky gave Tom a hug and a 
kiss, then a gentle push, and told him to 
go get ready for dinner. 

Left alone with Jenks, she whispered to 
him: "Say Mrs. Warder is sorry, but that 
Mr. Warder does not like the hat, so she 
cannot have it." 

The next moment she was holding the tel- 
ephone receiver in one hand, while she 
started to write a note with the other. She 
called Fred Lindon's house. When she got 
him on the wire, she said coldly: 

"I'm very sorry, but our engagement is 
off. For good." Then she hung up before 
Fred could reply. 

"Dear Father," began the note she penned. 
".Am inclosing the fifty. Please be careful. 
With love. 

"Becky." 

E\'E LINDON decided that she was gain- 
ing nothing! by staying away from 
home. So she went back the afternoon fol- 
lowing the scene at Becky's house. Fred was 
not glad to see her. He was ugly and in- 
sulting, having been imbibing high-balls all 
day to drown the injury to his vanity caused 
by Becky's repulse. Eve w^as ready to fall 
on her knees at his feet. He did not even 
greet her. He simply snai)ped: 

"You've mingled in my affairs once too 
often. You've gone and frightened Becky 
Warder away. She was just getting inter- 
ested. I had an engagement with her this 
afternoon, but you went and killed that. | 
How do you suppose a man could love a 
woman who is always butting into his af- 
fairs? Get out of here." 

.And Eve "got out." She put on her 
things, climbed into her car, and drove 
straight for the Warders'. Tom had on his 
golf clothes, and was preparing to leave for 
the. links. Becky was dividing her lime be- 
tween letters and her husband. Jenks' an 
nouncemcnt that Mrs. Lindon was at the 
door and would like to see 'Sir. Warder 
startled them. 
"I wish to talk privately to Tom for a 




SAYS: nrcin 

f/lne o»f/i(. " 



II indii pen table 
MAE MURRAY 



A Stage Secret 

BEAUTIFUL stars of the 
stage and screen are for- 
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Small trial samples of Hyglo Cuticle Re- 
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PnoTopr.w M\(.AziNK — Advertising Sixtion 

"This Way, Please, 

To Win a Satin Skin" 



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The Truth 

( Continued) 





I recommcDd the us« nf Vanita to 
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moment.*' Evi- Urnored Becky's proffered hand, 

"Don't do anything I wouldn't do." Becky 
called liehily ov er her shoulder to Tom. and 
Went into the garden. 

Tom drew up a chair for Eve. 

"I only hinted at the truth of what has 
been going on between Fred and Becky the 
other day." she faid. ''Why, she had an 
appointment with him for today. She broke 
it by telephone, and Fred was furious about 
it. He blamed me." 

Tom slapped the table with his open band. 

"Eve, I don't believe a word of it. And 
I don't want to hear about it. You're a 
spoiled, jealous woman.'' 

" Here's your proof. " Eve threw down the 
reports of the detective agency before him. 
Tom went to the door and called Becky. 

"Eve tells me that you have been seeing 
Fred practically ever>' day," he said, search- 
ing Becky's face. 

"Do you want me to deny it? It's like a 
trial isn't it?"' Mrs. Warder answered lightly, 
trying to make herself feel more easy than 
she did. 

"Did you break an appointment to see 
Fred this afternoon by telephone?" 

This time Becky was cornered. She de- 
cided to play for time, until some new sort 
of fib could present itself to her. 

"The whole thing is false. If you think 
I'm a home-breaker. Eve. you've made a 
mistake. What do you mean coming to my 
precious home to make trouble?" 

"You know what I mean." Eve replied. 
"I must go — I'll leave the papers for you to 
look over. Tom.'' 

For the first time, Becky seemed to realize 
that the papers Eve had brought might have 
anything to do with her. As Tom saw Eve 
to the door, fifty thoughts crowded into her 
mind — she would take them, tear them up. 

Tom came back and sal down beside her. 

"I want you to be truthful, my dear," he 
spoke deliberately. "You have married a 
man who has every confidence in you. My 
faith in you is the best thing in my life — 
but it is a live wire and neither of us can 
afford to play with it." 

As he finished he reached for the papers 
on the table. Becky, frightened, tried to 
delay him. 

"Tom. dearest,"' she said, embracing him, 
"truthfully. I love you. and you are the only 
one I have ever loved." 

Tom looked deep into her eyes. 

"Becky." he said. "I tell you frankly that 
I do not know what to think. I believe that 
you do love me. but I want to get to the 
bottom of this sickly mess. Eve tells me 
\ ou telephoned Fred not to come this after- 
noon." 

"Eve never could tell the truth."' Becky 
flared. 

Tom picked up the papers and began 
glancing them over. Becky looked over his 
shoulder. She had never really srasped the 
full significance of them before. 

"Detectives."' she shuddered. "Oh. this is 
awful. You don't mean — and Eve hired — 
the suspicious cat." 

"Becky, bow could you have gotten into 
such a mess? " There was anguish in Tom's 
voice. 

"The reason I saw Fred at all was be- 
cause Eve wanted me to I was trying to 
bring them together again." 

Tom smiled rather wearily at thi^. Then 
Tenk<; came in to announce that Mr. Weld 
was at the door to take Tom to the golf 
( Uih For the fir-t time in their wedded life. 
Tom went mit of the door without kissing 
K. I k\- good bvc. 



T 

Ue 



\\V. importance of always telling the 
truth was becinninc to iiercolate into 
kv"< disturbed mind "Oh. if I hadn't 



Eviry a.lvorUtiiiHMit hi I'UoTorLAY MAti.V/.lNK I3 sii»r*»twa. 



Photoplay Magazine — Advertising Section 

The Truth 



( Contin 

begun telling those miserable little fibs. If 
I had only told Tom all about it from the 
bei;inning," she mourned. "I will never tell 
a lie again." 

But habic, as it has been so often said, is 
a chain that binds us fast. Becky had no 
sooner made this oath, which gave her a 
certain amount of righteous feeling, than she 
began to cast around in her mind for a way 
to get out of this terrible situation. She 
thought of Fred. He must help her. He 
was more at fault than she. In a few 
minutes a note was on its way to his home. 

"If this note reaches you at once please 
come over. I don"t think Tom will be here 
before six. Important. 

'•Becky." 

The messenger had hardly gone, when 
Becky's father, jovial, flashily and nattily 
attired, with the air of a gentleman with 
no responsibilities in the world, arrived. 

■'Well, little daughter," said he, kissing her 
affectionately and tweeking her checks, 
"aren't you surprised at my arrival? Mix 
me up a little old whiskey and soda, my 
dear, and I'll tell you what it's all about." 

Becky went to the cellarette. Mr. Roland 
drank his drink, smacked his lips, then 
chuckled. 

"My dear, it was a great joke on me. I 
meant to ask for five hundred — not fifty, 
though I appreciate the fifty." 

"Five hundred more," Becky gasped. 
"Tom would only let me have fifty, father. 
He said to send it to you with his love. 
I'm sure he can't let you have any more just 
now." 

The florid features of Mr. Roland flushed 
redder. Becky did not ask him to sit down, 
but he did so, with quite a hea\-y sigh. 

"It's a question of five hundred or a new- 
Mrs. Roland," he said. 

Becky started. 

"Father, you can't possibly owe your land- 
lady that much money?"' 

"Yes; haven't paid her for two years." 

Becky's father settled himself, as if for 
the afternoon. 

"I wish I could ask you to stay for the 
afternoon." Becky said nervously, "but, you 
see — I — I — am to meet a girl friend." 

Mr. Roland save no outward expression of 
any intention to understand Becky's hint. 
Becky became more and more nervous every 
minute. What if Fred should come ! 

"I've got time to drive you to her house 
if it's not far," he said at last. It made 
no difference to him that a taxi was waiting 
outside clicking up a bill that Tom Warder's 
money would have to settle. 

Becky shook her head. "I'll get there all 
right. You stay here,'' and as she went out 
her father settled himself in more comfort 
on the couch. 

Becky ran lightly down to the corner and 
stationed herself behind a hedge, where she 
cou!d look up and down the street, and at 
the same time not be seen from the house. 
She would stop Fred Lindon before he could 
reach the house. 

She had hardly taken her place when she 
was astonished by the approach of Weld's 
car from the other direction. It drew up 
alongside of Roland's taxi. Tom jumped 
out, threw the hired car a glance, and went 
slowly to the house. In a few minutes her 
father came out and rode awa.w Becky, 
from lu'r hiding place, was just making up 
her mi«d to go back home and face the mu- 
sic, when a taxi came speeding from the 
other direction. It held Fred Lindon. .AiS it 
passed her she called out to him, but he did 
not hear her. The car drew up suddenly at 
the curb in front of the house, and Fred 
ran up to the house three steps at a time. 
Becky wruns her hands in distress; her heart 
dropped : she felt very ill and miserable and 
unhappy. She waited in dread and anxiety 



ned ) 

for what should happen. She did not know 
quite what Tom would dx) to Fred. She 
was afraid. In a few seconds her husband 
walked out of the house. Becky prepared 
for flight when she saw him coming, but he 
went in the direction from which he had 
driven a few minute'^ before. When he was 
quite out of sight, Becky summoned up 
courage enough to go home. Lindon was 
sealed complacently on the sofa, reading and 
smoking. He felt very well satisfied with 
him.sclf. 

On arriving, he had met Tom Warder, who 
had told him that Mrs, Warder would be 
sorry that she had been away when he 
called. 

"But I don't understand." Lindon had 
said. "She wrote me this note." .Vnd he 
produced Becky's message. 

Tom, thoroughly disgusted, had gone off 
to his office saying he had some important 
papers to look through. He had left the 
house to Fred. 

Becky did not see her visitor when she 
entered the living room. Sick and fearfu ly 
she leaned against the door. Fred heard her, 
went to her with the greatest confidence, 
drew her into his embrace and kissed her. 

"You beast I" Becky jerked herself away 
violently. 

"Didn't you send for me?" asked Fred. 
"What was I to think but that you found 
that you cared for me?" 

"Yes, I did send for you," Becky's voice 
was very bitter, "but it wasn't because I 
wanted you to kiss me. I've been a fool, 
and you're a cad. I want you to know that 
there is only one man I love. That is Tom. 
There is only one I despise — that is you. 
And to think that you made me believe you 
were an abused husband ! Please go. I 
don't ever want to see you again." 

Fred Lindon knew when he was whipped, 
and with an air of indifference he left the 
house. Naturally he did not find it neces- 
sary to inform Becky that he had shown to 
her husband her note urging him to come 
to the house, and Becky, in her own blun- 
dering way. because Tom had in no way 
committed violence on Fred, believed her 
husband had in some way missed seeing him 
when he was in the house. 

BECKY WARDER'S emotional resiliency 
was remarkable. No matter how black 
one moment might seem, given time, her 
optimism was back in full glow. The lower 
h.er state might have been, the higher it went 
when reaction set in. 

Perhaps it was the same quality which so 
many women possess — that same inability or 
constant refusal to look things squarely in 
the face — that had' caused so much of 
Becky's present state of affairs, and which 
drugged her into the belief that everything 
was all right. 

By ten thirty in the evening she had gone 
through the dress of despair and had climbed 
throush the various processes of self argu- 
ment, until now she was in amazingly good 
spirits. Jenks had said Tom had gone to the 
office. At about eleven she called him and 
asked him to come home. 

One hardly could have suspected that there 
had been a serious situation the entire day, 
from the looks and voice of Becky when 
Tom entered her bedroom. The softly 
shaded lights envelojied her in a rosy glow. 
Her cheeks were pink; her eyes sparkled 
brilliantly. She wore a turquoise blue gown 
— soft and clinginc — the gown Tom liked 
best. 

It was only Tom who showed signs of 
mental strain and unhappiness. 

Becky called to him gaily as he opened 
the door. She ran to him expectantly, but 
he pushed her away. 

Why Tom. dear!" Becky spoke with 




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Photoi'j.av Ma(.\zi.\i; — Advektising SKmox 

The Truth 

( Concluded) 

surprise and concern. "Vou look all fagged ne.xt day, 
out. .^re you just lired out — or — ill?" 

Tom ignored her question. He motioned 
to her to sit down. She sat on the edge 
of her bed, and he dropped down on the 
edge of his, facing her. 

"Have you had any callers today?'' he 
asked, looking her directly in the eye. 

Oh habit, habit— the trickster! 'How it 
cheats us when we do not want it to ! 

'■Why — er — only father. I'm sorn,' you 
missed liim,'' answered Becky. .And she had 
meant so much never, never, never, again to 
tell a lie. 

"I did see him,"' came Tom's response. 
"He told me about the money you sent him 
— from me," then caustically — "where"s the 
new hat?" He glanced about him for a 
moment as if looking for something, then 
brought his steely eyes back again to Becky's 
face. 

"Was Fred Lindon here?" 
Becky was caught. 

"Well, I'll be truthful for once. Fred 
Lindon was here, but I did not ask him. I 
excused myself at once.'' 

Tom's expression was not pleasant for 
Becky to look upon. 

''Oh, indeed ! It happens he showed me 
your note asking him to come ! I don't sup- 
pose you know anything about the note?" 

There were no more possible lies for Becky 
to hide behind, so she became very, very 
angry. 

■'I did send for him. It was about those 
abominabie papers that Eve gave you." 

"And I don't suppose you kissed him."' 
Tom grew still whiter at his own sugges- 
tion. 

'•No, I didn't," Becky snapped back. "He 
kissed me. How could I help it? I didn't 
know he was there — he was in the living- 
room when I came in." 

"Of course not. Of course not. How 
could you resist him?'' 

There had been little f;imily spats before — 
the nice kind that end in ki.-^ses, but up until 
this moment the full significance of this pres- 
ent difference in opinion between herself and 
Tom had not struck Becky. There was 
something in the deathly pallor of Tom's 
face, in the iciness of his tones, in the man- 
ner in which he went to a far corner of the 
room as if to be away from her, and stood 
looking down at her, which sent shivers of 
fright through Becky. She was no longer 
angry. She was tired of it all. She wanted 
Tom to forget what had happened and to 
take her in his arms and comfort her — as he 
had always done before. Sobs rose up in 
her throat. 

"Vou don't have to believe me," she wept. 
"I told you why I was seeing Fred Lindon. 
I told you that I was trying to bring him 
and Eve together. Oh, dear! Oh, dear! I 
wi-ih I had never been born," 

Becky fell back in a little shaking heap. 
But Tom, usually all concern at such a mo- 
ment, was adamant. 

"Go ahead and cry all you want to," he 
said, "I'm through. The money to your 
father! This rotten evidence of Eve's that 
you've been meeting Fred right under my 
nose, and mc an unsuspecting fool all the 
w hilc ! You couldn't help his kissing you ! 
Lies — damnable lies, and another dozen to 
try and save yourself. I'm through. I tell 
you !"' 

Becky's torrent of tears dried up under 
the blaze of Tom's anner. She sat up and 
looked at him through dazed eyes. 

"^'ou don't mean you — ," she could not 
s;iy the word. 

"^'es, we separate — flivorre if you wish it. 
I tell you I'm through. You don't know 
what the truth is. I can't stand \our lies 



,iii\' longer. 
.And so it came that Becky Warder, the 



entered her father's ^habbv 
boarding house with a couple of suit cases 
and the announcement that she was goine lo 
visit for a while — "while Tom is away." ' 

But there was something about the droop 
<if her pretty red mouth, the wistfulness of 
her eyes, the hint of tears in her voice, that 
told her father instantly that there was 
something back of her x-isit that she had not 
conlided. He suggested as much. Soon her 
head was nestled on his checked, yet fatherly 
breast, and she was sobbing out her heart. 

There! There Father would fix it. Father 
understood. 

When Becky was asleep, tired out from 
her heart ache and her sleepless night, 
Stephen Roland slipped out slyly lo the 
nearest telegraph station. 

"Thomas Warder, " he wrote on the yellow 
sheet, "Becky very- ill. Xer\-ous collapse. 
.Advise you come at once.'' 

.And though Tom Warder had sworn, not 
twenty-four hours ago, that he never wanted 
to see Becky s face again, in less than one 
hour after receiving her father's telegram 
he was on his way. sick with an.\iety lest 
something happen before he could reach her 
Becky awakened to find her father tiptoe- 
ing noi.selessly about the room, pulling down 
the shades, setting medicine bottles on the 
dresser, and rapidly transforming the at- 
mosphere of his bed chamber into that of 
a sick room. He explained to her what he 
had done. 

"Vou gotta play you're awfully sick, my 
girl. That'll get him quicker'n anything else.'' 
Becky's tired eyes closed asain and she 
sank back into her pillows. She did not 
awaken until late in the evening. Then she 
was conscious of whisperings and careful 
walking in the next room. She could hear 
her father's hoarse voice — "She's a sick little 
girl. You must be real quiet. I'll go see 
if she's awake." .And then she heard Tom's 
• All right." 

It was true that Becky was far from well. 
The strain had been very hard on her. Her 
head buzzed and her eyes burned. There 
was a hazy, misty film that seemed to be 
between her mental consciousness and the 
world. But Becky was not too ill to know 
that the thing that had brought Tom Warder 
to Baltimore was a lie. It was a little white 
lie, perhaps — and Becky had not told it. 
But if she lay there in bed and let Tom 
think she was dangerously ill, she would be 
acting a lie. .And she was done dealing in 
untruths, be they told or acted, forever — 
really done. 

.A moment later Becky entered the li\-ine 
room. She was unsteady as to her footing, 
but she was not unsteady as to purptose. 

"Tom.'' she spoke deliberately and de- 
terminedly, "I am not ill. The telccram was 
only another lie to get you here. I am not a 
nervous wreck. I think I have learned my 
lesson — but I am glad that you are here, 
for I shall tell you now, truthfully, that I 
love you and I .shall always love you.'* 

Her husband looked at her almost shyly 
for a moment, then swept her into his arms 
"My very own dear." he whispered tenderK- 
Of course Stephen Roland and Mrs. Crisp- 
ii;ny were in the room to see the reconcilLi- 
tion. but they slipped out very shortly, and 
held a little reconciliation in the kitchen oi 
their own. With a hearty ki.ss on his land 
lady's mature lips, the kind hearted old gen- 
tleman who had so long evaded the bond> 
which the widow had long been layine for 
him. came into the jx-aceful knowledce that 
he was now settling all her claims for hi- 
unpaid board bill, and that he would never 
have another one to worry about. 

".And. Tom," whi'^pt red Becky against her 
husband's broad protective shoulder. "I shall 
never, never, never, tell another He — not even 
a while one." 



Cur>- aUrrrtlacmntil In riloTOPI.AY M.\C3.^7.1NF. h ruamnlml. 



Photoim.av M\(.A/rM.— Advkhtisixc. Section 

Humoresque 

(Continued from page 55) 



119 



"Perhaps you will run over to \ ienna," 
said Gina at parting. 

'■Wh>- not? I'm soing lo \enice later 
on and then to Rome." 

Leon's letter home to his parents men- 
tioning Gina Berg for some reason of femi- 
nine intuition raised a shadow of a feeling 
in the heart of Mother Kanlor. 

Hancock the manager went about his 
leisurely business of resting with little at- 
tention to or from Leon. The violinist 
put himself to work under the most rigid 
of Berlin instructors and kept faithfully at 
it for three months. Then he wrote to 
Gina, suggesting that he might run down 
to 'Vienna. Her reply was cordial. 

When Leon opened the subject of \'ienna 
with Hancock that wise and worthy person 
cocked his head on one side and spoke 
blandly. 

"You'll be right 
back, won't you?" 

"Oh, yes. I just 
want to have a talk 
with Eydler there 
— on technique." 

"I see," Hancock 
answered with a 
certain dryness. He 
knew that neither 
Eydler nor anyone 
else could give 
Kantor points on 
technique. 

Leon left his vio- 
lin safe in Berlin. 
Tw-o weeks went by 
and Hancock sent 
a wire: 

"How about that 
technique?" 

Leon showed the 
wire to Gina. She 
smiled and said she 
knew it was time 
for him to get back to his work. 

And back to work it was. Hancock felt 
it was time, to be stirring. He made ar- 
rangements for a concert in the Prussian 
capital, which proceeded to a marked suc- 
cess and much lionizing of his violinist. 
Then came Italy with its blue skies and 
langorous days — and a triumph. Leon 
played a command performance before the 
King and Queen. He was applauded, ap- 
proved and decorated. The doors of the 
old nobility were opened to him and it was 
a milestone in his career. Leon Kantor 
was now a musician of world fame. 

Hancock began to urge a return to Amer- 
ica. He saw a precious season of big 
receipts slipping away. Leon was reluctant. 
Italy was in his blood. Hancock retired to 
his quarters and cogitated, then evolved a 
very careful cablegram to Mama Kantor. 
He placed emphasis on the fact that Leon 
was well but suggested that the mother's 
presence would have its values. 

"You better go," said her husband. "It 
makes no money to be there so long, and 
Kings and Queens!" He shrugged his 
shoulders expressively. 

"They advertise good," observed Sarah. 
"Rut Hancock, he has a level head," she 

Med, and set off to prepare to go. She 

1= wondering what Leon found to keep 
;i!m so long in Rome. 

Hancock received a cable announcing the 
coming of Mother Kantor, and carefully 
kept that matter to himself. Meanwhile a 
letter of congratulation from Gina in \'ienna 
had started up a new correspondence be- 
tween her and Leon. Presently she wrote 
that she was coming to Rome for a week, 
and promptly followed the letter. After 
which she and the young violinist were 
much together. Hancock noted the fre- 



Humoresque 

NARR.\TIiD by permission from 
the Cosmopolitan Production 
based on the short story of the same 
title by Fanny Hurst, and produced 
for Paramount -Artcraft, scenario by 
Frances Marion, under the direction 
of Frank Borzage, with the follow- 
ing cast: 

Mama Kantor ...Vera Gordon 

Abraham Kantor .. .Dore Davidson 

Leon Kantor Bobby Connelly 

Leon Kantor. Zafer. ... Gaston Glass 

Sol Ginsberg Louis Stearns 

Minnie Ginsberg .. .Miriam Battista 
Gina Berg Alma Reubens 



quency of their meetings and marvelled at 
his own sagacity in sending for Mother 
Kantor. 

While Hancock was off to Naples on a 
pretext that permitted him to meet Mrs. 
Kantor. Leon and Gina were playing and 
picnicking. At a luncheon spread between 
them on the bank of a babbling river the 
dangerous topic came up. 

"Gina. have you ever thought of mar- 
riage?" The question was blunt and im- 
mediate. 

••Yes. many times." She faced him frank- 
ly. "But I have other ideals. I shall never 
break away from them." She thought she 
spoke with great finality. 

"You mean that art and love are not 
compatible?" 
Gina nodded, her gaze on the ground. 

"And you agree 
with me, don't 
you?" 

"I did, until — a 
little while ago." 
Leon was red and 
stammering. 

"We'll have a 
great afternoon for 
the ride back,'' was 
Gina's response. 

When they ar- 
rived at the hotel 
Mother Kantor was 
there, awaiting 
Leon with out- 
spread arms. There 
was an exchange of 
surprised greetings. 
Hancock faded out, 
and Leon presented 
Gina Berg. Gina's 
manner captured 
Leon's mother. 
After the girl had 
gone the mother 
opened Leon's eyes wide with the story of 
the success of Gina's father the onetime 
brass dealer. 

In her pension room, Gina was fighting 
out with herself the problem of love and 
making the decision which she felt would 
make her career. 

A simple note to Leon the next day con- 
veyed Gina's good wishes to his mother and 
announced her departure for Vienna. 

"A fine girl, Gina Berg," observed the 
mother carefully to Leon. "One of these 
days she'll be marrying." 

"No she won't; she's for art, not mar- 
riage.'' 

Leon's reply gave his mother a great deal 
more information than he intended. 

"Yes," the mother assented. "It's the 
American way — it should be everything first, 
then marriage." 

Leon stood sadly with Gina's note in 
hand. The mother intuitively knew that 
this was the time to push the matter of a 
return to America. Hancock was an able 
second. Leon was meekly willing. Nothing 
appeared to matter much to him just then. 
His heart was in Vienna. Hancock arranged 
affairs with great dispatch and in _ three 
days they were on their way. 

IN New York, Leon was greeted " with 
enthusiasm. Reporters flocked for inter- 
views and Hancock displayed the decorations 
from the crowned heads of Europe. 

It was a winter of new triumphs for 
Leon. His playing had acquired a new 
depth and insight. The critics' remarks 
were highly gratifying to Mother Kantor 
and Leon's father felt much improved at 
the increased box-office returns. Hancock, 
partly for advertising and partly as good 
business. -proceeded to insure Leon's gifted 




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lEIeetrio Mrhtinc >n<l It;i. 

I Electric Wiring 
Telegraph Engineer 
ITelephone \%'ork 
I UECIU.MCAI, (- VHINEEK 
iecbanicai DrafUman 
laobine Shop rriellf* 
I Toolmaker 
]Ga9 Engine Operating 
CIVIL ENGINEEK 
Siirrerine and Mappliie 
MI.NE KO]tFMA> or E.Mi'it 
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n l-l.t'HKIXl AMI IlEt ll.va 

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which I mark X. 
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ADVERTISING 
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Show Card Writer 
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□ BISI.VESS MAJS'AOEHE.^l 
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BOOKKEEPER 

Stenographer and lyplit 

QCert. Pub. .Accountant 

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B Railway Accountant 
Commercial Law 

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Humoresque 

( Continued) 





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right arm and fingers for a king's ransom. 

One evening Abraham came home fu!l of 
irossip. 

"Guess who I saw? Solomon Ginsberg, 
the fellow that used to sell me brasses in 
.Allen street.' 

As his father prattled along of Berg, Leon 
listened attentively, eagerly awaiting a word 
of Gina. At last it came. 

"And that daughter of his that's study- 
ing music, he says, she will come back soon. 
In the fall she goes to sing by the stage, 
maybe." 

Leon pretended to be highly abstracted. 

Hancock betook himself to Kansas and 
the old farm home for the summer and 
the Kantors went to a cottage resort in 
Maine. It was not a success. In that 
cynical community Leon alone was socially 
welcome. 

Then came the thunder clap of war in 
Europe. 

To Leon came only one thought — Gina 
was in Vienna — how would she get away? 
The papers printed sensational accounts of 
the difficulties of American tourists. Europe 
was a boiling chaos. 

Hancock came rushing East. He was full 
of the anxiety that beset everyone. The 
Kantors gave up their Maine cottage and 
hurried back to the Xew York suburb tliat 
they ca'led home. 

Leon was glum and silent through the 
days. His heart was heavy. 

At last in an afternoon paper he found 
the paragraph he had been seeking for days. 
Gina Berg, the singer, was safe aboard ship 
and coming home. His face lighted up. 
There was no need to tell his mother; she 
read it in Leon's face. 

"Money, money, it does anything? What's 
a thousand for a steamer tot for Sol Berg?" 

When the great boat docked Leon was in 
the crowd that stood about the pier, eagerly 
looking. But Sol Berg had used his open 
sesame of wealth. Gina was one of the 
first to touch foot on shore and swiftly 
she was borne away in her father's car, 
while Leon vainly waited. 

When evening came Leon wandered dis- 
consolately home. He found the house 
bubbling with talk. Gina Berg and her 
father had been there, and she had seemed 
disturbed not to find Leon. 

"What did they want?" Leon could think 
of nothing else to say. 

"Why you, of course." 

His question had carried no cover for his 
feelings. His mother knew him too well. 

Then Leon motored alone out to the great 
home of the Bergs in Morristown. Gina 
came down to greet him. Their hands met 
as the hands of those who understand. 

"And now you're back Gina — what will 
you do?'' 

"I shall go on with my work — of course.'' 
There was a note of surprise in her voice. 
"I think if you have any sort of a gift and 
keep at it long enough you will succeed." 

"But it's not necessary, is it, Gina?" 
There was pleading in his tone. 

'"Not for my worldly self, Leon, but for 
me it is." 

"Gina I" Leon's voice was vibrant and 
low. "I've been hoping ever since those 
days in Rome that you'd change your mind. 
1 have never changed since that day of the 
))icnic, (Jina, and all the lime I want you. 
Always I want you.'' 

"Oh Leon I You mustn't talk that way 
— you make it so hard for me." 

''But, Gina. I can't help myself." Leon 
stood up with his hands held out to her. 
She faced him with tears in her eyes. 

"Leon. I can't — not yet." 
Whin, (Jina?'' 
'.Afler the war, Leon.'' 



' Then you care — a little." 
Gina s eyes drooped and he drew htr lo 
him. 

The girl raised her head. 

"You'll not ask me again until then?" 

Leon promised and went home — praying 
for the end of the war that had hardly 
begun. 

"How lonj; rlo you think it will last?" 
he asked Hancock, to whom he looked for 
everything. Hancock could offer little en- 
couragement. The news was all against it. 
Then deveopmenis followed faster and 
faster. There came the unrestricted sub- 
marine warfare. The parleying of diplomats 
and then the last word. The United States 
was in the war. Preparations came fast — 
the draft. Hancock came to say goodb)°e to 
Leon. 

"Sorry, but j'ou'll have to get a new 
manager. I am not going to wait to be 
drafted. I'm going now."' 

"We'll be waiting when you get back, Mr. 
Hancock," spoke up Mrs. Kantor. 

As Hancock departed the mother looked 
at Leon. She made bold to ask the ques- 
tion that she feared. 

■"Leon, you wouldn't think of going?'' 

"Mother— I— I think I'll have to go. ' 

She shook her head. 

"Xo, not with vour talents. It wouldn't 
be right." 

■'My son, that he should fight for Russia 
-that's folly ! " shouted Father Kantor. 

Leon played through a prosperous season 
to big successes. The Kantors took a house 
of great elegance on Fifth avenue. They 
were getting on. All Spring and Summer 
Leon played with growing popularity. Each 
day his mother was wondering when he 
should lay down his violin and take up the 
army's rifle. 

A great day came. Leon played a con- 
cert benefit for his own peop'e. It was 
such an audience as even Xew York seldom 
sees. It was a tremendous success. Fifteen 
times the audience recalled him. 

At the end of the concert .Abraham burst 
into his son's dressing room. 

"It has come Leon — it has come. Here 
is Mr. Elsass, the big manager, he wants 
to pay you two thou.sind a concert." 

Leon choked. 

"Xo papa, I can't.'' 

Mrs. Kantor, standing in the door, swal- 
lowed hard. She knew the meaning of it. 
Elsass, white-haired and dignified, entered. 

Leon nodded a greeting and took his 
hand. 

"It's generous of you — but I can't take it."' 
"Would you mind tellin" me why?'' 
"Xo — I'm going into the army." 
"Yes,'' said Els;iss slowly. "If I were 
younger I'd go too." 

SO Leon enlisted and went away to the 
training camp, a private in Uncle Sam's 
, rmy. And sailing day came with its tear- 
lul iioodbye. 

"Remember, when ihe war is over I shall 
iiavc something to .«ay to you," Leon said to 
Gina Berg. 

The weeks that came dragged slowly !• ' 
in aching suspense for the Kantors and the 
thousands of other families like them, with 
son* overseas. Xo news for weeks. Xow 
and then a card from Leon, s;iying that all 
wa<; well and chafing at the del..yed pros- 
pects of action. 

And then, suddenly, things began to hap- 
pen. The German armies rushed the .Mlies. 
There was Chateau Thierry, St. Mihiel and 
the .Argonne. .A master stroke from Foch, 
and then the .Armistice. That night of the 
.Armistice there wa« no sleep for the Kan- 
tors — they wtpt and laughed and waited. 
Surelv Leon must be safe. 



Kverj- adrcrtlnMiiciK In rHf>T'>rLAY XfAOAZINE 1» euirftntceO. 



Photoim.w M\(i\/iNf: — Ad\-ertisi\t. SFrnox 



121 



Humoresque 

( Continued ) 

A letter from Leon came through. It 
ua; months old, but certainly he was all 
right then. Impatient, his father and mother 
went to Washington and battled with the 
red tape of many departments. Xo news. 

Then it came in a cable — speaking of 
Leon as slightly wounded. 

The terrible an.xiety of it ! Mother Kan- 
tor called Gina Berg, who hastened to the 
Kantor home. She read and re-read 
the cold, formal notification — "slightly 
wounded." 

"Vou don't think — it surely can't be his 
arm, his violin fingers!" Mother Kantor 
moaned in agony for fear for her son. 

"Let's hope not. Let's hope not, pray 
not." Gina was doing her best to be re- 
assuring. But it was only a hope. 

Then as the drab days dragged on the 
Leviathan with its burden of wounded was 
reported on the seas. At night fall it ar- 
rived off Sandy Hook. Another sleep'ess 
night in the Kantor home. Another tossing 
night of dry-eyed anguish for Gina. 

In the ruck and jam of motor cars at the 
pier when the great transport docked was 
one carrying Abraham and Sarah Kantor. 
For two terrible hours they waited as 
wounded men limped down the gangplanks, 
as hospital attendants carried off men in 
litters. There seemed no end of it. 

Mother Kantor cried out. There was 
Leon walking alone. 

He came to them, with a look on his 
face that his mother had never seen before. 
His right arm was hanging useless at his side. 
Abraham gulped back a sob and leaped to 
the ground beside his son. The mother 
greeted the boy rapturously. 

"Your arm?" Abraham managed to ask 
when they had Leon seated in the car. 

"Xo good," said Leon. His voice was 
cold with apathy. 

"Can't you use it again?" the mother 
gasped. 

"No." 

Sarah Kantor leaned far back in the car 
and tried to cry si'ently. 

THE homecoming at the Kantor house on 
Fifth avenue was a sad one. His 
mother went with Leon to his room to 
make him comfortable. Abraham tele- 
phoned to summon the city's greatest spe- 
cialist, an authority on shell shock. 

The doctor's call was brief. His trained 
eye saw the answer. Abraham followed the 
physician out. 

"You should tell me, doctor — will he ever 
play again?" 

• The specialist shook his head as one in 
grave doubt. 

"He doesn't think so — but someday may- 
be a great mental shock will restore him 
to himself. It is possible. Meanwhile, see 
that he eats regularly, rests and is not an- 
noyed." 

Gina Berg came. It was a heartbreaking 
meeting. ISfothing mattered to Leon any- 
more — not even Gina. She offered words 
of cheer. She drew her chair up beside 
him and took his limp hand in hers. It 
laid there, inert. 

"There is nothing left, now,'' he said in 
dull tones. "They have taken away my 
music. There is nothing left.'' 

"Oh Leon — nothing — not even me? You 
don't mean me?'' 

Leon arose. He forgot momentarily, that 
his right hand was cioomed to uselessness 
as he took her slender lingers in both his 
hands and pressed them against his breast. 

"I am sorry Gina — I can't allow you to 
sacrifice yourself to a cripple." 

The girl went out with a smile for Leon. 
But outside she fell sobbing into the arms 
of Mother Kantor. 





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Humoresque 

C Concluded) 

The mother repealed the words of tin 
specialist. For weeks Gina and the mother 
planned and sought the word, the thougl • 
that might awaken Leon to himself agaiii 
It was in vain. Nothing could break the 
drab chill that had settled over the genius ' 
of Leon Kantor. 

Then Hancock came. He did not tru-i 
himself to speak to Leon. .As he left In 
encountered Gina Berg. 

"Well, what are you going to do?" Han 
cock demanded abruptly. 

'I? ' Gina looked at Hancock in aston 
ishment. 

"Ves, you !"' Hancock reiterated. ' Yoi, 
can make him play again." , 

"Tell me how ! Oh tell me how !" Gina j 
smothered her resentment for the hope in 
Hancock's words. ; 

"The doctor said he might come back 
if he got a shock. You shock him some- [ 
way, somehow. Take his violin to him and 
when he refuses to play pretend you are go- 
ing to smash it — smash it if you have to do i 
it to make good." I 

"When?" I 

'Now — this is as good a time as any." 

LEON" was sitting listlessly when Gin;i 
entered. I 
"Leon," she spoke firmly, almost gaily. 
"I have been thinking it over and I think 
you are right — you can t play any more. 
The violinist-that-was shook his head. 
"You remember before you went away 
>ou played Alan Seeger's 'I Have a Ren- 
dezvous with Death'?" Leon nodded. 

"You wouldn't play it again would you? — 
because I am going to do something I know 
you will like." 

Leon looked at her with an air almo-i 
expressive of interest. Gina ran from the 
room and returned with Leon's priceless 
Stradivarius, the instrument of his many 
triumphs. 

"I know you wouldn't want any onr 
else ever to play the violin you have made 
so famous — so — " 

Gina raised the instrument over her hea<l 

" — So I will destroy it." 

With a cry, Leon leaped to his feet and 
with his right arm seized the girl's wrist. 
Swiftly she handed him the instrument and 
bow. 

Abstractedly, mechanically, Leon ncstlee; 
the violin under his chin and swept the bow 
across the strings. But it was not the pieci 
he had played before he went to war. Tht 
notes of the "Humoresque" came rainy- 
sweet, soft as the patter of showers in an 
orchard abloom in Spring. 

Hancock opened the door. Sarah and 
Esther tiptoed in. 

They heard the composition through, 
frozen as they stood lest the charm be 
bioken. 

When Leon dropped his bow a new light 
shone in his eyes. He had come back. 
Sarah and Esther went out as silently as 
they had come. 

Leon drew Gina to him. 

"Now I have a rendezvous with life.'' 

AnA as he spoke Hancock softly closed 
the door. For Hancock was a most excel- 
lent manager. 

Real Recognition 

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giaa's venture. The producer slapped the 
treat while haired poet on the back, looked 
him earnestly in the eye, and burst out: 
"Good bye, Sir. Maeterlinck; / kuo-x you'll 
make good." 



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PlIOTOPI.AV l\[vr.AZIXE — ADVERTISING SECTION 



123 



Divorce a La Film 



( Couiiiided front page 76) 

who believed in the i8th Amendment. Some 
reply coldly and haughtily, as though ad- 
mitting German ancestry. Some giggle. 

But MacLean was enthusiastic. Later I 
met her and discovered why. He'd better 
keep her in California or the Follies will 
get her, that's all. She's non-professional but 
something of a business woman, I am given 
to understand. 

Likewise a good sport. One day in the 
Morosco Theater in Los Angeles, where her 
husband was playing before he went into 
pictures, some matinee girls asked her if she 
thought Douglas MacLean was married. She 
Said sweetly, "Oh. I'm sure he isn't. He 
looks too young, don't you think? ' 

His conversation, however, was like hold- 
ing forth with Maude Adams, by pro.xy. He 
played with her several seasons and his ad- 
miration of the great actress amounts only 
to worship. In a modest sort of way he in- 
timates "everything that I am or ever hope 
to be as an actor I owe to my experience 
with Maude Adams.'' 

"Oh, how I did want her to make Peter 
Pan' in pictures." he said. "But she wouldn't. 
At first she called them 'those dreadful pic- 
tures.' Later, when they had become so 
wonderful, she said to me. 'Ah. Douglas, I 
cannot. Because the3- say that the camera 
is very, very unkind to people who are — 
fortj- and a bittock.' Vou see, that was a 
line in a sketch we did, and it means forty 
and just a little bit more. 

"But really, Maude Adams is one of 
those persons who are ageless — without any 
time on their work." 

MacLean likes comedy and expects to 
stick to the clean, briiliant sort of thing he 
has been doing. Born in Philadelphia, and 
a college graduate, he came to the screen 
from a successful stage career, and was 
a leading man. playing opposite Mary Pick- 
ford, in "Capt. Kidd Jr." and "Johanna En- 
lists," before he joined hands with Doris 
May for Paramount. 

Japanese Humor 

GEORGE MELFORD, the director, is 
laughing over a sample of Japanese 
wit as revealed by George Kuwa, the Japa- 
nese actor, who played the part of the 
Chinaman in "The Round Up'' — Chinaman's 
cue. partiaJy shaved head, and all. 

In order to become a convincing China- 
man. Kuwa was required to shave off a 
rather imposing head of hair. This he 
did without demur, remarking earnestly: 
"For you. Mis' Melford, I am do this." 

Thereafter for several days Kuwa strayed 
about the lot with a small package in his 
hand, chuckling to himself and sometimes 
laughing outright. His merriment became 
so pronounced that Melford demanded an 
explanation. 

"Well, when Japanese die in foreign 
country," explained Kuwa, -'friends cut off 
hair and send to family. . . ." 

At this point Kuwa was overcome by 
laughter, but continued: 

""When I cut off hair for picture I save — 
send to friend in Japan — good joke!" 

"Some joke," commented Melford. "Must 
be a Japanese joke." 

"Ves, Japanese joke,'' agreed Kuwa, 
"laugh all time." 

DID you ever hear of' the "Wood fam- 
ily"? Neither did we, until a friend 
of ours — a theatergoer — came back from 
England. 

"Whenever." he told us, "whenever a 
cinema performance or a legitimate play 
isn't a success, they say it's 'playing to the 
Wood family' — meaning the rows and rows 
of empty seats." | 



m 



Cecil B, lie 



lU, 



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More men and women must Ix- trained to write 
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A little over two years ago the famine in plio- 
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I'lenty of manuscripts were being submitted, but 
most were unsuitable : for writers did not know 
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One of our stiulents sold his first story for 
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starred, were written by our students. .Taines 
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many of our successful members begin to sell 
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Palmer students are entitled to the fret> and 
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Special Contributors 

Included in the P.VLMKlt Course is a series of 
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Advisory Council 

The educational policy of the Palmer Photo- 
play Corporation is directed bv the bisgest figures 
in the industry. (See the four illustrations at 
the top of this advertisement.) 

Send for this Free Book 

For thobe who are really interested in this >zreat. new oppor- 
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nepartntent of Education ^ 
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124 




PH0T0i'LAV M \(.A/CINE — ADVF.H I ISlNd SrCTlON 

Questions and Answers 

( Coutinued ) 



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Grace, Springfield. — Vou neglectfd to 
observe the rules and regulations, my dear. 
I know how it is — I hate rules myself. But 
■ Photoplay simply can t (urnbh stamps to 
every inquirer who wanLs a persona! reply 
by return mail. Pauline Frederick is still 
on the West Coast ; Robertson-Cole has a 
^tU(lio out there. Georges Carpentier is 
the only star for this company who is work- 
ng in New York — pardon me, Fori Lee. 
Xew Jersey. Miss Frederick is not married 
now. She had been married before she 
became Mrs. Willard Mack. Divorced. 



The Plaixfield Ckitic. — Thafs a new 
idea— that girls like to see a vampire at 
work because they enjoy seeing anyone 
even another woman, get a man just where 
they want him. I don't think you need 
to pity "poor Theda Bara." She is making 
an awful lot of money and plays to packed 
hou.ses and has a good time at her work. 
.\ddress her care A. H. Woods, New York 
City. Pearl White only went to Europe 
for a month's vacation. So Mrs. Barthel- 
mess, Dick's mother, was in your town. I 
suppose if Dick ever comes you'll welcome 
him at the station with a brass band. 



Mary Jane, Colu.mbus.— Mary Pickford 
was the little girl in "Less than the Dust," 
David Powell the Englishman, and Mary 
.-Mden the other woman. You're very wel- 
come. 



A. v., K.\Ns.\s City. — Come, come — don't 
you think you're a bit too harsh? Let your 
criticisms be consUuctive rather than de- 
structive and you may get what you want. 
In part, I agree with you. 



Reno Romeo.— \Molet Heming is with 
Paramount Artcraft; address her there. She 
is in "The Cost,"' from David Graham Phil- 
lips' story. The Talmadge sisters are not 
Italian : they're American, born in Brook- 
lyn. Natalie plays with Constance in "The 
Love E.xpert." Constance is to do "The 
Perfect Woman" next, then "Wedding 
Bells." What an intriguing list of titles, 
what? 




v. J., Red Wing.— You must not be so 
impatient. Consider the letters that must 
have come before yours — both in your 
favorite film star's mail and in the .An- 
swer Man's. The Talmadges will send you 
their pictures; just wait awhile. Douglas 
McLean is married but not to Doris May. 
They are not playing together any more, 
which seems a pity. Address McLean care 
Thomas H. Ince, Culver City., Cal. Don't 
know what Ince is going to do with his 
stars, now that he is an .Associated Pro- 
ducer. There are star directors and star 
producers; pretty soon we won't have any 
acting stars: all the actors will be in those 
all-star casts. Cullen Landis, Goldwyn. 
John Hines is making the "Torchy " come- 
i dies. 



G. P., Minn. — I don't know that any 
\ film star sends out eight-by-ten photo- 
graphs. You'll just have to select one of 
your particular idols and write to him or 
lier as the case may be. Your writing and 
paper don't divulge your sex. 



Learn to Dance! fj^ 

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I'Hiik .'^yNifm of Mnil lrwinii*tion. 

><■«' Dliiirnilll M<-tlln<l. Knxily liam.'d 
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Florence, New York City. — 1 hate to 
tell you — but Jack Pcrrin, dashing hero of 
the serial, "The Lion Man," is married. He 
is married to Josephine Hill, the subject of 
the Easter picture-page in Photoplay, who 
was a Universal feature-ette and who is 
playinn now in Metro's "Parlor, Bedroom 
anci Bath." She will not give up the 
screen. 



Dorothy. Muskegon Heights, Mich — 
So your teacher said she was glad when you 
stayed out of school, becauf* you asked so 
many questions. Your teacher and I must 
be kindred .spirit; — no. not spirits — souls. 
It's hard to get away from our old figures of 
speech, isn't it? But it's always best to let 
the dead past, etc. Pearl White, according 
to the bc-l records, is ihirt> -one. She works 
for Fox and should be addressed there- — 
Eastern studios. You're welcome. 



R. N., K.\NS.\s Cm'.— The companies are 
having a merr>' time buying old stories. 
Metro bought ".Alias Jimmy \alentine" for 
Bert Lytell but theirs is not the original 
screen production of this crook play. 
Maurice Tourneur directed Robert War- 
wick in it when both were with World. 
Harold Lloyd has a car, but I don't know 
what make it is. Is it absolutely essential 
that you should know? 



H. R. L . KiNGSvn.LE. — You would never 
make an art director on a modem maga- 
zine if that picture of Renee .Adoree you cut 
from Photoplay and pasted on your desk 
keeps you from working. You should see 
the pictures that surround even the old 
.Answer Man ! Renee played in Fox's 
'Clemenceau Case. " Better not see it. If 
a "still ' of her kept you from work, what 
would moving pictures of her do to you'^ 



Pioneer, Miami. — You don't have to 
have any pull to get an immediate answer 
from me. Truth is, there isn't anyone who 
gets a thing like that. You see. no matter 
how soon you think you write, there is al- 
ways some one else whose letter gets here 
first. Yours simply had to await its turn. 
Historj' has a right to repeat itself and so 
has the .Answer Man — when flappers ask 
him the same Barthelmi^s and O'Brien ques- 
tions in every mail. 1 don't like it any bet- 
ter than you do, but it's my duty, me child. 
Roy Stewart made a Western or two for 
an independent company or two after leav- 
ing Triangle. Lately he appeared in Ben- 
jamin Hampton's piciurization of Zane 
Grey's 'Desert of Wheat, " renamed "Riders 
of the Dawn." Now he is Betty Compson's 
leading man in her first stellar picture. I 
hope you're satisfied. Better write to him 
and ask him that other question. 



Oratorical Assocl\tion. .Ann .Arbor. — ' 
You were a bit careless in your request. If 
you had read the rules at the lop of thb 
department you would know that a stamped 
addressed envelof>e is required for a reply 
by mail. If you read the Magazine you 
would get the names of the leading pro- 
ducers from the Studio Directory, which 
always occupies a column somewhere in the 
front or back of the book. I would advise 
you to consult this Directorv. 



CATIirRINE. HOLIIDAYSBURG. Pa — I don'l 

mind being called an old man but I do 
mind being called an old woman. .As a 
matter of fact, I am not either one. Con- 
.<ult picture at head of my department, etc. 
Herbert Rawlin^on is in Blackton's "Passer- - 
By." His wifi' is Roberta Wilson. Rawlin- 
son has gone West to be the star of a new 
conip.iny I believe. Mrs. DcWolle. or Hedda 
HopiH'r is William Favcrsham's leadinc 
woman in "The Man Who Lost Himself" 
for Selznick. (No offense meant to L J 
Write to her at Hotel .Algonquin. New York 
I think she'll answer you. .Alice Brady i- 
Mrs. James Crane. Her father-in-law i^ Dr 
Frank Crane, well-known Manhattan phil- 
osopher. E. K. Lincoln lives in New York. 
I tiiink. but he also has a summer home 
He is married. 



);n'iy adTcrtliciiicnt In riloToi'LAY M.VOAXINE l« guaraiilcvd. 



PlIOTOPI.VV MAdAZINF — ADVERTISING SECTION 



Questions and Answers 

(Continued) 



V. B . Chicago. — Now how on earth 
-hould I know how much money it costs 
to -tart a team in vauiicvilie? It depend? 
upon what you play, I suppose. I never 
doubled in brass. Always stuck to my 
■Remingwood. I don't know a sure-fire 
method of writing a scenario. If I 'knew 
you may be sure I'd try it myself. Mabel 
Normand, Goldwyn, Culver City, will send 
you her picture. Francclia Hillington is 
with Universal, U City. California. Theda 
Bara is on the stage now in "The Blue 
Flame." And I haven't heard of Marie 
Eline, erstwhile Thanhouscrctte, for ;» long 
time. 



Lois OF ID.^HO. — Glad you decided to take 
the fatal step at last. Now I am not so 
fierce, am I? Antonio Moreno is prob- 
ably too busy to carry on a regular cor- 
respondence with you, but he undoubtedly 
will answer your letters from time to time; 
he's a most obliging chap. Constance and 
Natalie Talmadge, wearily echoes the An- 
swer Man, have real bobbed hair. Norma's 
is about shoulder-length. I should conjec- 
ture. Moreno will make one more serial 
before going in for features exclusively. 
Never noticed any resemblance between 
Kenneth Harlan and Wallace Reid. I hear 
that Harlan is to be starred; don't know 
how true it is. Haven't those ages, but 
Nazimova has n