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^^TWe ISationaJ^Jjuiae to Motton ftctures 




LKIES 



E^ry thing You Want 

\bout 
\ SounH Pictures 




Day-long protection for 

fair hands 



[ 



A BEAUTY SUGGESTION 
FOR BUSY HOURS 



] 



When hands can look as smooth and cool as 
flower-petals, doesn't it seem extravagant to 
let their loveliness slip away — day by day — 
in a round of soap-and-water tasks? 

Many women have adopted_> very simple 
plan to protect their hands V -y use Ivory to 
wash gleaming china, lacquered furniture, 
glossy woodwork, colored cottons and linens 
— instead of harsh kitchen soaps which parch 
and redden the skin. 

These women have found that "Ivory for 
everything" is a very practical and economical 
beauty measure — it keeps their hands smooth 
and white. Compared to other beauty aids in 
their bathrooms and upon their dressing tables, 
the little extra cost of Ivory is almost nothing! 

Try Ivory for all your soap-and-water tasks 
this week. Don't just tuck this suggestion 
away in your mind and plan to try it sometime. 
If you begin tomorrow to use "Ivory for 
everything" and see how much softer and 
smoother your hands quickly become, we 
believe you will never again let a harsh soap 
rob them of their charm. 



FREE! A little book on charm. What kind 
of care for different complexions? For hands? 
For hair? For figures? A little book, "On 
the Art of Being Charming" answers many 
questions like these, and is free. Address 
Winifred S. Carter, Dept. W-79, Box 1801, 
Cincinnati, Ohio. 

IVORY SOAP 

KIND TO EVERYTHING IT TOUCHES 

IT FLOATS 



©1929. P. & G. Co, 



Photoplay Magazine — Advertising Section 




uam your gums -protect your teeth 
from tKe aamage done by your diet ! 



NEXT time you sit down to a meal, 
take note of the dishes one by 
one. See how many contain any rough- 
age — any coarse, fibrous material that 
"rubs" or stimulates the gums. 

Very likely not a one! For the pres- 
ent generation demands — and gets — 
soft and creamy foods, delicately 
prepared, daintily served. 

Yet the greatest enemy of our gums, 
any dentist will tell you, is this same 
delicious fare. For it gives gums no 
work, no exercise. The blood within 
their walls circulates slowly. The tissues 
become soft and tender. "Pink tooth 
brush" warns that worse trouble— gin- 
givitis, Vincent's disease, or, perhaps, 



even pyorrhea — may be just around 
the corner. 

It's impractical, if not impossible, to 
change your diet. But it's unnecessary 
to try— for there is a simple, effective 
means to oflFset the lack in your diet. 

Use a light gum massage with Ipana 
Tooth Paste. Perform it with the brush 
each time you clean your teeth — or, if 
you prefer, with the fingers after the 
regular cleaning. You speed the rich, 
fresh blood through the gum walls! 
You flush out the tiny capillaries. You 
tone and strengthen the depleted tissues, 
and counteraa the damage done by 
your food. 

Ipana's special virtue in massage is 



its content of 2iratol, a stimulating anti- 
septic and hemostatic widely used by 
dental specialists. And it is this ziratol 
content, plus Ipana's splendid cleaning 
power, that has won for it the strong 
professional support it enjoys today. 

Test Ipana with a full-size tube 

The coupon offers you a 10-day tube 
of Ipana, gladly sent. But the full-size 
tube makes a fairer test. So get a regular 
tube — enough for 100 brushings — from 
the nearest druggist. A full month's use 
of this delicious tooth paste will show 
you the start of firmer, healthier gums 
as well as whiter, brighter teeth. 




IPANA Tooth Paste 




BRISTOL-MYERS CO., Dept.no 
73 WescStieet, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH PASTE. Enclosed \ 
is a two-cent stamp to cover paidy the cost of packing and mailing, ^ 



Name . 



Address ■ 



When you write to advertisers please mention niOTOPLAT MAGAZINE. 



Photoplay Magazine — Advertising Section 



These 



Chaiigiiig Times 

iu motion picture 
entertainment find 




PARAMOUNT 
PICTURES 

maintaining tlieir 



LE ADERI^HIP 



Paramount 



♦iiit»r"~ 




irMOVING shadows on a screen 
began to talk and sing and the mod- 
ern miracle of entertainment — the 
audible motion picture — was born. 
Today, screen and stage technique 
are wedded in a new art whose power 
to thrill you and enchant you far 
exceeds both, and whose possibilities 
for development are only touched. 
^ In this new medium. Paramount 
has played the only part it knows^ 
that of delivering quality entertain- 
ment — a good show every time — and 
is today maintaining the leadership 
it has held for 16 years. ^ And 
Paramount has only started! New 
productions in audible drama soon 
to be announced will place Para- 
mount farther in the lead than ever 
and make the words "A Paramount 
Picture" spell "stop, look and listen" 
to every entertainment lover in the 
land! In talking pictures, too, "If 
it's a Paramount Picture it's the 
best show in town!" .^ .a. .a. 

PARAMOUNT FAMOUS LASKY CORPORATION 
ADOLPH ZUKOR, PRES., PARAMOUNT BLOC, N. Y. 



Every advertisement In PHOTOPLAY MAGAZINE IB guaranteed. 



The World's L e a d i n g^ M o 1 1 o ff Pi c t u r e Publication 



FBEDERICE JAMES SMITH 

MANAQlNa SSITOB 



Contents 



Vol. XXXVI 




MARK LARKIN 

WKSTBKM SDITOB 



For 

July 

1929 



James R. Quirk 



No. 2 



^b*^ 



E D 1 TOR-- AN D. P L' B L I S H E R 



=<^ 



TKe High-Lights of This Issue 



Cover Design 
Bessie Love 



Earl Christy 
-Painted from Life 

As We Go to Press 6 

Last Minute News from East and West 

Brief Reviews of Current Pictures 8 

A Guide to Your Evening's Entertainment 

Brickbats and Bouquets 10 

The Voice of the Fan 

Friendly Advice on Girls' Problems 

Carolyn Van Wyck 14 
Photoplay's Personal Service Department 

What Was the Best Picture of 1928? 16 

Have You Cast Your Ballot for the Photoplay 
Medal of Honor? 



Close-Ups and Long Shots James R. Quirk 

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



Little Alabam 

A Picture of the "Other Side 



27 



29 



Cut Picture Puzzle 



30 



Katherine Albert 

of Dorothy Sebastian 

The Girl Jack Gilbert Married 

Ruth Waterbury 
You'll Love Ina Claire Just as You Love Jack 

The Truth About Voice Doubling 

Mark Larkin 32 
The Why and How of It 

My Boy Buddy 

Father Rogers Tells His Story 

A Jungle Lorelei Herbert Howe 

Nina May, the New Colored Wonder 

The Butterfly Man and the Little Clown 

Adela Rogers St. Johns 
The Sad Love Story of Lew Cody and Mabel 
Normand 



B. H. Rogers 34 



36 



38 



She Prayed for the Part Frank Pope 40 

And Winifred Westover Won the Title Role in 
"Lummox" 



Lucky Amateur Detectives 

Here Are the Winners in The Studio Murder Mys- 
tery Contest 

That Awkward Length 

This Will Help You Solve the Problem of Growing 
Out Gracefully 

Rosie Rolls Her Eyes (Fiction Story) 

Stewart Robertson 
Here's the First Story of the New Talkie Studios 

Gossip of All the Studios Cal York 

What the Film Folk Are Doing and Saying 

Trials of the Talkies Albert Boswell 

The "Mikes" Even Hear a Pin Drop 

The Shadow Stage 

Reviews of the Latest Silent and Sound Pictures 

$5,000 in Fifty Cash Prizes 
Rules in Photoplay's New 
Contest 

What Next for Gloria? Katherine Albert 

Swanson's Future Is in the Fans' Hands 

The Golden Fleecer (Fiction Story) 

Grace Mack 
A Modern Jason Does His Stuff 

Reeling Around Leonard Hall 

Do You Drink Enough Water? 

Dr. H. B. K. Willis 
Photoplay's Diet Expert Gives the Proper Propor- 
tions 

How They Manage Their Homes 

Alma Whitaker 

Mr. and Mrs. Walter Morosco Show You Their New 
Domicile 

Amateur Movies Frederick James Smith 

Film Elimination's Progress in Photoplay's Contest 

A Simimer Tonic for the Complexion 

Questions and Answers The Answer Man 

Casts of Current Photoplays 



41 

42 

44 
48 
52 
54 
58 

64 

66 
68 
69 

70 

72 

81 

90 

141 



<^= 



A complete list of all photoplays reviewed in the 



Shadow Staoje this issue w^ill be found on 



pag, 



;e la 



^v?= 



-.<i? 



Published monthly by the Photoplay Publishing Co. 
Editorial Offices, 221 W. 57th St., New York City Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England 

James R. Quirk, President Robert M. Eastman, Vice-President Kathryn Dougherty, Secretary and Treasurer 

Yearly StmscRIPTlON: $2.50 in the United States, its dependencies, Mexico and Cuba: $3.00 Canada: $3.50 for foreign countries. Remittances 

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

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879. 

Copyright, 1929, by the Photoplay Publishing Company, Chicago. 



As We Go to Press 



THE White House in Washington has 
been wired for the showing of sound 
pictures. President Hoover saw and 
heard his first talkies recently. 

BERT LYTELL, who has had a successful 
season on the New York speaking stage 
in "Brothers," is gomg to marry his leading 
woman, Grace Menken, sister of Helen 
Menken, according to rumors. 

PATSY RUTH MH-LER annoxmces that 
she is going to wed Tay Gamett, film 
director, in September. 

THE indictment of Tom Mix, on charges 
of falsifying income tax returns, has 
startled Hollywood. The indictments 
charge that Tom conspired to withhold 
$112,114.11, due as income tax during 1925, 
1926 and 1927. Mix answers that the whole 
thing was unintentional, since he had left 
his income tax afifairs in the hands of an 
expert. 



Last Minute 

NEWS 

from 

East ^;?^West 



ARTHXJR LAKE finishes his five-year 
contract with Universal in July. Several 
producers are after his services. 

FOR the first time since she has been in 
America, Greta Garbo is living in a 
house. She has made her home in a hotel 
up to now. Her residence, in Beverly Hills, 
is a ten-room house. 



RONALD COLMAN'S next will be "Con- 
demned," a story which up to now had 
been sidetracked by Sam Goldwyn because 
of its morbidity. 

AFTER two more starring pictures for 
M.-G.-M., Marion Davies goes to 
Europe for a vacation. 

AFTER working for several years on 
"Hell's Angels," Ben Lyon is returning 
to pictures. He has the male lead in 
"Lummox." 

TALKING pictures have ended the fol- 
lowing players' film careers at Fox: 
Maria Alba and Antonio Cumellas, of 
Spain; and Lola Salvu and Gino Conti, of 
Italy. 



w 



ILLIAM FOX did not renew Mary 
Astor's contract. 



WELCOME 
been decided 



DANGER" has 
upon as the 
final title of Harold Lloyd's new 
comedy, in which you will hear his 
voice for the first time. 



DICK BARTHELMESS has been 
spending a vacation in New 
York with his wife. When he re- 
turns to Hollywood he will do Rex 
Beach's "Son of the Gods," a story 
of the 'Frisco Chinese quarter. 
Another "Broken Blossoms," may- 
be. 

AT last RKO has decided defi- 
nitely upon the star of "Rio 
Rita." The star will be Bebe 
Daniels. 

REGINALD DENNY, leaving 
Universal, may go to RKO. He 
has been gettmg $3,500 a week 
from U. 

UNIVERSAL is trying to buy up 
Mary Philbin's contract, which 
expires in November. Universal 
does not plan to make any more 
Philbin pictures between now and 
then. 

AFTER United Artists had re- 
leased her, Camilla Horn came 
to New York and signed with War- 
ner Brothers. She is making a 
German film. 

THEY say that Bill Hart is com- 
ing back to the screen. Negotia- 
tions are now imder way with Hal 
Roach for his appearance in talking 
Westerns. 

DOLORES DEL RIO is going to 
New Orleans to attend the 
world premiere of her "Evangeline," 
in which she sings but does not talk. 

ALICE WHITE is scheduled to 
start an all-color talkie version 
of "No, No, Nannette," on June 15th. 

YOU are going to hear Erich Von 
Stroheim on the screen. He 
will appear in James Cruze's "The 
Great Gabbo," written by Ben 
Hecht. His will be the first ventril- 
oquist characterization in the gab- 
bies. 




HE old iron mask is gone. In other 

words. Buster Keaton is going to drop 

his dead pan face with his next 

comedy. You'U see him smile 

when he dances and sings. 

GARY COOPER is to spend part 
of June and July on his dude 
ranch in Montana. 



p. and A. Photos 



Here comes the bride! The wedding of 
Constance Talmadge and Townsend 
Netcher, sent by telephoto from Los 
Angeles to Photoplay. "The other two 
didn't count," said Connie. "This is the 
real thing" 



w 



ARNER BROTHERS will 
star Grant Withers. 



M.-G.-M. is sending Tod Brown- 
ing to the West Indies to make- 
"The Sea Bat." Wally Beery will 
have the lead. 

KATHRYN McGUIRE broke her 
ankle playing tennis at Colleen 
Moore's new house. No more film 
work until late July. Eve Southern 
is recovering from an automobile 
accident. She has been in a plaster 
cast for many weeks. 

EVER since Rod La Rocque an- 
nounced his retirement from the 
screen, he has been working in 
films steadily. Now he has signed 
with RKO for two productions. 

VILMA BANKY has received her 
papers as a citizen of the U. S. A. 

IF you liked Dorothy Sebastian 
opposite Buster Keaton in "Spite 
Marriage," watch for her opposite 
Bill Haines in "Speedway." 

ADAMAE VAUGHN, Wampas 
baby star and sister of Alberta 
Vaughn, announces her engagement 
to Joseph Valentine Raoul Fleur 
Viscount D'Anvray of Anvray, 
France. 

JANET GAYNOR refuses to be 
cordial to Lydell Peck, San Fran- 
cisco attorney, any more. It is re- 
ported he tried to crash through 
their quasi engagement to a mar- 
riage and that Janet balked. 

RICHARD DDC entered a Balti- 
more hospital under the name 
of "Brimmer" for a minor opera- 
tion. 

CONSTANCE BENNETT is to 
return to the screen in "This 
Thing Called Love," a talkie. 



Photoplay Magazine — Advertising Section 




L 

It is only natural that Dorothy Mackailt, 
of First National Pictures, and one of 
the most lustrous stars in the firmament 
of the film-future should select a Bradley 
of futuristic pattern. 



In the circle, you see Dorothy Mackaitl 

trying to talk Jack Mulhall {also First 

National) i)ito a bathing suit. 



Andhere at the right areDorothy Gulliver 
and George Lewis (both of Universal 
Pictures) enjoying themselves on the 
beach. And who ivouldn't — in such good 
company — and in such fine bathingsuits? 



HOLLYWOOD may not take its 
swimming seriously — but it 
takes it smartly, and comfortably — in 
Bradley Bathing Suits. For you can't 
fool a film star when it comes to 
what's what in what to wear — ■ 
whether it be on the "lot" or on 
the beach . . . Your favorite store 
has Bradleys in all the gay models 
and colors so favored by moviedom. 
And you may have a free copy of 
the Bradley Style Book by writing 
Bradley Knitting Co., Delavan, Wis. 



into a 




and out-of-doors 




When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Brief Reviews of 

Current Pictures 



■4rlndicates that photoplay was named as one 
of the six best upon its month of review 



ADORATION— First National.— Concerning the BRIDGE OF SAN LUIS REY, THE— M.-G.-M— CHARLATAN. THE— Universal.— Murder mys- 

post-revolution romance of a Romanoff prince and To the astonishment of all, a good picture from the tery done with nice, light touch, especially by Holmes 
princess. Ornamented by Billie Dove. (.Jan.) Wilder novel. And, oh, zat Lily Damital (Moy.) Herbert. (April.) 



princess. Ornamented by ] 

ALIBI — United Artists. — An almost flawless 
talkie about a young gunman who marries a cop s 
daughter. Elegant melodrama. (May.) 

ALL-AMERICAN, THE— Supreme.— How a col- 
legiate sprinter mops up the Olympic Games, demon- 
strated by Charlie Paddock. (March.) 

ALL AT SEA — Metro-Goldwyn-Mayer. — A Dane- 
Arthur comedy. The title explains it. (March.) 

ALL FACES WEST — Pioneer. — Western thriller 
filmed with Mormon money. Marie Prevost and Ben 
Lyon are in it. (April.) 

AMAZING VAGABOND, THE— FBO.— Not so 

amazing. Just the usual stunts, on land and in tlic 
air. (Jan.) 

ANNE AGAINST THE WORLD— Rayart — 

Story of the terrible life of a misunderstood musical 
comedy queen. Terrible is right. (June.) 

APACHE, THE — Columbia. — Just the romance of 
two sweet kids in the Latin Quarter — if you believe in 
such things. (Feb.) 

AVALANCHE — Paramount. — High-class Western 
with Jack Holt and Baclanova — the picture thief 1 
yon.) 

AVENGING RIDER, THE— FBO. — Simple- 
minded Western mystery story. (Jan.) 

BEHIND CLOSED DOORS— Columbia.— PsstI 

Secret service stuff in another mythical country. 
Virginia Valli. (May.) 

BEHIND THE GERMAN LINES— UFA-Para- 
mount. — The German side of the war. with excellent 
and authentic battle scenes spoiled by some obviously 
studio shots. (Feb.) 

BELOW THE DEADLINE — Chesterfield.— 
Quickie crook stuff — and something awful. (June.) 

• BETRAYAL — Paramount. — Not a pretty 
tale, but fine dramatic fare, with Emil Jannings, 
Esther Ralston, Gary Cooper. (May.) 

BLACK ACE, THE — Pathe.— So-so Western that 
will fill in a blank evening. (Jan.) 

BLACK BIRDS OF FIJI — Australasian. — 
Another South Sea Island picture — only so-so. (Feb.) 

BLACK HILLS, THE— Dakota.— In which the 

dam bursts again. (March.) 

BLACK PEARL, THE — Rayart. — Loose-limbed 
mystery that rambles aimlessly through the Orient. 
(April.) 

BLACK WATERS — World Wide.— Thrilling, 
chilling melodrama with mediocre dialogue. (June.) 

BLOCKADE — FBO. — Bootlegging made attrac- 
tive by Anna Q. Nilsson. A good melodrama. 
(March.) 

BLOW FOR BLOW — Universal. — More adven- 
tures of Hoot Gibson, if you're interested in Westerns. 
(Feb.) 

BLUE SKIES — Fox. — .\n orphanage romance, 
beautifully acted and charmingly directed. (June.) 

BONDMAN, THE — World Wide.— Foreign ver- 
sion of Hall Caine's novel, messed up by poor 
photography. (June.) 

BORN TO THE SADDLE — Universal. — Three 
rousing cheers! A real good Western, with action 
and humor. Ted Wells is head man. (May.) 

BRIDE'S RELATIONS, THE— Bennett-Educa- 
tional. — One-reel talking comedy sad and funny by 
turns. Eddie Gribbon is best. (April.) 



BROADWAY FEVER — Tiffany-Stahl. — Sally 
O'Neill being literally too cute for words in a trivial 
story. (March.) 

• BROADWAY MELODY, THE— Metro-Gold- 
wyn-Mayer. — Brilliant all-talkie of backstage 
life, with Bessie Love astonishing. (April.) 

BROTHERS— Rayart. — A good brotherly love 
yarn, one a crook and one a nice boy. Barbara 
Bedford dares do a heavy. (May.) 

BYE-BYE BUDDY— Supreme.— Did you know 
that night club hostesses have hearts of gold? This 
one is an unintentionally funny sob story. (June.) 

• CANARY MURDER CASE, THE— Para- 
mount. — Logical and well constructed mystery 
story. William Powell is perfectly swell as the de- 
tective. (Feb.) 

CAPTAIN LASH — Fox. — A coal stoker's romance 
or love on the waterfront. Rather strong stuff. (Feb.) 



Pictures You 
Should Not Miss 

"In Old Arizona" 

"The River" 

"The Canary Murder Case" 

"Wild Orchids" 

"7th Heaven" 

"The Singing Fool" 

"Interference" 

"Mother Knows Best" 

"Street Angel" 

"The Patriot" 

"Four Devils" 

"Wings" 

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



• CASE OF LENA SMITH, THE— Paramount. 
— Sincere drama of the love affair of a servant 
girl, her hardships and her martyrdom. A real 
picture for intelligent adult audiences. (Feb.) 

CAVALIER, THE— Tiffany-Stahl.— Richard Tal- 
madge in some imitations of Douglas Fairbanks. 
(Jan.) 



CHINA BOUND— M.-G.-M.— Messieurs Dane 
and Arthur in a Chinese revolution. Fairly funny. 
(June.) 

CHINA SLAVERS, THE— Trinity.— Ragged 
story of the Oriental slave trade, but smartly acted by 
Sojin. (April.) 

CHINATOWN NIGHTS— Paramount.— Piping 
hot melodrama of tong wars and such, with Wallace 
Beery and Florence Vidor good. (May.) 

• CHRISTINA — Fox. — Slender and improbable 
story made beautiful and worth seeing by the 
inspired acting of Janet Gaynor. (June.) 

CIRCUMSTANTIAL EVIDENCE— Chesterfield. 
— Nothing that you could care about in a big way. 
(March.) 

CITY OF PURPLE DREAMS, THE — Rayart.— 
Story of wheat pits of Chicago. Top heavy with 
drama. (Jan.) 

CLEAR THE DECKS — Universal. — Reginald 

Denny in one of the oldest farce plots in the world. 
(.March.) 

• CLOSE HARMONY— Paramount.— Brilliant 
talkie of backstage vaudeville life. Fine fun, 
with Buddy Rogers and Nancy Carroll aces. (May.) 

COHENS AND KELLYS IN ATLANTIC CITY. 

THE — Universal. — For those who hke this sort of 
thing. (March.) 

• COQUETTE — United Artists. — Denatured 
version of the stage play with a fine perform- 
ance by Mary Pickford. And Mary's voice is one of 
the best in the talkies. Of course you'll want to see — 
and hear — her. (June.) 

DANGEROUS WOMAN, THE— Paramount.— 
Reviewed under title of "The Woman Who Needed 
Killing." "Tropical and torrid drama of the South 
Seas. Not for children. (June.) 

DESERT NIGHTS — Metro-Goldwyn-Mayer. — 
One of Jack Gilbert's less fortunate vehicles. (March.) 

DESERT SONG, THE — Warners. — All-singing 
and talking operetta that is a bit old-fashioned and 
stagy. Some good singing by John Boles. (June.) 

DIPLOMATS, THE — Fox-Movietone. — Clark 
and McCullough in a two-reel talkie that will give you 
some laughs. (March.) 

• DOCTOR'S SECRET. THE— Paramount.— 
Barrie's playlet. "Half an Hour," emerges as a 
superior and well-constructed talkie. It is brilliantly 
acted and well worth your time and money. (March.) 

DOMESTIC MEDDLERS— Tiffany-SUhl.-The 

eternal and well-worn triangle. (Feb.) 

DONOVAN AFFAIR. THE— Columbia.— Mys- 
tery play with too little suspense and too much 
forced comedy. Nevertheless, it has a good cast. 
It's a talkie. (June.) 

DREAM OF LOVE — Metro-Goldwyn-Mayer. — 
The prince and the pretty peasant — again. Phoney 
stuff in spite of Joan Crawford and Nils Asther. 
(Feb.) 

DRIFTER, THE — FBO. — Just another Western. 
But send the kids, anyway, because Tom Mix is in it. 
(March.) 

DRIFTWOOD — Columbia. — Looks like a tenth 
carbon copy of " Sadie Thompson." (Jan.) 

• DUMMY, THE — Paramount. — In this excel- 
lent all-talking crook melodrama, two Holly- 
wooders — ZaSu Pitts and Mickey Bennett — steal 
honors from a lot of stage stars. (April.) 

[ PLEASE TURN TO PAGE 12 ] 



Photoplay Magazine — Advertising Section 

oociety simply wont 
stand for Indelicate W)men 








1 Always use Amolin under the 
arms zuhen dressing for any 
social activity 



As quick as a wink, a few 

sprinkles of Amoli?t will guard 

your freshness and wholesome- 

ness all day long I 

AS SOON as you step from your bath, 
■ while the dehcious glow of the towel 
is still upon you, throw under your arms a 
light coating of Amolin. 

For Amolin is a delicate deodorizer sans 

refroche. It does not cover .^ 

up odors but absorbs them 
as they arise all day long! 
It is the clean, fastidious 
way of disbarring from so- 
ciety the slightest trace of 
offensive personal odor. 

Without smothering the 



natural function of the pores, Amolin ac- 
tually counteracts the odors as soon as 
they are formed. And it protects, rather 
than harms, your silken underclothes. 

This Personal Deodorant 

has many uses 

There are many uses of this wonderful, 
scientific powder! Use it after your bath, 
sprinkle it, if you wish, into your lingerie 
as you dress, put it in your slippers — you 
can be free with its use for it is harmless 
and not at all costly! It is pleasant to 
smell — but its odor is gone as soon as it 
touches you! For Amolin does not cover 
up one odor with another, but neutralizes 
all personal odors as they arise! 

So, go dancing, go shopping, swing your 
arms in golf or tennis, do a day's work in a 
hot office, for Amolin used after your bath 
or sprinkled in your underclothes will pro- 
tect you all day long! 




The most fastidious women 
use Amolin after the bath 
all over the body 



"«?8" 












3 Amolin protects delicate lin- 
gerie andkeeps elastic girdles 



fresh and sweet 




'"S Ol UNO"' X 

moli 



moiin 



THE NORWICH PHARMACAL CO., Dept. D-79 

Norwich. N. Y. 

or 193 Spadina Ave.^ Toronto 

Enclosed is 10^. Please send me the generous test 
can of Amolin. 



^:^^ Sold in two sizes — 30f^ and 60^ 



Name. . . 
Address. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



j^rickb 



Three prizes 

are given every month 

for the best letters'^ 

$25, $10 and $5 





Bouquets 

The REAL CRITICS. 

the FANS, 
GIVE THEIR VIEWS 



The Monthly Barometer 

OUR mail has fairly exploded this month 
ivith letters from excited fans. Some de- 
mand that talkies be abolished; others say they 
are through with silent pictures forever. 

Jannings and Garbo are causing a great deal 
of worry. Their loyal followers don't want to 
lose them. No one seems to care whether 
they talk or not — just as long as they continue 
to act on the American screen. 

The heated arguments about voice doubling 
continue — both for speaking and singing. Some 
of the disillusioned fans are wailing because 
they can't be sure they are actually hearing 
their favorites. Others argue that voice 
doubling is no more to be frowned upon than 
doubling for stunts, a scheme to which the fans 
have long been accustomed. 

From readers in foreign countries have come 
many letters expressing great interest in the 
talkies. Those who have not already heard 
them are awaiting their advent xvith eagerness. 

Protests against talking pictures have come 
from the deaf — a situation that caUs for serious 
thought. 

Incidentally, Photoplay Magazine wants 
to say thank you for the lovely bouquets it 
has received in the past few months from 
readers all over the world — words of praise we 
are too modest to print, but which help by 
their encouragement. 

$25.00 Letter 

Omaha, Nebraska. 

No one who has never lived outside the 
large cities can really appreciate what talking 
pictures mean to the American public. If 
the talkies brought only intelligent orchestral 
accompaniment — 

God bless 'em! 

If there is anyone who can enter into the 
forceful, moving spirit of "The King of Kings" 
while a correspondence school pianist plays 
"Why Should I Care?" in syncopated jazz 
rhythm, on a piano that hasn't been tuned in 
two years, during one of the most touching 
moments of the film — • 

There isn't! 

Yet this not only actually happened but 
occurs regularly in every town in the United 
States, once you venture beyond cities large 
enough to support theater orchestras. Con- 
trast it mth the orchestral offerings in "The 
Broadway Melody" and like pictures. 

Motion pictures laid entertainment at the 

10 



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



feet of the world; talking pictures increase the 
world's enjoyment a hundred-fold. 

.\nd their present trend seems to insure us a 
still greater boon: the doom of the mere 
"pretty face" and weak plot and the advent 
of the genuine actor who has something worth- 
while to offer and demands a worthwhile play 
in which to offer it. 

E. C. WlIELAN. 

$10.00 Letter 

Toronto, Canada. 

I am a clergyman's wife with one son ten 
years old, whom everyone, including my 
husband, says I spoil dreadfully. .-Vlthoiigh 
well on in years I had never been in a moving 
picture show, as I thought they were places 
where nothing but vice was depicted, and 
where no one could learn anything good. 

A friend of mine (I know now she was a 
real friend) induced me to go with her and 
see "The Sins of the Fathers." No sermon 
ever affected me as that picture did, and I 
saw myself for the first time in my life, as I 
was — a mother, who, for my own gratification, 
was teaching my son to grow up in idleness; 
neglecting his education, pampering his every 
wish, and smoothing axwiy every obstacle in 
his path instead of teaching him self-control, 
and helping him to prepare for the battle 
of life. 

How thankful I am I was saved in time, by 
that wonderful picture of the devoted father, 
played by Emil Jannings, who showed how 



easily a child may be misdirected in his youth 
by parents' selfish love. Every mother should 
see this picture. No better sermon was ever 
preached. 

L. Watkin. 

$5.00 Letter 

Santa Fe, N. M. 

,'\bout the only thing I can find wrong with 
the average movie producer is that he has the 
modern boys and girls all wTong. We're not a 
pack of drinking, smoking and petting-party 
liounds that sneak home in the wee hours of 
the morning after a night of whoopee. The 
most of us are home, happily dreaming of 
Greta and John in a love scene. 

In "Our Dancing Daughters" Joan Crawford 
got a big laugh from some of the younger 
generation I know. She was a hot toddy, 
I'll agree, but she weisn't carrying our banner. 
"The Godless Girl" wasn't a good likeness of 
us either. I take it that high school was 
supposed to be a repUca of any school in the 
United States. Well, all I've got to say is 
that DeMille fell down on that picture. 

Clara Bow is supposed to be the symbol of us. 
She is certainly a good actress, but she can't 
represent the modern girl. Of course, there 
are different types, but even at oiu- wildest 
we don't resemble that red-headed child. 

We're more on the Bronson-Moran type — 
chic, sophisticated, but with enough sense to 
come home while it's still dark and a few stars 
are left. 

Mary Walsh. 

It Does Sound Logical 

Aldcn, Pa. 

I personally most emphatically prefer talkies 
because I find them more entertaining. 

The comments of some of the objectors are 
quite amusing. One of your readers fears that 
the advent of talkies will prevent him from 
exercising his imagination! .'\nother is quite 
wrought up over the introduction of dialogue 
and sound in movies because it will disturb 
his repose! 

To the first objector I might advise cutting 
out movies entirely and confining himself to 
reading good books, where his imagination can 
have full scope. To the second objector I 
would suggest that if he wishes repose, why 
in the name of common sense does he not go 
to bed? 

[ PLEASE TURN TO PAGE 111 ] 



Photoplay Magazine — Advertising Section 



1 1 




one true 



You probably can't imagine yourself in 
this woman's predicament — yet the pos- 
sibility is far from being remote. 

Not so many years, ago she burst upon 
Chicago like a blazing star. In the rich 
homes of the Gold Coast, violins played 
long and lights burned late in her honor. 
She counted her friends by the hundreds, 
her suitors by the dozens. Assuredly she 
would marry brilliantly and live well. 

Yet today she is rather a pathetic figure 
despite her wealth and her charm. Old 
acquaintances seldom call and she makes 
few new ones. Of all old friends only her 
bird seems true. Only he is always glad 
to see her. 

How unfortunate that a minor defect 
can alter the course of human life. 



I 



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it ought to he the first. 

For halitosis is a definite daily threat to 
all. And for very obvious reasons, physi- 
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infection. Or excesses of eating, drink- 
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Intelligent people recognize the risk 
and minimize it by the regular use of full 
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Wmning new users by thousands. Listerine 
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Always keep Listerine handy. It is 
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LISTERINE 




Wbea you wilt« to advertisers please mention PHOTOPLAT MAOAZDTB. 



12 



Photoplay Magazine — Advertising Section 



It is not too late to enter the 

Photoplay $5000 

Cut Picture 
Puzzle Contest 



For full particulars regarding con- 
test see page 58. If your dealer can- 
not supply you with the June Photo- 
play just send coupon below to Pho- 
toplay Magazine, 750 N. Michigan 
Avenue, Chicago. A reprint of the 
set of cut pictures which appeared 
in June issue, together with complete 
rules, will be sent you free by return 
mail. Or, if you prefer to take ad- 
vantage of our Special Six Months' 
Contest rate, send $1.25 and we will 
mail you the reprint from June Pho- 
toplay and enter your subscription 
for 6 months, starting with the 
August issue. 

What a Subscription 
to PHOTOPLAY 

Will Bring You 

More than a thousand pictures of 
photoplayers and illustrations of their 
work and pastime. 

Scores of interesting articles about the 
people you see on the screen. 

Splendidly written short stories, some 
of which you will see acted at your 
moving picture theater. 

The trul/i, 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 the most attracli^■ely 
printed magazines published today — and 
alone in its field of motion pictures. 

Send money order or check to 

PHOTOPLAY 
MAGAZINE 

Dept. 14-G, 750 N. Michigan Ave. 
CHICAGO 

The coupon beloiv is for your convenience 



PHOTOPLAY MAGAZINE 

Dept. 14-G, 750 N. Michigan Ave., Chicago 

Gentlemen: 
I I I enclose herewith ^1.25 (Canada, ^1.50; 
' — 'Foreign, ^1.75), for which you will 
kindly enter my subscription for PHOTO- 
PLAY MAGAZINE for six months, effec- 
tive with August issue; also mail me the re- 
print from June issue. 

I I Send me the reprint of the set of cut pic- 
' — ' tures which appeared in June PHOTO- 
PLAY. 




Brief Reviews of Current Pictures 

[ CONTINUED FROM PAGE 8 ] 



ELIGIBLE MR. BANGS, THE— Coronet-Educa- 
tional. — A clever little dress-suit comedy in one reel, 
with Edward Everett Horton fine. (April,) 

ETERNAL LOVE— United Artists.— John Profile 
Barrymore and Camilla Horn get romantic in the 
Swiss Alps. (April.) 

ETERNAL WOMAN, THE — Columbia.— 
Frenzied society melodrama with a rubber plot that 
bounces all over the map. (June.) 

EVA AND THE GRASSHOPPER— UFA.— Some 

remarkable insect photography and a not-so-good 
modern story. Anyway, a novelty. (Fe6.) 

FAKER, THE— Columbia.— Well done expose of 
spiritualistic charlatans, with Warner Oland fine as 
the phoney spook-chaser, (April.) 

FLOATING COLLEGE, THE— Tiffany-Stah!.— 
Based on one of those university cruises, this picture 
had possibilities that aren't realized. (March.) 

FLYIN' BUCKAROO, THE— Pathe.— How to 
capture bandits. (Feb.) 

• FLYING FLEET, THE— Metro-Goldwyn- 
Mayer. — The training of a flyer, told with 
thrills, accuracy and an absence of bunk. It's a real 
picture: you'll like it. (Feb.) 

FUGITIVES— Fox. — Conventional story of a 
wronged girl and a Horatio Alger district attorney. 

(March.) 

• GENTLEMEN OF THE PRESS— Paramount. 
— A newspaper story that is a knockout. Fine 
performances by an all-stage cast. Check up this one 
as one of the hits of the talkies. (June.) 

GERALDINE — Pathe. — Light and amusing com- 
edy with Marion Nixon and Eddie Quillan. (Jan.) 

GHOST TALKS, THE— Fox.— A talkie farce. 
Plenty of laughs. (Feb.) 

GIRL WHOWOULDN'T'WAIT, THE— Liberty. 
— In spite of its title this is one of the best pictures 
turned out by an independent producer. You'll 
like it. (June,) 

GIRLS WHO DARE— Trinity. — Sleuths fail to 
find a reason for this picture. Who cares if girls do, 
after this one? (April.) 

GLORIOUS TRAIL, THE— First National.— 
Ken Maynard and Tarzan work on that first overland 
telegraph line. You know the rest. (March.) 



GREYHOUND LIMITED, THE— Warners.— 
Not a dog story, but a railroad melodrama. It's 
speedy, exciting and good fun. (June.) 

GUN RUNNER, THE— Tiffany-Stahl.— Bullets 
and romance in a South American republic. Frothy 
entertainment. (Feb,) 

HARDBOILED—FBO.— Hackneyed story about 
a gold-digging show girl, but well played by Saliy 
O'Neill and Donald Reed. (April.) 

HARVEST OF HATE, THE— Universal.— In 
which the great talents of Rex, the wild horse, are 
ignored to make footage for a trite romance. (Jan.) 

HAUNTED LADY, THE— Universal.— Laura 
LaPlante knows who did the murder, but is afraid to 
tell. She and the story are good. (.April.) 

HEAD OF THE FAMILY, THE— Gotham.— 
Rather cuckoo farce. (Jan.) 

• HEARTS IN DIXIE— Fox.— Plantation life 
according to a Fox talkie, with the stupendous 
debut of Stepin Fetchit, colored comic. (May.) 

• HIS CAPTIVE WOMAN— First National- 
Getting away with murder in the South Seas. 
However, good performances by Milton Sills and 
Dorothy Mackaill make this melodrama worth your 
attention. With sound and talk. (March.) 

HIS LUCKY DAY— Universal.— Another flimsy 
story for Rcggy Denny, with the star a dizzy realtor, 
(April.) 

HONEYMOON ABROAD — World Wide.— 
Monty Banks in a spotty comedy made in London 
and Paris. (.April.) 

HOT STUFF— First National.— Collegiate stuff in 
musical comedy style. Alice White disrobes, smokes 
and tipples, as usual. (May.) 

HOUSE OF HORROR, THE— First National.— 
Cheap claptrap mystery movie wliich is saved by the 
comedy of Chester Conklin and Louise Fazenda. 
(May.) 

HOUSE OF SHAME, THE— Chesterfield.— Do- 
mestic drama — if that's what you want. (Feb.) 

HUNTINGTOWER — Paramount. — Imported 
Scotch — celluloid. With Sir Harry Lauder and a lot 
of atmosphere. (Feb.) 

IN HOLLAND— Fox Movietone — Another by 
those fine stage comedians, Clark and McCullough. 
(April.) 



Photoplays Reviewed in the Shadow Stage This Issue 

Save this magazine — Refer to the criticisms before you pic\ out 
your evenings entertainment. Ma\e this your reference list. 

Page 
Nothing but the Truth — Paramount.. . 56 

Not Quite Decent — Fo.x 57 

Our Modern Maidens— M.-G.-M 54 

Pa^vns of Passion — World Wide 133 

Prince of Hearts, The-^Imperial 133 

Quitter, Tlie — Columbia 133 

Rainbow Man, The — Sono-Art-Para- 

mount 56 

Roaring Fires — Ellbee 134 

Saturday's Children — First National.. . 57 

Ship Mates — Educational 134 

Squall, The — First National 56 

Studio Murder Mystery, The — Para- 
mount 55 

Thru Different Eyes— Fo.x 57 

Time, the Place and the Girl, The — 

Warners 57 

Tommy Atkins— World Wide 133 

Vagabond Cub, Tht^FBO 134 

You Can't Buy Love — Universal 134 



Page 
Big Diamond Robbery, The— FBO. ... 134 
Bulldog Drummond — Goldwyn-United 

Artists 54 

Come Across — Universal 134 

Devil's Chaplain, The— Rayart 134 

Duke Steps Out, Thf^M.-G.-M 56 

Exalted Flapper, The— Fox 134 

Eyes of the Underworld — Universal . . . 133 

Fox Movietone FoUies — Fox 55 

Gamblers, The — Warners 133 

Girls Gone WUd— Fox 134 

Gun Law— FBO 133 

Hole in the Wall, The — Paramount.. . . 57 

Honky-Tonk — Warners 56 

Hottentot, The — Warners 134 

Innocents of Paris — Paramount 54 

Madame X— M.-G.-M 55 

Man I Love, The — Paramount 56 

Masked Emotions — Fox 134 

Mother's Boy — Pathe 57 



Photoplay Magazine — Advertising Section 



CLASSIFIED 
ADVERTISING 

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FREE TO WRITERS. THE PLOTWEAVER. A 
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The I'lotweaver. Drawer WP, Hollywood. California. 



PHOTOS 
ENLARGED 



m 




• IN OLD ARIZONA— Fox.— Pointing the way 
to bigger and better talkies. A fine Western 
that pleases the eye, the ear and the dramatic 
instinct. {Feb.) 

• IRON MASK, THE— United Artists.— Doug 
Fairbanks goes back to D'Arlagnan — liurray! 
Action and more action. A good evening. (.Feb.) 

JAZZ AGE, THE— FBO.— Flaming youth and 
mostly a bad imitation of "Our Dancitig Daughters." 
{Feb.) 

JAZZLAND — Quality. — If you can guess what this 
is all about, you ought to get a prize. (March.) 

• JEANNE D'ARC— Societe Generale de Films. 
— A rarely fine artistic achievement and a 
significant picture. You ma>- not see it at your local 
theater but jou will feel its influence in future films. 
(Feb.) 

JUST OFF BROADWAY— Chesterfield.— Boot- 
legging, serious drinking, gunfire and pure night-cluli 
girls in an impossible hodge-podge. (A Pril.) 

KING COWBOY— FBO.— Please. Mr. Mix. don't 
do anything like this again! (Jan.) 

KING OF THE RODEO— Universal.— Hoot Gib- 
son's best contribution to Art in a long time. (Jan.) 

LADY OF CHANCE, A— Metro-Goldwyn-Mayer. 
— Norma Shearer in a drama of a gold-digger who 
reforms. If they only would in real lifel (Feb.) 

LADY OF THE PAVEMENTS — United Artists. 
— In which the vivid Lupe Velez runs away with a 
Griffith picture. (Feb.) 

LAST WARNING, THE— Universal.— Muddled 
mystery with no plot but a lot of fancy sets and 
fancier photography. (Feb.) 

LAWLESS LEGION, THE— First National.— A 

cowboy story, with Ken Maynard, that is good 
enough entertainment for anybody. (June.) 

LEATHERNECK, THE— Pathe.— Good, silent 
film crippled with some talk. Bill Boyd, Alan Hale 
and Co. fine in Marine yarn. (April.) 



Size 16x20 Inches 

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Producer Announcements 

ofT^ew Pictures 

and Stars 

While all good advertising is news, 
we consider producer advertising 
of particular interest to our read' 
ers. With this directory you easily 
can locate each announcement: 

Fox Film Corp Pag^ 1^9 

Metro-Goldwyn-Mayer . . Page 135 

Paramount Page 4 

Warner Bros Page 143 




Girls 

lest^ucAif Abiliff 

REI 



LEGEND OF GOSTA BERLING, THE— 

Swedish Biograpli. — European film with Greta 
Garbo. proving that Hollywood changed an ugly 
duckling into a swan. {Jan.) 

• LETTER, THE— Paramount.— The talkies' 
first big emotional performance, by Jeanne 
Eagels. Good strong drama. Not for kids. (May.) 

LINDA — Mrs. Wallace Reid Production. — Maud- 
lin sentimentality. {Feb.) 

LION'S ROAR, THE— Educational.— A Sennett 
comedy with all the incidental noises. (.Feb.) 

LITTLE SAVAGE, THE— FBO.— A Western that 
is saved by some good human interest touches. 
(March.) 

LONE WOLF'S DAUGHTER, THE— Columbia. 
— Bert Lytell's perennial crook, the Lone Wolf, in a 
good melodramatic comedy. (May.) 

LOOKOUT GIRL, THE— Quality.— Not worth 
your valuable time. (Feb.) 

LOOPING THE LOOP— UFA-Paramount.— For- 
eign drama of circus life, with an old theme, but with 
some good Continental atmosphere — if that's what 
you're looking for. (.March.) 

LOVE IN THE DESERT— FED —Smart and 
funny version of the good old hot-sand stutT, with 
Olive Borden. Hugh Trevor, Noah Beery, (April.) 
[ PLEASE TURN TO PAGE 136 ] 



L'ffJi'^jilMyi. 



TF YOU LIKE TO 
■^ DRAW, here is your 
opportunity to find out 
how much talent you 
have. Test your natural 
sense of design, proportion, 
color, perspective, etc., with 
our simple scientific Art 
Ability Questionnaire. Learn 
if your talent is worth devel- 
oping. You will be frankly 
told what your score is. 

Federal Students 
Are Successful 

Many Federal School stu- 
dents — girls as well as men — 
are making $2,000, $4,000, 
$5,000, and $6,000 yearly. In 
Commercial Art Work you 
can earn as mucli as a man 
of equal ability. Millions are 
paid yearly for illustrations 
and designs. Learn at home 
in spare time. The Federal 
Course contains lessons by the 
leading artists, gives you 
personal criticisms, and leads 
rapidly to practical work. 

Send for Free Art 
Questionnaire 

By all means get this free 
test — send now for your 
Questionnaire- — -and we will 
also send our book "Your Fu- 
ture" showing work of Fed- 
eral Students and explaining 
the course in detail. Please 
state age and occupation. 




When you writ© to advertisera please mention PHOTOPLAY MAGAZINE. 







Friendly Advice from 
Carolyn Van Wyck on 

P Girls' 
roblems 



Sue Carol holds daily consulta- 
tion with her mirror to keep hair 
and complexion fit 



MARY B. writes me that her life is ruined 
because she has a rather long nose and 
she is sure she can never be popular 
or happy with such a terrible handicap! And 
Rena L. has a sHght growth of hair on her face 
and so, she writes me, she never goes any 
place and refuses invitations to parties and 
dances because she just can't forget her dread- 
ful Ijlemish! 

Genevieve M. thinks bow legs are the most 
awful affliction in the world and she is letting 
that condition sour her whole outlook on life. 
Maybelle S. G. says she is a little knock- 
kneed, so she has given up bathing, although 
she is an expert swimmer and loves the water. 
But she can't bear to have anyone see her in a 
bathing suit! Edna is stout and spends all 
her time weeping and wailing about it; Ger- 
trude is large-boned and thin and is just as 
unhappy. 

Caroline is just beginning to blossom into 
young womanhood and is frightfully self- 
conscious about a rapidly developing figure 
which she thinks sets her apart from her class- 
mates who are maturing more slowly. And 
just because she is outgroAving the childish 
styles which they still wear she is making her- 
self miserable and fostering a self-conscious 
attitude and a decided 
inferiority complex. 

FooUsh girls, all of 
them. Of course, we 
all want to be as at- 
tractive as we possibly 
can be. We don't like 
blemishes that seem to 
set us apart from our 
fellows. If we must 
stand out in a crowd 
we would like to be 
conspicuous for our 
beauty, for our attrac- 
tive appearance. 

But supposing we 
can't. Supposing we 
have come into the 
world with some physi- 
cal characteristics that 
we wouldn't have 
chosen if we had been 
consulted. Supposing 
we have met with some 
accident that has left 
its marks on our bodies. 
Supposing some of us 
neecl to wear glasses; 
to rely on a crutch or a 
brace in order to walk. 



Baclanova, the Rus- 
sian star, shares 
with clever women 
the world over the 
same fundamental 
rules to gain and 
preserve loveliness 



.•\fter we have done everything we can to 
help the situation, isn't it stupid of us to waste 
cmr time fretting about it? And isn't it espe- 
cially stupid in the case of such minor diffi- 
culties as a little superfluous hair, a little 
excess weight or a figure that seems a trifle too 
boyish? 

Look about you at the happy and successful 
women you number among your friends and 
acquaintances. Are they all perfect physical 
specimens? Now that you think about it, isn't 
Mrs. The-Happiest-Wife-You-Know anything 
but a raving beauty? Are Miss Successful 
Business Woman, Mrs. Noted Concert Singer, 
Mrs. Popular Writer, Mrs. Contented-Mother- 
of-Lovely-ChLldren. and all the others who are 
happy and successful in their chosen ways of 
life, all beautiful and perfect physically? No, 
of course not. 

Both in public and private life it is a decided 
asset to a woman and to a man to make a 
pleasing appearance. But to do that it isn't 
necessary to have the proportions of a Ziegfeld 
Follies girl or the face of an artists' model. 




Exaggerating Minor Defects 

Is This Month's Discussion 

IF I were a statistician I might compile some figures to show that the useless 
and foolish tears that girls have shed over trifling blemishes efface and form 
would equal the volume of Niagara! 

I say foolish tears because so often these defects can be cured or covered up 
in some way. And if they can't, then it's useless to waste time and tears over 
them. Forget them, and make other people forget, by giving them something 
more interesting to note in you. 

The series of color articles which appeared in PHOTOPLAY — February for 
brunettes, March for blondes, April for red-haired girls and May for brown- 
haired girls — has attracted much favorable comment. Our readers will find 
them extremely helpful in choosing becoming color schemes for their cos- 
tumes. Back numbers may be obtained from PHOTOPLAY. 750 North 
Michigan Avenue, Chicago, 111. Enclose 25c for each issue desired. 

Write to me in care of PHOTOPLAY. 221 West 57th Street, New York 
City, if you want my leaflet on the care of the skin or any other advice on 
questions of health or appearance. If you would like my reducing booklet 
please enclose 10c. All letters should be accompanied by a stamped, self- 
addressed envelope, for personal reply. CAROLYN VAN WYCK. 



Why can't we apply some of the common 
sense to these matters that we do to our other 
problems? Girls who wouldn't think of making 
a fuss over every disappointment in their 
school or their business lives, and even in their 
love affairs, will make mountains out of the 
molehills of physical limitations and afflictions. 
Mildred T. is leading a miserable e.xistence. 
according to her letter to me, and all because 
her hair is straight and her mother doesn't 
want her to have it waved. 

Her mother has the mistaken idea that wav- 
ing is harmful to the hair. 

All right, Mildred. 

Just look around you. 

Didn't Colleen Moore 
turn straight-as-a- 
stick hair into a dis- 
tinctive style of hair- 
dressing that just suits 
her elfin personality? 
And hasn't Louise 
Brooks combed her 
straight locks in a 
fashion just right for 
the roles she plays? 
And can't you experi- 
ment a little with your 
hair and find some way 
of having it cut and 
combing it to suit your 
face and your type? 
You can, if you'U only 
use the time and effort 
you are wasting in be- 
moaning your fate. 

While we're speak- 
ing of Colleen, I won- 
der how many of you 
know that she has one 
blue eye and one brown 

[ PLEASE TURN TO PAGE 

1301 



u 



Photoplay Magazine — Advertising Section 



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When you write to advertisers please mention PHOTOPLAY MAGAZINE!. 



'm 



hat was 



tke B 



est 



Picture of 1928? 





Winners of Photoplay Medal 

1920 
"HUMORESQUE" 

1921 1925 

"TOL'ABLE DAVID" "THE BIG PARADE" 



1924 
"ABRAHAM LINCOLN" 



1922 
"ROBIN HOOD" 



1926 
"BEAU GESTE" 



1923 1927 

"THE COVERED WAGON" "7th HEAVEN" 



HAVE you cast your vote for the best picture of 1928? 
Better get busy! 

Remember, the annual award of the Photoplay gold 
medal is the highest honor in the world of motion pictures. 
Moreover, it is the only award going direct from the millions 
of film fans to the makers of pictures. 

Remember, too, the high standards of previous awards. 
The Photoplay Medal of Honor was designed as a reward to 
the producer making the best picture in points of story, acting, 
direction and photography. Photoplay also wishes voters to 
consider the ideals and motives governing the picture's pro- 
duction. 

Remember all this when you cast your vote and remember, 
as well, the great array of previous gold medal winners. These 
eight winners of gold medals present a veritable panorama of 
motion picture progress over the years. 

This year's voting presents an unusual angle. It may be the 
last award going to a silent film and it may be the first prize 
going to a sound picture. That's up to YOU. Nevertheless, 



Ninth Annual 

Gold Medal 

Award 



the medal for 1928 repre- 
sents an epoch in film 
progress. 

A list of fifty important 
pictures released during 
1928 is appended to this 
page. It is not necessary, 
of course, for you to select 
one of these pictures. You may vote for any picture released 
during the twelve months of last year. 

If you want pictures to continue their upward trend in 
quality, here is your chance to do your share by expressing 
your opinion through this ballot. In case of a tie in the 
voting, equal awards will be made to each of the winning 
producers. 

The Photoplay Medal of Honor is of sohd gold, weighing 
123J^ pennyweights and is two and one-half inches in diameter. 
Each medal is designed and made by Tiffany and Company of 
New York. 



Vote for the Picture You Think Should Win I 



Photoplay Medal of Honor Ballot 

Editor Photoplay Magazine 

221 W. 57th Street, New York City 

In my opinion the picture named below is the 
best motion picture production released in 1928. 



NAME OF PICTURE 



J^ame- 



Address - 



Fifty Pictures Released in 1928 



Abie's Irish Rose 

Alias Jimmy Valentine 

Barker, The 

Beau Sabreur 

Bellamy Trial, The 

Chicago 

Circus, The 

Cossacks, The 

Czar Ivan the Terrible 

Dciil Dancer, The 

Divine n'oman. The 

Docks of New York, The 

Dove, The 

Drag Net, The 

Drums of Love 

Enemy, The 

Fazil 

Fleet's In, The 



Flying Fleet, The 

Four Devils 

Four Sons 

Four Walls 

Gaucho, The 

Gentlemen Prefer Blondes 

Interference 

Last Command, The 

Laugh, Clown, Laugh 

Legion of the Condemned , 
The 

Lilac Time 

Little Shepherd of King- 
dom Come, The 

Man Who Laughs, The 

Masks of the Devil, The 

Me, Gangster 

Mother Knows Best 



Mother Machree 

Noose, The 

Our Dancing Daughters 

Outcast 

Racket, The 

Ramona 

Sadie Thompson 

Singing Fool, The 

Sorrell and Son 

Speedy 

Street Angel 

Trail of '9S, The 

Wedding March, The 

West Point 

White Shadows in the 

South Seas 
Woman of A_ffairs, A 



16 



Photoplay Magazine — Advertising Section 



Making a Soijnd Picture 



SILENCE in the studio! The 
director discards his mega- 
phone, cameras whir in sound- 
proof booths. 

In the sound-proof "monitor 
room" a man at the control 
board regulates the volume and 
quality of sound recorded by 
Western Electric apparatus on 
a film or disc. 

Hear Sound Pictures at 

their best — go to a 

Western Electric 

equipped theatre 

Sound Pictures, made by the 
eleven great producers who have 
adopted the Western Electric sys- 
tem, are naturally best when re- 
produced in theatres with equip- 
ment from the same source. 

That is why exhibitors every- 
where, mindful of their patrons' 
satisfaction,eitherhave installed 
or are now installingthe Western 
Electric system — the sound 
equipment that assures clear and 
natural tone, that reflects a half 
century's experience in making 
telephones and other apparatus 
for reproducing sound. 




W^estem Electric builds spe- The "monitor" controls Western Electric-made appa- Theatre loud speakers, prod- The projector which plays 
cial microphones for studio quality and volume of ratus insures true-tone uct of acoustical experts the sound picture in 

requirements. all sound recorded reproduction. and craftsmen. the theatre. 



Westcrti 

SOUND 




Wlectric 

SYSTEM 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



1 8 Photoplay Magazine — Advertising Section 

John Barrymore • F. Scott Fitzgerald • Cornelius Vanderbilt, Jr. • vote her the 



JLt^^ 



^£XlutL, 





John Barrymore 



,JMrs. 

'Richard O'Connor 

of Dover, New Jersey 
. . . chosen from 
Woodbury beauties of 
forty-eight States as 
the most beautiful 
young mother 





Cornelius 
Vanderbilt, Jr. 




F. Scott Fitzgerald 



t_/kZoRE THAN ANYTHING— I would teach 

a child to tell the truth!" 

She looks at you with beautifill, cloudless 
blue eyes — eyes that seem no older than those 
of her little boy. She is only tweir-y-two. Her 
beauty is of a delicate, reticent sort; golden 
hair, as bright as silk; a skin of that wonderful 
morning-glory purity that is hardly ever seen 
in people after early childhood. Her manner 
has the candour and simpHcity of a child's. 

But her mind is that of a woman; resolute, 
courageous, sincere, truthful. 

She made a romantic marriage at sixteen. 
Her baby was born when she was seventeen. 
She has had to face realities early. It has 
given her an unusual maturity of thought and 
outlook. 

She loves babies; loves to dress them, bathe 
them, feed them. "That's the fun of having 



children. I wouldn't have a nurse for Jimmy 
Dick, no matter how much money I had." 

Her fresh beauty made such an instant 
appeal to her judges that all three unanimously 
voted her first among lovely young mothers. 

She has been a Woodbury user for years, 
and attributes her extraordinarily beautiful 
skin to the fact that she never uses any soap 
but Woodbury's on her face. "I always wash 
my face with warm water and Woodbury's 
soap at night. It does something for my skin 
that no other soap seems to do. It gives it a 
fresh, live, stimulated feeling — and at the 
same time keeps it perfectly soft and smooth." 

Ihe series of beautiful Woodbury users 
now running shows us that charm of feature, 
of coloring, may vary in their appeal 
for every different individual. But the charm 
of a beautiful skin is universal. It touches 



every heart, appeals to everyone alike. 

Woodbury's Facial Soap has helped thou- 
sands of beautiful women throughout America 
to gain and keep a clear, fresh, flawless com- 
plexion. 

Commence, now, to take care of your 
skin with this wonderful soap. No matter 
what faults your complexion may have — 
Woodbury's will help you to overcome them. 
Get a cake of Woodbury's today, and in the 
booklet that is around each cake, find the 
treatment your skin needs. Start using it 
regularly tonight! You, too, can have the charm 
of "A Skin You Love to Touch!" 

WE SHALLBE HAPPY tosend you a delichtful Wood- 
burj' set, containing a trial cake of \\'oodbury's Facial 
Soap, Facial Cream and Powder, Cold Cream, treat- 
ment booklet, and directions for the new complete 
VVoodbury Facial, for lo cents and your name and 
address. The Andrew Jergens Co.. 2213 Alfred St., 
Cincinnati, Ohio. For Canada, The Andrew Jergens Co., 
Ltd., 2213 Sherbrooke St., Perth, Ont. ^ i929.ThoA.J.C.o 



Every advertisement in PHOTOPLAY JIAG.iZINE is guaranteed. 




Ruth Harriet Louise 




D 



CTURGS 



^"T^ RESENTING the new type of 

/ star created by the talkies. At 

the Paramount Studios, it 

isn't considered a real dialogucdrama 

unless Ruth Chatterton heads the cast. 

Just one year ago — July, 1928, to be 

exact — Miss Chatterton made her first 

picture. She had, you know, given up 

the stage and was living in retirement 

in Hollywood when the new-fangled 

sound pictures came along. In one year 

Miss Chatterton has appeared in nine 

pictures — thereby setting a record for 

talkie stars 




CUdnoff 



y^NOTHER girl who talked herself into stardom— Lupe Velez. Lupe had the inconven- 

rt>jr lent and incurable habit of stealing pictures from other stars, so the only thing to do was 

to make her a star in her own right, just to avoid misunderstandings. And in these 

changing times when all foreign accents in Hollywood are considered a handicap instead of an asset, 

this is a heavy personal triumph for Lupe 




Richee 



/^ HECK up another success to the chorus girl. Also register another score in favor of Irish 
/ luck. Nancy Carroll was a red-haired Irish chorus girl in a Broadway musical revue when she 
\^ decided to hit for Hollywood and test her luck in the movies. You'll be glad to know that 
because she can sing and dance, she is one of the few youngsters to survive the talkie test. You'll 

see her next in "Burlesque" 




^■y^OLORES DEL RIO goes from Carmen to Evangeline, from the snap of castanets to the 

/ 1 stately rhythm of Longfellow. "Evangeline" is a venturesome departure for Miss Del 

Rio who, after winning a place on the screen because of her sparkling Spanish beauty and 

the fire of her performances, now steps into a role that might have been reserved for Lillian Gish 

It's a tribute to her versatility 




Ruth Harriet Louise 



CT^ /*OT since "The Big Parade" has Renee Adoree had a role worthy of her great talents. 

/\/ After marking time for several years in less important pictures. Miss Adoree is now 

X,^_^ acting in "Redemption." And what is more good news, she is reunited — cinemat' 

ically speaking — to John Gilbert. The Tolstoi drama is being filmed in both silent and sound 

versions, so that you may take your choice 




I i^J^,'-^L ^MUSiLA'i^: 






EEDING the tears and pleadings of the "fans," WilUam Fox has decided to cast 
Charles Farrell in another picture with Janet Gaynor. The name of the film is "The 
Lucky Star," but it should be called "The Lucky Co'Stars." Both Miss Gaynor and Mr. 
Farrell are out to recapture the magic of "Seventh Heaven" 



eauty^-^ 




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ere's their secret for you to follow . . 

With million-dollar wardrobes to care for, Hollywood's 
great movie studios have to know — they dare not guess — 
how to keep charming clothes new looking in spite of hard 
wear during months of production. 

And New York's popular musical shows meet the same 
problem — with delicate costumes and sheer dancing stock- 
ings which must face the footlights night after night. 

These great organizations have tried many cleansing meth- 
ods, different soaps — compared the results. 

And they find that — 

"Beautiful clothes— from dance frocks to sheer lingerie and 
stockings — stay like new twice as long when cleansed always 
with Lux." 

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new so very much longer — if you always use Lux! 





Irene Delroy, captivating star of the Jiew Torl( succca 
"Follow Thru." Li\c every other Musical Show on Broad- 
way, this show uses Lux— to double the li/e o/ stoc^ngs. 



Lively young Lupe Velez, vivacious United Artists star, who tells us 
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The National Guide to Motion Pictures 



[TRADE MARKi 




HOT 




July, 1929 



Close-Ups and Long-Shots 



By James R. Quirk 




THE talkies' saddest tale, and 
that of a horse ! 

According to Tom Reed, the 
cameras and microphones were all 
set to record that saddest of all part- 
ings — between a hard-ridin', clean- 
souled son of the Old West and his li'l 
pinto pony. 

"Good-bye, ole pal!" said Ken 
Maynard, with a noble look. "Many's 
the year we've spent together out thar on the 
lonely plains. And now it's good-bye, ole pal!" 

Then it was the ole pal's turn, and everybody 
looked at the horse expectantly. But ole pal 
was stuck. He positively couldn't whinny an 
answer. Maybe he didn't even try. Maybe 
he had joined the Doug Fairbanks' Academy 
and gone snooty. But no answering whinny 
from ole pal. 

So there was nothing to do but send for a 
double, with a guaranteed whinny, and to try 
to get the big farewell scene again! 

T^R. HARRY M. HALL, President of the 
-*— ^West Virginia State Medical Association, 
is not afraid to give credit where he feels it is 
due. His is the first letter I have ever received 
from a physician praising the technical treat- 
ment of the roles of screen doctors. He says: 

It may be of some interest to you to know that 
in a conversation with some members of my pro- 
fession they expressed themselves as highly grati- 
fied to be able to report on the general excellence 
of "Interference" and "The Doctor's Secret." 

Medical men, I think, have kept away from 
motion pictures, not through any feeling of being 



"high-brow" or hard to please, but 
because life, for the most part, comes to 
them in rather a high-powered way, and 
so much is really thrilling in their every- 
day life that they, naturally, cannot 
abide a weak or colorless plot. 

In addition to the above, they have 
seen their own profession treated in such 
a grotesque and altogether unsatisfac- 
tory way by many motion picture direc- 
tors that they felt the other callings 
must get similar treatment. For instance, 
it took the movies some years to get rid 
of the Van Dyke beard nonsense. 
The two medical men in "Interference" and "The 
Doctor's Secret" are simple, straight-forward men 
who do not toy with stethoscopes, thermometers 
and the like. 

To the exacting, there may have been a slight 
error in the "Interference" performance. As far 
as we were concerned, we did not detect it, so 
lost were we in the absorbing recital. 

THAT two actors should portray two medical 
men in such an ideal, dignified, and altogether 
professional manner was a delight to every doctor 
I have heard speak about it. 

The English doctor, of course, goes in for the 
silk hat effect more than does his American 
brother. One sees our American medical man in 
a light-grey suit with a soft hat or a derby, and he 
has the same easy dignity that matches them. 
But the sartorial question is of small importance. 

The medical profession really owes a debt of 
gratitude to the actors, directors, and makers of 
these two pictures. They portray, on the screen, 
the type of mellow, rounded-out, seasoned man 
every doctor would like to be. 

The two types depicted by the actors in these 
two movie dramas would be an inspiration to any 
tyro. We were sorry you did not mention Clive 
Brook in your " Best Performances." 

'^LANG PICTURES, a German company, 
-^^is now rushing into the production of 
talkies. There's a delightful name for sound 
pictures. 

27 



As expected, the snipping of our old friends, the 
censors, is raising thunder and Hghtning with the 
talkies. 

Gentle Chicago, that center of all civic sweetness and 
light, has banned "Alibi." The shy censors of Chi say 
that the theme of that excellent melodrama — conflict 
between gangsters and the police — is too shocking for 
the tender sensibilities of residents of the machine gun 
belt. 

How "Scarface" Al Capone must be laughing. 

A SILLY thing happened in Cleveland. And yet it 
isn't so funny, for it's a perfect example of the 
crucifixion of a talkie. 

Censors there are allowed to cut scenes, but not 
dialogue. 

So they chiseled out several scenes in Clara Bow's 
"The Wild Party" — a sound-on-disc picture. 

Thus, when the screen went black, Clara prattled 
gaily on. 

Naturally, the crowd gave Clara, the picture and the 
censors a loud and merry laugh, while the management 
wept and cussed. 

And the legal eagles, no doubt, looked upon iheir 
work and saw that it was good, noble and uplifting. 
The pure and honest peasantry of Cleveland had been 
saved ! 

YET, lo and behold, from Kansas comes the news 
that the Attorney-General of the State turns in an 
opinion that censors have no legal right to exercise 
their cunning arts on the sound tracts or discs. That 
from Kansas, mind you. 

FEAR of the new form of entertainment seems to 
have deprived the stage managers of their sanity. 
Going about the country is a pamphlet, issued by the 
Association of Theatrical Agents and Managers. The 
motion picture interests, it says, have succeeded to a 
startling degree in destroying the legitimate drama, 
depriving the people outside New York and other big 
cities of the right to see the recent legitimate dramatic 
and musical successes. 

WOULD you, it asks, have your children shape 
their character ideals from what they see upon 
the screen? 

The talking picture, it screams, is but a machine that 
will put a million people out of work. 

Sign on the dotted line, it exhorts; take a lease on 
auditoriums, school halls, Y. M. C. A. assembly rooms, 
and see how all good 100 per cent Americans will flock 
to see the road shows we will send you. 

CAN you imagine how excited the cultured patriots 
of Kalamazoo will get, trying to decide between 
the road show production of Ziegfeld's "Whoopee" 
they would get there, and Clara Bow's latest opus? 

And only a few years ago the poor, lowly movie was 
used as a "chaser" on the end of vaudeville programs to 
get patrons out of the theater. It seems to have 
accomplished that purpose. 

But try to get a decent seat under eight or ten dollars 
for any one of ten first-class New York stage produc- 
tions. 

I tried to get six tickets for "Journey's End," a 
war play, and was asked eighteen dollars apiece. 
I didn't see it. 

CHARLIE CHAPLIN just won't be merged. The 
high-powered boys who have been talking millions 
have not yet been able to cajole him into playing ball 

S8 



with them. Photoplay is in a position to know the 
little fellow's feelings about the recent negotiations for 
the financial combination of United Artists and Warner 
Brothers. 

He considers that the plans for the merger misrepre- 
sented, so far as he was concerned, what it was phvsi- 
cally and artistically possible for him to do over a five- 
year period. 

And knowing that most of the stock would fall 
into the hands of the public, he could not conscien- 
tiously go through with the proposition, particularly in 
view of the fact that he felt himself obligated to keep 
faith with the public to whom he is indebted for his 
place on the screen today. 

CHARLIE is frankly worried about the recent tre- 
mendous developments in the sound picture. Un- 
challenged in his position as the supreme artist in 
pantomime, he sits like a little grey-haired "Thinker" 
of Rodin's and wonders what it is all about and what it 
means to him. | 

With all the money he will ever need, in spite of what 
the income tax officials and Lita Grey did to his 
bankroll — and he can see a dollar as far away as any one 
of the lads who have been trying to whoop him into the 
new deal — Charlie is not primarily concerned about 
that phase of it, and he won't be Uncle Tom-ed down 
the river. 

JUST write Charlie a letter and tell him what yotc 
think. 

Everybody is so bdsy writing to Clara Bow and 
Janet Gaynor, Charlie Farrell and Buddy Rogers these 
days that only his devoted Japanese and Brazilian 
admirers think of writing to him. 
Here's ours: 

Dear Charlie: If you don't know the answer, we do. We 
would rather see one of your silent pictures than any singing, 
dialogue, or sound picture that can be made. If you won't 
make a picture for yourself, make one for us. 

IN his new novel "The King Who Was A King," H. G. 
Wells un^■eils what is solemnly blurbed as a " new art- 
form." 

The new art-form is nothing more nor less than 
a motion picture scenario, seriously proposed for pro- 
duction by Mr. Wells, who gets rather belatedly 
breathless over the glorious possibilities of the screen 
for spreading peace propaganda. 

With its allegorical visions, its mob scenes, its un- 
wieldy use of spectacular effects, its inept handling of 
dramatic situations and its stilted and self-conscious 
propaganda, Mr. Wells' scenario is enough to give any 
producer a nightmare. 

IN his "new art-form," the well-meaning British 
author has combined all the worst and most expen- 
sive mistakes of motion pictures. His use of rather 
primitive symbolism is enough to give D. W. Griffith 
the horrors. His recklessness in combining propaganda 
and mob melodrama would send Cecil De Mille into 
chills and fever. 

It is amazing and a little sad that, in attempting to 
work in the medium of the screen, one of the best 
brains in Europe has nothing to offer except a rehash 
of all the grandiose banalities that the motion picture 
has tried and passed by. 

There are one or two producers — I cannot believe it 
of more than that number — who may reach for the 
ponderous tale, and handing it to one of those Holly- 
wood writing lads, tell him to dumb it down a bit and 
gag it up plentv, throw in a theme song, and call it 
"The Big Shot Steps Out." 




Dorothy Sebastian's career has been full of heartaches. She lost the leading rdle of "Tempest" 
after months of work. But now she's a Hollywood hit 



Hollywood 

tested the mettle 

of Dorothy 

Sebastian 



A^ttle Alabam 



By Katherine Albert 



LET me begin by giving you a picture of the Dorothy 
Sebastian that Hollywood thinks it knows. 
She is the best scout in town. 
Known to her gay friends as "Little Alabam," she's 
always the life of every party. 

She is always happy, always good natured, always in high 
spirits. 

"Alabam won't mind. She's a regular fellow." 

The little whoopee girl. 

But that isn't the real Dorothy Sebastian. Behind the 
gayety and bright spirits is a hungry little heart and a strange, 
mysterious misery. 

She isn't a Pagliacci. Far from it. They're getting to be so 
commonplace in Hollywood, anyhow. Dorothy has never told 
the incidents of her pitiful life for publication. She is not one 
to dust off her troubles before the world. Interviewers have 
discovered her to be gay and wisecracking and maybe just a bit 
hard-boiled. 

I came to Dorothy not as an interviewer but as one of her 
best friends. Our companionship began geographically. We 
come from the same part of the country. There's an invisible 
bond between people who stand up when the band plays 
"Dixie." I've often wondered if citizens of South Dakota or 
Colorado feel as close to each other as people who happen to be 
born in any of the Southern states. I rather doubt it. 

When I say that I know the unhappy side of Dorothy 
Sebastian, the groping, restless, melancholy side that cries 
vainly for self-expression, I don't mean that we're always 
swimming around in indigo when we're together. 

We've laughed together, certainly, but more important, 
we've wept together. Tears are more binding than laughter. 



You may laugh with your cook. You don't cry with her. 

Confidences and details of personal misery are given rarely 
(unless only for effect) except to one's intimate friends. 

Dorothy left Birmingham to go on the stage. She brought a 
broken heart to Broadway instead of acquiring it there, as is 
the usual procedure. Her girlhood had been made miserable by 
a circumstance that I cannot touch here. Few people know it. 

For six weeks, while George White's Scandals was in rehearsal 
she lived on sixty dollars, part of which went for dancing lessons. 

THE very last cent was gone when the company played At- 
lantic City before going into New York. She had nothing to 
eat and was too proud to ask one of the girls for a loan, draw on 
her salary from George White or write home for money. On her 
way to the theater she used to pass a candy shop and she vowed 
that the minute she got her week's salary she would buy a whole 
pound of fudge and eat every mouthful herself. 

She got paid. She bought the fudge and carried out her 
threat. The result was that she was too ill to eat for three days. 
The ludicrous becomes woven up with the tragic. 

Hollywood has added bitter experience to the pattern of her 
life. I once saw her play scene after scene gayly, bravely and 
chat between times with the people on the set when, concealed 
in her bag, was a telegram she had just received — a curt, ten 
word message that had made her heart snap in two. 

I once saw her dominate a situation that might have involved 
a friend of hers in a front page scandal. 

She's one of the bravest little troupers I know and I flounder 
when I try to find the incident that shows most clearly what 
manner of gal she is. 

I believe it's the "Tempest" story. [ please turn to page 120] 

29 




The Bride — Ina Claire, probably the best come- 
dienne on the speaking stage and now a talkie 
star. Miss Claire met Jack Gilbert three weeks 
before the wedding. She once was married to 
a newspaper writer, James Whittaker. She's 
Irish and thirty-six 



THE high gods must have smiled in purest happiness 
when they saw two of their favorite children coming to- 
gether in marriage, Jack Gilbert, undisputed king of 
Hollywood, and Ina Claire, acknowledged queen of 
Broadway. 

John Gilbert, the screen's greatest lover, had known Ina 
Claire, the stage's greatest comedienne, just three weeks when 
they eloped from Hollywood on the evening of May eighth to 
be married at Las Vegas, Nevada, the next morning. 

They eloped because they couldn't wait the three days that 
must elapse between securing the license and wedding in CaU- 
fornia. 

Jack asked, "Who could resist her?" when the reporters 
questioned him. 

Ina retorted, "Who could resist him?" 

But Hollywood, to which this wedding had been nothing less 
than an emotional shock, asked many more questions than 
these two love-drenched queries. 

Hollywood, no more than the world at large, had wanted 
Jack to marry. He was its most romantic playboy, its spoiled 
darling. Love as he portrayed it on the screen was never by 
any stretch of the imagination monogamous, married love. It 
was always the grande passion, the burning love of man for 
woman in its first, flaming hours. 

As in the heart of Hollywood, so in the hearts of millions of 

30 



J^ Girl 



Famous star surprises 
Hollywood by wedding 
Ina Claire, stage favorite, 
after courtship of only 
three weeks 




Greta Garbo — The Swedish star was expected to 
be Jack's next bride. Greta frequently phoned 
Jack from abroad during her recent trip to the 
homeland and she always went with him to 
Hollywood's first nights 



women in every country of the globe, a dream died with the 
passing of Jack Gilbert's bachelorhood. 

There was, in fact, almost a resentment. The world would 
concede Jack only to one woman — Greta Garbo. Only the 
Swedish Mona Lisa seemed glamorous enough to win him and 
tie him with the bonds of matrimony. 

And so the questions rose in Hollywood, What was Ina 
Claire like? Who was she to win its favorite son? How did she 
capture him from the siren charms of the glamorous Garbo? 
What was her secret? How was Greta taking it? How, in fact, 
was Leatrice Joy, Jack's second wife, taking it? Or, for that 
matter, how was that obscure little girl, known only as Olivia, 
who had been his first wife, taking it? Would the love endure? 
Would the marriage last? 



Jack G ilber t 
Married 



By 

Ruth Waterbury 



But, first and foremost, what, oh what, was Ina Claire 
like? 

Now, by one of those exquisite freaks of circumstance, I 
am one of the few people who have interviewed Ina Glaire. 

It was several years ago and a single interview, but I 
have never recovered from it. Since then I have talked 
with scores of stars and met hundreds of minor celebrities, 
but of them all — beautiful, clever, flattering, delightful or 
simple, Ina Claire remains to me the most compelling. 

Naturally I have met Jack Gilbert. You could no more 
write of movies and not meet Jack Gilbert than you could 
write authoritatively of Italy and not meet INIussolini. 
And I should say that if ever two people were intended by 
training, by the struggles they have endured, the fame 




w^' 



t/*r 






Leatrice Joy and her daughter, Lea trice Joy 
Gilbert. Little Leatrice is four years old. 
Miss Joy divorced Jack in 1924, just after he 
made his first big hit in "The Merry 
Widow." Miss Joy is now in vaudeville 




The. Groom — Jack Gilbert, the most popular male 
screen star for the past three years. Twice mar- 
ried in the past. Everyone expected that he would 
marry Greta Garbo — but you never can tell. Jack 
is an able writer, as readers of Photoplay well know 



they have won, the art they have created — if ever two people 
were made for one another, those two are Jack and Ina. 

I do not need here to write of the charm, the lovableness of 
John Gilbert. You all know that. 

But certainly, if it can ever be said of any woman, it can be 
said of Ina Claire that she has everything. 

She isn't very powerful physically, but she gives the effect 
of being a whirlwind. She is five feet, five, and her hair is 
naturally golden. Her skin is as perfect as that in a soap 
advertisement and her eyes sparkle like summer sunlight on a 
rushing stream. [ ple.a.se turx to page 102 ] 

31 



C/y^ Truth About 




Laura La Plante did not really sing or play 
the banjo in "Show Boat." Doubling in another 
voice was easy, but Miss La Plante had to study 
banjo strumming so that her work would lookright 



LIGHT travels 186,000 miles per sec- 
ond, but nobody cares. Sound pokes 
along at approximately a thousand 
feet per second, and still' nobody cares. 

But when Richard Barthelmess, who is 
famed as a film star and not as a singer, 
bursts into song in "Weary River," playing 
his own accompaniment, folks begin to 
prick up their ears. 

And when Corinne Griffith plays a harp 
in "The Divine Lady" and acquits herself 
vocally, with the grace of an opera singer, 
people commence asking pointed questions. 

And when Barry Norton does a popular 
number to his own accompaniment in 
"Mother Knows Best," a quizzical light 
appears in the public's e\'e. 

Then, too, when Laura La Plante strums 
the banjo in "Show Boat" and renders negro 
spirituals in below the Mason and Dixon 
line style, the public breaks out in an acute 
rash of curiosity which can be cured only by 
disclosing state secrets of the cinema. 

Richard Barthelmess did not sing and 
play the piano in "Weary River." A double 
did it. 

Corinne Griffith did not sing or play the 
harp in "The Divine Lady." A double did it. 

Barry Norton did not sing in "Mother 
Knows Best." A double did it. He did, 
however, play the piano. 



When you hear your favor- 
ite star sing in the talkies, 
don't be too sure about it. 
Here are all the facts about 
sound doubling, and how it 
is done 



Laura La Plante did not sing and play the banjo in "Show 
Boat" — at least not for all of the songs. Two doubles helped 
her. One played the banjo, the other sang. 

And so it goes, ad infmiium. 

THERE are voice doubles in Hollj-wood today just as there 
are stunt doubles. One is not so romantic as the other, per- 
haps, but certainly just as necessary. 

Those who create movies will probably not cheer as we 
make this announcement. In fact, they may resent our 
frankness. They may even have the Academy of iMotion 
Picture Arts and Sciences write letters to Photoplay about 
it. 

Richard Barthelmess received what he considered rather 
embarrassing publicity in connection with the song he did 
not sing in "Weary River." And, as a result of that, per- 
sons who undoubtedly know say that he is effecting a change 
of policy regarding future pictures. I was told on good 
authority that he informed Al Rockett, who heads First 
National's studios in Burbank, that he did not choose to 




Everybody knows now that Richard Barthelmess did not sing 
in "Weary River." And, of course, he didn't play the piano. 
Johnny Murray sang "Weary River" into a "mike" out of 
range of the camera while Frank Churchill played the accom- 
paniment. It was done very neatly 



.Voice Doubling 



By 

Mark 
Larkin 




Lawford Davidson, who 
gets $500 a week as Paul 
Lukas' voice double. 
Lukas has a heavy 
accent 



sing in forthcoming 
photoplays. " I am not 
a song and dance man," 
he explained, "and I 
don't want any pictures 
that feature me as such." 

Nevertheless, Richard 
will sing — or rather 

someone will sing for him — in his forthcoming feature, titled at 
present, "Drag." That is, he will have a voice double unless 
they change the story. One never knows, you know, until 
the picture is released. There's many a slip between the screen 
and the cutting-room floor! 

But Dick will not be seen actually in the act of singing as was 
the case in "Weary River." Probably there will be 
only his shadow, and the expression of the man for 
whom he is singing, this man — in the role of a song 
producer — registering reactions to the song. 

If you saw "Weary River," you will remember that 
Dick sat at a piano and played and also sang. The 
means by which this was accomplished was ingenious, 
to say the least. 

YOU will remember that it was a grand piano. Mr. 
Barthelmess faced the audience. You did not see his 
hands upon the keys, yet you saw him go through the 
motions of playing and singing. And you heard what 
you thought was his voice. But it was not his voice. 

Many persons have said that it was the voice of 
Frank Withers. But it was not. It was the voice of 
Johnny Murray, former cornetist at the Cocoanut 
Grove, and now under contract to First National to 
sing for Richard Barthelmess. He is a real, dyed-in- 
the-wool voice double, Johnny is. 

There was much enthusiasm on the set the day 
Johnny Murray put over the song, "Weary River." 
Dick threw his arm around Johnny's shoulder and 
said something Hke this: " Don't you ever die, young 
fella, or go East, or get run over, or anything!" .^nd 
they both laughed. 

Dick faced the audience during the filming of the 
scenes at the piano so as to conceal his hands. It has 
been said that a dummy keyboard was built on the 
side of the piano at which 
Dick sat, but that is not so. 
But the strings of the in- 
strument were deadened 
with felt so that when Dick 
struck the keys the strings 
would give forth no sound. 
And Frank Churchill, pian- 
ist in a Hollywood theater 
orchestra, sat at a real piano 
ofiE stage and played the ac- 
companiment while Johnny 



Eva Olivotti, who did 
Laura La Plante's sing- 
ing in "Show Boat" 
and did it very well, in- 
deed 



Johnny Murray, Dick 
Barthelmess' voice 
double. He's under 
contract to be Dick's 
voice for all 1929 



Murray sang. The recording microphone was close to them 
and nowhere near Barthelmess. Dick merely faked the singing 
and playing, but he did it so beautifully that the results were 
convincing beyond doubt. 

Probably the highest paid voice double in pictures is Law- 
ford Davidson, who doubles [ please tue.n to p.age 108 1 



It may surprise film 
fans who saw "The 
Divine Lady" to real- 
ize that Corinne 
Griffith neither sang 
nor played the harp. 
Miss Griffith did 
study the fingering of 
harp strings to get the 
correct illusion 




J/l/y Boy Buddy 

Photoplay at last finds the father of a screen 



star who tells his own story 



N: 



■AMING the 

Baby" was the 

momentous 

question in the 
home of Mr. and Mrs. 
B. H. Rogers, Olathe, 
Kansas, on the evening of 
Friday, August 13, 1904, 
following the arrival of an 
eleven-pound boy. Our 
home was then on the 
west side of the public 
square, where now is lo- 
cated one of the largest 
buildings in Olathe, hous- 
ing a garage and automo- 
bile sales room. 

Although it was the 
13th — and Friday — there 
was no thought of bad 
luck, although it was a 
mooted question whether 
the plump baby should be 
named for me, Bert, Jun- 
ior, or Charles Edward — 
Charles for a deceased 
brother of mine and Ed- 
ward for his maternal 
grandfather, Edward Moll. 
The latter was finally 
chosen but it was never used. As baby, boy, and young man 
he was never called anything but Buddy, so the name was 
given to Buddy's brother, who came si.x years later. 

As to the origin of the name Buddy — a sister, Geraldine, 
almost three, really named him thus, which was as near as she 
could come to the word ''brother." The name stuck — he 




The future Paramount star at the age of four, a 

daring equestrian on his own Shetland pony. In 

those days Buddy hoped to be an editor like his 

dad when he grew up 




never was called Charles 
until after he had finished 
high school, when, on en- 
tering the University of 
Kansas, he was obliged to 
enroll as Charles. But 
that was all we ever heard 
of Charles during his 
three years there until he 
was made a star in pic- 
tures. Then Paramount 
officials thought Charles 
would be more dignified, 
as he grew up in pictures 
— but even they couldn't 
make it "stick." His fans 
would not have it any 
other way. 

TO my absolute knowl- 
edge, not once in my 
life have I addressed him 
asCharles — alwaysBuddy. 
It may have been re- 
counted before, but a wire 
came for him to Olathe, 
addressed to Charles Rog- 
ers, and I sent it out to the 
country to a cousin of his 
for delivery. His diploma 
at graduation from High School was issued to Charles Rogers, 
but ail his teachers with one exception called him Buddy. 

Much of his rearing was in the office of my paper, The Olathe 
Mirror, the oldest weekly in the State of Kansas. It was 
established in 1857 and has never missed a single issue, though, 
during the war, guerrillas plundered the town. The office was 

wrecked, some of the machinery 
destroyed and much of the type 
thrown out an upstairs window. 

There were always bills to dis- 
tribute — and I paid him the same 
as anyone else for handing them 
out, so he usually came to the 
Mirror office the first thing after 
school. He spent all day Satur- 
day here, even before he became 
the regular devil at nine years of 
age. As devil he started fires, 
swept out, carried coal and kin- 
dling, ran errands, delivered Mir- 
rors, as weU as The Daily Kansas 
City Star. He had a route of 
sixty-three customers. 

During school vacation Buddy 
put in full time and his pay was 
•SLOO for a full day. Then, as he 

Here is the whole Rogers fam- 
ily outside the Olathe home. 
From left to right: Mr. and 
Mrs. A. E. Moll, Buddy's 
grandparents; Buddy, his 
mother, his father, his sister, 
Mrs. John Binford, of Lincoln, 
Neb., and his younger brother 



3.4 



By 

B. H. Rogers 

Kditor of 

The Olathe, 

Kansas 

Weekly Mirror 



learned to run the job presses and the 
big cylinder press, he was paid more. 
During his high school years, he 
contributed to the Mirror a column 
of high school news weekly and, dur- 
ing vacation of the last two years, 
he assisted me in the front office, get- 
ting news, advertising, keeping books 
and doing the stenographic work. 

There's just a little bit of Scotch 
and a lot of Irish in Buddy and, with 
him, a dollar made was a dollarsaved. 
To the amount he actually saved 
each week I would add fifty per cent 
in order to foster the thrift habit. 
When he would save $40.00 or S50.00 
he would turn it over to me, and I 
would gi\-e him my note for the 
amount. On this I would pay him seven per cent interest. 

As he grew older I paid him more wages, until, when he was 
fifteen years of age, he had saved $500.00, on which I paid him 
interest. When he was chosen to go to the Paramount school 
at the age of twentv, I returned to him something more than 
$700.00 and it was with this earned 
money that he paid his necessary 
expenses while in the Paramount 
Training School. So, in reality, he 
financed himself in the big venture. 

SO he did during his three years in 
the University of Kansas, at L:iw- 
rence, by playing drums and trom- 
bone in his college dance orchestra. 
His ent ire coUegee.xpensesdid not cost 
me a single dime — in fact, after his 
three years' schooling, he returned 
to Ola'the, having saved $150.00. 

During the summer of 1922 Buddy 
took his orchestra over a Chautauqua 
circuit of thirteen states in the Mid- 
dle West. For his services as drum- 
mer and trombonist, as well as leader 
of the orchestra, he received $60.00 
a week, with transportation paid. 
Each Monday morning I received 
from him, to be banked in his name, 
all but S8.00 or $10.00, which he re- 
served for eats — often going without 
breakfast in order to send that much 
more home to be put in his savings 
account. 

Nor did he stop at the best hotels 
on the way, as you may have sur- 
mised from the amount saved. He 
had a cot and slept in the Chautau- 
qua tent. The savings of that sum- 
mer, something like $700.00, he ap- 
plied on the purchase of a farm near 
Olathe, which we now own in part- 
nership. 

It was purchased at a bargain in 
order to settle an estate. As it had 




Buddy Rogers and his father, who wrote this story of his son for 

Photoplay. B. H. Rogers' newspaper is the oldest weekly in 

Kansas. Buddy started by distributing hand bills for his dad 



been rented so long, it was run down, and as a result, we bought 

it very cheaply. We sowed the entire eighty acres to sweet 

clover, the greatest fertilizer known. 

Now, after four years it is in wheat and it is said to be the 

best field in the county. The farm has doubled in value. 

During the summer of 1923 Buddy 
and a fraternity brother, Dean 
Boggs, together with twenty other 
college youths, went to Spain as 
chambermaids to a shipload of 800 
mules. A Spanish buyer had pur- 
chased these in Kansas for shipment 
to Barcelona, Spain. Each boy re- 
ceived SI. 00 per day and expenses 
on the trip. They toured the coun- 
tn.', then came back on a steamer, as 
steerage passengers, landing at New 
York, where they bought an old 
Ford, drove through to Olathe, arriv- 
ing here with but ten cents each in 
their pockets. The Ford was travel- 
ing then on four rims. 



JUST here I want to say two things 
about Buddy, which to me mean 
infinitely more than his immense 
salary or the unlimited publicity he 
receives. First — he has never given 
me a minute's anxiety in his whole 
life of twenty-four years; second — 
he has not changed in the slightest 
degree from the day he was five 
years old or ten or fifteen or twenty. 
I think more of a statement of 
his, w-hich you may have read, than 
I would think of a gift of a million 
dollars. That statement was made 
some weeks ago, when an inter- 
viewer asked Buddy what his reac- 
tion was to all this fame, w'ealth and 
the receipt of 23,000 fan letters a 
month. As you know, he leads all 
men of the movies by a wide margin. 
Among [ PLEASE turn to page 88 ] 

35 




At the left you see Buddy. At the 
right is his chum, Robert Thorne. 
The military guardian is Buddy's 
uncle, A. G. Moll, of the U. S. Army 




A 

Jungle 

J orelei 

By 

Herbert Howe 



When you see King Vidor's "Hallelujah," 
watch for the tawny Nina May. Nina longs 
for dresses like Gloria Swanson's and "dia- 
monds dribblin' all over my physique — um- 
um!" And she wants to go to Paris to be a hit 
like Josephine Baker. Nina isn't quite 
eighteen. She went on the stage at fifteen, in 
a Harlem negro revue 

SHE rolled them eyes and she rolled them hips, I' in-iim! . . . 
Shake that thing! 
"I ain't eighteen yet!" she squealed as she rolled a tanta- - 

lizing eye and a hot marimba movement. Who taught her 
to say that, who did? 

"Oh, you the gentleman from Photoplay Magazine?" Her 
eyes bulged and her being jelled. " Um-tim! I just love 
write-ups!" 

"Um-iim!" smAI. "I just love being a writer-up!" 

Nina May McKenney is the little colored spasm of King 
Vidor's all-colored "Hallelujah." Irving Thalberg says Nina is 
the greatest acting discovery of the age, and I'll say she certainly 
acts with every fiber. 

It was the "Hallelujah" set with the whole troupe steppin'. 
Shake that thing! Do it, do it! Come on an' show your sex 
attraction! 

On the next stage Fred Niblo's white coUegiates were cutting 
capers, and I'm proud to say that our white boys and girls are not far 
behind the colored in the back-to-jungle movements. 

That evening I was Nina May's guest at the .^pex Cafe in darktown, 
Central Avenue, Los Angeles. AH the colored celebrities were there. It 
was a most biggety affair. 

Nina was togged like Sheba, with a silver turban and a gown that would 
have passed for her skin had it not been pink. "Sure does crowd my 
physique, this dress," she said, hitching it around after each dance. 

Nina isn't black, she's coppery with a [ please turn to page 118 ] 

She may be black but she's got a blonde 
soul — and Hollywood says Nina May 
is a great acting discovery 

36 



g ^ 



4. k 



'%, 





! I 



^^f 



•J 



L 




awyer 

for the 



Defe 



nse 



Raymond Hackett 

pleads himself into a 

talkie hit 

By Muriel Bab cock 



h; 



"ERE is a heart for >ou," said the veteran 
actor to the very small boy. "Remember, 
it wUl break easil)'. Treat it tenderly, 
"carefully, reverently." 

With a grandiloquent gesture he pinned the tiny red 
heart to the child's velveteen jacket. 

.And the boy, blue-eyed, tow-headed, serious- 
minded, looked up gravely and said, "I will." 

These lines were from a play, "The Toj'maker of 
Nuremberg." 

The boy was Raymond Hackett, the veteran actor 
William j. Ferguson, and the play was at the old 
Garrick Theater in New York. 

In telling of the incident last year at the Lambs 
Club, Ferguson said, ".\nd the lad sounded as if he 
were making a vow." 

Perhaps he was; who knows? For today Raymond 
Hackett does not remember that speech. Nor does 
he recall anything about the little toy heart that 
would break so easUy. Yet, ever since he was in 
knee pants, Raymond Hackett's life has been one of 
responsibility. He cannot remember his father, a 
wholesale grocer, who died suddenly, leaving a young 
widow practically penniless. He began contributing 
to the care of his mother at the age of four — he and 
his brother Albert and his sister Jeannette. 

The part in "The Toymaker of Nuremberg" was 
his first that brought in money to help the family 
budget. Undoubtedly, therefore, it wielded a psj'cho- 
logical influence upon his entire life. 

Perhaps that is why the role of the young attorney 
fighting passionately in 
the courtroom for the 

life and honor of a sister A serious-eyed small boy, 

in "The Trial of Mary he played with his step- 

Dugan" seems to have father, the beloved Ar- 

[ PLEASE TURN TO thuf Johnson, in the old 

p.'VGE 121 ] Lubin thrillers 




"Ihe Butterfly Man 




The sad love story of 

two gay and gallant 

stars 



The ma7i who loved life 



THE man who loved life. 
And the girl who loved laughter. 
Surely, surely, a romance between those two should 
have spelled happiness. 
Yet Mabel Normand lies seriously ill at her home in Holly- 
wood, and out on the desert, Lew Cody is fighting a desperate 
battle for strength to go to her. 

They called him the butterfly man on the twenty-four sheets 
that acclaimed his witty, worldly pictures. 

And we who knew her called her the beautiful clown. 
They met and laughed together. Laughter ripened into 
friendship, and friendship ripened into love and love suggested 
marriage — at three o'clock upon a September morning almost 
three years ago. 

Their wedding march was a dance tune and in gay, golden 
bubbles they drank their marriage toast. 

We read about it in the morning paper. We were a little 
surprised. 4fter all, we hadn't realized that Lew and Mabel 
were in love. They had seemed almost loo good friends to be 

38 



in love. Then, when the surprise had passed, 
we were delighted. It seemed such a natural, 
right thing. Lew would take care of Mabel 
and Mabel would take care of Lew. Their home 
would be full of life and laughter — a splendid 
place to drop in for wit and gaiety and good 
fellowship. 

But sometimes two and two don't make four. 

That is why some folks call life a game. 

The love story of Mabel Normand and Lew 
Cody has not, so far, had the happy ending 
which we had written for it. 

No one — least of all Lew and jNIabel — knows 
what lies beyond. Somehow they seem now to 
stand hand in hand against a slowly darkening 
sky. 

There is confetti \-et in Mabel's dark curls — 
bright, silly stutY. 

Her tiny feet are bound fast with yards and 
>'ards of the colored paper ribbons that clutter 
ilance floors after a party. 

HER eyes are twin graves of laughter. And 
nothing is so sad as dead laughter. 
L'nder the elegant motley he has always 
worn. Lew's shoulders seem to sag with despair. 
For life doesn't come to you. You have to go 
out and meet it and Lew can no longer do that. 
He has always gone forth gallantl)' to meet life — 
the good and the bad, the successes and the 
failures, the lean days and the fat ones. 

Looking at Lew in the game of life you could 
never tell whether he was winning or losing. 
Only being denied a seat at the table has 
brought him to despair. But the candle he 
burned so brightly — "my candle burns at both 
ends, it wiU not last the night, but oh, my 
friends, and ah, my foes, it gives a lovely 
light" — is very, very low. 

Only a miracle, the doctors say, can bring 
Mabel back to health. 

But, where Mabel is concerned, I want to 
believe in miracles. I want to believe in some kind hand that 
will reach down and lift up that tragic, helpless little figure — 
the most tragic of all Hollywood's broken idols — and put it 
back at the start of things again. Surely somewhere — if 
not here, somewhere else — a kindly God can turn back the 
hands of the clock just a few brief years and let JMabel start all 
over again. It doesn't seem much to ask for the girl who 
never did harm to anyone in all her life. 

IT seems that whatever power planned things in the beginning 
owes Mabel something forgiving her that divine gift of laughter 
and then sending her through life without any protection from 
the ruthless parasites, the selfish sycophants, the birds of prey 
that hover over the gay, the talented, the generous. 

Mabel Normand was the greatest comedienne the screen 
ever knew. I would not dare to make that statement upon 
my own opinion alone. I heard it said first by Charlie Chaplin. 
No one, I think, would dispute his authority. I have heard 
it said often since bv those who should know. 



and the Little GlOWN 



By 

Adela Rogers 
St. Johns 



Yet today when she lies so desperately ill we 
remember that it is years since we saw her on 
the screen, since "IMickey" delighted us past 
measure. She has been out of pictures for 
years, when her great talent should have been 
keeping pace with the development of the 
motion picture art. Today she should occupy 
the place among the women of the screen that 
Chaplin holds among the men. 

But Mabel is proof positive that women are 
not able to meet the world as men meet it. 
Physically and professionally she broke under 
the things piled up against her. We are the 
losers, for we, too, have lost Mabel's gift of 
laughter. 

Perhaps there will be a miracle. 

I KNOW. Who better? I am proud to say 
that I have been her friend since first she came 
to the land of motion pictures from some 
factory in Brooklyn, a mingling of youth and 
beauty and laughter that fairly took our 
breath away. 

I know what is chalked up against her. 

A lot of hot-headed, wild, young foolishness 
such as most of the tlaming youth of today has 
to grow out of. 

But bad luck rode beside her on the highway. 

She got herself into messes that made great 
headlines. Her friends got her into things. 
Mabel has always been the fall guy. She never 
got away with anything in her life. There are 
plenty of girls in the world who have done in 
fact the things Mabel was only suspected of, 
and they have righted themselves and gone on. 
But JNIabel had no balance, no perspective, no 
cold streak through her warm emotionalism to 
teach her how to handle life. 

Rfore brains and less sense than any woman 
I ever knew — that is what I would sav of 
Mabel. 

You don't hear about that brilliant, fasci- 
nating, cultured brain of Mabel's. Mention any of the great 
books of the past ten years, either in French or English. She 
has read them and she has thoughts about them almost as 
interesting as the books themselves. 

You don't know that, even in these last years when Mabel 
has been far from herself, there are a dozen of the cleverest 
men and women in Hollywood who delighted to spend a quiet 
evening before her fireside, talking books and music, men and 
world affairs. 

YOU don't know that all Hollywood, from the topmost rung 
of the ladder to the depths of the lowest gutter, is spangled 
with Mabel's enormous charity. Real charity — for it came 
from a purse that was often empty, from a heart that was 
near breaking, from a mind that always managed to find some 
good in everyone, even those who found no good in her. 

You don't hear how, in the old days, Mabel brought her 
divine gift of laughter into our dark days — and how she could, 
in some way, make laughter synonymous with courage. 





^rMfi mat W^R^^^^^^^^^^H 








\^ ^ 


■ 


- 


m 





The girl who loved laughter 



The world doesn't know those things and even in FfoUywood, 
they have been too easily forgotten. 

But the world knows, and Hollywood, which has become 
very self-protective and a little smug with success, remembers 
a lot of other things and that remembrance has weighed upon 
Mabel and broken her. 

William Desmond Taylor and his murder! 

How that thing did cling to Mabel's skirts for years because 
she was the last person known to have seen him alive. 

If she told me herself that she knew who shot Bill Taylor, I 
wouldn't believe her. And let me tell you that there were two 
nights, one on the long distance telephone to Chicago, one in a 
house in Altadena soon after the tragedy, when I believe that 
if Mabel had known who shot him, she would have told me. 

When you come right down to it, what was there about 
Mabel's connection with the Taylor murder that should have 
been held against her? She had dropped in to see her friend, 
Bill Taylor. Mabel had many men friends. Later, that same 
night, someone killed him. [ please turn to page 123 ] 

39 




he Prayed for the 

Part 



Winifred West- 
over, whose three- 
year belief that 
she would be the 
final choice for 
the title role in 
"Lummox" is as 
amazing a story 
as we have ever 
printed. She has 
been absent from 
the screen for 
about eight years, 
has played op- 
posite well- 
known stars but 
has never before 
been starred 
herself 




IT really was astounding. This was Hollywood which, even 
in this age of modernism, prides itself on being ultra- 
sophisticated. And yet here was a woman who had just 
been selected for the year's most coveted role in motion 
pictures, calmly asserting that her selection was a direct answer 
to prayer. 

The woman was Winifred Westover. She had been chosen 
from among all the applicants for the title role in "Lummox," 
Fannie Hurst's story which Herbert Brenon will picturize for 
United Artists. Why? Her answer was simple. 

"Because I prayed for it." 

She has not appeared on the screen for about eight years. 
She was, some years ago, a leading woman who played opposite 
some prominent stars and who worked for some competent 
directors. But she never had been a star. Why was she 
selected? 

"Because I prayed for it." 

"Do you mean that you believe your selection was a direct 
answer to your prayers?" 

"I know it was," she answered. "For nearly three years I 
have known that I would eventually be selected for the role. 
There never was any doubt in my mind. Many others wanted 
the role. Many others were said to have been chosen. I knew 
better. I knew that, when the final choice was made, I would 
be chosen." 

Understand, this woman was not posing. She has a faith so 
childlike that it is almost sublime. Her very simplicity carries 
conviction. In the Sermon on the Mount, Jesus said: — 

"Ask and it shall be given you; seek and ye shall find." 

"I have been off the screen since 1921," she said. (That was 



And having prayed, 
knew beyond doubt 
that she would get it 

By 
Frank Pope 



the year she married William S. Hart.) "My 
retirement was the result of the agreement made 
when we separated. Enough of that was 
published at the time; there is no need of raking 
it up now. After the separation, I had my 
boy, of course; but something inside of me 
had died. I felt Uke a dead person. Life 
seemed over. It was terrible. 

"Nearly three years ago 'Lummox' appeared 
as a serial in a magazine and I read it. I 
bought the book when it was published and 
I read it again and again. From the moment 
I first read it, I wanted it to be made into 
a picture and I wanted to play the title role. 
That was the time I began to pray for it. 

"I knew I could play the character. I understood that woman. 
I knew everything she thought and felt. 'Lummox' became 
an obsession with me. And I knew even then that my prayers 
would be answered, that a picture would be made and that I 
would play the role. 

"Then one of the smaller producers bought the picture 
rights. It made no difference to me what company made the 
picture; I would be in it. I was involved in legal difficulties 
at the time, but not even those took my mind from the main 
object, nor weakened my faith. The agreement which kept 
me from the screen was set aside, and that strengthened me. 
It was a good sign. 

THEN it was announced that Herbert Brenon had bought 
the story. Although I knew that he would make 'Sorrell 
and Son' and another picture before 'Lummox,' that he could 
not set even an approximate date for starting work on it, I 
still prayed, I still held my faith that I would be chosen. 

"Last January the plans for the production were started. I 
tried to see ISIr. Brenon, but he had gone to New York. I had 
realized that, if I were to play the role, I must be heavy, as 
Lummox was. Up to that time, in common with most 
women, my desire had been to stay slender. Now I wished to 
be heavy. I ate and ate and ate — heavy foods, fattening 
foods, i gained twenty-five pounds. 

"I went to Mvron Selznick, whom I knew well, and asked 
him to give me a letter to Mr. Brenon. He advised me to see 
Frank Jovce, and I did. I convinced him that I should have 
the role and he sent a wire to [ please turn to P.A.GE 92 ] 



Winifred Westover flings a challenge to scoffers 



ho 




First Prire 

$1,000 

Mrs. Mary M. Hoar 
Barre, Vt. 



Second Prize 

$500 

Robert W. Goetz 
Riverside, Calif. 



Third Prire 

$350 

Mrs. B. C. Norment 
Thomasville, N. C. 



Fourth Prize 

$150 

Clare Rusk 
Baltimore, Md. 



L/ucky Amateur Uetectives 

$3,000, in nineteen prizes, go to PHOTOPLAY readers 
who solve Studio Murder Mystery 



THE jury of judges in The Studio Murder Mystery Con- 
test has announced its verdict and checks have been 
mailed to the lucky amateur detectives who best solved 
how and why Franz Seibert, the director of Superior 
Films, killed one of his chief actors, Dwight Hardell. 

It was no easy matter to examine and analyze every one of 
the many thousands of solutions submitted from every state in 
the Union and nearly every countr>' on the globe. Indeed, the 
judges were weeks in arriving at their final decisions. 

Here it is interesting to comment upon the thousands of solu- 
tions submitted. The great majority of Photoplay's non- 
professional detectives picked Seibert as the real culprit. Un- 
fortunately, nearly all of these contestants missed out in the 
German director's motives, as well as in the state of mind 
prompting these motives. 

The most common error was to say that Seibert killed Hardell 
in a rage, artistic or personal, whereas the director was abso- 
lutely cool, the crime being premeditated and carefully planned. 
Secondly, most of the amateur detectives forgot the motor- 
driven camera and were forced to conclude that Seibert was 
aided in his crime by Serge, the Russian cameraman. 

A third error was to have Seibert kill Hardell in physical 
combat. This missed the real fact that Hardell was lying 
within the chalk lines on the floor of the set when the director 
thrust the rapier through his heart. 

Every character in the mystery story was suspected by at 
least a hundred or so contestants. Oddly enough, the unnamed 
nurse who attended Beth MacDougal was strongly under sus- 
picion, although there was nothing tangible in the stor\' to point 
to this conclusion. However, Rosenthal, Billy West, Yvonne 
Beaumont, Lannigan, MacDougal, his daughter, Beth; Serge, 
the prop boy, the office boy, and even the studio guards were 
named as the murderer or murderers. 

SOME of the contestants believed that Hardell was electro- 
cuted on the wire-charged studio fence while attempting to 
get back in the studio. 

Some of the ingenious contestants, apparently affected by the 
kind of publicity that emerges frequently from Hollywood, sus- 
pected that the whole thing was a publicity stunt — and that 
Hardell would reappear in the last chapter. 

Some of the contestants have written to Photoplay, stating 



that the final chapter left a number of loose ends. To these 
inquiries, Photoplay can only point out the foremost mystery 
story successes of the day. All of these crime novels leave 
numerous loose ends. This is part of the game of hiding the 
real culprit, for it sends readers galloping up blind alleys. 

A few contestants think that Seibert's occult interest — and 
his subsequent desire for a visible record of a man's death — 
should have been pointed out in an early chapter. It is obvious 
that this would have placed the foreign director definitely as 
the murderer. Moreover, a consistent study of Seibert's char- 
acter and background makes this occult angle a logical and 
understandable part of his mad mental processes. The fact 
that it was guessed by some of the lucky contestants proves this 
point. 

THE first prize, of §1,000, was awarded to Mrs. Mary M. 
Hoar, of 31 East Street, Barre, Vl. ]\Irs. Hoar, a hfelong 
resident of Barre, is the widow of Richard .Alexander Hoar, one 
of the prominent attorneys of central Vermont and a distin- 
guishecl criminal lawyer of his day. Mrs. Hoar lives with her 
91-vear-old mother, Mrs. Lewis Keith, four miles from Barre, 
her home looking out upon the Green Mountains. 

Mrs. Hoar has five children. One daughter. Miss E. M. M. 
Hoar, 13 a lawyer. 

Second prize, of S500, goes to Cadet Robert W. Goetz, of 
the March Field .\ir Corps, of Riverside, Calif. Cadet Goetz is 
twenty-one years old and was born at Minneapolis, Minn. His 
parents, Mr. and Mrs. Edgar A. Goetz, reside in St. Paul, Minn. 

Cadet Goetz was graduated from the Mechanics Arts High 
School of St. Paul and for two years attended the University 
of Wisconsin. He passed his entrance examinations in the air 
corps and is now in training in California as a flying cadet. 

The third prize, of S350, was awarded to Mrs. B. C. Norment, 
of Thomasville, North Carolina. Mrs. Norment is a public 
school teacher. After graduating from college, Mrs. Norment 
taught the piano for a number of years. She married and took 
up the career of a housewife. The sudden death of her husband 
left her with two children to support and Mrs. Norment turned 
to teaching again, this time in the Thomasville public school. 

The fourth prize, of vSlSO, was captured by Miss Clare Rusk, 
of 1801 Linden Avenue, Baltimore, Md. Miss Rusk, who was 
born and raised in Baltimore, is [ please turn to page 119 ] 

41 



Some Hints from the Stars on arrang- 




Estelle Taylor started it. But Raquel Torres illustrates for you here how fly-away hair that is too long 
to hang down and too short to coil up can be deftly held together in a charming chignon. The method 
is amusingly simple. Stretch a sturdy rubber band across the back of the hair, catching it securely 
behind each ear with a hairpin. Give the pin a little twist as you insert it, and it will hold fast. Then 
coil the ends of the hair over the elastic, fastening with plenty of tiny hairpins. This arrangement gives 

the effect of long hair 



A VISITOR passing through Holly 
wood one afternoon stopped to look 
at a sorrowing group of men 
marching along the boulevard. 
At first glance they might have been 
foreign actors with accents, fleeing 
before the shadow of the microphone. 
They might have been producers 
who hadn't merged. They were 
neither. Only a group of barbers 
who were folding their scissors 
and silently stealing away. 

Hollywood seems to be grow- 
ing out. Dozens of the film gals 
are letting their hair go feminine 
again. But not all by any 
means. 

The feminine members of the 
film colony may be divided into 
four opinions. There are those 
who have had long hair all dur- 
ing those hectic shearing days 
(Mary Philbin, Mary Brian, Nor- 
ma Shearer, June Colly er). 

There are some who have al- 
ways had bobbed hair and continue 
to have it (Dorothy Sebastian, Clara 
Bow, Florence Vidor, Alice White, 
Bebe Daniels, Norma Talmadge). 

Then there is the "yes and no" 
group — those who have bobbed, 
grown out and bobbed again (Joan 
Crawford, Laura La Plante, Jean 
Arthur, Esther Ralston, Olive Bor- 
den, Evelyn Brent). 

And, most important of all, you'll 
find the group that is just growing 
out. 

They are passing through that 
awkward stage. 

Every woman who has let her hair 
grow knows what this means. A con- 
tinual worry for many months. Doz- 
ens of boxes of invisible hairpins. Stray, unruly hair. 




The Garbo cut needs no introduction. 
It has spread like wildfire through 
every city and town. This photo- 
graph of the pensive Greta shows a 
particularly pleasing variation of her 
versatile bob 



One of the most practical methods is that em- 
ployed by a number of the players, including 
Estelle Taylor and Raquel Torres. It is 
done with a simple twist of the wrist and 
a plain rubber band. 

The elastic is pulled taut across 

the back of the head and is held in 

place with two hairpins, one behind 

each ear. This keeps the hair 

smooth at the back. Then the 

long hair that is so unpleasant on 

the nape of the neck is curled up 

tight to conceal the band. 



ANOTHER ingenious meth- 
od is employed by Leila 
Hyams. Her hair is growing 
out both at the back and the 
sides. She pins it in tightly over 
the ears, keeps it marcelled and 
wears a false braid, coronet fash- 
ion, which is pinned in at the back 
keeping the back hair in place. 
The braid is then pinned over the 
top of the head. 
False hair is also used effectively 
by Anita Page. She keeps thost 
back ends down by pinning tightly 
across them a set of little curls. 

Mary Astor has just bobbed her 
hair, but she intends to wear it both 
ways. Incidentally, her method is a 
good one while the hair is growing out. 
A small chignon was made of the 
hair that was cut off and this is 
pinned tightly across the back 
while the sides are allowed to fluff 
out softly around the face. 

You'd never believe, to look at 
Nancy CarroU, that her hair is really 
nape-of-the-neck length. It looks as 
if she has a smart bob and this is 



done by separating the back hair 
into eight parts and coiling each part separately. Then it is 
But take courage. Take a lot of courage. There are ways pinned securely to the nape of the neck, the shorter top hair is 
for everyone, with every type of hair, to overcome this. combed over it and the effect is that of a neatly cropped head. 



42 






ing hair that is neither bobbed nor long 

^ Z/hat 

Awkward Length 



By Katherine Albert 




Laura La Plan te let 
her hair grow for 
her role of Mag- 
nolia in "Show 
Boat." But when 
the picture was fin- 
ished she hied her- 
self to the barber 
and had it cut 
again in her favor- 
ite almost-boyish 
style 



Olive Borden be- 
longs to the "yes 
and no" group — 
those who have 
bobbed, grown 
out and bobbed 
again. Olive has 
recently suc- 
cumbed to the very 
short clip — off the 
ears, softly waved 
around the fore- 
head 




There is another method that some 
of the girls use. When Joan Craw- 
ford started to let her hair grow, she 
accomphshed it neatly by allowing 
the sides to grow, but keeping the 
backclipped to avoid anunkempt look. 

When the sides were long enough 
she brought them together -at the 
back to hide the short hair and then 
started to let the back hair grow. 
Joan had to have her hair cut again 
for a screen role, and at this writing 
she is wearing it very short. 

Billy Dove's hair is now long 
enough to do up easily. It is shoul- 
der length and can be brought into a 
coil at the back of the head. Loretta 
Young may do the same thing, al- 
though occasionally, with sports 
clothes, she wears the very long bob. 

AND Doris Dawson can do up her 
hair at the back. But you will 
notice that most of the girls with 
long hair keep it short at the sides 
and around the face. The softness is 
flattering and makes hats more be- 
coming. 

And, speaking of hats, that seems 
to be the main trouble with long hair. 
Then take a tip from Ann Penning- 
ton, whose hair is unusually long and 




And Leila Hyams is "growing 
out." Her waved hair is drawn 
over her ears, a false braid 
pinned firmly at the neck and 
looped about the back of her 
head, coronet fashion 



thick. She brings it around the back • 
straight and makes her knot over the 
left ear. In this way the hair does 
not come up under the hat and take 
up e.xtra room. 

LONG bobs are very good in 
Hollywood, but these eventually 
grow into long hair. Clara Bow de- 
clares that she will always have her 
shoulder length bob, as does Myrna 
Kennedy. Well — maybe! 

In the matter of hair, fashion is 
not arbitrary. Olive Borden is one 
of those who have just recently in- 
dulged in a boyish bob. Remember 
when it was down to her shoulders? 
The hair is parted on the. left side, 
waved back from the forehead and 
drawn softly off the ears. 

Laura La Plante let her hair grow 
for "Show Boat" and then cut it off 
again in an almost boyish bob. As 
long as Lois Moran's clip is so versa- 
tile she won't change. For evening 
she wears it curled tight all over her 
head. With sports clothes she wears 
it straight, parted on the left .side, 
and when she wants to be a trifle 
more formal she uses a slight wave 
and a few curls about the face. 

[ PLEASE TURN TO PAGE 112 ] 

2 43 



Here is the first short story of the 




ed by 

God\vin 



"You — you're not supposed to come in here," stammered Emerson Slipe, the tone expert. 
"Why, Emerson!" pouted Rosie. "Not stay close to my tiger man when I'm not busy?" The purple 
eyes filled with tears. "You wouldn't say no, honey?" 



u 



n 



ezv talkie studios — and it's a wow 



V 



0^ 



osie 



Rolls 
Her 

Eyes 



And triumphs over 

Hollywood's newest 

menace, the expert In 

tonal vibrations 

By 
Stewart Robertson 



ELEVEN people sat around a table 
in a private dining room at the Stupe- 
faction Studios, and ten of them, 
entirely unaided by the verbal lashing 
of a director, registered acute resentment. 

For half an hour they had been insulted 
and badgered by the guest of honor, and now they wriggled 
uneasily as though preparing for revenge as one collective 
worm. W. Grosvenor Hoople, the character heavy, cocked 
a meaningful eye at Carlos Cabrillo, the star, who nodded 
slightly, whereupon jNIr. Hoople rose majestically to his feet 
and scowlingly interrupted the speaker. 

"It seems to me, young man," he boomed, "that we have 
heard about enough. May I remind you that you are address- 
ing established members of the third industry in these 
United States? Some of us are nationally known and we object 
most strenuously to being lectured by a — a mechanic." 

Mr. Emerson Slipe poured himself another snifter of pine- 
apple gin, drank it with relish and stared insolently at a point 
some three inches above Mr. Hoople's baronial head. He was 
an irritatingly complacent youth with a turned-up nose and a 
shock of incredibly yellow hair that had been roached and 
swirled into the effect usually associated with a prize cocker 
spaniel. 

Manifestly, Mr. Slipe was on the best of terms with himself, 
and a tolerant pout depressed the corners of his mouth as he 
continued to ignore, with one exception, the presence of the 




Rosie Redpath was 
one of the chief stars 
of Stupefaction Pic- 
tures. The publicity 
department billed her 
as "passion's child." 
Read what her devas- 
tating purple eyes did 
to Emerson Slipe, 
master of the moni- 
tor room and super- 
expert of the new 
tonsil drama 



screen players. At length, sensing that a 

questioning silence had descended upon 

the room, he replied in a voice freighted 

with the wisdom of twenty-three years and a Perth Amboy 

accent. 

"So you think you're established, do you?" he drawled. 
"Horse cars used to be popular, my fat friend, so were celluloid 
collars, but where are they now?" His blase gaze interrogated 
Mr. Hoople, who was holding a spurious pose of nonchalance. 
"Understand me, I care nothing about your so-called acting; 
I'm interested only in your voices, and I've warned you that 
whatever other abilities you may possess will be a washout 
unless you have tonal value. You may call me a pessimist, 
but how about \'0ur employer? Isn't he importing a famous 
woman from the stage to co-star with this Spanish person on 
my right?" 

AS though waiting for a cue, Carlos Cabrillo jumped up 
and glowered at the reckless one. "Listen, Percy," he rasped, 
"don't let my sideburns get the best of you. I may be the 
public's Cordovan Kid, but off the set I'm a nasty Nordic 
called Simpkins. What if they are bringing on some gasper 
from New York? I used to be an inhabitant of the Bronx 
myself and no Broadway canary is going to overshadow me. 



i5 



How Hollywood's Silent Puppets turned 



We've all had voice tests, anyhow, and in the movie racket we 
pay attention to the director and nobody else, so pipe down." 

Mr. Slipe yawned and patted his mouth with a pudgy white 
hand. "Never mind the breast heaving," he advised. "Now, 
then, you people, you'll listen to me and like it, and so will your 
director when I'm ready for him. You've never made a talk- 
ing picture; you know nothing about them. Well, / do, and 
besides being out here as monitor expert for the electric 
company that controls the patent, I'm also an authority on 
tone. I'm the new boss, and all the dirty looks in the state 
won't alter the fact." 

"You have a most unfortunate manner," said Mr. Hoople 
angrily. "Haven't you enough intelligence to cultivate the 
good will of the actors who will work with you?" 

I DON'T have to," snapped the expert. "I don't believe that 
any of you can act. You silent players are nothing more than 
puppets." For the twentieth time his fishy eyes strayed down 
the table to a svelte redhead partially concealed by a flowered 
chiffon dress, and for the twentieth time he mustered what he 
imagined to be a winning smile. "One exception duly noted," 
he continued oilily, "in the case of that extremely decorative 
young lady in the corner," and ignoring the stony glances of the 
diners, he ambled over to the desired damsel and patted her on 
the cheek. "You appeal to me," cooed ]\Ir. Slipe. 

For the twentieth time Joyce Cleary's eyes turned to black 
ice and her sun-tanned legs itched to convert the Lothario into a 
goal from the field. While she possessed a thorough knowledge 
of the Hollywood catechism, there was something so peculiarly 
offensive in Mr. Slipe's gaze that she ceased to remember it 
would be good politics for a mere second lead to engage in a little 
luring. 

Instead, she slid away from his 
flabby touch and jutted her small 
chin to an angle unbecoming her 
oval face with its coronet of smoothly 
brushed hair. "Hands off, you 
miserable little rabbit," she cried. 
"Where do you think you are?" 

"In the iilm colony, of course," 
mouthed ]\Ir. Slipe, on whom the 
combined gin, warmth and growing 
sense of power were beginning to 
have an effect. "The land of free 
love and orgies. Don't you suppose 
I read the papers? Come on, girlie, 
be friendly — " 

MISSCLEARY shoved him off and 
lowered a threatening shoulder. 
"Stop, I tell you," she warned, "or 
you'll be sorry." Behind her, Carlos 
rose from his chair and sauntered 
down the room. 

"Don't get emotional, ' scofi'ed the 
expert, pawing his way forward, "and 
there's nobody going to hurt me, 
girlie. I'm the new bo , ouch!'' 

The impetuous Joyce, shifting with 
the grace and abandon that spoke of 
hours on the tennis court, had 
launched a straight left that curled 
Mr. Slipe's generous nose even fur- 
ther north, and he retreated against 
the wall as the bloodthirsty ]\Iiss 
Cleary showed every intention of 
following up with a right hook. The 
next moment Carlos interposed a pair 
of weU tailored shoulders and smiling- 
ly captured the belligerent actress. 

"You took the idea right out of 
my head," he told her, "and I guess 
this will be the last course in the 
meal." He winked approval, and 
then surveyed the expectant row of 
faces behind her. "Come on, gang, 
let's enjoy our last slice of freedom 
before they start shooting tomorrow." 

46 



Miss Cleary, trembling from the reaction that follows artistic 
achievement, allowed herself to be steered through the door, 
followed by the sympathetic cast who were busily engaged in 
scattering derisive remarks concerning blond greenhorns with 
mechanical minds. Only Mr. Hoople remained to hurl the 
javelin. 

"My advice to you," he thundered, "is, as the vulgar say, 
to pull in your neck. When you insulted that young lady you 
antagonized everyone who works for Stupefaction. You're 
an interloper, sir!" 

Mr. Slipe staggered to the table, foraged for the pineapple 
gin and downed another bracer. "Rubbish," he mumbled. 
"Any psychologist would tell you that the girl is really nuts 
about me. Interloper, eh? You'll find out how important I 
am when I start polishing up you Hollywoodenheads." 

"Perhaps we will," admitted Mr. Hoople, "but look out for 
splinters." 

TEN miles away in Los Angeles the somnolent dinginess of 
the Santa Fe station was being revitalized by the magic 
wand of expectancy. A pleasantly pulpy strip of royal blue 
carpet, stored in the parcel office between welcomes, spanned 
the sixty feet from Track A to the smudgy brick portals. 

Platoons of cameramen, reporters, tourists and idle taxi 
drivers grouped themsCives in positions of vantage, while even 
the torpid newsagents peered alertly from amid a jumble of 
post cards, chocolate bars and illegitimate Navajo souvenirs. 

To lend an international tone to the affair, two or three 
hundred Mexicans and Chinese milled curiously in the back- 
ground and ruminated on the madness of the white race when 
a personage was coming to town. 




upon the Expert in Dramatic Gutturals. 



Finding the waiting room too hot for the employment of 
brains, Mr. Abraham Zoop kirked in the narrow shadows of 
noon and pestered himself with a series of questions. 

As President of Stupefaction Pictures, he was wondering 
if the pilgrimage of Miss Magnolia Bellairs from New York 
to California had been pulled off with the proper edal. 

HAD the newspaper boys in tervie wed her during the half hour 
hangover at Kansas City? Had the congratulatory tele- 
grams reached her at Pueblo, Albuquerque and P'lagstaff? Had 
the special consignment of ice been delivered at Needles, that 
anteroom to Hades? Had the publicity contact man boarded 
the train at Pasadena with that two hundred dollars' worth 
of flowers and gilt lettered ribbon? Had — , he paused abruptly 
as a billow of perfume made him think of a Persian garden, and 
sniffing in happy recognition, he looked up just in time to dodge 
a beaded bag that swung dangerously near his nose. 

A glamorous brunette with eyes like purple pansies was 
regarding him like a rattlesnake about to devour a fascinated 
frog. "You silly old cluck!" throbbed the lady in sultry tones. 
"Just because the publicity saj's I'm beautiful as a statue, I 
suppose you think my feelings are made of marble, hey?" 

"Now, Rosie," said Mr. Zoop, smoothing the air with 
appeasing palms, "be nice. All I'm askink you is to give a 
couple hellos and a roll of them eyes. That ain't much, baby." 

Rosie Redpath twisted her fulsome lips to a knowing slant 
and tried unsuccessfully to look as tough as she felt. "Oh, 
isn't it? Well, how about the humiliation of being made to 
greet the woman who's stolen my part. 'Uneasy Knees' was 
scheduled for me until the panic started about bringing in 
these gaspers from the East. You've got 
a nerve, Abie." 




"Sure," nodded the president, "and that ain't all, Rosie. 
Four million bucks I got invested in the picture business, be- 
sides insomnia from thinkink about it. All the others are 
shippink in stage talent and my nose ain't the right shape to be 
snubbink profits. But listen — for why would I have you here 
if it wasn't for your own good? Photographs there'll be, and a 
ride to the Ambassador with a flock of motorcycle cops out in 
front with their sirens screechink. Publicity, baby, and just 
as much for you as this Bellairs dame. Anyhow, she's only 
signed for one picture." 

Miss Redpath, somewhat mollified, assumed a more grace- 
ful stance, and essayed a smile for the benefit of the onlookers. 
"Just the same," she said softly, "there'll be no eyework. It's 
wasted on a woman because she's wiser than a man." 

"Well, you're an actress, ain't you?" countered Abie. 
"Then make believe you're dizzy with delight. Start twinklink, 
now, here comes the train." 

THE express slid dustily beneath the First Street viaduct 
and wheezed to a halt as though relieved at the chance to 
divorce itself from the feverish party that cluttered up the 
observation platform. Inside the brass railing jostled innocent 
passengers, press agents, maids, second cousins, the current 
boy friend and similar deadwood, having for their focal point 
the languorous Miss Bellairs, who, smiling from an ambush of 
blossoms, chafed inwardly at the strain on her arms. A pair 
of cynical trainmen trundled forth the portable steps, which 
Miss Bellairs descended dramatically, opening her heavy eye- 
lids far enough to perceive the gentleman who was to pay her 
two thousand a week. 

"California welcomes you," 
chirped Mr. Zoop with a grandiose 
gesture, "not to mention every 
member of Stupefaction's thirty- 
four specials for the comink year, 
and represented by Miss Redpath 
and myself." The dutiful Rosie 
stretched her mouth in mechanical 
joy. 

"I'm positively enthralled," cooed 
Miss Bellairs, and the words seemed 
(0 hang in mid-air like sparkling 
drops of crystal. The beaming Mr. 
Zoop nudged Rosie and proceeded 
to listen avidly. "And in these 
marvelous surroundings," contin- 
ued the star, oblivious to the de- 
pressing vista of warehouses on the 
horizon, "I cannot fail to do my 
greatest work." 

ABIE applauded vigorously, 
then motioned the ladies to 
stand on either side of him. "But 
not too close," he whispered, "be- 
cause it may come out clubby in the 
newspapers and oi, does Momma 
rave about them suggestive pic- 
tures!" Then all three leered toothi- 
ly at the cameras, after which they 
waded through a rising tide of wor- 
shipers to the waiting motors. 

During the procession to the 
.Ambassador, Rosie mercilessly 

[ PLEASE TURN TO PAGE 86 ] 

Emerson Slipe paled to a sickly 
chartreuse. "Rosie?" he quav- 
ered. "No, she wouldn't — " 
"Oh, yes, I would, dearie," 
announced Rosie. "Didn't I 
spend two mushy days with you 
to find out how your machinery 
worked!" 

"You ain't got a contract," 
bellowed Mr. Zoop. "So get 
your week's pay and run, don't 
walk, to the nearest exit!" 

47 



^^ssip of All 




ByCzi 



s ^ 




Here is why Director George Fitzmaurice recently 
dashed from the set in the middle of a scene for 
"The Locked Door." The girl in the center is Sheila 
Fitzmaurice. You knew her mother as Diana Kane, 
sister of Lois Wilson 



Now, fans, the lime lias come to balk! 

Let us demand, with all our tact, 
Not only actors who can talk 

But also talkers who can act! 

THERE is much ado regarding the romance of Janet Gaynor. 
Hollywooders are trying to figure out whether she really has 
a fancy for Charlie Farrell, now that they are working together 
again. At any rate, we understand that Lydell Peck is always 
so conveniently at hand that the novelty of his presence is 
wearing ofif a bit with Janet. Charlie, on the other hand, is a 
little bit stand-ofiish and possibly that makes him all the more 
intriguing! 

If Lydell is actually out of the studio for a moment, his proxy 
is there in the form of a telegram filled with endearing young 
terms, or a bottle of perfume, a box of flowers or even a box of 
candy. And Janet doesn't like candy! But perhaps persistence 
will win. 

When she completes her current picture Lydell wants to take 
her to Honolulu on a honeymoon, and we do hear that he 
would be very happy to have her retire from the screen. 
There, no doubt, is the rub. 

WILLL\M FOX has induced John McCormack to sing for 
the Movietone. McCormack has cancelled his concert 
tour for next fall in order to devote his time to the production, 
which will be filmed in Ireland. 

HARRY LANGDON, after a long e.xile in vaudeville, came 
whooping back to Hollywood laughing out loud, and 
then — 

His mother took sick. 

His former wife slapped some sort of a legal paper on him. 

48 




Hollywood doesn't get enough of dressing 
up during its working hours. At a 
masquerade ball given by Basil Rath- 
bone, Renee Adoree gave a good im- 
personation of a young Dutch boy 



The income tax boys turned up and began going over his 
returns from 1923 on, just to keep busy. 

His big, nickel-plated touring car and another car crashed at 
a busy corner, junking both and sending an occupant of the 
other car to a hospital. 

"Heighho!" says Harry. "My horoscope said I was going 
through a lot of these little matters for a time. I'll get by!" 

So he ordered another car, is about to sign with a big com- 
pany, and allows that he's going to marry again one of these 
days. 

OLD Gal York and the little woman got notorious the other 
night very cheaply. 
They went to the Los Angeles opening of "The Trial of 
Mary Dugan" — one of those hotsy-totsy premieres. In the 
same row sat Bebe Daniels, Ben Lyon and OUve Tell, the last- 
named the actress who played Mrs. Rice in the picture, and did 
such high class screaming. 



ThS 



TUDIOS 



York 




And Marion Davies appeared disguised as 
a basket of cotton. Hers was voted the 
cleverest of the costumes. This trick 
outfit was borrowed from the antics of 
the circus clowns 



It happened that Cal and the madame had seen the fihii at 
Its New York premiere. 

Therefore, it wasn't as hot a treat as it might have been, so 
during the first half of the picture they cat-napped and caught 
a little much needed rest. 

But they were awake enough to see that Miss Tell was 
watching them with horror she didn't try to conceal. She didn't 
know whether they were dead or just dumb. 

As they left the theater, the beauteous Olive was standing 
near the door with a group of players. 

"Look," she said in her best microphone whisper, "there are 
the people who slept all through this wonderful picture!" And 
her friends looked, and were properly horrified, while we slank 
into the night. 

And unless Olive Tell reads this, she'll never know who the 
two saps were who couldn't keep awake through "Mary 
Dugan." She may even frighten her grandchildren with the 
story. 



Here is a boy who probably doesn't know his luck. 
He is William Bow, eighteen-year-old cousin of Clara 
Bow. He's breaking into the movies under the 
guidance of Clara. You can see that he looks like 
"Buddy" Rogers 



RUjMORED retirements: 
Constance Talmadge, recently married to Townsend 
Netcher, Chicago merchant. 

Eddie Cantor, now a millionaire, and pining for a little 
leisure to play golf. 

THE star had just met some distinguished visitors from 
Australia. "Oh, you're from Australia!" she gushed. 
"How nice. 



I'm going to run over there for a week-end 
this summer when I'm in Paris." 



HERE'S a story they tell: 
Montagu Love's telephone rang in the wee sma' hours. 

"Yes," answered Monte, only half-awake. 

"This is Mclntyre, production manager on 'Bulldog Druni- 
mond.' Just before you tried to shoot Ronald Colman in the 
picture todav, what was the line you spoke?" 

Monte waked up a little, searched his memory, said: "I don't 
mind killing, when it's safe." 

Mclntyre asked, " What's that? Talk louder." 

Monte swore under his breath, but repeated the line. 

"All right, thanks," came from the receiver. 

And ne.xt morning they told Monte he had been talking into 
a microphone, repeating a line that had recorded poorly in the 
studio the day before. 

G.\RY COOPER and Emil Jannings made a picture to- 
gether, called "Betrayal." 
They worked long hours at night and Gary was exhausted 
when he came to work. A hospital scene called for Gary to be 
placed on a cot. No sooner was Gary stretched out comfort- 
ablv than he fell into a sound slumber. The work continued 
without interruption, with Gary being moved back and forth 

49 








Will the influence of Rudolph Valentino 
shape the career of his five-year-old god- 
child? Bobby Ullman is the son of S. 
George Ullman, Rudy's former manager. 
He's making his debut in "Lummox" 



from one scene to another. This was all the more realistic since 
he was sleeping soundly. As it was not the sound version, the 
snoring did not disturb. 

After a time, Gary raised up in a startled manner and said, 
"When does the picture start?" 

"The picture is already finished, and you gave the best per- 
formance of your life," Jannings replied. 

"^■QTHING could be funnier than Nils Asther telephoning 




he 



to his Japanese houseboy. The other afternoon 
called the boy to say he would not be home to dinner. 
"Meester Asther no home," the boy informed him. 
"Meester Asther iss talking," said Nils. 
"Meester Asther no home," the boy insisted. 
"Yah," repUed NUs. "He wiU be no home." 

A FEW months ago friends persuaded Scott Kolk to leave 
the sunny sands of the Lido to try his fortune in Holly- 
wood. He is now playing an important role in Marion Davies' 
most recent vehicle. Being handsome, attractive and a 
thorough cosmopolitan, he was a welcome caller at the home 
of any girl, but it seems to be the doorstep of Virginia Cherrill 
upon which he parks most of his free time. 

It is almost a rule at the Chaplin studio that Charlie fall in 
love with and marry his leading lady, but perhaps Virginia will 
prove an exception. Scott is evidently very persuasive. 

WRITE your own headline. Jascha Heifetz recently played 
with the Boston Symphony Orchestra before a dis- 
tinguished audience. Many people remained after the perform- 
ance to congratulate him. 

But when they recognized Florence \'idor, his wife, Jascha 
was almost forgotten. Oh, well, even famous violinists ought to 
get used to playing second fiddle to lovely wives. 

IF reports are true, you've seen the last of Miss Vidor on the 
screen. Although her Paramount contract had many more 
months to run there was some sort of amicable agreement 
made. Florence has never thrown herself whole-heartedly into 
her film work. She has not the temperament of an actress and 
her interests have had a wide scope — too wide for Hollywood. 

50 



I 

I 



International Newsreel 



When Phyllis Haver married William Seaman, 
New York business man, she said good-bye to 
the movies, forever and ever. You've heard that 
before, but Phyllis says she means it. Mr. and 
Mrs. Seaman were married by Mayor Jimmie 
Walker 



JUSTtoshow you howCal York keepsonthe job, hereisanitem 
he sent in two weeks before the Gilbert-Claire news broke: 

Believe it or not, the famous Jack Gilbert-Greta Garbo affair 
is as cold as a supervisor's glance. Don't go getting technical 
and looking back in old issues of Photoplay for this same 
announcement. You'll find it, of course. But that isn't my 
fault. 

This time it's the real thing. They have only seen each other 
a few times since Greta's return from Sweden. 

Recently at Basil Rathbone's famous costume party they 
barely spoke. 

You may not think it, but this concerns you vitally. It means 
that there will be no more Gilbert-Garbo pictures, unless, for 
professional reasons, the affair is patched up. 

Pause, friends, and mourn for Jannings now — 

His plumpish purse and placid brow, 

His perfect art, so true and clear. 

His nose immersed in Munich beer! 

His tummy stuffed with homeland food, 

His temper, taste and checkbook good ! 

Ach, poor old Emil! What a pity 

His German accent wasn't pretty ! ' , 

AROM.\XTIC, nonchalant figure with a flowing white 
beard spent an afternoon in Hollywood. The film center 
was, to Trader Horn, worth only an afternoon of his time. 
Someone asked him what he thought of Jack Gilbert. 
He smiled beautifully. "Ah, yes, ma'am, Jack Gilbert. I 
like him, and he is so kind to his fine horses." 

SOON after arriving in Hollywood from Sweden, Greta Garbo, 
strolling around the M.-G.-M. lot, gets the shock of her life 
to find a wrecking crew demolishing Stage Two. On this stage 
the Garbo made her first American film appearance; on this 
stage, too, the Garbo first met the Gilbert. Now the stage is to 
become a machinery store house! There ain't no sentiment in 
them studios! 





i^«?L^jiF 



A reunion that cut off the revenue of the tele- 
phone company. When Lupe Velez was on 
tour, Gary Cooper spent most of his salary on 
telephone calls. And he paced the platform of 
the railway station for two hours before her 
train was due. That's love 



PERCY MARMONT'S ovation on the night he appeared in 
a box with Ronald Colman at the New York premiere of 
"Bulldog Drummond" was almost as loud and as hearty as 
Colman's — and that's saying a megaphone-full. 

Percy, the old-time quizzical look in his eyes, told me he is 
going to play the stranger in the Fox talkie, "The Passing of 
the Third Floor Back." He may also do a dialogue version of 
his great silent success, "If Winter Comes." 

In the meantime, he has returned to England for the summer 
months and will not begin work here until fall. 

OAYS Groucho Marx, one of the famous Four Marx 
'^Brothers, in an article in a New York daily in which he 
comments on his return to the vaudeville stage: 

"And the vaudeville actors talk differently. In the old 
days they'd grab you and tell you what a riot they were in 
Findlay, Ohio, and how they wowed them in Des Moines. 
Now, all you hear is, 'We don't know what to do — Vitaphone 
wants us to make a short, but Movietone is after us to do a 
full length.' " 

WITHOUT sensationalism, with no hectic gestures, 
Blanche Sweet has calmly filed suit for divorce from 
Marshall Neilan. And this brings to a close one of the most 
tragic romances in motion picture history. 

For years it has been rumored that they were to separate, but 
for years Blanche has clung to Mickey and has loved him. And, 
strangely enough, he has loved her, with a fierce adoration. 

Brought together by tragedy, their love seemed only to be 
more strong with each tragic circumstance. And now it is over. 
Blanche appears to be perfectly calm. But Blanche has never 
been one to show her real emotions. 

NOW here's a chance for a bright young boy or girl to make 
a little Christmas money. Or Thanksgiving money. Or 
just plain every day money. There's a place for a revised book 
of etiquette according to Hollywood standards. Rumor has it 
that Pola Negri is engaged to Rudolph Friml. And she has not 



Terrible effect of two many goody-goody 
rdles on Mary Astor. Also what a blonde 
wig and a cigarette will do for a demure 
girl. Mary plays one of those gay dancers 
in "A Woman from Hell" 



yet filed suit for divorce from her present husband! It's being 
done, my dears, in the best film families. 

NOT all the actresses are dieting to get thin. Winifred 
Westover, the former Mrs. William Hart, has been eating 
and eating to get fatter and fatter. And it's aU for her art, too. 
Winifred has been chosen to play the name part of "Lum- 
mox" from Fannie Hurst's popular novel. And if you read the 
book you will remember that the leading lady was unstylishly 
stout, slovenly and awkward. 

But won't it be hard on Winifred if they cast her as a wood 
nymph in the picture after that! 

A WOULD-BE lyric writer brought a song to Buddy de 
•*^ Silva the other day. One of the lines read like this: 
"Oh, see the mountaineer. 
He comes from far and near." 
"What will you give me for it?" asked the ambitious 
youth. 

"Well," said de Silva, "I'll give you five yards head start." 

I SEE by the papers that Ben Lyon has been added to the cast 
of "Lummox" — to play the leading male role. 
Ben has been one of "Hell's Angels" — Hughes' two-years-in- 
the-making, two-million-dollar, still-unreleased picture — for so 
long that he might be gl^d to get back to earth in a picture that 
has no air sequences. 

But maybe we're wrong. Maybe they'll stick in a few aero- 
plane chases just to keep Ben from being homesick. 

MAYBE you think all the dangerous things in pictures are 
done by stunt men. Just guess again. While watching 
Farina in his second talking picture, "Railroadin'," we decided 
this chocolate baby is about the bravest of the lot. 

Farina was compelled to lie flat on his tummy on the cross 
ties, his foot caught in the track, while a speeding train passed 
over him. We don't mind telling you, he almost turned white 
with fright, even if he were game enough to do it. Oh, yes, it's 
safe enough, but how would you like to do it, we ask you? His 
parting line as he went under the train was: 

"Gee, get ma wings ready!" [ please turn to page 74 ] 

61 



( 




Here's what happened the first time that a 
sheik and a sheba osculated for the super- 
sensitive microphones. Now kisses are faked, 
for real ones sound like a horse pulling his hoofs 
out of a muddy road 



IN "shooting" a sequence for "The Doctor's Secret," based 
on Sir James Barrie's famous play, "Half an Hour," an 
English servant girl was supposed to enter the room noise- 
lessly in response to Ruth Chatterton's summons. 

The maid entered, but a peculiar knocking sound accom- 
panied her, and the director, William de 
Mille, as well as the engineer at the control 
panel, was puzzled. 

The scene was retaken, but still the un- 
wanted noise persisted. The electrical sys- 
tem was checked for flaws and found to be in 
perfect condition. Finally the scene was made 
the third time, but the "clickety-clock, 
clickety -clock" again accompanied the maid 
as she walked into the room. 

And then a keen-e>ed technician discovered 
that the peculiar sound synchronized per- 
fectly with the maid's steps as she walked. 
Further investigation revealed that the girl 
was knock-kneed and the "mike" picked up 
the "knocks" of her knees with each forward 
step. 

On another talkie stage recently the director 
was gesticulating wildly. Obviously he was 
greatly wrought up about something, but 
since not a sound emerged from his lips and 
his gesticulations did not constitute the deaf 
and dumb language, the onlookers were 
mystified. 

Pinally the door of a glass cage opened 
and there was a verbal explosion. The 
director, unable to contain himself longer, 
shouted: 

Rubber is the vogue in the sound studios. 
The latest is rubber jewelry, adopted to 
prevent the jangle of real or make-believe 
jewels being picked up by the mike. Then, 
too, the actresses are required to wear eve- 
ning slippers with rubber heels 



rials of 



Sounds aren't all they 
seem in the new studios 
for audible motion pic- 
tures. The sensitive 
ears of the microphone 
make every day a sur- 
prise 



"Hey, you sheiks and shebas, pipe down there. Whatd'ye 
think this is supposed to be? Sounds like a doughboy sloshing 
in the mud of Flanders." 

Whereupon a reel of film was scrapped and several thousand 
dollars charged up to incidental production expense. 

The scene of action was one of the sound stages in a Holly- 
wood motion picture studio. A sheik of the John Gilbert type 
and a sheba a la Greta Garbo were enacting the amorous greet- 
ing of two lovers for a talking picture, when the director, on 
his glass-enclosed throne, began making a windmill of his arms. 
He had been sitting next to the "mixer" and the fate of the kiss 
in the talkies was settled then and there. The suction of 
osculation was neither romantic nor dramatic to the director, 
for it sounded like a horse pulling its hoofs out of the mud. 

This epitomizes the one outstanding difficulty encountered 
in the making of talking pictures. "Mike's" ears are too 




— — " 



I 



the lalkioi 



By 
Albert Boswell 



I II u 1 1 r at e d by 

Ken Chamberlain 



sensitive. And yet, paradoxically, if "mike's" 
sense of hearing were' not as acute as it is, his 
ears would be no good for the purpose of produc- 
ing talkies. 

Embalming a story for the out-loud, facetious- 
ly termed the "Chinema," is hedged about with 
many precautions to prevent the " mikes " from de- 
veloping temperament. As one producer re- 
marked, "The darn contraptions cost SI, 750 
each, and they no doubt figure they're entitled 
to an attack of the temps occasionally." 

One of the precautions is the "mixing" room, where the 
"mixer" controls the volume of each voice while the sex appeal 
artists and the matinee idols are pulling the censored dirty 
work in the drawing room on the sound stage. 

IN the filming of "Bulldog Drummond" there was plenty for 
the man at the "mixing" panel to do. Lilyan Tashman, as the 
black-hearted lady, was making life pretty tough for Ronald 
Colman and Joan Bennett, aided and abetted with a vim guar- 
anteed to make every audience long to read their respective 
epitaphs. Of course, under such circumstances, one's voice is 
apt to wander away from reason, and it is then that the 
"mixer" is called upon to manipulate the little gadget that 
modulates one voice and intensifies another. 



r 




,.-t! " '~ ^^^ '*if^ ' i'' 




- - I Jlff i lCi. . 



-' ^iUi. 



When Paramount was filming "The Doctor's 
Secret" a servant girl was directed to enter the 
room noiselessly. The "mike" picked up a knock- 
ing sound. Tiie "clickety-clock" proved to be 
caused by knock-knees 



But not all the frailties of the human machine and the 
temperamental "mike" can be rectified by the mechanical 
widgets, and Fred Niblo's little joke about the talkies being a 
howling success can be applied to both the good and bad 
among the sound pictures. Likewise the "truth in advertis- 
ing" banner of a Los Angeles theater that a 
certain talkie was in its "third thunderous 
week." 

The infant born out of the wedlock of the 
silent drama and the stage first began to 
lisp, then to bellow, then make ungodly 
sounds and finally to talk a blue streak. It 
~ is the lisps, the bellows and the ungodly 

sounds that are giving the producers head- 
aches and those depended upon to eliminate 
them sleepless nights. 



IT has been definitely determined that the 
kiss is not to be talkie-ized. The reverbera- 
tion of the smack is easily picked up by the 
recording device, but as the reproducing 
apparatus repeats it in the screening it is 
anything but satisfactory. In audience 
tests the theatergoers burst into gleeful 
ribaldry when they should have been 
thrilled. The closeups with the lovers' faces 
glued together remain a stock factor, but 
they won't be "verbal." The "squishless" 
kiss brings the desired "Ooos" from the 
audience. 

Many of the stars famous for love scenes 
had to learn all over again how to kiss when 
the silent drama [ please turn to page 113 ] 

The clatter of iron-wheeled garbage 
wagons raised the deuce with the making 
of sound film exteriors. Imagine the rattle 
of a garbage ambulance in the background 
of a mountaineer drama! Now all Holly- 
wood garbage wagons have balloon tires 



THE NATIONAL GUIDE TO MOTION PICTURES 




^ OUR MODERN MAIDENS— M.-G.-M. 

AS Joan Crawford's first starring vehicle, this vivid 
picture of ultra-modern youth, as the movies see our 
younger folk, will undoubtedly create quite a stir. This is 
Josephine Lovett's sequel to "Our Dancing Daughters." 
Then, too, it is the first time Joan and Douglas Fairbanks, 
Jr., have played together. 

Joan plays the role she does so well, that of a pampered 
play-girl bored with the world her rich father gives her to 
play with. The climax of the picture is based on a thorough- 
ly original and unique situation. 

Joan is exquisitely poised and gowned, and her acting 
highly commendable. Douglas Fairbanks, Jr., gives astound- 
ingly accurate impersonations of John Barrymore, Jack 
Gilbert, and his own dad, Douglas, Sr. Probably a tre- 
mendous box-oflice hit. Pari Talkie. 




■^ INNOCENTS OF PARIS—Paiamount 

THIS picture is JNIaurice Chevalier's (pronounced She- 
val-yay) first screen appearance and, because of his 
great popularity in Paris, his screen debut has been awaited 
with unusual expectancy. 

Dispel your doubts, he can stay as long as he likes. He 
sings with joy. He plays with abandon and his personality 
gets you. He renders half his songs in French and half in 
English, but it is not just his pleasing voice, nor even his 
perfect pantomime, that makes him a success. 

The plot is inconsequential and much of the dialogue is 
stilted and unnatural, but the sparkling, lovable personaUty 
of Chevalier lifts the story out of the commonplace — and 
makes it dehghtful entertainment. Fans will love Chevalier. 
AH Talkie. 

54 



The 



Shadow 
Stage 

(RKG. U, a. FAT. OFF.) B^ ^ 

A Review of the New Pictures 




BULLDOG DRUMMOND—Goldwyn-United Artists 



THIS is a corking melodrama — and Ronald Colman gives 
the best talkie performance to date. He's suave and 
easy before the terrorizing "mikes." \'oice gives him a new 
charm. "Bulldog Drummond" puts Ronald Colman right 
at the top after some recent wavering, if lavish, films. 

The English writer of shockers, Sapper, dashed off "Bull- 
dog Drummond" as a stage melodrama. With the advent 
of the talkies, every producer was after it. But Sam 
Goldwyn reached first. 

Goldwyn took a lot of pains with the film. It is intelli- 
gently and tastefully done. The sounding is highly expert. 
Here a raindrop can be made to act in the sound pictures 
as excitingly as a Rolls-Royce. The cutting (one of the 
drawbacks of the talkies up to now) is finely done. In a 
phrase, "Bulldog Drummond" is great stuff. 

Bulldog is a demobilized officer who wearies of his dull 
club life. He puts an advertisement in the "agony column" 
of The London Times, asking for adventure. Out of the 
avalanche of letters, he selects one signed Phyllis. It re- 
quests him to be at the Green Bays Inn at midnight, if he is 
sincere in his quest for adventure. 

It develops that Pliyllis' uncle, a miUionaire American, is 
being held prisoner in a fake hospital by three master crooks, 
aided and abetted by a host of bloodthirsty JMalays. 

Colman gives a superb performance and he gets fine aid 
from an excellent cast. The best work is done by Claude 
Allister, as a new sort of silly ass Englishman, and by 
Lilyan Tashman, as the tough baby who leads the crooks 
All Talkie. 



SAVES YOUR PICTURE TIME AND MONEY 



The Best Pictures of the Month 

BULLDOG DRUMMOND MADAME X 

FOX MOVIETONE FOLLIES 

OUR MODERN MAIDENS 

INNOCENTS OF PARIS 

THE STUDIO MURDER MYSTERY 

The Best Performances of the Month 

Ronald Colman in "Bulldog Drummond" 

Maurice Chevalier in "Innocents of Paris" 

Ruth Chatterton in "Madame X" 

UUric Haupt in "Madame X" 

Joan Crawford in "Our Modern Maidens" 

Claude Allister in "Bulldog Drummond" 

Lilyan Tashman in "Bulldog Drummond" 

Doug Fairbanks, Jr., in "Our Modern Maidens" 

Warner Oland in "The Studio Murder Mystery" 

Casts of all photoplays reviewed will be found on page 14^1 




JL- FOX MOVIETONE FOLLIES— Fox 

WHEN the "Follies" were being filmed, visitors at Fox 
Studio had to put on dark glasses and false mous- 
taches to get within calling distance of the set. All activities 
were shrouded in mystery. But the revue is finished at last. 
Glorified gals! Legs! Abbreviated costumes! Everything! 

Other studios have already followed suit with this type 
of entirely new entertainment. Song wTiters are as numer- 
ous as microphones in Hollywood, but the "Fox Follies" 
is first — and, as such, is important. As this is to be an annual 
event it is likely to improve with age and experience. 

The music is the best part of it. "Break Away" and "Big 
City Blues" should be instantaneous hits. The big dance 
acts are breath-taking, but there is not enough variety. 

Sharon Lynn and Sue Carol are the two picture players 
with leading roles. Most of the rest are from the stage. 
Sharon is surprisingly good, revealing, as she does, a hot 
blues voice. Sue is full of pep and particularly cute in 
"Break Away." Stepin Fetchit furnishes his usual brand 
of unexcelled comedy. Di.xie Lee and David RoUins dis- 
tinguish themselves. 

The slight story (which is only an excuse for the presenta- 
tion of the acts) weakens rather than aids the revue. 
Legitimate plays are often better in talkies, but synthetic 
follies are not quite like the real thing. Revues depend 
upon personality. The baldheaded row can't send mash 
notes to a shadow on the screen. 

However, don't miss the "Follies." You'll find yourself 
absorbed by the spectacle and, if you don't go away hum- 
ming those good tunes, we'll be surprised. All Talkie. 




^ MADAME A— A/.-G.-M. 

RUTH CHATTERTON followed at least three big 
actresses and hundreds of lesser ones in "Madame X." 
Yet neither Bernhardt's playing nor the performances of 
Dorothy Donnelly or Pauline Frederick can take the edge 
off Chatterton's superb conception of this famous character. 

Lionel Barrymore has put aside the grease paint and the 
Barrymore tradition to turn his attention to the broader 
medium of directing. This is his first feature length attempt. 

In the court room scene the film rises to its emotional 
heights. This is harrowing and poignant beyond words. 
Miss Chatterton does her best work thus far in the audibles 
in this scene and she is ably aided by Raymond Hackett. 

Ullric Haupt, too, is excellent as Laroqitc. "Madame X" 
is a little slow moving as it works up to its climax — but the 
big scene will have any audience hysterical. .1// Talkie. 





-3 




''S^WI^^H 


>^ 



JU THE STUDIO MURDER MYSTERY— Paramount 

NO doubt you read this thrilling m.vstery in Photoplay. 
Perhaps you were among the many thousands who took 
part in The Studio Murder Mystery Contest. In any 
event, you will still want to see "The Studio Murder 
Mystery" because it is a corking mystery melodrama, 
with plenty of dramatic kicks and numerous surprises. 
The story deals with the murder of a prominent actor in a 
big studio at midnight. The suspects are many, of course, 
and the murder chase is bafHing. We will not reveal the real 
murderer here. Paramount made numerous changes in the 
story and you will have to see the film to find out whether 
the original killer is still the murderer. These changes, by 
the way, have not hurt the story. Warner Oland gives 
a fine performance as the foreign ace director. All Talkie. 

55 



Sound or Silent, You Will Find the 



HONKY- 
TONK— 

Warners 

All Talkie 



H 




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■ 


■ 


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V 


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pi^#9 


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1 




THE SQUALL 

^First 

National 

All Talkie 



SOPHIE TUCKER is on the Vitaphone. Her first feature is 
a night club comedy drama with a synthetic plot that is a 
medley of "Singin' Fool," "My Man," and "The Little Snob," 
but Sophie keeps it afloat with song. A cabaret hostess, edu- 
cating her daughter abroad, has always kept her whoopee life 
secret. The kid breezes in, gets wise, and snooty, and walks 
out. Lila Lee is gorgeous as the upstage daughter. A hit. 



YOU remember that this was a fairly good stage play. 
You're sure that the film version is pretty bad. Something 
happened between the stor>' conference and the cutting room. 
Myrna Loy is the stereotyped Niibi, the gypsy girl and the 
hot baby who disrupts homes, while Alice Joyce is the Hunga- 
rian mother and Carroll Nye is the son. This film just doesn't 
click, that's all. And it's unconsciously funny. 



THE DUKE 
STEPS OUT— 
M.-G.-M. 

Part Talkie 




THE MAN I 

LOVE— 

Paramount 

All Talkie 



ANOTHER cream-puff for the antics of the Metro-Goldwyn 
playboy, Billy Haines. He plays a cultured young box- 
fighter who registers incognito at a co-educational college and 
falls with a thud for Joan Crawford. And for a climax the pic- 
ture has one of these sure fire prize fights, with Bill hitting his 
opponent with everything but the ring stakes. A lightweight, 
friends, but amusing. 



WHEN Richard Arlen finished making this film he an- 
nounced that he was "punch drunk." This was not an 
exaggeration, for Dick did all the fight scenes without benefit 
of a double. This is the first time that he has spoken on the 
screen and this carries an added kick. Arlen's characteriza- 
tion gives the slight stor>' importance. Mary Brian makes a 
sweet little wife and Baclanova is as devastating as ever. 



THE RAIN- 
BOW MAN- 
Sono-Art — 
Paramount 

All Talkie 




NOTHING 
BUT THE 
TRUTH— 
Paramount 

All Talkie 



SOMETHING will have to be done about the one singie- 
talkie plot now in vogue. Al Jolson started it with "The 
Singing Fool." Here it is, with variations, with Eddie Dowling 
as a minstrel man with a breaking heart. Frankie Darro is the 
current Sonny Boy. Real talkie honors are won by Marion 
Nixon. The hokum is liberal in this film, but Dowling has a 
personality. 

56 



SOME fifteen years ago Max Figman created the principal 
role in this famous farce on the stage. Time has been kind 
to the drama. The situation, which concerns a gentleman who 
bets ten thousand dollars he can tell the absolute truth for 
twentv-four hours, is still hilarious. Tr>- it over on your vocal 
chords and see what happens. Richard Dix is at his best in 
this light comedy. Helen Kane is a hit. 



First and Best Screen Reviews Here 



MOTHER'S 
BOY— Pat he 

AH Talkie 




SATURDAY'S 
CHILDREN— 
First National 

Pari Talkie 



ANOTHER lad makes good in a night club and then be- 
comes a great big star on Broadway. Al Jolson discovered 
this plot. Here Morton Downey is the singer who makes good 
triumphs. Exactly like aU the other talkie plots except that 
Mort plays an Irish boy. Downey is a little hefty for screen 
popularity but, with a bit of reducing, a new plot and better 
recording, he has his chance. 



HERE we have Corinne Griffith in a slow moving part- 
talkie version of Maxwell .Anderson's prize play. Corinne's 
voice records nicely, but she seems altogether too bored as the 
working girl who tricks the boy. Grant Withers, into marriage. 
They quarrel continuously and separate but are reunited later. 
.fMrna Tell portrays the scheming sister who aids Corinne. 
Marcia Harris does well as the landladv. 



THE HOLE IN 
THE WALL— 
Paramount 

All Talkie 




^ 



■| 




NOT QUITE 
DECENT— Fox 

Pari Talkie 



IF it isn't a court room scene in the talkies these days, it's a 
melodramatic mystery, and "The Hole in the Wall" is one of 
the latter. This is the one about the crooks who do their skull- 
duggery disguised as spiritualistic mediums. The story is con- 
fusing, and the dialogue is weak. On the credit side we have 
fine performances by three newcomers from the stage — - 
Claudette Colbert, Edward G. Robinson and Donald Meek. 



ANOTHER version of "The Singin' Fool," with Louise 
Dresser as Al Jolson and June Collyer as an idealized Sonny 
Boy. Louise sings the theme song, "Empty Arms," with tears 
in her eyes and a choke in her larynx because her daughter 
(who doesn't know she's a daughter, mind you) has left her. 
And, to make the idea even more identical, she does it in black 
face! Mammy! We ask you, can you cope with it? 



THRU 

DIFFERENT 
EYES— Fox 

All Talkie 




THE TIME, 
THE PLACE 
AND THE 
GIRL— 
Warners 

All Talkie 



MR. FOX, running with the pack, gives us another all talkie 
full of murders, courtrooms and suspects. The only 
novelty in this picture is the fact that by flashbacks we see 
three versions of the killing — one the district attorney's, one 
the defense's, and one the true story. Warner Baxter and Ed- 
mund Lowe give excellent performances, and Mary Duncan 
does some of her usual flouncing around in few clothes. 



THE experiences of a jaunty bond salesman, fresh from the 
gridiron, with an unbreakable bump of ego. Lively college 
atmosphere, with Grant Withers playing football, singing, 
whisthng, and using his sex appeal ... all to good advantage. 
Betty Compson and Gertrude Olmstead are nicely contrasted. 
John Davidsongives an excellent performance. You will want to 
see this all-talking comedy drama. [ ple.\se turn to page 133 ] 

57 



$5,000 ///Fifty Cash Prizes 



RULES OF CONTEST 



1. Fifty cash prizes will be paid by Photoplay Magazinb, as follows: 

First Prize $1,500.00 Fourth Prize $ 250.00 

Second Prize 1,000.00 Fifth Prize 125.00 

Third Prize 500.00 Twenty Prizes of $50 each . 1,000.00 

Twenty-five prizes of $25 each $625.00 



2. In four issues (the June, July, August and 
September numbers) Photoplay Magazine is publish- 
ing cut puzzle pictures of the well-known motion 
picture actors and actresses. Eight complete cut 
puzzle pictures appear in each issue. Each cut puzzle 
picture will consist of the lower face and shoulders 
of one player, the nose and eyes of another, and the 
upper face of a third. When cut apart and properly 
assembled, eight complete portraits may be produced. 
$5,000.00 in prizes, as specified in rule No. 1, will be 
paid to the persons sending in the nearest correctly 
named and most neatly arranged set of thirty-two 
portraits. 

3. Do not submit any solutions or answers until after 
the fourth set of cut puzzle pictures has appeared in the 
September issue. Assembled puzzle pictures must be 
submitted in sets of thirty-two only. Identifying 
names should be written or typewritten below each 
assembled portrait. At the conclusion of the contest 
all pictures should be sent to CUT PICTURE PUZZLE 
EDITORS, Photoplay Magazine, 750 North Michi- 
gan Avenue, Chicago, 111. Be sure that your full name 
and complete address is attached. 

4. Contestants can obtain help in solving the cut 
puzzle pictures by carefully studying the poems appear- 
ing below the pictures in each issue. Each eight-line 
verse refers to the two sets of cut puzzle pictures appear- 
ing directly above it. The six-line verse applies generally 
to the four sets on that page. Bear in mind that it costs 
absolutely nothing to enter this contest. Indeed, the 
contest is purely an amusement. You do not need to be 
a subscriber or reader of Photoplay Magazine to com- 
pete. You do not have to buy a single issue. You may 
copy or trace the pictures from the originals in Photo- 



play Magazine and assemble the pictures from the 
copies. Copies of Photoplay Magazine may be 
examined at the New York and Chicago ofhces of the 
publication, or at public libraries, free of charge. 

5. Aside from accuracy in assembling and identifying 
cut puzzle pictures, neatness in contestants' methods of 
submitting solutions will be considered in awarding 
prizes. The thirty-two cut puzzle pictures or their 
drawn duplicates, must be cut apart, assembled and 
pasted or pinned together, with the name of the player 
written or typewritten below. 

6. The judges will be a committee of members of 
Photoplay Mag.\zine's staff. Their decision will be 
final. No relatives or members of the household of 
anyone connected with this publication can submit 
solutions. Otherwise, the contest is open to everyone 
everywhere. 

7. In the case of ties for any of the first five prizes, the 
full award will be given to each tying contestant. 

8. The contest will close at midnight on September 
20th. All solutions received from the time the fourth 
set of pictures appears to the moment of midnight on 
September 20th will be considered by the judges. No 
responsibility in the matter of mail delays or losses will 
rest with Photoplay Magazine. Send your answers as 
soon as possible after the last set of cut puzzle pictures 
appears in the September issue, which will appear on 
the newsstands on or about August 15th. The prize 
winners will be announced in the January, 1930, issue of 
Photoplay. 

9. No solution will be returned unless sufficient 
postage accompanies the solution and such request is 
made at time of submission. 



Cut Puzzle Pictures Are on Second and Third Pages Following This Announcement 



SUGGESTIONS 



Contestants should study the poems appearing in connection 
with the cut puzzle pictures. These are the indicators for 
identifying the contest puzzle pictures and winning prizes. 

Contestants will note that identifying numbers appear at the 
margin of the cut puzzle pictures. These numbers may be 
copied upon the cut portraits, with pencil or pen, so that, in 
pasting or pinning the completed portrait, it will be possible to 
show the way the cut pieces originally appeared. 

58 



As no solutions may be entered before the fourth set of puzzle 
pictures appears, it is suggested that contestants merely pin 
their solutions together until the conclusion. This will permit 
the shifting and changing about of pictures as the contest 
progresses — and will give time for lengthy consideration and 
study. 

Each cut puzzle picture is a portrait of a well-known motion 
picture actor or actress. 



jTSDWINA BOOTH 
^°, will be the only 
white woman in the 
cast of "Trader Horn." 
She has gone to British 
East Africa to play the 
role of ?iina T. in the ad' 
venturous story of the 
dark continent. Two 
years ago Miss Booth was 
a stenographer, then she 
worked as an extra player 
and now *he is appearing 
in one of the most glam- 
orous roles of the year. 
And that, in spite of all 
advice to the contrary, is 
why girls go to Holly- 
wood 




BuU 



Photoplay Magazine's New $5,000 Cut Puzzle Contest 







/ AND 2 

The hair owes her start to a Barrie built part. 
The eyes in a war play made good. 
The mouth has known scissors — just recently, 
And if you can't guess her. you should! 

The nair sailed from over the sea to our screen. 
The eyes came from Texas to star, 
The mouth knew a miracle once — and it took 
Herself, and her cast, very far! 



3 AND 4 
The hair is the sweetheart of millions of fans, 
The eyes once knew vaudeville fame; 
The mouth was first married to one who was blessed 
With a splendid, poetical name' 

The hair has cut loose from the long contract game. 
The eyes have just played a flirt's part; 
The niouth is unmarried — she's just twenty-one, 
But she's already made a great start! 



RESUME 
Three oj them are married — u/ia .'u.- uct divorced— 
And none ts quite blonde or brunette 
And two are old timers, from way bai.k ut scratch. 
And, say, they're both going strong yet! 
Three of them have blue eyes, one played little gtrls— 
And one is bere/l of her long golden curls. 



Complete Rules for Competition Appear on Page 58 




%.45»W 








1 AND 2 
The hair knew the stage for a number of years. 
The eyes went to Staunton M. A. : 
The mouth has made "Mammy" a national word. 
In concert and talkie and play. 

The hair first made good in a film full of strife, 
The eyes on a third wife are smiling; 
The mouth had no training, but won movie fame 
For his manner and looks were beguiling. 



3 AND 4 
The hair has walked out on a famous screen czar, 
The eyes more than once have been wed; 
The mouth is the hero of Rex Beachesque plots — 
He s the favorite of all, it is said. 

The hair has just done H B. Warner's pet r6le, 
The eyes know what wedding ring means, 
The mouth plays the lover, the vivid he-man. 
And he's dark and, oh, gosh, how he screens! 



Three oj them wer^ married {and lu\> mure than once!) 

And one is. as yet, unengaged- 

And one was in love wiih a blonde Nordu iiar - 

Who IS quite used to being Jront pag-^d' 

They all have dark hair — and just one. ^vtM oJ blue 

Ana he. by the way. is the one that's leuit new' 




Ruth Harriet Louise 



(^Tyi popular request, as they say, "Our Dancing Daughters" will be followed 

J~^ by "Our Modern Maidens," also an original story by Josephine Lovett. 

And, by way of clinching the success of the sequel, Anita Page will again 

play one of those tantalizing flappers, with Joan Crawford as the heroine of the 

picture 




Chester Morris as Chester 

Morris, a young family man 

who loves the little wife and 

kiddie 



loung 

^KlNG 

Leer 

How Chester Morris 

snarled himself to 

fame in the talkies 

By Leonard Hall 






Chester Morris as Chick 

Williams of "Alibi," who 

would kill a cop for a nickel 

or nothing 



AT the exact center of the talking picture hullabaloo 
sits a dazed and puzzled young actor named Chester 
Morris, the sensation of "Alibi." 
Young Mr. Morris feels as though he had been struck 
smartly behind and below the left ear with a bung-starter. 

Mr. Morris' sudden success is one of these overnight miracles 
produced by theover-a-couple- 
of-nights talkies. They make 
and break fast in these pin- 
wheel days, and Mr. Morris 
was one of the fastest hits on 
record — one of those screaming 
grass-cutters right over third 
base that are always good for 
three bags if the runner is fast. 

And now this thirty-year-old 
trouper, already a veteran, is 
one of the most sought after 
young men in pictures, on the 
strength of his superb leering 
and snarling in Roland West's 
all-talker of crime and copdom. 
It might be said that he has 
the world by the leers. In fact, 
it 75 said. I say it. 

At this moment, Chester is 
a bit goofy around the edges. 

Contracts explode in his face. 
Each bang on the door is just 
another wire from a producer. 

Earnest lady interviewers 
prowl the hallways and peer 
over transoms, lunging at the 
boy with poised pencils when- 
ever he pops out for the morn- 
ing milk. A little maddening 
to a young actor who never 
called out the reserves before, 
but he is game and happy. 

Though he did go up like a 
shot, Chester Morris' whole 
life had fitted him for success 
when the big break came and 
the fat part of Chick Williams 
tumbled into his lap. 




A son of a famous theatrical family, Chester was tossed on the 
stage almost before his voice had changed from an uncertain 
treble to a positive baritone. 

His first job of work, as a kid, was with Lionel Barrymore 
in "The Copperhead," that Civil War play which Lionel later 
did for the screen. He went on in all sorts of roles in all manner 

of plays — on Broadway, in 
stock and on the far-flung 
deserts of the road. 

In 1926 he began to special- 
ize in the crime roles that 
finally prepared him to do 
Chick Williams, that nasty 
little snake of gangland. 



TT r, 

Ifault. 



Chester Morris and the little woman at home. 

Their marriage tied two theatrical families. 

The wifelet's a trouper, too 



really wasn't Morris' 
He'd much rather play 
nice boys than cop-killers. 
Oddly enough, it was George 
M. Cohan who made a rat out 
of the lad — George M., who 
has always specialized in every- 
thing clean and American far 
into the per cents. 

"I'm afraid it will type me, 
George," said Morris. 

"No, it won't," said the 
silver-haired song and dance 
man. "And besides, I'll give 
you a nice, clean part in my 
next show." 

But it did type him, and for 
three years he was the leading 
stage exponent of youthful 
skullduggery — of rodent-like 
boys with slit eyes and curling 
lips. He murdered and seduced 
and took dope — this hand- 
some young fellow who loves 
his family, adores his mite of a 
wife, and thinks he has the finest 
mother-in-law on earth. (Her 
name is Cynthia Kilborn, and 
Morris is about right!) 

[ PLEASE TURN TO PAGE 107 ] 

63 




Russell Ball 



y^N amazing woman — Gloria Swanson — who has had everything 

(^^/^ and lost it and had it again. A trifle bitter, but a glorious 

fighter when she is forced to it. Her name is a synonym for 

luxury, she is envied by thousands of girls, but she is one of the most 

unhappy actresses on the screen 



6J^ 



What Next 

for 

Gloria? 



Her future is 
in your hands 

By 
Katherine Albert 



A GOOD many years ago a little, snub-nosed girl in a cheap, silk 
dress stood before a second-rate director and tried to look as 
if she had never worked in Keystone Comedies. 
It was useless, for the remains of custard clung to her sym- 
bolically. There was an over-developed muscle in the right arm. It got 
there from slinging pies. 

She could conceal her Keystone past no better than she could hide a 
vivid personality. In spite of the frouzy dress and the "very chick hat, 
dearie,'" Gloria Swanson had what it takes. 

She was given her first dramatic role. It was a decided departure and 
Gloria got it by a fluke. Up to that time screen actresses had been 
divided into two divisions. They were either nasty nice or dirty bad. 
The word "flapper" had not yet been coined. But Triangle had bought 
a story, the protagonist of which was a hoyden who, in spite of a gay 
exterior, was a nice girl after all. E.xecutives, fearful of trusting the 





Gloria Swanson's first dramatic 
picture was called "Smoke." In it 
she wore this outfit, described as 
"the first aviation bathing suit ever 
designed" ' 

role with one of their stock players, who could be 
nothing but good — oh, terribly good — or bad — just 
rotten bad — had called in an outsider. 

The outsider was the snub-nosed Gloria who tried 
to look as if her only acquaintance with pies was at 
the dinner table. 

And with the big dramatic part she was given un- 
heard of riches. She found that her weekly envelope 
contained, instead of the S35 Keystone had paid her, 
a neat $150. 

Gloria became, at that very moment, a motion 
picture star. Someone told her of the installment 
plan. She wanted a car and a home and clothes — ■ 
for which she had no taste at all — and luxurious 
furniture. And she had them, as she has had what- 
ever material things she wanted. She bought them 
simply by writing her name to little pieces of paper. 
It was as easy as acting. But when she was through 
she found that she had contracted to pay $165 a 
week on a $150 salary. 

Thus Gloria Swanson — who has always spent $165 
for every sS150 earned. [ please turn to page 124 ] 



She married the Marquis de la Falaise de la 
Coudray. It was a romantic marriage and, 
for a time, a happy one. Henry now spends 
much of his time in Paris, away from 
Gloria and Hollywood. For Gloria, men can 
only be a side issue 

65 




Golden 



A sophisticated 
story of Holly- 
wood, in which a 
modern Jason sets 
out to seek the 
precious prize 



ELSA DELMAR felt a de- 
lightful sense of triumph as 
she entered her big bedroom. 
It was not quite dark outside 
but the maid had drawn the cur- 
tains, and the fire leaping in the 
grate lighted up the lacquered 
furniture and jade and gold cush- 
ions. Elsa was aware, too, that it 
lighted her face in a flattering way 
and made her look rather beautiful 
and youthful. But then, happi- 
ness has a way of lopping off sever:il 
years from a woman's age. And 
Elsa was very happy indeed at that 
moment. 

She tossed her silver fox scarf 
across a chair, pulled off the little 
white feather ^turban which had 
received so many compliments that 
afternoon, and rang for the maid 
to bring her a cocktail. 

Life was really quite thrilling, 
thought Elsa, as she sank luxu- 
riously into a low cushioned chair 
before the fire, lighted a gold-tipped 
cigarette and watched the little 
spirals of smoke. It seemed such a 
short time ago that she had been just 
an extra girl, trying to make a pre- 
carious seven-fifty or ten dollars a 

day cover her needs. And then, with the swiftness that is Holly- 
wood, she had married George Delmar, who had become in the 
past two years one of the most sought after directors in the 
business. 

Elsa had given up the screen. She knew she was not really 
beautiful. Pretty perhaps, if you didn't take her to pieces. 
But she had found that when you are looking for a job in pictures 
they have absolutely no scruples about taking you to pieces. 
So Elsa had wisely concluded that she would be much happier 
out of pictures. She had everything she wanted — this beauti- 
ful home in Beverly Hills, a foreign car and a chauffeur, charge 
accounts at all the smart shops, and people saying, "Yes, Mrs. 
Dchnar'; a cottage at Malibu Beach, and the social prestige 
that goes with being the wife of an important picture director. 

66 




Itlustraled by 

Everett Shinn 

Of course she did not really have very much of George. His 
life was almost entirely absorbed by his work and while Elsa 
often suspected that lie was not always at the studio on the 
nights when he was supposedly working, she was clever enough 
not to check up on him. Not that she believed ignorance is bliss, 
but rather that it is folly to know too much. Most husbands, 
she was aware, chiseled a Uttle bit, and as some wisecracker 
said, love's time-table in Hollywood is subject to change 
without notice. 

GEORGE was always very discreet and he had a charming way 
of remembering to present her with exquisite gifts at frequent 
intervals. Once it had been a square-cut emerald surrounded 
by tiny diamonds, after he had been away on a location trip. 



.^LEEGER 



I 




By 

Grace 
Mack 



"^■fy.,- 



Then there had been that lovely string of pearls when he re- 
turned from a week-end of tuna fishing. And when he had 
completed his first picture with that sultr\' Spanish star he had 
surprised Elsa by giving her a gorgeous ermine evening wrap. 
There are women who would have suspected that these gifts 
were peace ofTerings for some amorous detour and would have 
spoiled everything by insisting upon explanations. Elsa 
merely kissed George and told him he was a perfect darling. 
That was probably why they got on so well together and why 
they were so often referred to as the ideal Hollywood couple. 

IT was true that many of the women in Elsa's crowd did a 
little detouring too. Some of them discussed their new thrills 
quite frankly. Elsa herself was very careful. If she sometimes 



Elsa introduced them. She 
wondered if George noticed how 
odd her voice sounded. He 
asked, "Is this the young man 
you were telling me about, 
Elsa?" "Why, I don't remem- 
ber," she lied. "That night we 
talked about a blonde man to 
play opposite Dalmores," he re- 
minded her. She remembered 
she had not mentioned any 
particular man. Was Georg; 
just being subtle? 



felt the primitive emotions which 
some of her friends confessed to 
rather proudly, she kept them care- 
fully leashed. There were times of 
course when she indulged in perfectly 
harmless flirtations — what woman 
doesn't? — but she always stopped 
before they approached fever heat. 
.V woman needs flirtations, she often 
said, to keep her young. 

MEETING that perfectly charm- 
ing Jason Castle at Gloria Kane's 
party that afternoon, for instance, 
had made her feel quite a different per- 
son. Apparently he was a newcomer 
to Hollywood. .At least it was the 
first time Elsa had ever seen him. 
She had learned very little about 
him for he had paid her the subtle 
compliment of talking about her 
instead of about himself. He was 
rather young — about twenty-si.x she 
imagined — tall and blonde, and 
terribly good looking in a Viking 
sort of way. 

The way he had devoted himself to 
. ; her so e.xclusively had really been 

very amusing. It was a new expe- 
rience for Elsa. She had become 
quite accustomed to the fact that 
wherever she went there would be women much more beautiful 
than she who would naturally occupy the center of the stage. 
This afternoon had been delightfully different. Even the soul- 
ful eyes of Donna Dalmores, who was the current Hollywood 
rave, had been unable to lure Jason away from Elsa's side, 
though they had very obviously tried. No wonder that Elsa 
felt a sense of triumph. 

She reached for her bag and extracted a little slip of paper on 
which he had jotted his telephone number. 

The next day when they were lunching together, not at the 

popular Montmartre where all the picture stars go to see and 

be seen, but at a charming, little hideaway tearoom. Jason said: 

"You're the kind of woman I have dreamed about in lonely 

moments " [please turn to page 126 ] 

67 



Reeling 



with 

Leonard 
Hall 




Just before the 
Famous Director 
woke up with a 
Dark Brown Taste, 
he heard the Star 
say, "No, pul- 
LEASE, Mr. Lang- 
worthy, no close- 
ups! Just let me 
stand over there 
behind that fat 
man with the 
wens, where I'll 
be out of your 
way!" 



euND 



Hollywood 

{By one who is there now.) 

Alice Whiles and Clara Bows 
Dripping these and them and those— 

Gilbert necking, Garbo slinking. 
Twenty thousand actors drinking — 

Sunshine thirty hours a day. 
Little work and plenty pay — 

Dix, Navarro, Billie Dove, 
Herbert Howe and Bessie Love — 

Swamis, yogis, Aimce, Couc, 
Gin and jazz and joy and hooey — 

It cannot be, whate'er the dope. 
As nice and nutty as I hope! 



Getting Personal 

Charlie Chaplin recently celebrated his 40th birthdaj' and 
had his dapple-gray hair dyed. ... A German physician is said 
to have deserted the Fatherland for Dolores del Rio, which is, 
as the old sea song says, Rolling Down to Rio. . . . Adolphe 
Menjou's favorite purp is named "Weenie." Obviously, hot. 
. . . Greta Garbo drives a Ford. . . . Phyllis Haver, retired 
blonde, was married to Billy Seeman by Mayor James "Jim- 
mie" Walker of New York, told the man she was 27, quit 
Douglas, Kansas, for her career and will live in a bungalow on 
a 17-story New York building. The spouse has millions, made 
in merchandise. He is 37. . . . Romances said to be on at the 
moment, but don't quote me — Lottie Pickford and Russell 
Gillard (Michigan Lumberman), Virginia Valli and Charles 
FarreU, Buddy Rogers and Florence Hamberger (non-pro- 
fessional), Viola Dana and Rex Lease and Pola Negri and 
Rudolph Friml, the famous operetta composer. . . . Lois Moran 
has opened a smart sports shop in Hollywood. . . . Dorothy 
Gish is going back to pictures, once more of the British make. 
. . . Eileen Percy is playing on the stage in Los ."Vngeles. . . . 
Leatrice Joy and Lita Grey Chaplin have been singing on stage 
and air, but that isn't the reason Marion Talley quit opera. 
E. Burton Steene was the greatest air cameraman in the busi- 
ness. He had dared death in shooting nose dives and tail spins 
in all the great air pictures from "Wings" to "Hell's Angels." 
Recently he died at the age of 43 — in bed, of heart disease. 
'Slife for you! . . . The best new bet in pictures recently . . . Kay 
Francis, brunette siren of the quiet-working type. Watch for 

68 



her in "Gentlemen of the Press" and Bow's new "Dangerous 
Curves." . . . There are no talking pictures in India, but 21 
companies are producing silent films there. . . . Pat Rooney 
and Marion Bent have been married 25 years. . . . Mary Duncan 
really fell out of an automobile and really was badly contused. 
. . . Lupe Velez has signed to make a series of records for Victor, 
she to get SI 5,000 and a cut the first year. . . . When Jolson's 
"The Jazz Singer" opened in Sweden, with no sound in Scan- 
dinavia, the music was furnished by a choir. . . . Josef von 
Sternberg is said to be the only Paramount director who carries 
a cane. He is also the only Paramount director named Josef 
von Sternberg, so what of it, anyway? Let's drop the whole 
thing right here! 



Our Monthly Libel Suit 

From unimpeachable sources I give you the pet names 
of the John Barrymore-Dolores Costello royal family. 

She is his "little egg." 

He is her "winkie-dee." 

Denials will be filed with Nelson, head of our Broom and 
Duster Department. 



Just Gagging Along 

"Charlie and I are good friends — perhaps we are learning to 
understand each other better" — Lita Grey Chaplin. This 
appeared in the New York Graphic. The story was signed by 
Lois BuU. . . . Paramount thinks the public is fed up with 
calling Clara Bow-do-de-oh-do "The It Girl," and looks for a 
new descriptive trademark. Among those it considers is "The 
Brooklyn IJonfire." Thanks for the kiss on the cheek — that's 
one of mine. I have a better. The sign on their own Rialto 
Theater in New York read— Clara Bow— "The Wild Party." 
. . . Louise Dresser is confined to her home after having been 
bitten by a cat. .'Ml right, Louise, what was her name? . . . 
M.-G.-M. has just sent S2S0 worth of cosmetics to Edwina 
Booth of "Trader Horn" in .\frica. Go on, there isn't that 
much face in the world! . . . Dorothy Parker, the wit, says she 
wants to write the theme song for "The Bridge of San Luis 
Rey." What would it be but "The San Luis Blues"? . . . Guy 
Oliver has just appeared in his 31Sth picture. Next he'll tell us 
he plaved the caboose in "The Great Train Robbery." ... In 
Chicago, during a showing of "Noah's Ark," the synchroniza- 
tion blew a tire. Big Boy Williams and George O'Brien were 
shown having a hot tiff when the screen said, in Dolo Costello's 
voice, "Kiss me again for France!" ... In Hollywood they call 
the camera booth the "doghouse." 



Do You 
^2)rink 
Enough 
Water? 



"Your diet should include at 

least two quarts of fluid every 

day" 

Says 

Dr. H. B. K. Willis 




HAVE you a problem of diet? Let Dr. Willis of 
PHOTOPLAY be your adviser. Write to him 
in care of PHOTOPLAY, 816 Taft Building, 
Hollywood, Calif. And be sure to enclose a self- 
addressed stamped envelope for reply. Dr.Willis 
will give your question his personal attention. 



""▼"T" '▼'ATER we're waiting for, oh, my heart?" 

\ \ / This should be the lament of the dehydrated 
^V^V dames and damsels of today who are thirsting to 
become thin, if you will pardon the distortion of 
Tosti's famous love song's first line. 

In this, the hey-day of the food faddists, the reductionists 
and the dietetic cranks, there are probably more fallacies 
extant about water and its proper place in the dietary than 
perhaps any other article of food. 

The reductionist commands you not to drink water if you 
would get thin because it is the element which gives weight to 
the body. 

The food faddist declares that over-indulgence in water will 
thin the blood and produce 
grave disease of the kidney. 

The dietetic crank advises 
limiting the fluid intake be- 
cause it interferes with the 
processes of digestion. 

Such statements are rank 
fallacies as well as being utter 
absurdities. But as a result 
of these contradictory dicta, 
he or she who would diet to 
preserve health is absolutely 
baffled and apt to exclaim in 
despair, "Water, water, every- 
where, nor any drop to drink." 
Water should be used freely 
both internally and externally. 
This discussion will be con- 
fined to its internal applica- 
tion. Its external employ- 
ment by my readers must be at 
the dictates of conscience. 

Water is a tremendously 
vital factor in the body nutri- 
tion. It is of greater impor- 
tance than the ordinary food- 
stuffs and is second only to oxy- 
gen when measured by the 



WHY do you need plenty of water? 
"First, because it is the best food 
solvent. Second, it is indispensable as a 
sewage fluid. Third, it is an important 
factor in the regulation of body tempera- 
ture." 

When should water be taken and how 
much is essential to health 1 

"Drink a pint of hot water in the 
morning, soon after you arise. Drink a 
glass of water before and after each meal 
and a glass between meals. At bedtime 
drink another pint of water." 

Is water fat-producing? 

"The drinking of water favors in- 
creased bodily activities and it is signifi- 
cant to note that all of the reputable 
reduction regimens call for a liberal 
amount of fluid." 



urgencv of demand and the proin|>lness with which disaster 
follows failure of supply. The normal diet should contain an 
adequate amount of fluid because water has at least three im- 
portant functions in the body. 

First, it is the best food solvent; second, it is indispensable as 
a sewage fluid; and third, it is an important factor in the regu- 
lation of the body temperature. It is the water in the body 
which not only carries the food elements to the body cells but 
also carries away from the cells the waste products of the life 
processes. .\11 chemical reactions lake place more freely in 
the presence of water and since the building-up and tearing- 
down processes, going on endlessly in the body in this con- 
tinuous performance which we call life, are largely chemical, 

we must have the medium 
present in which these chemical 
interchanges take place best. 
The importance of water to the 
body is so evident, the need 
of water so promptly recog- 
nized and so easily met, that 
little discussion is required. 



WATER is taken into the 
bod\- by wa\- of the large 
and small intestine, the stomach 
absorbing little or none. More 
than two quarts of water are 
lost to the body daily through 
the kidneys, the lungs, the skin 
and the bowel. Healthy indi- 
\iduals maintain a fairly accu- 
rate balance between fluid in- 
takes and outputs. As the 
output increases the individual 
instinctively drinks more fluid. 
When more fluid than is 
needed is taken, the output in- 
creases. 

You receive your water 
from three sources — from the 

( PLEASE TURN TO PAGE 131 ] 

69 




ow They Manage 

Walk right in — Mr. and Mrs. Walter Morosco 
want to show you their new home 




The "Whoopee Room" 
— so named by Corinne 
Griffith and Walter 
Morosco because they 
designed it specially 
as a playroom for en- 
tertaining their guests 
with games, cards and 
music. It is an amus- 
ing, gay room, in mod- 
ern French style, done 
in orange, black and 
silver 



WHEN Corinne Griffith and Walter Morosco de- 
cided to acquire a new home, they gave up a 
three-acre "estate" in favor of plain No. 912 N. 
Rexford Drive, Beverly Hills. An estate was a 
bit too pretentious for a couple who have to be away so much. 
" Besides, if neither of us earned another penny, we could 
live in this house for the rest of our lives," says Corinne, who 
believes in keeping one eye on the future. "The estate was 
too expensive." 

But they have made of the new home a luxurious treasure 
house. It stands on a large corner lot, surrounded by soft 
green lawns and shrubberj'. A rich contractor had built it for 
himself. "And we can brag that we have the best built house 
in California," Corinne says, laughingly. 

It was originally Spanish type, but Corinne didn't think 
'that suited her personality. The Spanish arches have been 
transformed into Italian squares — and Italy and Vienna form 
the prevaihng 7notif. An Italian-style front door is adorned 
with huge stone vases of growing ivy — for "friendship." 

BUT once inside, I want to begin with Corinne's personal 
bathroom. It is the room one remembers above all others. 
Picture, then, a circular domed room, with walls and ceiling 
panelled in rich gold moire silk, and carpeted with a thick, 
putty-colored velvet rug, specially water-proofed, so that 
Corinne's dainty toes need not touch cold tiles. 

The bath is sunken with an arched inset in the background, 
lined with mirror and glass shelves, whereon stand bath-salts 
of numerous rare perfumes, pink June Geranium soap, 
powders and glistening rows of cut glass bottles. 

The wash-basin is of soHd black marble, on crystal legs, and 
all the faucets and plumbing fixtures are of solid gold! There 
is an exquisite httle table of hand-painted Italian workman- 
ship and a gold brocade-covered chair. Pale blue taffeta 
curtains are at the window. 

Above the window are hand-painted wooden strips, de- 
picting "The Divine Lady" in her various portraits. 

In a more practical alcove stand the scales — inevitable 

70 



A Venetian palace of the Early Seventeenth 

Century contributed these handsomely carved 

green and gold doors, which form a picturesque 

background for Miss Griffith 



Their 



H 



omes 



By 

Alma 

Whitaker 



A view of 
it hardly 
within. 



piece of furniture in a lovely Hollywood 
star's home. The face towels are of the 
finest linen, monogrammed " C. G. M." 
The bath towels, of heavy terry cloth, have 
a border of red roses, which same design 
also ornaments Corinne's bathrobe. 

A soft rose-ecru carpet of delicate rich- 
ness covers the floor of Corinne's bedroom. 
Heavy rose-ecru silk drapes extend from 
floor to ceiling at the windows, with soft pale pink georgette 
crepe curtains between, veiling the sunlight. 

The Italian bed, three-quarter size, boasts flesh colored crepe 
de chine sheets and pillow slips, and the coverlet is of pink 
marabou feathers. Dozens of tiny pillows, in exquisite cases, 
are piled upon the one huge down pillow beneath. 

Drian engravings, in silver frames, adorn the walls. A fire- 
place, with Italian mirror and candelabra on the mantel, and 
in the center a perfume burner of wrought crystal that lights 
up a striking design as it burns; Italian settees, upholstered in 
pink brocade; a screen; a portrait of Lady Hamilton; and 
bedside tables supporting a lamp and clock on one side, flowers 
and a book, "Fabulous New Orleans," on the other; an Italian 





the outside of the house. Lovely as this picture is, 
prepares one for all the luxury and gorgeousness 
Yet elegance does not overshadow the hospitable, 
home spirit 



cabinet, with portraits of Walter and Corinne's mamma. 
It is here that Corinne sits up in bed at 7 A. M. to take her 
orange juice and toast — her only breakfast. Here, too, the 
Viennese cook submits the day's menus, the while Corinne 
crinkles her pretty brow, making suggestions and changes. She 
rises daily at 8 A. M. and, after the bath, steps into — 

THAT amazing dressing room. Here again the circular molij 
. . . the huge mirror being round, the stool and chairs low and 
round. The walls, between wall mirrors, are of cream and 
silver. Rose pink satin drapes ... a shelved glass stand 
beside the mirror to hold all the important cosmetics — tortoise- 
shell and silver toilet articles ... a silver hat hanger, and 

behind the wall mirrors, closets 
of every shape and size — for dress- 
es, shoes, underwear, scarves, 
handkerchiefs, belts, in alluring 
array. 

Stepping out into the carpeted 
hall, decked with chintz cur- 
tains, sofas and cabinets, the 
walls hung with quaint Boilly 
colored engravings, we come to 
a huge sun porch. Here stands 
a bed, designed for open-air 
sleeping for Walter, and covered 
with a large sheet to preserve it 
from the day's dust. 

Walter's bedroom is modern — • 
designed exclusively by Corinne. 
The furniture is black mahog- 
any and the walls are ivory. A 
gavl)' striped coverlet drapes the 
bed and a roomy jazzy-covered 
chair lends a dashing note. A 
bedside table holds a lamp and 

[ PLE.\SE TURN TO PAGE 78 ] 

The library. From the balcony 
one can comfortably watch mo- 
tion pictures, thrown on a 
screen in the "Whoopee Room" 
below. The projection machine 
fits into the removable upper 
panels of the library doors 

71 



Amateur Movies 

By Frederick James Smith 

Film eliminations progress in PHOTOPLAY contest — 
Club and College activities 



As this issue of 
Photoplay goes to 
press, the committee 
of judges in the $2,000 
Amateur Movie Contest 
still is examining the many 
entries from all parts of 
the world. 

Many more films were 
submitted than in Photo- 
play's first amateur con- 
test of a year ago. The 
average of merit is much 
higher. This is necessitat- 
ing a much more lengthy 
examination of the contest 
films than was necessary 
in the previous contest. It 
is hoped that, in the Aug- 
ust issue, this department 
will be able to present a 
full list of the contestants 
who have survived the 
preliminaries. From those 
who have won a place in 
the finals will come the 
idtimate winners. 




shots, made in haphazard 
fashion, fail to hold the in- 
terest. A good scenic is as 
difficult to create, edit and 
cut as a dramatic story. 
Perhaps more so. 

The outstanding point 
of merit in almost all the 
contest films is the photog- 
raphy. Amateurs are get- 
ting some amazing eftects, 
particularly with their six- 
teen millimeter cameras. 
Fade-outs, dissolves, mov- 
ing camera effects, angle 
shots and striking shadow 
eft'ects predominate. Am- 
ateurs know their cameras. 



A? 



Scene showing the making of "Incident," filmed by 
the Undergraduate Motion Picture Club of Prince- 
ton University for PHOTOPLAY'S Contest. Earl Bar- 
nouw plays the leading role in this production 



A MORE detailed report upon the contesting films will be 
presented later. However, it is possible now to say that 
the chief fault of the amateur makers of dramatic stories is lack 
of clarity. 

The amateur directors fail to tell their story concisely 
and clearly. This 
fault could be rem- 
edied by showing 
the film from time to 
time to friends who 
know nothing about 
the story. 

After weeks of work 
upon a f ilm , the 
amateur, just as does 
the professional 
photoplay maker, 
loses his perspective. 
He begins to think he 
is clearly relating an 
incident when, in 
reality, he is just pro- 
viding a confused 
slant upon it. At least 
several of the contest 
dramatic films failing 
to survive the pre- 
liminaries would have 
had a good chance for 
a prize had they been 
edited and had they 
been cut better and 
more expertly titled. 

The big error in the 
amateur making of 
scenics, it seems from 
this contest, is lack of 
a basic idea. A lot of 




Richard de Pole and Malcolm Lee Harvey in an interesting 

scene from the Little Screen Player production of "Bon- 

zabar the Beggar," submitted in the Photoplay contest. 

Mr. de Fole plays the title role 



T the University of 
Oregon a five to seven 
thousand foot standard 
width production is under 
way. This story, as jet 
untitled but put into 
scenario form by James 
Frank McBride, will re- 
late the experiences of a 
typical freshman during his first year. Naturally it will have 
plenty of authentic collegiate atmosphere. 

Five hundred and thirty students took screen tests for the 
important roles, and, from these tests, the cast was chosen. 
Dorothy Burke was selected for the feminine lead. She is a 

brunette type and un- 
usually attractive. 
\'erne Elliott has the 
role of freshman hero. 
Other leading rolt-s 
will be p 1 a _\' e d b >■ 
Phyllis Van Kimmell, 
who is to do an un- 
sophisticated fresh- 
man; Jewell Ellis, 
who will play an ultra- 
modern co-ed; Wil- 
liam Overstreet, as an 
athlete friend of the 
hero; and James 
Lyons, as the villain. 
The directors have 
the entire student 
body to call upon for 
extra roles. 

The film has the full 
sanction of the uni- 
versity officials. 
Beatrice Milligan, 
James Raley and 
Carvel Nelson are the 
students in charge of 
the production, while 
George Godfrey is 
faculty advisor and 
general superx'isor. 

[ PLEASE TURN TO 
PAGE 106 1 



Photoplay Magazine — Advertising Section 



un-ian 



73 



How to achieve a Smooth Cleai* Skin Toned to an Even Brown 



Jane Kendall Mason (Mrs. 
George Grant Mason, Jr.) is 
widely known as "the prettiest 
girl that ever entered the White 
House." Society favorite and all- 
round sportswoman, this enchanting 
blonde beauty ivrites, models in clay, 
paints and acts with equal success. 





It's smart to be sun-tanned! The fad be- 
gan out of a clear blue sky. A Parisian 
e/egantewas told to bathe in the summer 
sun till she was as brown as an Arab. 
Along with radiant health she achieved 
an irresistible new beauty which forthwith 
became the fashion. 

This summer everyone, everywhere, by 
lake and sea, in mountains and in coun- 
try, is seeking her place in the sun, toast- 
ing her skin to the delightful coppery tan 
most women find so becoming. 

The burning question is how to be ^ 
smartly sun-tanned yet keep your skin 
smooth and evenly browned. Its charm is 
ruined if it becomes reddened, roughened, 
dry or blistered. Yet, with constant expo- 
sure to the sun, all these disasters are in- 
evitable unless you give your skin the 
L^g>^^^^ Tight care. 
'/^^SSCl^k My own complexion is naturally fair, 

and my home is in Havana, Cuba, where 
the sun is strong. What with swimming, 
tennis, golf and motoring, you can imagine 
that to achieve the gypsy brown I love, yet 
keep my skin smooth and fine, does tak( 
^.-«s^^ care ! 
-'"^^X/Jk ■ But I have a simple "sun-tan secret" ■ 





the exquisite Cold Cream made 
by Pond's. 

Always before I go to the beach 
I coat my skin all over with a 
film of this pure, light cream. 
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After my day in the sun I follow 
my usual Pond's Method, just as I do 
the year round: — 

To avoid peeling, the immaculate cleans- 
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I spray mine on with a big atomizer. Last, 
I smooth in Pond's Vanishing Cream. It 
gives such a lovely finish for evening! 

Every skin needs summer care 

Whether or not you choose to go in for 
sun-tan, you should nevertheless give your 
skin special summer care. No way of 
doing this is swifter or surer than the four 
simple steps of Pond's Method: 
First — Pond's Cold Cream for pore- 
deep cleansing . . . Then, Pond's Tissues 
to remove dirt and cream . . . Third, 
Pond's Skin Freshener to banish any final 
trace of oiliness . . . Finally, Pond"s Van- 
ishing Cream for powder base, protection 
and exquisite finish. 
Here"s luck — and a lovely complexion 
to you all ! 



Four exquisite preparations for care of the sliin 



I • You know Pond's Cold Cream, for 
immaculate cleansing all year round. 
In summer it keeps your smart sun-tan 
smooth and even and prevents burn. 
2« Large, absorbent, snowy. Pond's 
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to your cold cream cleansing, re- 
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ing laundry and towels. 



3. Soothing and refreshing. Pond's fra 
grant Skin Freshener banishes oiliness 
after iising cold cream. Tonic and mild 
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When you TrTlt« to advertisers please mentlan PBOTOPLAT MAGAZINX. 




Gossip of All the Studios 



1 CONTINUED FROM PAGE 51 




To Africa for "Trader Horn"— 
To tropic isles for sea and sky — 
For there's no drama nearer home! 
Men merely love and laugh and die. 

MAE MURRAY has signed a contract to star for Tiffany- 
Stahl. We'Ubehearingsomethingbesidesthesputterof the 
Kleigs and the shouts of the directors in the vicinity of the 
studio. For Mae is about as calm as a broncho. During her 
regime at M.-G.-M. strong men were known to become nervous 
wrecks. 

The story goes that the late Marcus Loew, as kindly a soul 
as ever made a contract, swore undying loyalty to Mae because 
she helped dig him out of a financial hole in the old Metro days, 
by her good pictures. 

IT was her right to O. K. all stories, directors, wardrobe and 
even still pictures that concerned her in any way. One day 
she paused over a batch of proofs that revealed her left 
shoulder to say, "Ah, very nice, but that isn't my dimple." 

The photographer looked unhappy. " But the picture hasn't 
been retouched," he explained. 

"Of course, it's been retouched. I guess I know my own 
dimple. Mine is round and pretty. This thing in the picture 
is long and scrawny." 

And with that she left the set, found the offending negative, 
tore it into bits and jumped on it with both lier little heels. 

JOSEPHINE DUNN returned to M.-G.-M., after 
having been loaned to Fox, in a radiant mood. "The 
grandest thing happened. They tell me over there 
Siat I have sex appeal." 

THE film actors are now busy about the work of re-selling 
themselves for talking pictures by way of the speaking 
stage. 



Leatrice Joy and others have already had their whirl at the footlights and 
are back on the lots. Wanda Hawley, one of the ace blondes ten years ago, 
is appearing in Los Angeles in a show called " Illegitimate." Who should be 
appearing opposite Franklin Pangborn in "Tons of Money," an EngHsh 
farce, but our favorite Hollywood sophisticate, .Eileen Pringle? And the 
current fad for revivals is getting a Los .\ngeles play at the hands of Edward 
Everett Horton, \vith "Streets of New York," and with Enid Bennett as 
his leading lady. 

And they all hope that ninety' per cent of the audiences are cheerful talkie 
directors and the other ten happy and well fed dramatic critics. 

T'^HEY tell an amusing story about William Collier, Sr., \^■hen he did his 
-^ first picture work with Victor Schertzinger. 

He was considerably held down in his various scenes and when he asked 
why he was not allowed to put in all his bits of business the director told him 
it was to sa\'e footage. 

A few days later he said to Schertzinger, "I'm going to call you 'Vic. It'll 
save footage." 

TRYING BERLIN tells this one on himself. 

-'- When he was a little newsboy in New York the larger kids, annoyed that 
he sold more papers than they, ganged on him one day and threw him into 
the ri\er. He was finally rescued, but when the doctor arri\ed he found 
that his right hand was closed so tightly that it had to be pried open. 
They discovered that he clutched seven pennies. 
.\nd, he adds, this characteristic has been passed 
along. His little daughter fell down the steps the 
other day. The doctor was called. Her left hand 
closed. In it she held a bright new dollar her 
father had given her that morning. 



Keeping step 
with the fashions 
in sports clothes. 
Even on the 
beach Evelyn 
Brent wears sport 
shoes and thin 
woolen socks with 
wide, figured cuffs 



If I could play the saxophone 
And do a tap-dance all alone — 
If I could sing "Sweet Adeline," 
Or even moan and groan and whine 
About my Mammy's Alabama 
I think I'd try The Silent Drama! 

1 PLE/VSE TURN TO P.XGE 76 ] 




"Sound track" leather cuffs encircle the sheer silk 
socks worn by Raquel Torres. The zigzag design 
is like the voice reproducing lines on the edge of 
the sound films. And so Miss Torres may have 
music wherever she goes 



Photoplay Magazine — Advertising Section 



75 




liny lots 
NOW- 




Tomorrow tkeyll he Grown up 

Now that they are so small and hel[?- Sister's first tooth came through 

less, the time when they'll be and Junior frightened you to 

venturing out into the big, bewildering death by falling down the cellar 

world all by themselves seems far, far stairs. ; 

^' So get your Kodak out and / 

As a matter of fact, you'd rather not use it. Lay up a store of precious / , 

think of that time. As you hug them to snapshots for the years to come. i 

your heart today, you don't care much You haven't a Kodak.? Well, I A 

whether they ever grow up. They're so that's easily fixed. There's not ^/ 

adorable as they are that you put the a community in America where 

thought out of your mind, pretending to they can't be bought and the 

yourself that they always will be babies. cost is whatever you want to 

„, ^, o /^ • 7 ; / P^V- There's a genuine Eastman 

Lhey Change bo Quickly! camera, the Brownie, as low as , r • , 

D » ^\, u- u I. ■ J »u u u S7 and KndTW'; from S'i iin photo finishers are ready m every com- 

But soon the high cha.r and the baby- J52, and Kodaks from »i, up. l^ ^^ ^^ _^^^ y ^ ^^^^ 

carriage go up to the attic; a regular bed ■ ; r^ i- n,,',nl-U, -,rtA cHlfiril,^ 

replaces the crib; a regular bicycle the Nezv Kodaks With Fast Lenses quickly ana skutuiiy. 

outgrown three-wheeler. Dolls come and ^nd every Eastman camera makes ex- Don't forget that childhood lasts but a 

go and then one day you find that they, ^^^\^^^ sn.apshots. Particularly the Mod- ^■?,7 ^'^"^^ f™^' Tomorrow the children 

too, are relics of the past. ,,„ Kodaks. Their lenses are so fast that ^^^'^ „^,,J'°'''" "P^*^^"^ snapshots of 

The years flash by. Graduation Day you don't have to wait for sunshine. ^^"^ 
comes. Why, they were in kindergarten Fair weather or cloudy. Winter or Sum- 
just a short while ago! Then off they go mer, indoors or out, everyone can take EASTMAN KODAK CO Dent 232 
to high school. Childhood is now but good pictures with these marvelous new Rochester, N. Y. ' 
a memory. Kodaks. p,_.^^g ^^^j ^p_ Pj^Pj- ^^j without obli- 
HoZV Snapshots Help Kodak Film in the familiar yellow box gation, the booklet telling me about the 
^ ^ is dependably uniform. It has speed and Modern Kodaks. 
You look back wistfully to those distant wide latitude. Which simply means that 
years and try to remember what your it reduces the danger of under- and over- ^ 

youngsters were like. If you've left it all exposure. It gets the picture. Expert """' 

to your memory, how disappointed you 

are at the little you can recall. But if -g-^ y-w -j— ^ * -w-r Address 

you had the forethought to take plenty • 1^ C ./ I .J /% Iv * 

of snapshots, everything comes back to ^^ "^-^ 

you as if it were only yesterday that only Eastman makes the kodak City 2? 

When you write to advsrtlsers please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 74 ] 




The old and the new. At the right 
is Cecil De Mille's first camera, used 
in filming "The Squawman" sixteen 
years ago. At the left is his sound- 
proof talkie camera. With De Mille 
are Kay Johnson, Julia Faye and 
Peverell Marley 



When Clarence Brown raises this cap- 
tive balloon over the M.-G.-M. 
Studios, all airplane pilots fly at a 
height of more than 2,500 feet in the 
quiet zone of the talkie stages. This 
is to keep air noises from interfering 
with production 



"pROM the stages of California to the offices of New York is just another 
■'- sleeper jump for the film stars and their bosses. 

Mary and Doug, for instance, leap back and forth three or four times a 
year. 

Among the best known of those who ferry our favorites to and fro 
across the country is Uncle Bob Harper, an elderly gentleman of color 
who presides over the compartment-observation car, "Golden City," of 
the Golden State Limited. 

UNCLE BOB has hauled many of the biggest and best, and likes to tell 
about the stars and their quaint ways. He is proud of having made 
the beds of the mighty. 

He was most impressed by the last sweep of Pola Negri eastward, as she 
headed for Europe and her reentry' into foreign films. The entire resources 
of the good car "Golden City" were turned over to the Perilous Pole — it 
was occupied by Pola herself, her prince-husband, a secretary, a maid and 
a \'alet, and Harper allows as how he never heard so many bells ring at 
once in all his born days. 

Uncle Bob still talks about that trip of Pola's as he \vields the duster. 
He is firmly convinced that Negri was leaving pictures and was on her 
way to take a queen job in some of those foreign parts. 



A battery of cameras, with their sound-proof overcoats, on location 

for "The Wheel of Life." The covering is made of asbestos, cork 

and cotton, with air cells 



FOLKS are always getting the tliree 
Young sisters mi.\ed up. From a 
distance Loretta looks hke Sally Blane 
and like Polly Ann Young, and viic 
versa, if you get what we mean. It is 
something about the eyes. Yet when 
you put them side by side the Ukeness 
vanishes — almost. 

Because of this problem of long- 
distance resemblance the girls make it 
a rule to speak to whome\er addresses 
them, regardless of whether they are 
called by their own name or by that of 
a sister. 

Many complications develop de- 
spite efforts of the girls to ease the 
situation. The person addressing one 
of the girls may say, "You certainly 
look Ulce your sister Loretta, onl>- 
you're prettier." Which diplomatic 
remark is calculated for a sure-fire 
compliment. Imagine the perso.i's 

[ PLEASE TURN TO PAGE 84 ] 



76 



Photoplay Magazine — Advertising Section 



11 




0^^4\ 




IN some mauve and gray salon, you 
may loll for hours while dexterous 
fingers smooth the years and troubles 
from your brow. Or, at home you may 
use, yourself, good creams and pure, to 
freshen your complexion and to make 
smooth your skin! 

And in both cases you may be wrong 
— through no fault of the creams nor of 
the technique! For many a woman un- 
justly blames her lotions and her creams 
while the fault is her own — and directly 
her own! — in that she has failed to keep 
herself immaculately clean internally! and 
has thus robbed her creams and un- 
guents of their powers! 

She, then, should know the good ef- 
fects of Sal Hepatica, which doubles the 
potency of every lotion and unguent she 
pats on her skin. By cleansing the system 
of the poisons and waste, it clears the 
complexion of defects. It keeps the skin 
pure and youthfully translucent. 

Sal Hepatica is the American equiva- 
lent of the famous European spas 

In the natural saline springs of Europe, 
Sal Hepatica has a wonderful precedent. 
These famous spas — Vichy, Carlsbad, 



h 



eaii 




er 



ni wiinui 



'tab 




Weisbaden — have for years and years 
drawn the fashionable and distinguished 
people from the four corners of the earth 
to "take the cure." Our own physicians 
—as well as the physicians of Europe— 
heartily recommend the saline method 
for restoring the complexion to natural 
beauty and for correcting a long list of 
human ills. 

Constipation, colds and acidosis, 
rheumatism, headaches, and auto-in- 
toxication give way. Digestions are 
regulated. Sluggish livers respond. 
Good spirits return. Complexions 
bloom ! For salines, because they purify 



Sal Hepatica 

V -^ III £) 1929 

When you write to advertisers please mention PIIOTOPLAT MAG 




the bloodstream, are generous doers 
of good to the entire body. 

VJet a bottle of Sal Hepatica today. 
Keep internally clean for one whole 
week. See how much better you feel, 
how your complexion improves. Send 
the coupon for the free booklet that ex- 
plains the uses and benefits of Sal 
Hepatica as the standard laxative for 
your entire family. 



Bristol-Myers Co., Dept. G-75, 71 West St., N. Y. 
Kindly send me the Free Booklet that explains 
more fully the many benefits of Sal Hepatica. 

Name 



Addresi 
City 

AZINE. 



-State_ 



How They Manage Their Homes 



[ CONTINUED FROM PAGE 71 



-,.?'^.-««.,3lir 




Sumptuous is the 
only word that 
describes this 
circular, domed 
bathroom, adjoin- 
ing Miss Griffith's 
dressing room and 
boudoir in her 
Beverly Hills 
home. Walls and 
ceiling are of gold 
moire silk, and the 
carpet is water- 
proofed. The basin 
is black marble 
with solid gold 
faucets and fixtures 



On this floor, too, is a house-guest room, not 
yet completed, and the library. (No servants' 
quarters — these are over the garage.) 

This library has one wall devoted to books — 
sets of Beaconsfield, Ambrose Bierce, Oscar 
Wilde, Flaubert, Samuel Pepys, as well as 
books of the stories that have been made into 
pictures for Corinne, such as "Black Oxen." 

Two large gold-plush chairs, cretonne drapes, 
an oriental cabinet mth mirror and a dainty 
table form the furnishings upon .a cafc-au-lait 
carpet. This room has a railinged balcony 
looking down upon the "Whoopee Room" 
below — and from it, via two removable panels 
in the doors, pictures can be projected upon a 
screen in the lower room. 

Now we will go downstairs, sauntering grace- 
fully down the winding Italian staircase to the 
hall below. Here, facing the front door, we see 
the famous doors, imported from a Doge's 
palace, and made in 1600 A.D., which lead to 
the living and dining rooms. There are also a 
mirror and a screen from this same source, in 
the living room. These doors are square and 
the Spanish arches, originally there, were 
changed to fit into the period scheme, gix'ing 
entrance to the Italian-French- Viennese living 
room, all soft greens and golds. 

Heavy brocade silk drapes in these delicate 
shades adorn full length windows, looking out 

[ PLEASE TURN TO P.\GE 101 | 



the Bible. A bookcase holds books by many 
modern authors. Pictures of Corinne in 
various guises adorn a desk, above which hangs 
a round mirror. Portraits of Oscar Wilde, 
bought in Paris, and some rare tile pictures, 
adorn the walls. Reading "lamps, flowers, 
smoking paraphernalia stand upon a low table. 
Walter's dressing room has all built-in equip- 
ment — wardrobe, drawers, wall mirrors galore. 
The bathroom is round, too; a separate glass 
room holds the shower. Pale blue prevails. 

Ne.xt to this is the guest dressing room where 
visitors leave their wraps and pretty up. It is 
panelled in rich silk from floor to ceihng, and 
besides the closets, many pieces of precious 
furniture and a rare ItaKan desk abide here. 





Miss Griffith's bedroom combines 
the softest flesh pink colorings, en- 
chanting touches of silver in picture 
and mirror frames, exquisite pieces 
of carved crystal. Near the mantel 
is a portrait of her as Lady Hamilton 
in "The Divine Lady" 



The modern version of a masculine 
bedroom, as designed by Mrs. 
Morosco for the man of the house. 
The furniture is black mahogany; 
the walls are ivory. The bedspread 
is colorfully striped and the chair 
covering is gay and jazzy in pattern 



78 




loted 
Berlin beauty specia list 

send!^ America a 2-niinufe #! 
home beauty treatment ••• 





"Foundation cleansing— the daily 
elimination of all pore-clogging dust, 
powder and rouge — by one means 
and one means only, daily use of the 
soap blended of palm and olive oils— 
Palmolive! . . . / urge all my clients 
to use it as well as my own Pasta Di- 
vina and Eher Cucumber Emulsion." 

Berlin W. 1 58 Kaerntnerstrasse 
Rome-Prague- Vienna-Santiago 




YOUR facial loveliness, according to 
the celebrated Elise Bock, depends 
upon "foundation cleansing." And foun- 
dation cleansing depends on the daily use 
of a soap blended of palm and olive oils. 

The smartest women of the Mid-Euro- 
pean world take all their beauty problems 
to Elise Bock of Berlin. Madame Bock's 
salons de beaute inRome,Prague,Vienna 
and Santiago are well known to women 
of fashion, who consult her constantly. 

Known throughout the world 

Many of our own lovely women go to 
Vienna and hear from Pessl this same 
truth. Madame Jacobson, of Lo?i(/oH; Masse oi Paris; 
Attilio, of i?OOTf; de Neuville, of 5/. AIor/>2/ Lina 
Cavalieri, of P^ra— these are just a few of the out- 
standing beauty specialists who advise twice-a-day 
use of one soap— and one soap only— Palmolive! 
Leading American specialists have long agreed on 
the importance of palm and olive oils in cleansing. 
These are the reasons why Madame Bock stresses 



All IWiddk Europe seeks the 
refinements of beauty in the 
Berlin establtshment pictured 
above, the salon ofEltse Bock, 
at 138 KaerntnerUrasse. 



the importance of 
"foundation cleans- 
ing." Powder and 
rouge gradually work 
their way into the 

pores. Only apart remains on the surface. The rest 
combines with dust, dirt and oil. And soon, tiny, 
stubbornly hard masses form. Unless one washes 
the face this special way morning and evening — 
blackheads, pimples, dreaded blemishes appear! 

A famous 2-minute rule 

This is the 2-minute home beauty treatment Elise 
Bock herself would give you in her select studio de 
beaute: massage the warm creamy lather of Palmolive 
into the pores with both hands, for about two 
minutes. Then rinse thoroughly, first with warm, 
then cold water. That is all. 

What Elise Bock tells her Mid-European patrons, 
Paris long has known, for today, in France— home 
of cosmetics, leader in soaps and elegant toiletries— 
Palmolive is oneof the two largest selling toilet soaps 
... it is first in the UnitedStates and 48 other countries! 



PALMOLIVE RADIO HOUR -Broadcast every Wednesday night-from 9:30 to 10:30 p. m., eastern time; 8:30 to 

9:30 p. m., central time; 7:30 to 8:30 p. m., mountain time; 6:30 to 7:30 p. m.. Pacific Coast time — over WEAF and 

37 stations associated with The National Btoadcasting Company. 



HELP YOURSELF TO HEALTH 





\^ 



Join the crowd when sum- 
mer days beckon to action. 
Help yourself to health. 
Eat these better bran flakes 
made by Kellogg in Battle 
Creek. 

You never tasted such 
delicious bran flakes. They 
have that famous flavor of 
PEP. Crisp and tasty to the 
last spoonful. 

Rich in nourishment too. 
You get the healthful ele- 
ments of the wheat. Plus 



just enough bran to be mildly 
laxative. Let the whole 
family have these bowlfuls 
of health at any meal. Ready- 
to -eat with milk or cream. 
Delicious with honey. 

Ask for Kellogg's Pep 
Bran Flakes. Sold in the 
red-and-green package. 

401099' 

PEP BRAN FLAKES 




Important— Ke/Zogg's Pep Bran 
Flakes are mildly laxative, all-bran 
—another Kellogg product — is 100% 
bran and guaranteed to relieve con- 
stipation. 



A Summer 
Tonic 

for the 

Complexion 



PHOTOPLAY'S Cook Book 

recommends new green 

vegetables, fresh juicy 

fruits 



-»?"^r. 




Style Note for Cooks! Alice White's perky 

Easter bunny cap may not add spice to her 

cooking, but there's no doubt in our minds 

that it adds charm to the cook 



HERE is a variety of dishes to tempt capricious summer 
appetites — at luncheon, tea or supper. 

Alice White has given us her recipe for Fresh Peas on 
Toast, a light but satisfying dish around which to build the 
healthful all-vegetable luncheon. 

Cook the peas in an uncovered pot until tender, and salt 
to taste. The brilliant green color can be retained by adding a 
tiny pinch of soda. Drain, and for every pint of peas add a pint 
of sweet cream, seasoned with a dash of pepper, salt and butter 
and thickened slightly with flour. Toast thin slices of white or 
wholewheat bread; place on individual plates and cover 
generously with the hot creamed peas. Serve at once. 

IRENE RICH says that Salad a la Philippine is a real "skin 
food" and should be indulged in frequently. To serve two 
people, she uses: 

A narrow strip of red pepper 
A narrow strip of green pepper 
' 2 orange 2 tablespoons olive oil 

2 halves fresh or canned pears The fruit's juice 

Salt and paprika 

Remove the pulp from the grapefruit and orange without 
breaking the membrane. Cut the pear in lengthwise slices. 
Cut the endive in halves, discard the outer leaves and wash 
with care. Place the endive halves on plates; set the pear, 



1 head endive 
] 2 grapefruit 




Photoplay Magazine 

750 N. Michigan Ave., Chicago, 111. 

Please send me a copy of Photoplay's Cook 
Book, containing 150 favorite recipes of the stars. 
I am enclosing twenty-five cents. 



Be sure to write name and address plainly. 
You may send either stamps or coin. 



fan shape, over these. Back of the pears place a section of 
orange pulp, and a section of grapefruit just above the tips of 
the leaves. To the fruit juice add the olive oil and salt; beat 
vigorously, and pour over the salad. 

PINEAPPLE TRIFLE is the lovely name of a fruit dessert 
that Bessie Love loves! You'll love it, too, when the mer- 
cury runs close to the top of the thermometer and none of the 
usual sweets allure. The ingredients are: 

6 tablespoons pineapple juice 2 eggs 

3 tablespoons sugar 32 pint cream 

Assorted fruits 

Cook pineapple juice, sugar and eggs in double boiler until 
mixture thickens. Set aside to chill. Just before serving, whip 
cream and add. Cut the chilled fruit in small pieces — you may 
use strawberries, pineapple, oranges, or any fruits and berries 
in season. Add the fruit to the mi.xture and serve. This 
dessert is made practical at any season by using the fresh fruits 
that are available, or by substituting some canned ones. 

AND to cool a parched throat, what could be more welcome 
than a long, cold drink of Tennis Punch, made according 
to the censor-proof recipe of Richard Barthelmess? The juicy 
pineapple forms the basis of this one, also. Select a pineapple 
that is large and ripe. Peel and cut into cubes. Make a quart 
of fresh tea, which should be strained twice after fusing. Add 
to the pineapple one pint of fresh, crushed strawberries; four 
ripe bananas, which have been halved and sliced very thin; one 
pint of unfermented grapejuice. Let all stand for at least an 
hour. 

^Meanwhile, boil in a porcelain kettle one quart of water with 
two pounds white sugar, grated rinds of one lemon and one 
orange. Strain this and set aside to cool. At serving time, add 
to the syrup the juice of six lemons and four oranges; then add 
the tea and fruit mixture, with suflicient cold water to make a 
refreshing drink. Serve in tall glasses filled with cracked ice. 
and garnish with fresh mint leaves. 

YOU will find 150 favorite recipes of the stars in Photo- 
play's Cook Book — novel ways of preparing and serving 
eggs, fish and meat; recipes for soups, salads, desserts and 
candy; attractive vegetable dishes and combinations; cakes 
and hot breads. Just fill out the coupon on this page, enclose 
twenty-five cents to cover cost of book and mailing, and a Cook 
Book will be sent you at once. Carolyn Van Wyck 

81 



82 



Photoplay Magazine — Advertising Section 



"Lovely smooth skin 

fascinates," say 
39 movie directors 

"Nothing is so important to a girl's 
loveliness as exquisitely smooth skin," 
says Frank Tuttle, director for Para- 
mount, and sums up what 39 leading 
directors have found out from their ex- 
perience with motion pictures. 

"Every screen star," he goes on to 
say, "knows that people love it above 
everything else. And because make-up 
is of very little use under the strong glare 
of lights in a close-up, a star's skin must 
always be rarely beautiful." 

This is why nine out of ten lovely 
screen stars use Lux Toilet Soap — it 
keeps their skin flawlessly smooth, al- 
ways in splendid condition. 



Laura La Plante, famous Universal 
star, enjoying Lux Toilet Soap in the 
modernistic bathroom which is among the 
most interesting seen in Hollywood. She 
says: "I've used the famous soaps of 
France, and know that Lux Toilet Soap is 
made the same way. It gives my skin the 
same marvelous smoothness." 

Photo by R. Jones, Hollywood 





Photo by O. Dyar, Hollywood 

Mary Brian, Paramount star, in the luxurious bathroom 
which is one of the most beautiful built in Hollywood. 

"The charm of a perfect skin is a business necessity to a 
star. That's why so many stars guard the smoothness of their 



skin with Lux Toilet Soap 
— it certainly keeps 'stud 
skin' in perfect condition 



—it certainly keeps 'studio /T't^i/ciL^ ffCf-^ 






Lux 



Evtrr adurti>ement in PHOTOPLAY MAGAZINE Is guaranteed. 



I 



Photoplay Magazine — Advertising Section 



83 



In Hollywood 

— where lovely skin is essential for success — 
9 out of 10 screen stars use Lux Toilet Soap 



THEY stream into Hollywood, 
beautiful girls from everywhere 
over the country— all with one idea 
inside their lovely heads. They are 
going to become motion picture stars. 

And they find out at once that 
there is one thing they must have if 
they are ever to succeed on the screen. 
They must have exquisite skin. 

"The most appealing beauty 
any girl can have is exquisitely 
lovely skin," says Herbert 
Brenon, well-known United 
Artists' director — summing up 
the directors' experience. "To 
survive the merciless test of 
the close-up — with the huge 



incandescent lights pouring down 
on her — a screen star must have 
rarely beautiful skin," Brenon goes 
on to say. "The beauty of her skin 
distinguishes every star I know." 

This is why 442 of the 451 impor- 
tant actressesin Holly wood, including 
all stars, are using Lux Toilet Soap. 
They find that it keeps the skin appeal- 





ingly soft and smooth, so that even 
the close-up reveals not a single defect. 

Nine out of ten lovely screen stars 
are devoted to this white, fragrant 
soap — and all the great film studios 
have made it the official soap in their 
dressing rooms. If you aren't already 
an enthusiast about Lux Toilet Soap, 
which is made by the famous French 
method, get several cakes to- 
day. You'll be charmed with 
its gentle care of your skin. 
And it gives such very abun- 
dant lather, even in the hard- 
est water! Lfse it for the bath, 
too — and the shampoo, as the 
fastidious screen stars do. 



Lya de Putti, beautiful Columbia 
star, says: "I find that Lux Toilet 
Soap is wonderful for my skin — it 
keeps it so marvelously smooth." 



Photo by R. Jones, Hollywood 

Mary Philbin, charming star with Universal, says: 
"Whether a star's skin is creamy, olive, or pink and white, 
it mini have marvelous smoothness. I entrust mine to 
Lux Toilet Soap— it's such a lovely soap." 




Greta Nissen, beautiful screen 
star, says: "Lux Toilet Soap feels 
delicious to the skin and makes mine 
so wonderfully soft and smooth." 



Toilet Soap 



Luxury such as you have found only in French 'i f\^ 
soaps at 50(f and ?i.oo the cake . . . now XAJy 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 76 J 



embarrassment, however, when the gal re- 
plies, "Oh, you think so, do you? Well, 
I'm Loretta herself, so there." 

Fortunately Loretta works at First 
National and Sally is with RKO and Polly 
Ann free lances, so that keeps them from 
getting mixed up in each other's roles. 

HOLLYWOOD has two famous 
wits, Arthur Caesar and Wil- 
son Mizner. Such is the price of 
repartee that one of them works 
for Columbia and the other runs a 
restaurant. 

HOPING to give Dolores Del Rio a 
treat, while the star was filming 
"Evangeline" in Louisiana, a Spanishgirl 
brought her some piping hot tamales and 
some homemade chili-con-carne. 

"I thought that being Mexican, you 
would enjoy some real Mexican food," 
the donor of the tamales and chili said. 
"I do appreciate your thoughtfulness. 




On this page you'll find three studies in making 
faces. Here you see the make-up man, with his 
little black box of magic, adding eighty years to 
the age of Anita Page. She is being fixed up to look 
like Barbara Frietchie, and the cameraman will be 
called upon to shoot her old gray head 



And here is John Gilbert as Fedya in 
Tolstoi's "Redemption." The beard is 
all too real and must be worn in and out 
of the studio. Things like that tempo- 
rarily wreck an actor's social life 



my dear," replied Dolores, 
hfe!" 



' but I never ate a tamale or chili in my 



"pINIS FOX, who writes all of Dolores Del Rio's opuses, and Edwin 
■*- Carewe, who produces 'em, were discussing the talkies the other 
day. 

"Should we make 'em?" Carewe asked Fox. 

"Why shouldn't we?" Finis piped back. "I don't know any one in 
the industry who can out-talk us!" 

WHEN Lupe Velez and her companion, Helen Rupert, were 
returning to Hollywood, they had all of their meals served in 
their drawing room. Each evening, in [ please turn to page 94 ] 

84- 




Showing the ravages of grease-paint, not time, 

on the face of Dolores Del Rio. Miss Del Rio 

wears this make-up in the final tearful episode 

of "Evangeline" 



Photoplay Magazine — Advertising Section 



85 



Jntelligent women let 

their tooth paste buy their cold cream 




LISTERINE 
TOOTH 
PASTE 



So many things you can buy with that 
$3 you save by using Listerlne Tooth 
Paste instead of 50 cent dentifrices. 
Cold Cream, for example. Talcum. 
Handkerchiefs. Hose. 



One trial 
convinces 
you of its 
exhilarating 
after effect 



You probably know that wonder- 
ful feeling of mouth cleanliness 
and exhilaration that follows the use 
of Listerine. 

Now that delightful sensation is 
brought to you by Listerine Tooth 
Paste— 25 cents the large tube. 

Try it one week. Note how quickly 
iTcleans. How it removes all traces of 
discoloration and leaves teeth gleam- 
ing. How it invigorates the entire oral 
tract. 

Millions, finding that Listerine Tooth 
Paste gives such pleasant results have 
rejected older and costlier favorites. 
The average saving is $3 per year per 
person. 

We'll wager that once you try it, 
you too, will be convinced of its merit. 
Lambert Pharmacal Company, St. 
Louis, Mo., U. S. A. 



When you write to advertisers please mention PHOTOPLAY MAGAZtNE. 



Rosie Rolls Her Eyes 



scrutinized her rival, and the longer she looked 
the better she felt. Miss Bellairs had resorted 
to heliotrope, the favorite color of near-middle 
age, and a floppy-brimmed hat of that shade 
soften£d her rather weary countenance. In 
addition, a narrow band of ribbon encircled a 
slightly corded throat and her eyes had the 
dilation caused by excessive ogling of the first 
three rows. 

The lustrous Rosie chuckled happily, and 
reminded herself that the beauty standards of 
screen and stage were as far apart as good 
music and a theme song. 

""DY the way," said Magnolia, cutting into 
-'-'Mr. Zoop's prosperous monologue, "isn't 
Emerson Slipe your tone expert?" 

"I had one of them birds shipped along with 
the machinery," admitted Abie. "Names I 
don't bother with until they've done some- 
think. Why?" 

"He called on me and my company," 
twittered the lady, "and he promised to — " 

"So it's commcncink, ha?" groaned Mr. 
Zoop. "Listen, baby, Hollywood is paved 
with promises and the ventilation is hot air. if 
you get me. Some of them Eastern geniuses 
would make you a present of my studios, to 
hear them talk, but don't you give them a 
tumble. Be deaf, baby, but don't be dumb." 

Presently the car swerved in at the hotel's 
private driveway and the next thirty minutes 
was devoted to the ensconcing of Miss Bellairs 
with appropriate ceremonies. This was ac- 
complished by loud wrangling, orders and 



[ CONTINUED FROM PAGE 47 ] 

counter orders and the constant repetition of 
the Bellairs name until, by the time its bearer 
had disappeared in an elevator, the armchair 
fleet in the lobby was clearly impressed. Then, 
his duties as field marshal at an end, Mr. 
Zoop clambered aboard his automobile and 
oozed gratefully back against the cushions. 

"And has her voice a tinkle-tonkle!" he ex- 
claimed. "Believe me, Rosie, I'm surprise! at 
my own astonishment — it sounds at least like 
an angel playink on a .xylophone. And did you 
give a glance on that rose point scarf — not less 
than one eighty-seven-fifty wholesale." 

" 'S wonderful," enthused Miss Redpath, 
"and so was that flesh tinted crepe." Her 
pansy eyes crackled with delight. 

Abie watched her suspiciously. "What's all 
this googHnk about?" he inquired. "Not even 
through these turtle shell rims did I sec any 
crepe." 

"Being a man, you wouldn't," said Rosie 
sweetly, "but take a good look next time you 
see her. She'll always be wearing it, dearie — 
it's sagging right under her chin." 

"KAR EMERSON SLIPE pivoted daintily on 
•'■''•'■sport shoes that had never left a sidewalk, 
and surveyed the apprehensive players gath- 
ered in the center of the bleak stage. 

Miss Bellairs, having risenat seven-thirty for 
the first time in years, sat aloof and half awake. 

The others rallied themselves around the 
director and listened sulkily to the \visdom 
being tossed at them. 

"Before we start," said Mr. Slipe, "here's 



how the land lies: When the curren is on 
every sound you utter is caught by one of these 
six microphones overhead and carried down 
to the recording chamber in the basement. On 
the way it passes through my monitor booth." 
He indicated a small room built into a side wall 
high enough to overlook the entire set from 
behind its large sheet of plate glass. "Now, 
what I don't hke you'll have to do over; that's 
all you need to know, so try and please me. I 
may as well add that none of you will be al- 
lowed in the booth, so don't come snooping 
around." 

" A NY other orders?" queried the director, 
-'•■sarcasti ally. 

"Yes," squeaked Emerson, "sit down and 
shut up. Come on, you stiffs, let me hear the 
scenes of the play in order. We're not using 
any cameras and there'll by no recording to- 
day, so snap into it.'' 

Ten days study had brought the players 
well up in their parts and they handled each 
scene as though determined to impress the 
arrogant Jlr. Shpc. For hours the soundproof 
studio, hung with monk's cloth to deackii 
echoes, throbbed with the bass trumpeting of 
Mr. Hoople and the resonant baritone of 
Carlos Cabrillo. In vivid contrast trilled the 
richly seductive alto of Joyce Cleary and 
ilagnolia's silvery cadenzas, whUe the lesser 
players enunciated with the proper tinge of 
inferiority. Then at four o'clock, when the 
hissing of many atomizers heralded the ap- 

1 PLEASE TURN TO PAGE 96 I 



Silent Clothes for the Talkies 



CLOTHES must be seen hut not heard. That is the dictum 
of the talking movies. And with it started Charles 
LeMaire's troubles. 
Mr. LeMaire is a costume designer who has been working on 
"The Cocoanuts," starring the four INIar.x Brothers, at the 
Paramount Sound Studios on Long Island. One of the interest- 
ing things about the stage production of "The Cocoanuts" 



anet 




was the colorful costuming, so I determined to find out how 
Mr. LeMaire proposed to transfer all this beauty to the 
talking screen. 

"With the talkies," began Mr. LeMaire, "it is important to 

remember that clothes must be silent. When 3'our favorite 

heroine is pressed against the bosom of her lover, and he 

whispers 'I love you, darling,' there can be no movement of 

her elaborate garden frock that results in a 

rustle, for this slight noise may register far 

7?i, above his voice. 

"Therefore, in designing a costume, I have 
to take into consideration the fact that 
taffetas, metallic cloths, crystal beads, and 
beaded fringes are absolutely taboo. And 
when you realize that it was trimmings like 
these which caught the high-lights of the 
camera and created an atmosphere of loveli- 
ness on the screen that was sheer joy, you 
can imagine what a problem all of this 
creates. 



UT there are substitutes — soft materials, 
aces, transparent chiffons, and shimmery 



"Clothes may make the woman, but they can also mar 

the picture," says Charles LeMaire, costume designer. 

"A rustle can cost you a small fortune" 



BU' 
la 
silk velvets of the finest texture which also 
photograph beautifully. For trimmings we use 
silk fringes, silk tassels, and bows and flowers 
of smooth textured materials. So you see, 
while our method is entirely different, the 
results are equally fine. 

"I predict that the talkies will create a new 
type of costume jewelry — wide bands of gold 
and silver, beautifully engraved, or studded 
with brilliants, made to fit the arm perfectly, 
and tight fitting necklaces of the same type. 
Loose fitting jewelry — pearls and bangles of 
all kinds — must be eliminated entirely. 



I 



86 



II 



Photoplay Magazine — Advertising Section 



87 



Like the Screen Stars.. 



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In millions of feet of film ... in feature pictures like the "Broadway 
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\'ou have seen the beauty magic of his 
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If out of harmony, odd grotesque effects 
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(Photo bv Clarence S. Bl:i, Hor.. v.oo:) 

BESSIE LOVE, M-G-M Scar 

featured hi "Broad'way Melody," and Max Factor, Filmland's make-up 
genius . . . approving make-up color harmony under (lie glare 6/ the "Kleigs". 



(_pHaTo BV Klth Harriet Louise, HnLLvwooo) 

J NIT A PAGE 

M-G-M Star, Featured in 
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l-i ,1 li-fft-r to Max Factor, Anita Piige writes: "No 
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When you see feature pictures like the 
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leading screen stars enhance their beauty 
with Max Factor's Society Make-Up. 



And now you may learn this priceless beauty secret. Max 
Factor will analyze your complexion and send you your make- 
•up color harmony chart ...free. How wonderful ...to secure 
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and you'll also receive a complimentary 
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Bessie Love ^crites: 
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harmony in your Society 
Make- Up lihich alvays 
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"BR OAD IV A Y MEL OD Y" 

Mctro-Goldwyn-Maycr Production 

Makc-Up by Max Factor 

These M-G'M Stars prefer Max Factor's Society Make-Up 



Marion Davies 


Norma Shearer 


Joan Crawford 


Rente Adorec 


Bessie Love 


Dorothy Sebastian 


Ailcen Pringlc 


Phyllis Haver 


Josephine Dunn 


Leila Hyams 


Gvven Lcc 


Anita Page 


Mary Doran 


Raquel Torres 


Fay Webb 


Jovce Murray 


Doris Janis 


Julia Fayc 



I MAIL FOR YOUR COMPLEXION ANALYSIS 

JMr. Max Factor.— Max F.ictor Studios. Hollywood. Calf. J-7-14 
■ Dear Sir: Send me a complimentary copy of your 4opagc book, "The 

I iVfjv Art of Make-Up" :iT\6 personal complexion analysis. I enclose 10 ccnis to 
I cover cost of postage and handling. 



«^AX FACTOR'S Society U^A}^^-V? 
HOLLYWOOD 

"Cosmetics of the Stars" 



For the Sun Tan Fashion— Max Factor's Sum'r Tan Make-Up —at Drug and Department Stores 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




My Boy Buddy 



[ CONTINUED FKOSr PAGE 35 1 



actresses, only Clara Bow and Billie Dove 
receive more. The statement is as follows: 

"It may sound funny when I say it, but the 
truth is that the public has been so kind to me, 
that my ambition is to return some of that 
kindness by being thoughtful and considerate 
of everyone with whom I come in contact. 

"I'd like to prove by my conduct in life that 
I sincerely appreciate the good fortune that 
has come to me." 

WHEN I read this tears came to my eyes 
and a lump in my throat, for I knew the 
words came from his heart. No high-powered 
publicity man ever made such a human interest 
statement and attributed it to the person 
interviewed. .\s I write this I am affected in 
the same manner. I ask the readers of this 
article if you can conceive of a more appealing 
answer? Or one that would please you more 
if he were your boy? 

Buddy's sister, Geraldine, now j\Irs. John 
Binford, was a student at the U. of K. and Bud- 
dy often went up to see her and attend fra- 
ternity dances while he was still in high school. 
He learned that college boys pla>ing in a dance 
orchestra often made from S12.00 to S15.00 a 
night at Friday and 
Saturday night dances. 
So, at the beginning of 
his senior year in high 
s:hool, he bought and 
paid for, out of his own 
money, a full set of 
drums and traps, and, 
as there was no one to 
teach hull in Olathe, 
he bought records for 
our phonograph, where 
drimi music predom- 
inated, and played 
with the phonograph 
until he learned to 
play the drums well. 

He learned the trom- 
bone in much the same 
manner as the drums, 
usirvg a battered brass 
horn, which I had pur- 
chased for his younger 
brother. 

This old trombone 
he played in his own 
orchestra, which he 
organized during his 
last twoyearsinschool. 

Then he took it with 
him to the Paramount 
school, where he played 
on the sets and during 
the noon hour, greatly 
to the delight of every- 
one. This one thing 
gave him a great boost 
with the school authoritie; 
probably the largest factor in his success today. 
Later he learned other musical instriunents. 
until he could handle live, besides the piano. In 
his first all-talkie, "Close Harmony," he plays 
all these, besides singing. 

"N/rO doubt you are familiar with the manner 
■'-^ of his selection for the Paramount Training 
School, which was the direct means of his 
entering the movies and today being a star. 
In the advertising of the Paramount-Famous- 
Lasky studio, published some days ago, his 
name was listed as one of their nine stars, 
though there are thirty-four feature players 
listed. And, by the way, of this forty-three, all 
but Buddy and two others have had stage or 
screen experience, according to a statement by 
Paramount. 

I was on intimate terms with S. C. Andrews, 
owner of two local picture theaters. When 

88 



Paramount made known that they were about 
to open a training school, where young people 
would be taught to be actors, and those who 
made good would be given contracts, he at 
once submitted Buddy's picture to the district 
manager. Earl Cunningham, Kansas City (one 
of the 35 centers throughout the United States 
where applications were recei\'ed). 

Jlr. Cunningham informed j\lr. Andrews 
that such a boy might ha\e a chance. So I 
filled out the necessary blanks. 

You see, Buddy knew nothing of it at all. He 
was busy studv-ing journalism at the U. of K. in 
order to be able to come back and help me on 
the paper. 

I saw that the instructions were to get two 
recommendations. Then and there I con- 
ceived the thing that put Buddy in pictures, 
though of course he could not have gotten in 
if he had not filmed well. I said to myself, 
"I'll not stop with two stereot>-ped recom- 
mendations, such as are many times written — 
' I have known so and so a long time. He is 
O. IC. Please do what you can for him and 
oblige me.'" 

I went first to Jlr. .\ndrews and asked him to 
give a general account of Buddy and what he 




At the age of nine, Buddy Rogers was the baritone of the Olathe 

Boys' Band. You will note Buddy in the second row from the top, 

the third from the left. Little did Olathe think then that Buddy 

would become a movie star 



s and, in reality, is 



considered he might bring to the screen, if 
selected. 

Then to eleven others in Olathe, in entirely 
different lines of business, all of whom had 
known Buddy since he was born, and had also 
known his mother and me for years, as we 
were both born in Olathe. I asked them to 
write at some length of their views on Buddy, 
in his associations nith them in their particular 
lines. 

So these letters were written by his two 
bankers, F. R. Ogg and S. B. Haskin; his 
minister, the Rev. Mr. Brown, of the First 
Methodist church; Judge G. A. Roberds, of the 
District Court; his Sunday school teacher; 
Superintendent E. N. Hill of the Olathe High 
School; F. D. Hedrick, county attorney; the 
Honorable C. B. Little, Congressman from 
the 2nd District of Kansas, who lives near my 
home; State Senator John R. Thorne, who 
lives near us; Dr. C. W. Jones, our family 



physician, who piloted the stork to our house 
with Buddy; F. 1\I. Lorimer, President of 
the Chamber of Commerce; and John W. 
Brej'fogle, Olathe editor. 

'Y'OU can imagine that Buddy was pretty 
■'■ thoroughly "covered" by the time these 
twelve letters were written, all from a different 
angle. 

Buddy had just recently had some pictures 
taken, one of them mounted on a large folder, 
somewhat larger than the letterheads on which 
his recommendations were written. I stapled 
his recommendations to this picture, which we 
thought very good. Then I put a nice cover 
sheet over all, on which I printed, " Character 
Sketch and Characteristics of Buddy Rogers by 
Twelve Olathe Men." 

I did all this work myself at the office at 
night, as I didn't want to have to explain to 
my force what I was doing. I feared that 
Buddy might fail to land the place. 

.\nd just here I want to say that, after Buddy 
had been in the school some two or three 
months, Mr. Lasky, himself, called him into 
the office one day and said, "Buddy, do you 
know how \-ou happened to be selected to 
enter the school?" 
Buddy answered that 
he did not. but that he 
had often wondered to 
what to attribute his 
good fortune. 

Then Mr. Lasky 
said, "It was not on 
account of your good 
looks. You are good 
looking enough, for 
that matter, but that 
wasn't the reason. It 
wason account of those 
marvelous recom- 
mendations. Never 
have I read such good 
ones, and you are liv- 
ing up to all that was 
said about you. We 
believe such a boy as 
you will be a power for 
good in this school and 
in pictures." 

But, do you know 
how nearly Buddy 
missed being in pic- 
tures today? One of 
his instructors, Mr. 
Currie, told me the 
next summer after the 
school had opened in 
August, that they had 
seen nothing to indi- 
cate that Buddy had 
any talent at all fur 
pictures. He thought 
he was a nice boy— but that was all. 

That, at the end of the first month, they 
were on the point of sending him home (a 
right they reserved), when aU at once — it 
seemed o\er-night to them — his latent talent 
showed up to an amazing degree. They real- 
ized that he had simply been assimilating what 
he had learned in the first four weeks. From 
that moment, Mr. Currie said, Buddy was the 
outstanding member of the class. 

OF the 40,000 applicants for this school, 
only twenty were chosen, and four were 
sent home at the end of the first month. This 
left eight boys and eight girls in the school and, 
of this number, only five are now in pictures, 
and only three with Paramount — Thelma 
Todd, Jack Luden and Buddy. 

Buddy was by far the youngest of the boys, 
and the only one of the twenty who had had 

[ PLEASE TURN TO PAGE 94 ] 



mittKM 



Photoplay Magazine — Advertising Section 



89 



ilow this Penetrating Foam 
Cleans Your Teeth Better 



* Why Colgate's Cleans Crevices 
Where Tooth Decay May Start 




Greatly maKiiilied pic 
ture of tiny tooth crcv 
ice. Note how ordinary 
sluggish toothpaste (hav 
ing hish "surface-ten 
faita to penetrate 
down where the causes 
of decay hiik. 



This diagram shows how 
Coljrate's active foam 
(having low " surface- 
tcnsicm " ) penetratea 
deep into the crevice, 
chansing it completely 
vlIii'ic the toothbrush 
lot reach. 




. . . and only 25<^ The famous 25c 

tube of Colgate's contains more toothpaste 
than any other leading brand pricedat a quar- 
ter. This is beeau.-e Colgate's is the largest 
sellingdentifrice in the world — and volume pro- 
duction, everybody knows, means low pnce. 




// not only polishes the outer sur- 
faces . . . but its penetrating foam 
washes away the decaying food 
particles which cause trouble in 
the tiny crevices. 



D 



,ON'T be content with merely 
polishing the outer surface of 
your teeth — that is easy. But be extra 
cautious about cleansing the tiny 
crevices where lurking, decaying food 
particles and mucin deposits lodge. 
Don't invite decay. 

To wash away these hidden impuri- 
ties, nothingequals Colgate's, accepted 
by dental scientists as having a greater 
penetrating power* than any other 
leadino- dentifrice. 

When you brush your teeth with 
Colgate's, you do more than safely 
polish the surface. Colgate's pene- 
trating foam possesses a remarkable 
property (low "surface-tension"). 

When you writfe to advertisers please mention PHOTOrUT MAGAZINE. 



This means that it penetrates into 
every tiny crevice. There it dislodges 
the decaying impurities, washing them 
away in a detergent wave. 

In this foam is carried a fine chalk 
powder, a polishing material used by 
dentists as safe, yet effective in keep- 
ing teeth white and attractive. 

Consider Colgate' stwosuperiorities.lt 
notonly polishesthe surface thoroughly 
but because of its greater penetrability, 
it c-leans where brushing can't. 

Remember, the one function of a 
dentifrice is to clean the teeth. No 
toothpaste can cure pyorrhea; no 
toothpaste can correct acid conditions 
of the mouth. Any claim that any 
toothpaste can do these things is mis- 
leadintr. 



COLGATE. Dept. B-2545. 695 Fifth Ave.. PT) pp 
New York. Please send a trial tube of ■*• ^^^^ 
Colgate's Ribbon Dental Cream, with booklet "How 
to Keep Teeth and Mouth Healthy." 



Name 

Address.^. 



QUESTIONS ef ANSWERS 



Read This Before 
Ashng ^estions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address: only initials will be 
published if requested. 




Casts and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. It is 
imperative that these rules be 
complied with in order to insure 
your receiving the information 
you want. Address all inquiries 
to Questions and Answers, 
Photoplay Magazine, 221 W. 
S7th St., New York City. 



H. J. S., Frederic, Wis. — Leslie 
Fenton played the part of Donovan 
in "The Drag Net." He was born 
March 12, 1903, in Liverpool, Eng- 
land, is five feet, nine inches tall, 
%veighs 150 pounds and has black 
hair and grey-blue eyes. His latest 
appearance is in "The Dangerous 
Woman." 

Dorothy Brodhead, Jackson 
PIgts., L. I. — Nita Naldi is five 
feet, eight inches tall and weighs 
about 123 pounds. Clara Bow 
weighs 115 pounds and Joan Craw- 
ford is five pounds lighter. Norma 
Shearer is five feet, three inches tall 
and weighs two pounds more than 
Joan. Are you good at 'rithmetic? 



TJHOTOPLAY is printing a list of studio 
•*- addresses with the names of the stars 
located at each one. 

Don't forget to read over the list on page 140 
before writing to this department. 

In writing to the stars for photographs 
Photoplay advises you to enclose twenty- 
five cents, to cover the cost of the picture and 
postage. The stars, who receive hundreds of 
such requests, cannot afford to comply with 
them unless you do your share. 



M. C. D., West New York, N. J. 
— Bert Lytell was born in New York 
City, Feb. 24, 1885. He is divorced 
from Claire Windsor. His latest 
pictures are "On Trial" and "The 
Lone Wolf's Daughter." At present 
he is appearing on the stage in 
"Brothers." 

Claude F. Roff, Stillwater, 
MiN'N. — Your friend is the winner in 
this skirmish. Harold Lloyd is mar- 
ried to Mildred Da\'is. Mildred 
Harris was Charlie Chaplin's first 
wife and Lita Grey was his second. 
Before her marriage to Harold 
Lloyd, Mildred Davis appeared with 
him in several pictures. 



M. R., Sallisaw, Okla. — Lady, the last 
time I had my picture taken, photography was 
still in its infancy. As for my fife history — oh, 
I'm too bashful to talk about myself. Mary 
Pickford is just five feet tall. Pauline Garon 
is appearing in a picture titled "The Gamblers." 

E. C. M. T. S., Harrisburg, Pa.— Just a 
few more initials and you would have the 
whole alphabet. Nancy Carroll was born in 
New York City 22 years ago. She is five feet, 
four inches tall and has blue eyes. Her real 
monicker is LaHiflt. Billie Dove was chris- 
tened Lillian Bohny. She is five feet, five inches 
tall, weighs 114 pounds and has dark brown 
hair and brown eyes. 

F. J., Van Nuys, Calif. — I was quite cor- 
rect in stating that Mary Pickford was in "The 
Gaucho." Mary appeared twice as the Divine 
Visioti. How come that nearly a year has 
passed before you questioned me on this? 

Mary Sullivan, Honolulu, T. H. — 
Natalie Kingston was the leading lady in 
"Framed," a Milton SiUs picture. The name 
of the picture you described was "Brave- 
heart," featuring Rod La Rocque. Phyllis 
Haver is thirty years old. 

Red Charlie, Brooklyn, N. Y. — Does that 
color scheme refer to your hair or your nose? 
Your brother is correct. Mack Swain was the 
big, burly miner who appeared in the cabin 
scene with CharUe ChapUn in "The Gold 
Rush." 

George Staehling, Chicago, III. — .Alice 
White was born July 25, 1907, in Paterson, 
N. J. She is five feet tall, weighs 105 pounds 
and is a blonde now. Originally her hair was 
reddish-brown. Alice is still single. Thelma 
Todd was the beautiful blonde you saw with 
Milton SUls in " The Crash." 

Mrs. D. J. I., Lebanon, Mo. — Thomas 
Meighan played the part of Tom Burke in "The 
Miracle Man." 

90 



Crawford Purser, Calderwood, Tenx. — 
Dick Sutherland played the part of Suinho in 
"Uncle Tom's Cabin." Quimbo's name does 
not appear in the cast. 



Personalities of the 
Month 

IN response to numerous re- 
quests The Answer Man is 
printing short biographies of the 
following stars: 

Mary Nolan, born in Louis- 
ville, Ky., Dec. 18, 1905. Five 
feet, six inches tall; weighs 112 
pounds; blonde hair and blue 
eyes. On the stage she was known 
as Imogene Wilson. 

Raquel Torres, born in Her- 
mosillo, Sonora, Mexico, Nov. 
11, 1908. Five feet, two inches 
tall; weighs 110 pounds; black 
hair and dark brown eyes. Billie 
Osterman is her real name. 

David Rollins, born in Kansas 
City, Mo., Sept. 2, 1909. Five 
feet, ten and one half inches tall; 
\veighs 140 pounds; black hair 
and blue eyes. Appeared on the 
stage before going into pictures. 

Virginia Cherrill, born in 
Carthage, 111., April 12, 1908. 
Five feet, five inches tall; weighs 
118 pounds; blonde hair and 
blue eyes. Divorced from Irving 
Adler. Picked by Charlie Chap- 
lin for the lead in "City Lights." 



Keith Vogt, Bancroft, Neb. — 
Photoplay printed John Gilbert's hfe story in 
the June, July, August and September, 1928, 
issues. Gary Cooper's hfe story ran in the 
.\pril and May, 1929, issues. Clara Bow's next 
picture will be "Dangerous Curves." 

Helen A., Freeport, III. — Corinne Grif- 
fith was born in Texarkana, Texas, about 
thirty-three years ago. She is five feet, three 
inches tall. Her next picture will be "Pris- 
oners." 

C. G., Tampa, Fla. — The man who played 
opposite Clara Bow in "The Wild Party" was 
Frederic March. He is thirty-one years old, 
six feet tall, weighs 170 pounds, has brown hair 
and brown eyes and hails from Racine, Wis. 
He was taken from the stage for the talkies 
and is married to Florence Eldridge, also of the 
stage. He has also played in "The Dummy" 
and "The Studio Murder Mystery." Nils 
Asther will be seen next in "The Single 
Standard." 

Mrs. Segelke, St. Louis, Mo. — Your 
friend is wrong in saying that we have no six 
foot heroes. There's William Haines and Con- 
rad Nagel, both six feet tall; Nils Asther, who 
is six feet, one-half inch; Gary Cooper, six 
feet, two inches; i\Ionte Blue, Rod La Rocque 
and Victor McLaglen, all six feet, three inches; 
and Ivan Linow, who reaches the height of six 
feet, four inches. And there are others, too. 

A. M. M., Danbury, Conn. — Shirley Mason 
is twenty-nine years old. Her latest picture is 
"Anne Against the World." Clara Bow will 
celebrate her twenty-fourth birthday July 
29. She has red hair and brown eyes. Her real 
name is Clara Gordon Bow. 

E. M. F., Swampscott, Mass. — Philippe De 
Lacy was born July 25, 1917. Greta Garbo is 
twenty-three years old and a native of Stock- 
holm, Sweden. She is five feet, six inches 
tall; weighs 125 pounds and has light golden 
brown hair and blue eyes. 

[ please turn to page 122 ] 



Photoplay Magazine — Advertising Section 



91 




ra/iijces 





H^ITH H£R CHART-I.IKE MA]^]\EQUI]¥ 

EXPLAINS WHY 



OF all the rules in the primer of 
beauty, the most important is this 
— keep your skin healthy if you want it 
to stay young. 

On my little mannequin I have star- 
red the six spots most difficult to care 
for. These are the six places where im- 
perfections come most quickly and where 
lines form to strike fear to every mortal 
woman's heart. 

But treat your skin wisely — guard 
well its health at the six vital spots — 
and your complexion will tell only flat- 
tering fibs about your birthdays. 

Milkweed Cream will help you mar- 
velously in caring for your skin. It is 
ever so slightly therapeutic, and does 
things for your skin that no other cream, 
however expensive, can possibly do. It 
is a splendid cleanser but, to me, its most 
appealing virtue is the way it brings 
smoothness to the skin. Roughness van- 
ishes — blemishes disappear. Tiny wrin- 
kles are discreetly smoothed away. Your 
skin becomes smooth — clear — alto- 
gether lovely. 

Today, buy a jar of Milkweed Cream. 
Mark on the label the date you start 
using it and notice how your skin im- 
proves in a single month. 

I wish you would send the coupon 
for my booklet on skin care. And, if 
you have any special beauty questions, 
feel perfectly free to write me for advice. 




P. S. Milkweed Cream is marvelous against 
sunburn. It soothes away the redness and 
smarting. And, should you acquire a tan, it t. 
will encourage a lovely, even effect, keeping ^ 
the skin soft and supple and preventing the 
bum from coarsening its texture. © 1929 



The Forehead . . Lines and wrinkles are ail 
too likely to form here prematurely unless 
the skin is kept soft and pUable— and this 
Ingram's does with marvelous effect. 

The Eyes . . Puffiness and crows' feet are 
so very aging and unbecoming — so traitor- 
ous. To keep the skin smooth and supple, 
turn to the soothing and softening services 
of Ingram's Milkweed Cream. 

The Mouth . . To prevent drooping lines at 
corners of the lips, tone the skin and keep 
the muscles firm by using Ingram's. It is 
amazingly helpful for invigorating cir- 
culation. 

The Throat . . Guard against a crepey throat 
if you value your youth. Ingram's, with 
its trace of medication, keeps it lovely, 
smooth and rounded and without a trace 
of flabbiness. 



The Neck . . Finely etched, circular lines are 
signs of accumulating birthdays. Be faith- 
ful to your use of Milkweed Cream. It 
wafts well-established lines to obscurity 
and guards against new ones. 

The Shoulders . . Every woman who would 
proudly wear evening gowns or sleeveless 
dresses should cleanse her arms and 
shoulders and keep them blemish-free 
with Ingram's. 



Frances Ingram, Consultant on Care of the Skin, 
Dept, A-79, 108 Washington St., N. Y. C. 
Please send me your free booklet, "Only a Healthy 
Skin Can Stay Young" which tells in complete detail 
how to care for the skin and to guard the six vital 
spots of youth. 



Name_ 
Streel_ 



AddniS^ 



In gram's ^ilku}€€d Cream ^ 



When you write to advertisers please mention PHOTOPLiAT MAGAZINU. 



She Prayed for the Part 



I CONTINUED FROM PAGE 40 1 



Mr. Brenon, urf;ing him to givemeatest. His 
recommendation was rather funny. He said : — 
'She can speak Swedish and can play the 
concertina.' Of course, 'Lummox' was aScandi- 
navian and did play the concertina. 

"T W.MTED, but heard nothing, so I deter- 
•^ mined to act. I went to New York, regis- 
tered at the Hotel Ambassador, and wrote to 
Mr. Brenon, asking for an appointment. Again 
I waited. I seemed in those days to have the 
faculty of making other people believe what I 
Ijclieved myself. Mrs. Tod Browning and 
l-;r mother were at the hotel, and I talked to 
them until they were as firmly convinced as I 
was that the coveted role was mine. 

"At last the reply came from Mr. Brenon. 
He would see me on a certain day at one 
o'clock. His apartment was not five minutes' 
walk from the hotel, but I was dressed and 
ready to go, e\'cn had my gloves on, at eleven 
o'clock. I reali/.ed that I was hours too early 
and I did everything I could think of to kill 
the time, but when I could find nothing else to 
do, it still lacked a few minutes of twelve. 

"I walked up Park ,\venue to his apartment 
and, to kill more time, dropped in at a book 
store. How the minutes dragged! I was there 
so long that I became ashamed, and I bou.ght 
several books that I didn't want. Finally I 
could wait no longer. I walked to the house 
and told the doorman I wanted to see Mr. 
Brenon. He looked me over, coldly. I am a 
believer in first impressions and I had dressed 
that day as I believed a woman of the class of 
'Lummo.x' would dress. Anyway, the door- 
man telephoned the apartment and then told 
me Mr. ISrenon was not in. 



" 'But I have an appointment,' I said. He 
asked me for what time and I told him. 

" 'It's only fifteen minutes to one now,' he 
said. 'You may wait over there if you like,' 
and he waved me to a bench. 

"A few minutes before one Mr. Brenon came 
in. We went to his apartment and I talked — 
Heavens, how I talked. I must have con- 
vinced him, in part, at least, because he told 
me he wanted me to see Miss Hurst. I went to 
her. It was ten minutes before five when I 
entered her apartment and she told me she had 
an engagement and must lea\e at five. We 
talked until seven. She told me that Mr. 
Brenon had phoned twice that day to remind 
her of her engagement with me, and she 
seemed somewhat surprised that he should even 
have remembered it. 

"She asked me innumerable questions about 
'Lummox' and I answered as I saw the woman. 
She probed me for my reactions to certain 
phases of the character, and I replied at length 
and in detail. If she had asked me such 
questions about any other subject on earth 
I could not have answered, but I knew 'Lum- 
mox,' inside and out. 

"I went back to the hotel," Miss Westover 
went on, "and again I waited. Then I got a 
message from Mr. Brenon. He had been 
called to Xew Orleans bj^ the illness of a 
relative, and asked me to call him there at a 
certain time by long-distance phone. I did so, 
and he asked me if I had traveled to New York 
for any other reason than to see him. I told 
him that was my sole reason, and he advised 
me to return to Califor.iia. I took his advice, 
but I went by the Southern route and stopped 
at Xew Orleans. I called on him again there 



and talked some more. But nothing definite 
came of it, and I returned home. 

"Then he returned. Theplanswerespeeding 
along. Names of women suggested for the 
role of 'Lummox' began to be mentioned. 
Writers who declared they spoke with author- 
ity named this one and that one. I laughed. 
I knew the role was mine. I had not the 
slightest fear of not getting it. I still figured 
that weight would do no harm, and I put on 
five pounds more. 

"I did not pray that none of these others 
who were mentioned should get the rcle. I 
did not need to do that. I prayed that those 
who were to be disappointed would get some- 
thing just as good; if it was the money they 
wanted, that they should get just as much in 
some other way. 

"I saw Mr. Brenon again and he made a 
test of me. He had made tests of others also, 
but that meant nothing to me. I wasdeslined 
to win; I knew it. I read a passage in Words- 
worth's works once which appealed to me. It 
was: — 'One in whom persuasion and belief 
had ripened into faith, and faith become a 
passionate intuition.' That fitted exactly. I 
knew there was no room for doubt. So now," 
she ended, happily, "I am rehearsing." 

npH.AT'S how it happened. It was all so 
■'■ simple. Even the most cynical would have 
been convinced. It was just matter-of-fact. 
She wanted something; she asked for it; she 
got it. 

Miss Westover was a girl in San Francisco 
when she got her first chance in pictures. Her 
father was president of the San Francisco 

[ PLE.\SE TURN TO P.\CE 105 J 



Princeton Goes Talkie 



"C" 



ANGE the needle!" 
That's the new cry of 
"the picture audiences in 
Princeton, for talking pictures 
have " come to college." 

This venture of the Vita- 
phone and Movietone into the 
lair of the Princeton tiger is a 
hazardous one. The boys have 
been accustomed to furnishing 
their own dialogue and sound 
effects. In the era of the mum 
movie, some leather-lunged 
undergraduate provided deep 
bass wise cracks for the lip 
action of modest heroines; a 
sophomore soprano would put 
sweet words into the lips of 
villains; and one student con- 
sidered it a duty to bring his 
alarm clock to every perform- 
ance so that the ringing of a 
telephone on the screen might 
be made realistic. 

The first talking picture was 
"The Singing Fool," with Al 
Jolson. AH the seats were 
filled by show time. Many sat 
in the aisles. Not only was 
this to be the first talking pic- 
ture for Princeton — it was the 
first for a good iTiany Prince- 
tonians. 

92 



By Jay OGee 




When Al Jolson and "The Singing Fool" 
reached Princeton, something went wrong 
with the reproducing apparatus. This re- 
sulted in Al losing his voice and in little Davej' 
Lee singing "Sonny Boy" to himself 



Seemingly resentful that they 
were no longer to provide 
necessary sound effects, part of 
the audience had armed them- 
selves with whistles, cow-bells, 
inflated paper bags, and every 
noise-making device within 
their resources. The lights 
went out; the audience became 
hushed in anticipation. A girl 
appeared on the screen and be- 
gan to sing. With the first 
note, bedlam broke loose — 
bells, w'histles, bicycle sirens, 
bursting bags, and the rhyth- 
mic clap-clap-clap of disap- 
proval of the short subject. No 
one knew what song she sang. 
They had come to scoff and 
were scoffing. Not a note 
was heard above the confusion. 

The feature followed and the 
audience quieted itself in ap- 
preciation of a promising story. 
For the first few reels all was 
well, but by the time Al Jolson 
had married Josephine Dunn 
the inexperience of the local 
hired help contributed an 
amusing situation. Al Jolson 
sang an entire song without 
a sound issuing forth from the 

[ PLEASE TURN TO PAGE 105 ] 



Photoplay Magazine — Advertising Section 



93 



S U M M E K / 



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Always 
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Photoplay Magazine — Advertising Section 



., ^ . .madeK 

jOrJIrtdd J-hoC [METRO-COLDWVN-MAyElt STAr] 

thif N EVV 
HANDBAG 

has been sidtibb/ mumd. 

% XERE is a little bag — a back strap bag — that 

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Largest tnfrs. of Steerhide Uaiher goods in iJie U. S. A. 




Gossip of All the Studios 



[ CONTINUED FROM PAGE 84 ] 



addition to their regular meal, they requested 
two orders of shrimp and two orders of rolls. 

The porter was mystified. Finally, in 
desperation, he said: "You two is the small- 
est women I have ever seen to eat so much." 

They might have enlightened him by ex- 
plaining the shrimp and rolls were to feed 
eleven turtles that had been given Lupe. They 
were comfortably reposing in a perforated can 
behind the baggage. 

T UPE VELEZ loves her Gary Cooper to 
-'-'death, but when it comes to doing his shop- 
ping she is more ardent than exact. 

She bounded into a smart haberdashery in 
Hollywood a few days ago and loudly de- 
manded some sports shirts, male. 

"What size?" asked the clerk. 

"Oh, beeg!" answered Lupe. 

"How beeg?" said the clerk, a little stupefied 
by the Velez antics. 

"About a hundred, ninety pound'!' 'shrilled 
Lupe, flinging out her arms to indicate that 
Gary was about the size of a red Iowa barn. 

She walked out with three blue shirts, and 
from the looks of them, each would have made 
a mainsail for a whaling ship. Gary and his 
brother will probably wear one simultaneously. 

TJEBE DANIELS was as nervous as a dish of 
■'-'gelatine. Her hands shook and her teeth 
chattered as she waited for the lights to go up. 
It was her first talkie test at RKO. " Don't be 
like that, Bebe," a friend soothed, "this is no 
different from any other test." 

"I know it isn't, but this is the first lest of 
any sort I have ever made. ' ' 

V\ THOM do you suppose Loretta Young is 
''^ going with these days? Why none other 
than young Tom Ince, son of the late Thomas 
H. My, my, it seems only yesterday that he 
was just a boy in knee pants! 



A LWAYS the unexpected in Hollywood! 
-' '■Manuel Reachi, back from Mexico, dining 
■svith his ex-wife, Agnes Ayres. One of Holly- 
wood's human question marks approached him 
with a hat fuU of personal queries. 

"How are you, Manuel," said the inquisi- 
tive one. "'You folks trying to start a httle 
scandal?" To which Manuel answered, "It 
just happens that Agnes is the mother and I 
the father of a child." 

.After which there were no further questions. 
The former husband of Miss Ayres is in 
America on a special mission for the Mexican 
government. 

V\ TE start many styles in Hollywood. Now 
^^ a new method for expressing loyalty. 

Nick Stuart has a new sports car. One door 
bears Nick's initials and the other carries the 
initials of Sue Carol. What could be nicer? 

TT is one of the pranks of fate that on some of 
■'-the greatest nights of their lives big bright 
film stars are just so many step-children. 

Take ISIary Pickford, for instance. On the 
night "Coquette" opened in Los Angeles, poor 
Mary was kicked around the theater Hke a 
football — it took three tries before she found 
her right seats at her own debut as a talking 
star. 

Laura LaPlante was as badly off on her 
greatest night — the Los Angeles opening of 
"Show Boat." Poor Laura and her husband, 
Bill Seiter, with a party, were just nicely 
seated in aisle seats at the Biltmore Theater 
when an usher came and booted them out to 
make way for the riglitful owners. Finally, 
after a lot of palaver, Laura and her crowd 
were seated — farther back and off the aisle. 

And all the time old Cal, an obscure writer, 
squatted undisturbed in his aisle pew and 
watched "Show Boat" unroll 

There's no justice! 



My Boy Buddy 



I CO.VTINUED FROM PAGE 8S ] 



no stage or movie e.xperience. His was limited 
to good parts — usually the lead — in grade 
school and high school entertainments and 
plays. 

In his senior year he was given the lead in a 
class play, "Clarence," the part taken by the 
late Wallie Reed in the movie, "Clarence," 
and many said his work in that was almost 
equal to 'VVaUie's. 

No one \\-iU ever know the heartaches that 
were Buddy's during the first few weeks of the 
six months' term of the Paramount school. He 
was a shy, quiet, country boy, whose expe- 
rience was hmited to a small town, save for his 
brief years at the university. As all the others 
in the school, with the exception of two, were 
from New York or Hollywood and had seen a 
great deal of the world, they knew what it was 
all about. Buddy didn't. 

He was made the butt of many ill-timed 
jokes and often referred to as the country kid 
or "Merton of the Movies," and I believe this 
had much to do \nth his appearing rather slow 
to learn. 

He knew it and wTote very discouraging 
letters to us, saying, "I guess I'm just too 
dumb to learn. I guess I'U be sent home and 
I'll have to go to work for Dad." At another 
time he mentioned that someone had said that 
he was about as humorous as Lincoln looked. 

It was heart-breaking to us kno«-ing how he 
was trying so hard for our sakes to make good. 
He never had failed us in a single thing, he 



knew oiu- disposition and feeling toward him, 
and that we believed he could do anything. 
That's why he felt he simply could not fail us. 

When particularly discouraging letters 
would come, we would either call him up, send 
a night letter of fifty words or a special dehvery 
letter to cheer him. 

Do you wonder what advice I gave him 
when we drove to Kansas City, Missouri, 
twenty-five miles from Olathe, to put him on 
the train for New York to attend the training 
school? It was just the same as I gave him 
when he started to Europe on the mule boat — 
and just exactly the same as I gave him when 
he left home for the university. 

You're wondering how each could have been 
the same. The answer: None! Not a word of 
advice, or don'ts. I was the last one to kiss 
him goodbye and, mth chokirg voice, said 
only, " Buddy, I want you to feel that we know 
you'll always do the right thing." And never 
once has he failed us. 

When he went to Spain with the mules, his 
grandfather Rogers, now deceased, told him, 
"Buddy, I have only this to say. There's 
always just two things to watch — your morals 
and your health. Your morals are already fixed. 
Watch your health." 

How could any boy get away from such 
faith and trust as this — even if he wanted to. 
No doubt there are many, many boys in the 
world as good as Buddy — but there are none 
better. .\nd Holly^vood has not changed him 



Every advertisement in PIIOTOPLAT MAQAZIXE is Buaranteed. 



Photoplay Magazine — Advertising Section 



one iota, except that it has made him more 
thoughtful, more considerate. 

I believe the biggest day of my life was 
when the Junior Stars (the Paramount class) 
came to Kansas City to appear in person in 
the class picture, "Fascinating Youth," at the 
Newman Theater. Buddy had the lead. The 
others of the class had been traveling with the 
picture, making personal appearances, but 
Buddy had been sent on to Hollywood to work, 
for he was the first one assigned to a picture, 
after the school had closed. However, he 
was sent back to Kansas City to appear with 
the class. 

THE whole town turned out, as this was 
Buddy's first visit home. The band played, 
flags were out, signs were up everywhere and 
at dinner several hundred came to the hotel. 
Different organizations read resolutions, com- 
plimentary to Buddy. He was hoisted to the 
shoulders of business men and high school 
boys, carried outside and presented with a ring 
which carried his initial, B. 

Then he was placed in a donkey cart all 
covered with banners, such as "Welcome 
Home, Buddy." There was a parade around 
the square. 

You can well imagine how I felt. I had a 
similar feeling, no later than last week, when 
Buddy's first all- talkie, "Close Harmony," had 
its world premiere in Kansas City at a mid- 
night preview. 

I was proud to have been invited by the 
manager to press the button which started the 
picture, as it was Buddy's first all-talkie. It 
also was my first. I had never heard one 
before. 

I might add, here, that the midnight showing 
broke any previous record for midnight pre- 
views, there. With the single exception of 
"The Singing Fool," it easily broke any other 
record for the w-eck — and by several thousand 
dollars. Probably one reason for this is that 
Kansas City, being so close toOlathe, "claims" 
him, as, of course, Olathe properly does. 
Moreover, it was on the Newman stage that 
his first screen test was taken, more than three 
years ago. 

When liis first picture, " Fascinating Youth," 
showed in Olathe for three nights, the crowds 
were so large that*j\Ir. Andrews made enough 
money to buy a new car, which he called his 
Buddy Car. Recently he had another of his 
pictures and, since two years have elapsed, his 
car needed to be traded in and he made 
enough money to buy another Buddy Car. 

You may be sure that I have a funny feeling 
whenever the local picture ow^ner brings in the 
mats and the press shjet for one of Buddy's 
pictures, lly instructions always arc for his 
pictures to get a "great big mat" for that 
week, the ad is compHmentary, no matter 
what the size and, in addition, I run a half 
column of reading matter on the front page, 
being careful to put as a lead an article that 
is copied from the company's press sheet. 

IN such cases as this I am a combination of 
editor and father — but the preponderance of 
"father" is easily seen. Pictures for the paper 
are cast with hot metal from mats and often 
the face of the metal must be scraped down 
to print clearly and avoid a blur. We had been 
doing this with a sharp chisel and hammer, but 
it often would spoil the picture. So, when 
Buddy entered the school, my foreman said, 
"Will you buy us an electric router when we 
get Buddy's first advertisement?" I an- 
swered that I would — and, when it came in 
about a year, I was held to my promise to 
buy one and at a cost of $300.00. So Buddy 
has improved the looks of the Mirror. 

It seems that Buddy has always wanted to 
be a musician. Even as a baby and little boy 
he would get a drum, horn or fife for Christmas. 
Once, in Kansas City, we saw a vaudeville act 
where one man played eight or ten band in- 
struments and, from that day to this he has 
always wanted to be a one-man orchestra. 

In "Close Harmony" he leads his jazz band, 
plays all these instruments, sings and then 




"May I add my word of praise for the splendid service rendered on 
the Golden State Limited? In the number of times I have 
crossed the continent on this train, I have not once been disap- 
pointed in the matter of personal comfort. It is a real de luxe traia." 

Sincerely, 




44 



Between Los Angeles and Chicago in 6lH hours. None faster or finer. 

Golden State Limited** 



Southern Pacific 



Rock Island 



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|t$ sifiavt 

io look health u 



Photoplay Magazine — Advertising Section 





)ociETY has 
di scovered 
the sun and 
set its stamp 
of favor on 
sunned skin.. 
healthy skin! 
And thus, via 
sunlight, 
Frostilla takes 
thelimehght! 

The familiar blue-labelled bottle 
is seen in the best-sunned circles. 
For those skin-wise folk know 
that Frostilla permits one to enjoy 
the outdoors, and to tan without 
torture! 

Why not follow their lead? Before 
you greet the sun's rays, pat on this 
cooling, soothing lotion. Then go 
out and play and get your tan. 
Frostilla will save your skin — pre- 
vent excessive drying and scorch- 
ing — keep your face, arms and neck 
soft, smooth and "young." 

To look smart, without smarting, 
just use Frostilla before and after 
"sunning!" 

Frostilla is 50c and Si, at all stores in the 
U. S. and Canada. An attractive, useful 
sample sent FREE on request. Department 
643, Frostilla Co., Elmira, N. Y., and To- 
ronto, Can. (Sales Reps.: Harold F. Ritchie 
& Co., Inc., Mad. Ave. at 34th St., N. Y. C.) 

FROSTILLA 

FOR EXPOSED AND IRRITATED SKIN 




Buddy Rogers lives quietly in Hollywood. Despite his stellar 

salary, he still resides with his pal. Dean Boggs, paying S16 a week 

for his board, room, garage and a kennel for his police dog 



turns a hand spring, standing on top of the 
piano, to the floor. I have heard from a half 
dozen towns placing "Close Harmony" and 
in each instance the box office record has gone 
tumbling. 

For se\eral months Buddy worked in 
''Wings," completing it just two years ago, and 
then he was drawing a salary on his contract of 
Imt S75.0O per weeli. Now- he is working under 
a new contract and his former salary is simply 
pin money now. Since making "Wings" he 
has worked in "i\Iy Best Girl" with IMary 
Pickford, ".\bie's Irish Rose," "\arsity," 
''Someone to Love," "Close Harmony" and 
others and is now making "SlagnoUa." 

Buddy is diversifying his investments, real 
estate, stocks and bonds, building and loan, 
and he still continues to live with Dean Boggs 
at Iiis home in Hollywood, paj'ing S16.00 per 
week for his board, room, garage and kennel 
for his German police dog. Baron. He refers 
to Mrs. Boggs, Dean's mother, always, as "My 
Cahfornia Mother." Both boys are members 
of the Phi Psi fraternity, 

'Lest you should get the impression that all 
Buddy's spare money goes into investments 
of some kind, I want to saj' that before his 
present new contract (just signed) when his 



salary was not large — as inovie salaries go — 
he sent a great deal of money home to his 
family. Paid the expenses and purchased 
complete wardrobes for his mother and sister 
on their frequent trips to New York and 
Hollywood to \-isit him. 

I well remember his first bonus for good 
work on his first starring picture, "Varsity." 
He wired all tlie money home except S200.00 — 
and almost that much on subsequent bonuses. 

The first Christmas following his entering 
pictures we found at our door, on getting up 
late Christmas morning, a brand new auto- 
mobile with onlj' this to identify it— 
"To my family 

Merry Christmas and Love 
Buddy." 

Just a year ago, when coming through Olathe, 
going to location at Princeton University, he 
found his kid brother had done so well in his 
junior year at Olathe high school, both in 
books and athletics, that he purchased a sport 
coupe for him. 

If anything, he has been too generous with 
us in money matters. But he says that is 
his greatest enjoyment — that, and having some 
member of his family with him just as much 
as possible. 



Rosie Rolls Her Eyes 



\ CONIIXUED PROM P.\GE 86 ] 



proach of fatigue, Jlr. Slipe called it a day and 
iluttered from his perch. 

''Not bad at all," he conceded. "Of course, 
any farce calls for rather coarse people, so 
n.aturalh' you're quite suitable, although it's 
too bad a real arlisic like Jliss Bellairs has to 
go slumming, I'm verj' well pleased with all 
but Miss Clearj'. Her voije is of poor calibre." 

The director started forward angrily. "It 
sounded first rate here," he burst out. "It's 
Bellairs who's away off — she shouts as if she 
were playing stock in Wilkes-Barre." The 
lady in question, who had once been the toast 
of Schenectady for two sterile seasons, winced 
at this stray shot. 

"\\'ork your own side of the street," said 
Mr. Slipe rudely. ".\11 you've got to do is 
teach these people how to make faces. I said 



her voice was low grade, and that sticks.'" He 
crossed over to the ingenue and assumed a bed- 
side manner. 

"I'm sure it can be fixed up," he soothed. 
"Suppose we talk it over." 

The unfortunate Joyce, who was feeUng like 
a square «heel on the chariot of progress, 
looked at him doubtfully. "Do you apologize 
for j'estcrday?" 

"Sure," said Emerson gUbly. "Consider 
yourself kowlowed to. How about giving m.e 
a lift to town? I haven't had time to .get a car 
and I'd appreciate it." W'ithout waiting for 
an answer he took charge of her elbow and 
sauntered out toward the parldng enclosure, 
while the cast stared after him with various 
e.xpressions of disappro%-al. 

Skimming along Fairfax .\venue some ten 



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minutes later Miss Cleary was ffratificd to 
notice that her companion's rovins; eyes missed 
not a single pair of well tapered limbs, and the 
knowledge encouraged her to remark, "Holly- 
wood is crammed with pretty girls, and not all 
in the movies, either." 

"One at a time," grinned Mr. Slipe mean- 
ingly. "Now, this voice of yours — it means a 
lot to you, I guess." 

Joyce's hands gripped the wheel a little 
tighter. "If I don't make good, it means that 
two years of trj'ing and hoping go for nothing." 



MR. SLIPE frowned cunningly, 
haven't 



'We 

much chance to talk here. Why 
not have supper with me and then go to hear 
the stock company at El Capitan? You might 
pick up a few pointers." 

Miss Cleary looked squeamish, then vanity, 
masquerading as ambition, got another 
stranglehold in its perpetual contest with com- 
mon sense. "All right," she nodded. "Call 
for me at seven," and after depositing the 
genius at his gaudy hotel, she drove homeward. 

The mtching hours from seven until twelve 
proved to be a series of evasions. Dodging Mr. 
Slipe's knee at dinner, his arm at the theater 
and later his kisses in a ta.vicab became a bit 
monotonous, particularly as his amorous 
essays were accompanied by fallacious psy- 
chology. 

"There's no getting away from it," he 
wheedled. "All these outuard signs of re- 
pulsion simply mean that your subconscious 
self adores me." 

".\pplesauce," snapped Miss Cleary. "For 
heaven's sake get yourself another girl and let 
me alone." 

■".Ul in good time," smirked her squire, as 
the cab entered the dimly lit roads of t^rifiith 
Park. "Your case is a matter of pride with 
me because you're the lirst one who ever gave 
me an argument, but remember, girlie, I'm 
hke a victorious general in a conquered city. 
I take what I want before I pass on," and with 
this announcement Mr. Slipe enfolded her in a 
clammy embrace. 

"Stop it I" screamed Joyce, fighting him 
off. "Help, oh, driver!" 

The ta.\i suddenly jolted to a standstill, and 
a flat-browed chautTeur jumped out and opened 
the door. "What's comin' off here?" he de- 
manded. "Youse want a guy to lose his 
license?" 

"Protect mel" panted Miss Cleary, taking 
another scratch at Emerson's crimson cheeks. 
"Think of your sisters or your sweetheart." 

"Sure," said Flat Brow cagily, "an' think of 
nie fare. Have youse got any money?" 

"Heaps," promised Joyce. "Double rates 
if you'll drive me home alone." 

The chauffeur hesitated no longer. "Out- 
side, bum," he invited, and as Mr. Slipe 
attempted resistance, a hamjike hand clutched 
his collar, dragged him forth and plumped him 
down on the well oiled highway. "Maybe 
this'll learn youse somethin'," said the virtuous 
Flat Brow as he proceeded to turn the cab 
with reckless swoops. «hile Miss Cleary, lorn 
between dread and anger, laughed mockingly. 

"You're through!" yelled Mr. Slipe, giving 
hopeless chase. "This picture will wreck your 

career, you Jezebel! I'll " A sudden spurt 

from the exhaust drowned the rest of the ora- 
tion, and left him far from home, breathing 
curses and considerable carbon mono.\ide. 

A WEEK later "Uneasy Knees" had pro- 
gressed to the middle of the first act and 
had supplied the attendant script clerk with 
sufficient gossip to insure her being the life of 
the party if she ever returned to Gasconade, 
Missouri. The players' nerves were raw and 
flares of temperament had shrivelled the 
directorto the statusofan overworked corporal; 
only Mr. Slipe remained as bulbously impassive 
as a cherub in a painting by Raphael. So far 
the opus had been'niinus the ministrations of 
Abie Zoop, who followed the prudent custom of 
holding aloof until the picture had s\\-ung into 
its groove. Today, howe\'er, the semaphore 
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"The trouble mth you," said the director to 
Miss Bellairs, "is that you automatically gape 
at the camera as if it was a spotlight. Stage 
tricks don't go here, and anyhow, you're not 
young enough to get away mth that one. 
You're playing to fifty million people instead 
of a houseful of suckers who'll pay three-thirty 
a seat, and they'll be a lot more critical." 

"CINO the chorus," sniffed Magnolia. "My 
'-'voice is all I need to show up these dum- 
mies. Jlr. Sllpe saidso." 

"And I say you can't act for pictures!" 
shouted the director. "Just watch Cleary in 
this next scene, and see how she gets over 
with only her profile." He turned to the 
Ingenue. "Joyce, honey, before you speak your 
Unes I want a little Imaginative work. You go 
to the window and see your husband coming 
home. Naturally that makes you a bit per- 
turbed because the chaise longite is too short 
to conceal your lover. His feet are sticking 
out, and you're worried. Get the Idea?" 

"Oh, yes," said Joyce half-heartedly. She 
knew that no matter how well she played a 
scene the caustic Mr. Sllpe would blast it. 

"Silence, everybody," ordered the director, 
picking up the telephone connected with the 
recorders. "Now, then, Cleary, give me forty 
feet of brooding. Interlock!" 

.\ fog bank of stillness drifted over the set. 
Cameras whirred soundlessly In their movable 
glass-fronted booths, electricians on their lofty 
platforms handled the sun cars mth quiet 
expertness, the director froze to an unlovely 
waxwork; when suddenly the noisy entrance 
of Mr. Zoop and his pet head waggers ruined 
everything. 

"Thirty minutes I'll spend here," announced 
Able. "Go on with the scene and do your 
wailink after." 

Without delay the action was restarted and 
played to a finish, then Mr. Sllpe addressed 
his employer from the door of the booth. 
"Quite saisfactory," he called, "except for 
iVIiss Cleary, as usual." 

CLE.\RY!" said the surprised .\bie. "Why, 
she sounds like velvet to me. It's Bellairs 
who shouts hke an auctioneer." 

The monitor man came down the stairs and 
registered martyrdom, "ilay I ask, my dear 
sir, whether you know anything about vibra- 
tions?" 

"Nothink," said Mr. Zoop, "except that 
Momma has them when she gets mad." 

"Every note of the scale," lectured Emerson, 
"is composed of innumerable vibrations — 
good and bad. If the latter predominate the 
result will be a flop, and the electrical recorder 
will be sure to spot It. Miss Cleary comes 
through quite raucously. If you doubt it, 
just listen to this." He spoke hastily Into a 
receiver. "Give me a playback on that last 
scene, Joe." 

A moment later voices were issuing from a 
cavernous loud speaker in one corner of the 
studio as the wax disc in the recording chamber 
ground out Its chronicle. It was as Mr. Slipe 
had prophesied — all the voices were suitable, 
except Joyce deary's. Hers was harsh and 
blurred. 

"You'd better take her out of the cast," 
advised Mr. SUpe. "I'd recommend that you 
sign the soubrette from Miss Bellairs' old 
company, and don't stop there. Get some 
more legitimate players to replace these out- 
worn nio\ie people." 

"I'll think it over," groaned Able, "but 
we'll keep Cleary in this picture because we 
got to hurry the release date. I'll tell one 
of them loaflnk writers to put in a wise crackle 
about her comink from Pittsburgh or maybe 
we'll give her consumption yet. .A pfui on this 
talkink business! It's better I should quit, 
and start maklnk phosphorescent keyholes for 
the scofflaw trade." 

Joyce, fighting back the tears, was reassured 
by the friendly murmurs of Carlos and INIr. 
Hoople. "I'll try to do better," she told 
Abie, "and perhaps there might be something 
faulty with the machine, too." 



"Nonsense," scoffed the lofty Emerson. 

"Mark my " His voice trailed to an 

end as he noticed a voluptuous figure emerge 
from behind a piece of scenery, a sight that 
caused him to preen himself and smile In- 
sinuatingly. "And who," he fluted, "is this 
vision?" 

"Nobody but passion's chUd," recited Abie 
from the publicity blurbs. "Rosle, meet 
Mr. Sllpe, another guy who's golnk to cost me 
moniey." 

Miss Redpath, attired in gleaming white silk 
with disquieting touches of scarlet, appeared 
as smootJi as a bathroom tile and equally as 
cool. "I've heard so much about you," she 
crooned, flashing a side glance at Joyce. "In 
fact, the whole colony's been telling me about 
your er — work," and the frostlness vanished as 
she held out her hand. The pansy eyes en- 
larged with rapture and a salvo of purple 
electrons shot straight at their fatuous target. 
"I think you're simply wonderful," gurgled 
Rosie, as the little group stared aghast at this 
treachery and the giddy Emerson mentaUy 
tossed Miss Cleary to the sharks. 

"Pssst!" muttered Mr. Zoop. "He can't 
do nothink for you, Rosle, he only gets ." 

"It's almost five o'clock, .\bie," said the 
siren. "No more work today. Mr. Sllpe, 
please drive me over to Santa Monica, like a 
good boy. You will? Oh, you're positively 
scrumptious!" She curved an arm around his 
neck and scampered toward the open door with 
her blushing captive. 

"Hey!" croaked .'Vble, "I " 

Just as she reached the oblong sunlight Rosle 
glanced over her shoulder at the stern faces of 
her contemporaries. Then for a fleeting second 
a satiny eyelid drooped like a shutter, and a 
corner of her mouth slanted meaningly down- 
ward as she disappeared. 

TN after years Mr. Emerson Slipe was wont 
-•■to entertain his friends with a partial account 
of his scanty love life in Hollywood, only to be 
received with disbelief and derision. Never- 
theless, he told the truth, although at times he 
was tempted to mar\el that It had ever taken 
place. I5y the time he found himself In his 
roadster most of his self assurance came seeping 
back, and he managed to drive out of Culver 
City without maiming any of Its denizens. 

"Why," exclaimed his tempting passenger 
as they hit \'enlce Boulevard, "you're even 
handsomer than I expected." 

Mr. Slipe received this fairy tale with a 
patronizing smile and tried to look like the 
Prince of Wales. "I guess I am kind of a 
change after those sap leading men," he 
observed. "You're some sort of a star, aren't 
you? Seems to me We heard your nan-e 
before." 

Miss Redpath chewed her lips for an Instant, 
then miraculously produced an amorous 
smirk, and pressed a little closer. "Speed on 
to the sun-stained West," she sibilated, "my 
golden-haired .\pollo." Her knowiedge of that 
legendary gentleman was confined to his ap- 
pearance on candy boxes, but she put more 
intensity into the reference than any student 
of Greek w-ould have found possible. 

MR. SLIPE'S foot stiffened against the ac- 
celerator and the asphalt miles to Santa 
Monica flowed quickly by, and before long they 
were seated on the beach surveying a number 
of ladies to whom the old-fashioned bathing 
suits would have been sweet charity. Rosle 
posed coyly under a striped umbrella and pro- 
ceeded to roll her eyes until only the whites 
were visible. " At last I know what It means to 
love at first sight." she throbbed. "Kiss me, 
tiger man, I cannot wait for darkness." 

The frantic Emerson made clumsy efforts to 
imitate John Gilbert, but Miss Redpath sud- 
denly eluded him. "I've changed my mind." 
she said hurriedly. "Love Is too sacred to 
parade In public." 

The thwarted Romeo colored to a dull 
magenta. "Leading me on, eh?" he husked. 
" .\11 right, you sorceress, just try and lose me." 

Rosie counterfeited ecstasy with a series of 



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Photoplay Magazine — Advertising Section 



shuddering moans and her eyes became twin 
orbs of smouldering flame. "So you realize 
that my heart is worth winning," she asked 
softly, "and that I must be dominated?" 

The mesmerized Mr. Slipe had the sensation 
of being struck by purple lightning, but he 
nodded with all the eagerness of the male in 
a chase that promised dividends. 

"Fine," said JMiss Redpath, becoming prac- 
tical, "and now let's breeze to a dining room 
and get some abalone." 

SEVER.\L hours were passed at a beach club 
of scrofulous stucco, after which they drove 
back to the Redpath domicile in Beverly Hills, 
where the lovesick Emerson contemplated the 
cloudless sky and tried to recall some poetry. 
At the end of an elastic farewell Rosie hummed 
something about "The magic of moonlight — 
and you," but Mr. Slipe 's enthusiastic kiss 
landed somewhere on her right ear, and as he 
returned to the hotel he wondered if his 
technique needed improving. 

The next day being Sunday, he renewed his 
dominating at eleven and apparently was as 
welcome as intermission at a Junior League 
entertainment. The charmer led him through 
a maze of tennis, swimming, dancing and flirt- 
ing, thickly strewn with flattery, but although 
she behaved like an animated blow torch her 
ability to dodge and tantalize never lessened. 
All day long the pansy eyes re\olved and nar- 
rowed, allured and repelled, until, when Emer- 
son reached for his hat, she dispensed a couple 
of cautious kisses, thereby entangling him more 
than ever. 

Monday morning found him dreaming in his 
plate glass refuge when the preliminary click 
of the door handle made him straighten hur- 
riedly, and the next moment the dewy Rosie 
tiptoed into the booth. 

"You — you're not supposed to come in 
here," he stammered. 

"Why, Emerson," pouted the star. "Not 
stay close to my tiger man when I'm not 
busy?" The purple magnets filled wlh 
moisture as she slithered onto his knee. "You 
wouldn't say no, honey?" 

The soothing touch of lacquered lips on the 
back of his neck completed the enfeebling proc- 
ess of love, and Mr. Slipe smiled dizzily at 
passion's child. "I guess not," he promised, 
"but remember, we'll have to keep quiet." 

MORNING and afternoon sessions flew by 
as the heart smasher, lulled to benevo- 
lence, allowed the recording to go ahead with- 
out undue meddling. Miss Redpath, appar- 
ently swooning with joy, rested her jet curls on 
his shoulder, but the famous eyes, leveUed to 
slits, missed nothing of the layout. They noted 
the mixing panel with its six dials, one for each 
microphone, the volume indicator with its sen- 
sitive needle shivering back and forth at the 
slightest change in strength. They watched 
Mr. Slipe fiddling with the volume control knob 
and she listened to the stream of voices coming 
into the little room through a loud speaker in 
an angle of the roof. 

On Tuesday she continued in the part of an 
amorous sentry, but that evening, having 
dabbled in enough society novels to refer 
to a headache as migraine, she sidetracked Mr. 
Slipe with that excuse. He departed regret- 
fully, and ten minutes later a sprightly Rosie 
jumped into her car and headed for the home 
of the head electrician. Braving the suspicious 
glances of his wife, she herded him into a cor- 
ner, talking in pungent undertones, and only 
came up for air after fi\e minutes of high 
pressuring. 

"You begin the moment they go to lunch. 
Red," she ended. "Carlos will give you a hand, 
so your helpers won't have a chance to know 
what's doing. .'\s soon as that Httle rat comes 
back, you whistle a few bars of something as a 
signal — so long as it isn't Sonny Boy." 

"Count on me," said Red, with open admi- 
ration, " and how about finishing the job with a 
sock in the nose?" 

Rosie shook her head, thanked him with a 
few optical revolutions and rolled away to call 



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on the magnificent Hoople. After that fol- 
lowed a short conversation with Carlos and 
then she reached Joyce's Cleary's bungalow 
where the two girls engaged in one of those 
verbose conferences beloved of their sex. 

"So, go to lunch with him, you poor kid," 
advised Rosic, as she departed, "and keep him 
as long as possible. When you come back 
steer him around where you'll see a piece of silk 
lied to the monk's cloth. It's out of sight of the 
stage and you can start an argument there." 
And bending quickly, she kissed the ingenue 
with the tenderness of a sister. 

Emerson worked in dismal solitude from 
nine until twelve and then ambled through the 
various lots on his way to lunch with a strange- 
ly docile Miss Cleary. 

At twelve-two Carlos locked the studio 
and worked feverishly with Red and Mr. 
f-foople until twelve-thirty, at which time 
he admitted Rosie with the bewildered Abie 
in tow. 

"Leave the door open," said the star, as she 
noticed a fragment of lilac silk on the dun cur- 
tain. 

"Good work, boys." She led the way to 
the monitor booth, whose door hung crazily 
ajar, its lock smashed and hinges loose. Before 
il stood the dignified Mr. Hoople, flourishing a 
carpenter's wrecking tool as mute evidence. 
Kosie beckoned the men inside. 

""NJO time to go into details," she said hur- 
•^^ riedly, "but just look at this mixing panel. 
Those dial knobs look like the ones on your 
radio, don't they? Well, each one is con- 
nected with its own 'mike.' And notice that 
each dial is numbered from zero to twenty- 
one — that means the amount of transmission 
units. 

"Got it? Now, watch tliis other knob 
over here — the volume control — the lowest 
number on it means the highest tone, and by 
blending it with any one of those mixer knobs 
you get the proper pitch. You add or subtract 
transmission units, whichever you need to 
make any voice sound properly." 

"A system!" said Abie. " JiggUnk it's got to 
have, the same as when I try to get Blexico 
City?" 

"Exactly," nodded Rosie, just as a warning 
whistle from Red shriUed through the air. 
"Quiet, everybody." She threw the tiny 
switch for the dial in the upper left hand corner 
of the mixing panel, and crouched alertly over 
the table. 

"Well," issued Mr. Slipe's voice from the 
loud speaker. "What's on your mind?" 

"Just this," came Joyce's smooth alto, 
"I've decided there's nothing WTong with my 
voice and I believe you're dehberately spoiling 
it. You " 

"She didn't sound like that the other day," 
w hispered Mr. Zoop. " Such a slippery sleek- 
ness it has now." 

Rosie waved him to silence as Emerson 
brayed recklessly, "What are you going to do 
about it if I am? I told you I could make or 
break you, and I'm doing it, girlie." 

"You can't sneer at me just because you're 
chasing Rosie Redpath," said Joyce hotly. 
As the ^vords spilled into the booth Rosie 
gradually maneuvered the dials until the tone 
was one of grating huskiness, while her em- 
ployer listened apoplecticaUy. "I'll tell Abie," 
threatened the alto, softened again to a mellow 
timbre. 

"npHAT crackpot," said ]Mr. SUpe scornfully. 

•'- "He's got all he can do to keep that fat 
Momma of his from finding out where he 
spends his night off. Why, the poor " 

Mr. Zoop could restrain liimself no longer. 
"Gonoff!" he roared, stumbhng from the 
booth and down the stairs with Carlos close 
behind. The stage was crossed in a few 
squirrel-like bounds and the perspiring presi- 
dent catapulted through an opening in the 
monk's cloth to confront his traducer. 

"Voices you'll wreck, ha?" he wheezed. 
"Believe me, a crook like you could hide 
behind a pretzel." 



"Why, Mr. Zoop," said Emerson, "I fail to 
understand " 

"Never mind the breast heaving," cut in 
Carlos. "There's a nice, shiny, sensitive mike 
under that bit of silk, my bucko, and some job 
it was for Red and me to move it in a hurry. 
Hoople jimmied your always locked door and 
Rosie twirled the knobs for us. She proved 
that you're gypping Cleary, so it looks like 
you're all washed up." 

Mr. Siipe paled to a sickly chartreuse. 
" Rosie?" he quavered." No, she wouldn't " 

" (~^H, yes, I would, dearie," announced the 
^^lady, edging around the curtain. "Didn't 
I spend two mushy days with you to find out 
what went on? Oh, boy, what a price that was 
for experience. But I suppose you thought 
it was on the level because you're smart enough 
to know we movie people can't act." 

"You ain't got a contract," reminded Mr. 
Zoop, "so get your week's pay and run, don't 
walk, to the nearest exit. I can get another 
sample from your factory." 

"Ooh!" squealed Miss Bellairs, coming into 
view. " Is dear Mr. SUpe leaving us?" 

"By request," said Carlos. 

Something; of a Tenth Avenue genesis 
glinted through Magnolia's Broadway veneer 
as she surveyed the deluded Emerson. "So 
you're the little guy who was going to place 
stage people in the movies for two thousand 
commissipn. You told my soubrette that your 
recommendation would do the trick. Why, 
j'ou can't even promote yourself." 

"So that's what he was after," said Joyce. 
"He'd have sunk the lot of us in a year." 

"Well," twittered Magnoha, "all this 
doesn't concern me. I was chosen by your 
eastern manager, and here I am." 

"But not for long," said .\bie. "Without 
gettink personal, Miss Bellairs, I seen your 
rushes and I'm sorry to say your face ain't 
as smooth as your voice. It's better you 
should startle Broadway after this picture is 
finished." 

While Magnolia was assembling a retort Mr. 
Hoople barged forward in his stateliest man- 
ner. 

"A very wise decision, Mr. Zoop," he de- 
clared imprcssi\ely. 

"We are on the threshold of a new era and 
it seems to me that j'our tried and true 
players can learn to talk equally as well as 
the New Yorkers who'd have been out here 
long ago if they could have qualified 
facially. 

"Furthermore," said Mr. Hoople, feehng 
rather yeasty, "I don't believe the public 
will ever worship voices to such an ex- 
tent that they wiU write in for a picture of 
somebody's tonsils, %vhereas," he gently 
hugged the blushing Joyce and Rosie to his 
starchy bosom, "these young beauties are 
probably reposing on chiffoniers all the way 
from Lowell to Los .\ngeles." 

" CUCH fancy words," approved Mr. Zoop, 
'-'"and eighty-nine per cent of them is cor- 
rect, Hoople. I guess maybe our people will be 
talkink before them theatrical actors find out 
that tempo ain't an EyetaUan juggler." 

"Sure we \vill," enthused Rosie, taking the 
center of the stage. "Listen to this: 'Speed on 
to the sun-stained West, but first, kiss me. I 
cannot wait for darkness.' " 

" You won't have to ask twice, particular if 
you roU them eyes," said Abie. "What's it 
mean?" 

"It's some of the gab from my next picture, 
'Tiger Man,' " the star informed hirn. "Get 
this; 'Crush me in your arms for this is love 
at first sight. Dominate me 1' Hot stuff, eh?" 

"Swell," applauded Mr. Zoop. 

"Say, listen, did you hear a funny noise? 
A gasp with a lot of horrible gulpink?'' 

Rosie laughed happily across at the radiant 
Miss Cleary. "The theme song is kind of 
sappy," she lilted. " 'The magic of moonlight 
— and you,' but it all depends on your audience. 
Don't worry about that noise, Abie, I've got an 
idea it's only Httle Emerson taking the air." 



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loi 



How They Manage 
Their Homes 

[ CONTIiNUED FROM PAGE 78 ] 



upon a charming secluded patio, where, as early 
as January, a huge bush of white camelhas was 
blooming proudly. Above a handsome Eight- 
eenth Century divan hangs a portrait of 
Corinne, by Tade Styka, set off by handsome 
electrified old candelabra on either side. 

On the grand piano is a large Dresden figure 
of great value. Such rare pieces abound in the 
room, including some sculptured pieces in ro.'-e 
quartz which stand upon a quaint, old hand- 
painted Italian secretary. 

T30UQUETS of china or glass flowers also ap- 
■'-'pear in many parts of the house. Two huge 
Sixteenth Century crystal chandeliers hang 
from the ceiling of the living room. Lovely 
shaded lamps on low tables stand cosily beside 
the chairs. The fireplace, which burns coal and 
wood, has very old andirons. It is topped by a 
French mirror. The thick carpet is cnjc-oii-luil. 

The dining room chairs and table are from 
an old French chateau, upholstered in faded 
old pink moire silk, still unimpaired. Upon a 
raised dais in the window stands a tall flower 
stand filled with gay yellow and green gorse. 
A taupe carpet (always carpets, ne%'er small 
rugs) sets off the rich Fortuny draperies of dull 
green. A tall, carved Madonna, sculptured 
from solid crystal, adorns the sideboard. A 
tall brocaded screen conceals the pantry door. 

Lovely chinaware of modern Viennese design 
is in this pantry, every imaginable kind of 
exquisite glassware, etched, cut, moulded in 
the Italian manner, in gold and rose. Very 
little silver, e.-ccept the champagne and cocktail 
glasses. Tall table candlesticks, glass serving 
plates — enough of each kind to serve a buffet 
supper party for two dozen or more. The 
buffet supper party is the Moroscos' favorite 
method of entertaining. The sink basin here 
is of aluminum, like those on board great ocean 
liners, and rubber mats of pure white protect 
the fine glass\vare from the tiled sink, which 
might chip it. 

On to the kitchen, where the cook holds 
sway. One whole wall is for the huge electric 
refrigerator, another for the cook stove with 
every modern equipment. In a drawer are 
kept dozens of menus, carefully worked out for 
both company and family dinners. A repre- 
sentative family dinner is: 

Onion soup with Parmesan cheese 

Sweetbreads 

Veal cutlet, green beans and creamed 

potatoes 

Broccoli, with Hollandaise sauce 

Chocolate pudding Black coffee 

.Sometimes a fruit cocktail, or an oyster cock- 
tail supplants the soup. That chocolate pud- 
ding is no ordinary pudding — modest as it 
sounds. It is Walter's favorite dish and there- 
fore often appears on a company menu, too. 

Here is a representative company menu: 

Caviar canapes 

Fruit cocktail (or oysters on shell) 

Broiled lobster 

Vol-au-vent mushroom and sweetbreads 

Roast or fillet or turkey 

Two vegetables Radishes 

Roquefort cheese salad 
Chocolate ice cream Cafe noir 

BY which you will observe that Corinne ap- 
proves of that cook's sweetbreads and choc- 
olate confections. The cook also makes all the 
rolls, biscuits, cakes, pastries. She says, "Mr. 
and Mrs. Morosco like many cheeses very 
much." 

Excepting Sunday, Walter and Corinne 
never lunch at home, but in Corinne's lovely 
bungalow at the First National Studio. Their 
breakfast is very meagre, as noted before — 
even Walter only nibbles a bit of toast with his 




A GOLDEN TAN IS THE INDEX OF CHIC 

. . , out the preceding sunourn is torture 



UNQUESTIONABLY, a skin of f!;oidei. 
tan is smarter this summer than 
ever before. But that makes sunburn no 
less painful. How shall one gain the envied 
tan without the agony of sunburn? 

The answer to this problem is Dorothy 
Gray Sunburn Cream. This preparation 
is quite different from other sunburn 
preventives. It does not prevent tanning, 
but it does prevent burning. And you 
can forget you have it on! 

Smooth a little Dorothy Gray Sun- 
burn Cream over all exposed surfaces of 
) our skin before going into the sun. It 
actually absorbs that narrow por- 
tion of the sun's ultra-violet ray 
which is the cause of the burning 
and blistering of the skin. 




It does not shut off all sunlight from 
your skin, as a protective garment does, 
but it does absorb that part of the sun's 
rays which are responsible for burning. 
Thus Dorothy Gray Sunburn Cream 
encourages a rich, becoming tan — while 
at the same time it prevents painful 
burning and blisterins. 

A bottle of Dorothy Gray Sunburn 
Cream costs two dollars and will 
ordinarily last an entire season. It is 
a creamy lotion, delicately scented; it 
does not make your skin sticky or 
greasy, but leaves it smooth and soft. 
Vou will find Dorothy Gray 
Sunburn Cream at leading shops 
everywhere and at the Dorothy 
Gray Salons. 

© D. G. 1929 



DOROTHY CRAY 

Doroiliy Gray Building 
633 FIFTH AVENUE, NEW YORK 



CHICAGO LOS ANGELES SAN FRANCISCO ■WASHINGTON ATLANTIC CITY 



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I02 



Photoplay Magazine — Advertising Section 



(persoaaL 

Q>di 




Beltx Lanislies forever the bothersome 
safety pin. — instead, the pad is gripped 
^^'itn a tiny immaculately clean bit ot 
celluloid especially designed for abso- 
lute security. 

Dainty, soft elastic makes Beltx com- 
fortatle and gives a freedom heretotore 
unknown. Wide enough for security, 
yet w^ill not crease or chale. 
Beltx is designed to be -wornlo-w^ on the 
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Kinds — as does tke old style, •waistline 
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Instantly adjustable to nip measurement 
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In colors — to matcn your lingerie. A 
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Belix 



®GLEN MARIANNE SHEA, 
Bell Telephone Bldg., St. Louis, Mo. 
Please send me BELTX personal belta 

for which I cnclose$ . It is under- 
stood that I may return belt for refund if not satis- 
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Name ....... 

Address B125 



coffee. But their Sunday lunch is really a 
breakfast — bacon and eggs, baked apples, 
toast and jam, eaten at 12:30, when they return 
from church. For Corinne and Walter are 
regular church-goers. 

Off the kitchen is the little jazzy breakfast 
room, all red furniture and saucy gay curtains. 
The servants eat here. 

Now we must peep into that famous 
"Whoopee Room," which Corinne says is 
essentially practical. This, too, is fully car- 
peted in that heavy taupe waterproof stuff — 
that mil stand lots of bad treatment and ciga- 
rette stubs, and spilt drinks. 

The furniture is all very low; deep, low 
chairs, decked with gay, hard-wearing silk; low 
tables, equipped for smokers, readers, and 
card players. A big fireplace — but for gas, 
imitating coal mthout any dirt. 

TLTERE are all sorts of musical instruments — 
-*- -'•wicked looking horns, saxophones, trum- 
pets, drums. Magazines galore, like a news- 
stand. A table with a half-finished puzzle — 
Corinne is the puzzle fiend and even works 
them out on the lot between scenes. 

The radio is in the upper hall, just outside 
the library door, so it is heard through the pro- 
jection balcony, which looks down into this 
room. 

(.\ valuable gramophone of huge dimensions 
adorns the living room, but it is shrouded in an 
alcove and so does not intrude upon the period 
scheme.) 

Plate glass covers all the low tables, so that 
spilling things won't hurt the polish. The 
drapes are of orange and silver. Queer comic 
etchings adorn the walls. 

.\bove this is another play-room — but they 
call it an "outdoor kitchen." One reaches it 
by some stone steps from the patio, and it 
gives the impression of a ship's deck. Reed 
furniture, a couple of bright rugs on the tiled 
floor, a dining table — and a huge barbecue fire- 
place with grill, where summer-night supper 
parties are enjoyed. Cushions are covered 
with black patent leather, and gay striped 
a^vnings can be lowered for wind or sun shields. 

npHERE arc six servants altogether. The 
^ butler, who is really the housekeeper, does 
most of the purchasing and receives S150 a 
month. The cook gets S12S; the upstairs maid 
receives S85; Corinne's personal maid receives 
S75; and the chauffeur-gardener is paid S45 
weekly. Then there is the maid who attends 
Corimie at the studio and keeps the lot- 
bungalow clean at S25 weekly. Corinne says 
she has never had such an harmonious house- 
hold and she loves each one of them. The 
butler acts as valet to Walter. 

.Ml the laundry is sent out — silk bedclothes 
and all — but Corinne has had the same private 
laundress for years, who takes it all to her own 
home. It costs about SI2 a week. 

Out in the Httle patio where the white 
camellias Ijlooni so handsomely, there is an 
adorable little Italian fountain, set in the midst 



of the flagged courtyard, where grass grows 
between the stones. The large lawn outside 
the house at the corner may be transformed 
into a swimming pool, hence for the present it 
is allowed to remain just a lawn, and the special 
floral treasures are reserved for the smaller 
garden and the patio. 

An average day for Corinne and Walter is 
breakfast in bed at 7 A. M. Discussion with 
the cook about the evening menu. Rise at 8. 
To the studio at 9. "We are very lucky," says 
Corinne, "because my contract reads that I 
need only work from 10 A. M. to 6 P. M." 
Walter is now executive producer of Corinne's 
pictures. 

They meet for lunch in Corinne's utterly 
charming bungalow on the lot, which is com- 
plete with living room, bedroom, dressing 
room, bathroom and kitchen. The bathroom 
here is a huge one, aU done in American beauty 
tiles, and big enough to turn handsprings in. 

Then home at 6 P.M. Dinner at 7:30. They 
rarely go out in the evening, and then prefer 
Saturday nights, so they can sleep late Sunday. 
They like picture shows and theaters — or pos- 
sibly go to a friend's house for bridge or 
dancing. But they prefer to entertain at home, 
their special intimates being the Niblos, the 
Fitzmaurices, the Nagels and the Axchen- 
bauds. 

"PORTUNATELY, Walter likes the husbands 
■'- and Corinne likes the wives — Enid Bennett, 
Diane Fitzmaurice, Kitty Archenbaud, Ruth 
Nagel, Norma Shearer aU being Corinne's 
special women friends. Jack Gilbert is a fre- 
quent visitor, too. 

They belong to the Los Angeles Tennis Club, 
and both the Xiblos and Fitzmaurice? have 
tennis courts, so this forms an after-church 
recreation on Sundays. In the summer there 
are swimming parties — nearly all their Holly- 
wood friends ha\e them — so that is why that 
lawn may be a swimming pool yet. 

Corinne loves to sew. (Nevertheless, her 
personal maid darns Walter's socks.) But 
Corinne can make her own clothes, and she 
designs all her frocks, both for private and pro- 
fessional wear. 

They own three dogs — "Ritz," the big fel- 
low who watches the house, "Pal," the wire- 
hair, whom Corinne took in when he was dying 
and fed him up; and " Raider," a saucy terrier. 
The latter two accompany them to the studio 
frequently. 

I asked Corinne whether the advent of a 
little Walter and little Corinne was indefinitely 
postponed. 

"Oh, no, I hope not. I want children. But 
one's contracts do interfere so awkwardly, 
don't they?" she asked, almost wistfully. 

Corinne says that Walter pays all the house 
bills, but that she, Corinne, pays all the 
servants. "No, we haven't a budget, but we 
manage to keep our expenditures about the 
same most of the time," she told me. 

I think myself they are "putting by" enough 
for little Walter and little Corinne. 



The Girl Jack Gilbert Married 



I CONTINUED PROM PAGE 31 . 



Not that you notice any of these things when 
you first meet her. You are conscious only of 
her personality, her overwhelming, throbbing 
pcrsonalit)', as disturbing as a necklace of 
diamonds, as definite as a splash of lipstick on 
the face of a pallid woman. 

It was back in my newspaper days that I 
interviewed Ina. She was an old friend of my 
paper's dramatic editor and he wanted a story 
on her. So he told me to go and get it. 

I was very willing, but Miss Claire was not. 
She didn't care for interview-s, she said, via her 
press agent, and most certainly she wouldn't 
give out an interview before or during her per- 



formance. If I would persist in seeing her I 
could come after the show. 

She was a very big star on Broadway even 
then, its little girl w-ho had come up from the 
Follies to the w-hite lights of dramatic comedy. 
So I came after the show. I came one night, 
two nights. Each time I got dismissed. 

The third night I said I'd wait, and wait I 
did. I sat firmly on a chair outside her dressing 
room door while the stage hands struck the set 
and the electricians doused the lights and the 
great, empty theater got colder and the night 
blacker, and midnight became a dim memory 
in a forgotten past. And I determined that if 



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Photoplay Magazine — Advertising Section 



ever I got in to see this upstage star I would 
tell what I thought of her in print if it cost 
me my job. 

Suddenly she opened the door and asked me 
in. Five minutes later she could have put me 
on the floor and used me for a willing doormat. 
I was completely, immediately fascinated by 
her. One glance and I knew it wasn't sellish- 
ness, it wasn't egotism, that made her thus 
exclusive. It was the natural, the beautiful im- 
pulse of the artist to give all she had and the 
best she had to her work and let the rest of the 
world go hang. 

SHE talked incessantly that night. She still 
talks incessantly, I understand. She talked 
while she took off her make-up and while she 
dressed. She talked while she left the theater 
with a bunch of American beauty roses over 
her arm and her motor waiting. She talked for 
two and a half solid hours but she didn't know 
it and I didn't give a hang. 

I'^or more than an hour we stood in that 
night-shadowed street, while an adoring 
chaufleur stood with an open car door and I 
stood with an open mouth. And when she 
finally floated away and left me unconscious on 
the curb I knew I was as near first water genius 
as I shall ever get. 

Not that Ina Claire was always that way. 
Heavens, no. She proves conclusively what a 
girl can do to develop her own personality if 
she uses her brains and her energy and works 
like a whip-lashed slave. 

There are artists who create their master- 
pieces in terms of paint and canvas and others 
who work in terms of beautiful music and 
others who cut fair, white marble. Ina Claire 
is definitely an artist who has worked in terms 
of her own charm. 

She was born a poor little kid. Her name 
was Fagan and her father had died in an auto- 
mobile accident four months before her coming. 

.\lmost immediately she knew she wanted to 
go on the stage. By four she was on, a baby 
doing imitations. 

She kept on doing imitations. She had a 
mother, the typical stage Mamma with the 
typical guardian-dragon complex. Somewhere 
along the line, I suppose, she got some educa- 
tion. Today she speaks French with all the 
fluency of a prime minister, but it is hard to 
figure out when she got time to learn anything. 
She appeared with Richard Carle in "Jumping 
Jupiter"; in the Frolics Bergere, New York's 
first cabaret; in the title role of "The Quaker 
Girl"; in "The Honeymoon Express"; but it 
wasn't until she appeared in Ziegfeld's Follies 
of 1915 that she was definitely set. 

In that year's F'oflies she imitated Frances 
Starr playing Maric-Odilc in a production of 
David Belasco's. 

'T'HAT choice looked like an accident, but I 
^ would like to wager forty-five of my labori- 
ously minted doUars that Ina's imitating Miss 
Starr was just about as accidental as Washing- 
ton's crossing the Delaware. 

She had climbed as high as she could go in 
musical comedy. She had reached the Follies 
and there wasn't any more. But drama lay 
ahead and Belasco was dean of aU the pro- 
ducers. Certainly very shortly thereafter Miss 
Claire was signed to appear in Mr. Belasco's 
production, "Polly with a Past." 

She was very charming in " PoUy," and very 
unimportant. Theseasonopenedandclosedand 
next season Belasco put her in the leading role 
of "The Gold Diggers." And in "The Gold 
Diggers" Ina Claire struck bottom. 

She had a marvelous part and she got excel- 
lent notices. But there were two factors 
operating against her. In the cast of her play 
was an actress, Jobyna Howland, with a voice 
like a foghorn and a perfect knowledge of how 
to use it. And in Ina's private life there was a 
man, who up until this present writing was her 
one and only husband, one Jimmie Whittaker, 
a newspaper reporter. 

At the theater Jobyna, the experienced 
trouper, topped Ina's every scene. And to be 
"topped" in scenes is the most sickening. 




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I04 



Photoplay Magazine — Advertising Section 




3 daifs 

- ujhen Mum 
means most 



Most woiiKii liave discovered tlic need 
of Mum to guard tlie underarm from all 
taint. 

But protection from the odors of per- 
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Mum performs its most important scrz'- 
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frustrating thing that can happen to an actress. 
It is a vocal trick entirely. Jobyna could talk 
louder and faster than Ina. When they got in 
a scene together Jobyna's bass against Ina's 
golden soprano was like a truck against a field 
of violets. Before the end of the run Ina had 
to leave the cast. The press yarn was that she 
was ill. But she wasn't ill. The truth was that 
her voice had given out entirely. 

And Jimmie Whittaker. I don't know a 
thing about it, but I have the impression that 
Ina Claire was terribly in love with him. 

Certainly she could have married almost any 
man in the metropolis. Among her hundreds 
of suitors one was the scion of one of America's 
oldest, richest and most aristocratic families. 
.'\nd when a girl who could have made a m.ar- 
riage like that chooses to marry a penniless 
reporter it must be love. 

Jimmie Whittaker was the true newspaper 
man — charming, unambitious for material 
things, intelligent and caustic. When any- 
thing exciting happened, Jimmie was prone to 
say, "Oh, what the heck," or words to that 
effect. And there was Ina, fiercely ambitious, 
eager for fame, hungry for security, driven ever 
restless by her urge to be a great artist. 

WHEN Ina opened in "The Gold Diggers," 
Jimmie was sent to review the show. 

"When we were married," he wTote, "Miss 
Ina Claire gave her profession as actress. Last 
night in 'The Gold Diggers' she did nothing to 
confirm this." It was the first public announce- 
ment of their union and it was also its swan- 
song. Shortly thereafter Ina got her divorce. 

She was out of a show, out of a voice and out 
of love. But she wasn't out of courage. She 
sailed for France and went to work. 

It wasn't many months before her vocal 
chords, which had literally been calloused 
through her attempting to talk louder than 
Miss Howland, were like a piano keyboard to 
the hands of a magician. She could create 
tones on them and produce any effect she 
willed. But she wasn't satisfied. 

She secured herself bits with French comedy 
troupes. Not as Ina Claire but as a struggling 
young actress. She chose these French com- 
panies because she knew what she wanted. 
She wanted to be a comedienne; she needed 
the cacJict of chic and smartness; and she felt, 
very rightly, that French trained actresses 
possess these qualities to a superlative degree. 

\\'hen she had learned her lessons, when she 
was assured through dozens of performances, 
that her voice, her technique were perfected, 
she came back to Broadway. 

She had left it an ambitious girl. She re- 
turned to it a woman of the world. She, who 
cared nothing for clothes, became the smartest 
dressed woman on the American stage. She, 
who wore not a touch of make-up on the street, 
became a wizard at it for her performances. 



She introduced the first shingle bob. She in- 
troduced the first theatrical posters by the 
great artist Drian. And she made theatrical 
history by appearing in five successive comedies 
that didn't amount to a tinker's darn on their 
own accounts, but which were made into 
speculators' paradises by her masterly per- 
formances in them. 

By the time she played in "The Last of Mrs. 
Cheyney" her fame was so secure, her follow- 
ing so definite, the speculators bought blocks of 
seats for her theater regardless of time, tide or 
prices. And that was her position when she 
went to Hollywood in .-\pril to make, not her 
first movie, for she made a couple of movies 
many years ago, but her first talkie. 

\\ hich gets me back, definitely, to the smiles 
that must have been on the faces of the high 
gods when Jack and Ina eloped. 

Jack's career has been one of struggle all the 
way. And so has Ina's. 

Jack, writing about making "The Big 
Parade" in his life story in PnoroPL.w, said: 
"No love has ever enthralled me as much as 
this. No achievement mil ever excite me so 
much. No reward mil e\'er be so great." 

Ina, talking of her work, uses much the same 
words. Tu-o artists who lo-^'e their work. Two 
human beings who have been totally unwse in 
love. If Jack had married Greta Garbo, as he 
undoubtedly once wished to do, she would have 
always remained a mystery to him. Re- 
pressed, reserved, strangely fascinating, he 
would never have understood her, never have 
known her. 

There is no mystery about Irui Claire. There 
are, instead, things infinitely more endearing. 
There is warmth, enthusiasm, impulsiveness, 
charm, intelligence and chic. Ina is an .\mcri- 
can and yet a woman of the world, a girl who 
started with nothing and made every goal she 
sighted. 

J.\CK'S two other marriages were mad, head- 
long kid affairs, the loves of a man who hadn't 
worked out his destiny. 

And no more had Ina Claire achieved the 
full llowering of her extraordinary personality 
when she married Jimmie Whittaker. 

Today Jack Gilbert is the screen's greatest 
lover. Ina Claire is the stage's leading come- 
chenne. 

If two human beings ever met on a basis of 
equaUty, these two do. Equal in fame, equal 
in money, equal in ability, equal in ambition. 

Their love should last. It surely seems as 
though it should be the answer to the deepest 
idealisms they have cherished over all their 
hard-working years and disiUusionnients. 

But just between ourselves, when you think 
of the man Jack Gilbert is and realize the 
woman Ina Claire represents and you think of 
those two in love and married — well, really, 
don't some people have all the luck? 



LOST — Leonard Hall. Somewhere in the wilds of Holly- 
wood. Last heard from him was following note, which may 
give clue to his ^vhereabouts: 



For those with a roving eye the search 
for the world's loveliest women goes on as 
long as the eyesight holds out. But my 
hunt has come to an end in Hollywood. 

I thought I'd seen the last word when I 
beheld the blondes of Vienna. For 
several years I swore by Flo Ziegfeld as a 
picker. Then I turned my allegiance to 
the gals of the films. 

But that's all over now. The most 
beautiful women in the world, including 
the Scandinavian, work for Mr. Greer, 
famous Hollywood dressmaker, who 
makes marvelous duds for Norma Tal- 
madge and many other players. 



Greer has about eight models who 
positively glitter. 

Why the picture executives don't offer 
them a miUion dollars I don't yet 
know, but I'm going to lurk around the 
Greer establishment until I either find out 
or am thrown out. 

.\s a matter of fact, the saleswomen and 
waitresses of Hollywood stack up against 
any of the pippins to be found on any of 
the lots. 

If the beauts of filmland ever stage a 
walkout, the producers can dig up all the 
loveliness they need in a half-hour on the 
Boulevard. 



(Suggest that Los Angeles police assign keen-eyed dick 
to watch establishment referred to.) 



Every advertisement In PHOTOPLAY JIAGAZINB Is guaranteed. 



Photoplay Magazine — Advertising Section 



05 



She Prayed for 
the Part 

1 CONTINUED FROM PAGE 92 | 



Press Club and a friend of D. W. Griffith. Jlr. 
Criffitli visited her family at one time, saw 
the girl — who was then Winifred Von Heide — 
and remarked upon her resemblance to Blanche 
Sweet. He asked her if she would like to try 
out in pictures. Of course, she was overjoyed. 
She had been studying piano and taking vocal 
lessons, but she gave that up gladly to accept 
his offer. So she had her early training under 
"D. W." in the old Fine .Arts days. 

"I was with that company about two and a 
half years," she said. "\Vhat a wonderful 
group that was! Wy first picture was 'Poor 
Papa,' with DeWolf Hopper. Then I was in 
'The Half Breed' with Douglas Fairbanks. 
I played 'Baby Blue Eyes,' a dance hall vamp. 
I looked so wide-eyed and innocent in those 
days that I suppose the name of the character 
fitted me. I remember that, after 'Baby Blue 
Eyes' had played the ingenue, her last line, to 
the bartender, was: — 'ilike, two bottles in 
the back room.' " 

AFTER that she was leading woman for 
Harry Carey, with John Ford directing; for 
William S. Hart, for Charles Ray and for Wil- 
liam Russell. She played with Emma Dunn in 
"Old Lady 31" and later made three pictures 
for Fox, in at least one of which she played 
opposite Buck Jones. 

"Later I went to Sweden," she said, "and 
made some peasant pictures with an all- 
Swedish cast. Zorn told me that I was more 
of the Swedish peasant tj-pe — that is, the tj^ie 
most people imagine Swedes to be — than were 
the Swedes themselves. I came honestly by 
that, anyway. JMy father was Swedish and 
French, and my mother had Danish blood, 
so it's no wonder I have Scandinavian traits 
and characteristics." 

She came back to New York after the 
Swedish venture and made several pictures 
for Selznick, returning to California in 1921, 
the year she was married. One final question 
was asked her : — 

"Now that you have been selected for the 
role of 'Lummo.x,' do you pray that you will 
make good in it?" 

She seemed surprised. To her the question 
was superfluous. 

"But, of course not," she replied. "If I 
were not to make good, I would n^t have been 
selected for the role." 



Princeton Goes 
Talkie 



I CONTINUED FROM PAGE 92 ] 

Vitaphone! When the sound finally came, it 
was way behind the action on the screen. In 
the course of the next five minutes, Josephine 
Dunn spoke Jolson's lines, Jolson talked noth- 
ing but baby-talk, and Davey Lee sang "Sonny 
Boy." 

"Fix it!" cried the audience, but it was not 
fixed until the beginning of the next reel. The 
noise-makers had gained their end. 

Subsequent showing of talking pictures has 
shown that the Princeton students will have 
nothing else. They pack the theater for 
"talkies" as they formerly did only to see 
Greta Garbo. And they no longer bring bells 
and whistles, or alarm clocks. They are loud 
in their approval and their criticism. That 
makes it easy for the manager when booking 
future programs. And he doesn't need to pro- 
claim talking pictures a success — he just points 
to the line at the box office. 



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Photoplay Magazine — Advertising Section 



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[ CONTINUED FROM PAGE 72 ] 

Left, Dorothy 
Burke, the fem- 
inine lead; be- 
low, William 
Overstreet, an 
important 
player ; and, 
right. Phyllis 
Van Kimmell, 
the ingenue, of 
the new Univer- 
sity of Oregon 
amateur film 





T^HE Flower Cit}' Amateur 
^ Movie Club, which en- 
tered "At Your Service" in 
Photoplay's $2,000 con- 
test, was organized in 
March, 1928, by Frank J. 
Buelhman. Since that time 
more than sLxty have en- 
rolled as active members. 

Since the club's inception 
two screen plays, "Fresh- 
man Days" and "At Your 
Ser\-ice," have been made 
by senior members of the 
club. "Three of a Kind" 
was made by the junior 
members. 

The organization is a 
member of the Amateur Cinema League oi 
America and holds regular weekly meetings. 
The officers are: Frank J. Buelhman, presi- 
dent; F2. A. Curtis, vice-president; William N. 
Cushing, business manager; R. J\L Clemens, 
director; Lee G. Wright, secretar)'; and Joseph 
n. Apple ton, publicity manager. 

AT a recent meeting of the Metropolitan 
-'^■Motion Picture Club, the newly organized 
New York amateurs, an informal talk was 
given by Professor Carl Louis Gregory on 
amateur problems, dealing particularly with 
interior lighting and the use of filters. "H20,'' 
an experimental film showing the movement 
and reflections of water under varj'ing condi- 
tions, produced by Ralph Steiner, a club mem- 
ber, was shown. Over 150 members attended 
the meeting, which was presided o\'er by Dr. 
Raymond 1.. Ditmars. 



npHE activities of the 
■'-Washington Cinema 
Club in making a film record 
of the inauguration of Presi- 
dent Herbert Hoover are 
worthy of unusual note. 
Plans were laid well in ad- 
vance. Space was obtained 
in the official photographers' 
stand and arm bands, per- 
mitting members to work 
without restriction along 
the Une of march, were ob- 
tained. 

Two hundred and sixty 
feet of 16 millimeter film 
. were obtained. The film was 
developed by the club 

members. Prints are being furnished each 

club member at a nominal cost. 

■\yfARKARD PICTURES, the amateur 
■'■'-'■makers of the much talked about film, 
"Narrow Paths," announces that a new pro- 
duction, " Nothing to Declare," is in work. This 
will run 1,200 feet in 16 millimeter film. The 
storj', adapted for the screen by Harry M. 
Lopez, deals with a crooked custom oflicial who 
uses his position to blackmail wealthy evaders 
of custom duties. The photography will be in 
the hands of J. \'. Martindale and Frank Pack- 
ard. Markard, by the way, is a combination of 
these two names. 

THE Hawthorne Photographic Club of 
Chicago, -omposed of members of the 
Western EleCiric's Hawthorne Station, is con- 
ducting a scenario contest open to members. 




Scene from the Cumberland Cinema Club's production of Oscar 
Wilde's "Salome," submitted in the PHOTOPLAY contest. The 
Cumberland Club is composed of amateur enthusiasts of Vine- 
land, N. J. 

B»ei7 advertisement In PHOTOPLAY MAGAZINE I3 guaranteed. 



Photoplay Magazine — Advertising Section 



Young King Leer 



[ CONTINUED FROM PAGE 63 ] 

The talkie lightning smote Mr. Morris when 
he and the wifelet were swinging round the 
Western circle in a little vaudeville act. 

Chester had made a few mild passes at pic- 
tures. Mr. De Mille had been pontilically 
kind. Mr. Griffith had even made a test of 
him. 

Then Fate, in the person of Director Roland 
West, came up and tapped young Mr. Morris 
for Bones. , 

West went into the Griffith headquarters one 
day. "AJibi" was on the make, and the 
director was in the market for a Chick Wil- 
liams, Grade A. 

"How about letting father look at some of 
your rusty old tests?" Mr. West might have 
said. He was accommodated. 

Suddenly Mr. Morris leered his best party 
leer from the screen. Mr. West leaped fully 
forty feet into the air and cracked his heels. 

"There's my Chick!" he cried. And darned 
if it wasn't! 

A FEW days later, Morris was in the 
studio, learning and unlearning under 
the baton of Roland West. 

His fourteen years of trouping stood by him . 
He learned fast and well, and West was teacher, 
boss and father confessor. 

The last shot was fired. "Alibi," hot or 
cold, was finished, and a quaking young actor 
nerved himself for the preview. 

"Alibi" was run off at Grauman's Chinese 
Theater. 

There weren't many in the death watch. 
Among them were Chester Morris and the 
little woman. They held hands in the dark- 
ness. 

As the picture unrolled, Morris' jaw fell 
until it rested on his wishbone. .\t last he 
could stand the ordeal no longer. Chester 
Morris found Chester Morris hard to take. 

"Come on, darling," he whispered to j\Irs. 
Morris. "Let's blow!" They blew. 

So the little pair went back to the apartment. 
Once safe at home, a drop of some harmless 
restorative calmed the boy, and he tried his 
best not to t\\itch and frighten the girl wife. 

The phone rang. It was Roland West. 




No, this isn't Dolores Costello. It 
is Barbara Worth, who plays op- 
posite Norman Kerry in "The 
King of Hearts." Miss Worth will 
further compHcate matters by 
appearing in a story written by 
Helene Costello and CHff Wheeler, 
tentatively titled "Anastasia" 



"We 



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this little hooli^ 



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the modern way to protect and pre- 
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result from a fastidiously-cared- 
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exactly what feminine hygiene is. 

For that reason, the makers of 
"Lysol" Disinfectant asked an emi- 
nent woman physician to prepare a 
booklet called "The Scientific Side 
of Health and Youth." In simple 
language it gives professional in- 
formation, explicit rules. It answers 



the questions you would like to ask 
this woman physician in person. It 
is free. Simply send us the coupon 
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But while waiting for the booklet, 
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Buy a bottle today. Simply follow 
the directions that come with every 
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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



State.. 




Photoplay Magazine — Advertising Section 



• 




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"Well, kid," asked the director "how are 
you?" 

Chester came back mth the theater's classic 
gag — the one that every actor is supposed to 
use when he hears the managerial fist pounding 
on his dressing room door. 

"I'm packing." 

"Don't be silly," said the boss. "Stick 
around!" 

So Morris stuck around. 

\\'ords that bleated over the phone failed to 
buck him up much. Everybody seemed to be 
praising him with faint damns. 

"Oh, you were all right." 

"Don't worry — you seemed to be O. K. to 
me!" 

All that kindly, patronizing stuff worried 
Morris more. He felt the folks were letting him 
down. 

"We're going East," he said to the Httle 
partner. 

And so, as the rattler rumbled toward New 
Vork, Morris sat in his PuUman pew and 
fretted. He was certain that he had laid an 
enormous egg in the talkies. His trip was al- 
most a retreat from Moscow. He Wanted to 
Get Away From It All. 

Then "Alibi" opened on Broadway, and 
that event is alreadj' in the history books. 



The thundering at the picture's end was for 
King Leer, the kid who played Chick Williams. 
He was a riot — he was a panic — he was a hit 
in all the 159 dialects of Times Square. 

When the dawn came, it found Chester a 
little dazed. He still is. It isn't easy, this play- 
ing the role of a talkie miracle. 

His screen lessons were no cinch, either. 

There were the chalk marks on the floor that 
his feet must faithfully follow. There was this 
matter of registering before speaking. He 
learned with a shock that in the talkies an 
actor must really concentrate on his character 
before walking into the eye of the camera. An 
actor with fifteen years' experience had to learn 
again. 

Well, he did. . 

Chester Morris has arrived — on both feet 
and in a very big way. He is one of the best 
talkie bets yet offered, and our screens xriU see 
and hear a lot of him. 

One of these strange, almost casual miracles 
of talking pictures happened to Chester Morris. 
Perhaps it doesn't mean much in the wide 
scheme of things, but to Morris and the little 
helpmate it has been a colossal experience — the 
turning point in an earnest, hard-fought career. 

So, go home and practice leering, young man. 
Chester Morris can't make faces forever! 



The Truth About Voice Doubling 



I COXTI.\n:D FROM P.\GE 33 I 



for Paul Lukas. Mr. Lukas, an exceptionally 
fine actor, is handicapped for American pic- 
tures by a foreign accent. For that reason, 
therefore, it is necessary for someone else to 
speak his Unes. And Davidson is said to re- 
ceive five hundred dollars a week for this 
ser\'ice. 

Many indi\-iduals in Hollywood are wonder- 
ing why Davidson has seen fit to submerge his 
own personality for this sort of work, for he is 
regarded as fully as gifted an actor in his own 
right as Paul Lukas. He is listed in all casting 
ofiiccs as a five-hundrcd-dollar-a-week man. 
It may be, of course, that he has an arrange- 
ment to appear in other pictures, too. 

There are a number of ways of doubling the 
voice on the screen. Usually it is done through 
a method known as "dubbing." This means 



that it is done after the picture is shot. "Dub- 
bing" is a term handed down to the movies by 
the makers of phonograph records. When 
portions were taken off several phonograph 
records to make one record, the process was 
referred to as "dubbing." So "dubbing" it is 
these days in pictures. 

Most of the doubling that Margaret Living- 
ston did for Louise Brooks in "The Canary 
Murder Case" was accomplished by "dubbing." 
Miss Li\ingston took up a position before the 
"mike" and watched the picture being run on 
the screen. If Miss Brooks came in a door and 
said, "Hello, everybody, how are you this 
evening?" Miss Livingston watched her lips 
and spoke Miss Brooks' words into the micro- 
phone. 

Thus a sound-track was made and inserted 




You thought Irma Harrison sang as the cabaret darling of "Alibi," 

didn't you ? She didn't. The voice you heard belonged to Virginia 

Flohri, a well-known radio singer 

Every advertisement In PHOTOPLAY M.iGAZINB Is guaranteed. 



Photoplay Magazine- 

And that operation is called 



-Advertising Section 



109 



in the film 
"dubbing." 

All synchronizations are dubbed in after the 
picture is finished. The production is edited 
and cut to exact running length, then the 
orchestra is assembled in the monitor room (a 
room usually the size of the average theater) 
and the score is played as the picture is run. 
The sound-track thus obtained is "dubbed" 
into the sound film or on to the record, depend- 
ing upon which system is used. 

If foreign sounds stray into the film, such as 
scratches and pin-pricks, they are "bloped" 
out. Some call it "blooping." This means 
that they are eliminated with a paintbrush and 
India ink. The method is not unhke that 
applied to the retouching of photographic 
negatives. 

Voice doubHng is sometimes forced upon the 
producers as an emergency measure. Such was 
the case with Paramount in connection with 
"The Canary Murder Case." 

THEY called Miss Livingston to the studio 
one day and said, "Miss Livingston, we are 
up against it and we think you can help us out. 
We want to turn 'The Canary Murder Case' 
into a talkie and Miss Brooks is not available. 
We think you can double for her. Will you 
doit?" 

She thought it over. Well, why not? It 
meant e.xperience in the talkies, and doiihlc 
her usual salary. So she wore clothes that 
dupHcaled Miss Brooks', "dubbed" some of 
the stuff and played some of it straight, her 
profile always to the camera. 

A few times she missed the timing, and as a 
result her words did not come out even with 
Miss Brooks' lip movements. 

After it was all over a very amusing incident 
occurred. Miss Livingston was sitting in a 
restaurant in New York and the friend with 
whom she was having dinner remarked, "So 
you have been talking for Louise Brooks, have 
you?" 

From a nearby table came a strange voice. 
''Yes," quoth the voice, "and it had better be 
good !" 

They looked around in astonishment and 
there sat Louise Brooks! 

Of course, they all laughed and immediately 
went into a huddle about Hollywood. 

A surprisingly large number of players in the 
film capital are now training their voices, in 
diction as well as singing, for the express pur- 
pose of avoiding the necessity of voice dou- 
bling. Vilma Banky, for instance, spends two 
hours a day perfecting her English. And 
James Burroughs, Bessie Love, Carmel Myers, 
Billie Dove, Gwen Lee, Jacqueline Logan, 
Frances Lee, Leatrice Joy, Armand Kaliz and 
innumerable others are all taking vocal lessons. 
Most of these have sung professionally at some 
time in their career. 

In that worthy picture, "Alibi," Virginia 
Flohri, a widely-known radio singer, doubled 
for Irma Harrison who, you remember, sang 
a song in the cafe as Toots.the chorus girl. Miss 
Harrison simulated singing while Miss Flohri 
actually sang into the microphone off stage. 
In this instance their timing was not perfect. 

MISS FLOHRI also sang for Jeanne Morgan 
in the Romeo and Juliet vaudeville num- 
ber, if you remember it, and Edward Jordan 
sang for Robert Cauterio. 

Obtaining suitable voice doubles is often a 
difiicult task. The voice must not only fit the 
player, it must suit the characterization as well. 
And good singing voices are not always easily 
found. One reason for this is that persons of 
marked vocal accomplishments are frequently 
reluctant to double. They are afraid their 
voices will be recognized, that it will cheapen 
them. A notable case in point was that of 
Marion Harris, the vaudeville headliner, who 
turned down an offer of $10,000 from Universal, 
according to one of her representatives, to sub- 
stitute her voice for a film player, presumably 
in " Broadway." 

No end of problems develop, of course, in 
connection with registering the voice. When 



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I lO 



Photoplay Magazine — Advertising Section 




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Douglas Fairbanks did his bit of talking for 
"The Iron Mask" his stentorian tones all but 
wrecked the recording apparatus. 

"D EFORE beginning, he was cautioned by the 
•'-'sound engineers to speak softly. However, 
for Doug this was impossible. He could not get 
dramatic effect with his conversation tlius 
cramped. As a result the first uproarious 
line of his speech brought the sound men pour- 
ing out of the mixing chamber like a swarm 
of mad hornets. Much argument ensued. 
Finally Earle Browne, director of dialogue, hit 
upon the bright idea of moving the microphone 
thirty feet away and turning it so that it faced 
away from Fairbanks. 

Laura La Plante's problem in "Show Boat" 
was quite the opposite of Doug's. The most 
difficult thing she had to learn in working with 
a double was, not to sing silently, but to finger 
a banjo perfectly. She realized, naturally, that 
the eyes of countless trained musicians would 
be upon her in audiences the world over. In 
consequence, she could not fake. She had to be 
convincing. So she spent several weeks learn- 
ing the correct fingering of a banjo. 

Some of the stars, of course, actually play 
musical instruments, though few have done so 
professionally. There's Bessie Love and her 
ukulele, and a few others. In " Mother Knows 
Best," Barry Norton actually played the piann 
while Sherry Hall sang his song. Sherry stood 
before the "mike" just outside the camera 
lines and Barry played his accompaniment and 
at the same time spoke the words of the song 
inaudibly. putting into them the proper timing, 
a thing possible to him because of hisknowledge 
of music. 

Of course, every effort is made on the part 
of producers to guard the secret of doubling. 
Picture-makers feel that it spoils the illusion, 
that it hurts a production's box office appeal. 
In this respect, however, they are wrong. I 
know this from my own personal experience in 
exploitation work. In nearly twelve yeajs of 
steering the box office destinies of photoplays — 
especially film roadshows, some of the largest 
(if which I ha\-e handled personally — I ha\'e 
yet to encounter a single set-back or loss be- 
cause the public had knowledge of a double's 
work. On the other hand, I found that it 
often stimulated business to let the pubUc in 
on a secret or two. 

Eva Olivotti, one of Holly\vood's most prom- 
ising voices, assured a friend that, if it became 
known that she doubled for Laura La Plante 
in the singing numbers of "Show Boat," she 
would never be able to obtain another job. 
That is an example of the fear instilled into 
the hearts of the doubles by the companies for 
wliich they work. They are afraid even to 
breathe the nature of their employment. 

T'^HE fact remains, however, that Miss Oli- 
■'■ votti did sing Miss La Plante's songs, and 
sang them \'ery well, indeed. 

Songs for "The Divine Lady" were "dubbed" 
in after Miss Griffith completed the picture. 
.\n odd complication developed when it came 
to doubling the harp. It had been arranged for 
Zhay Clark to play this instrument for Miss 
Griffith, but when that portion of the picture 
was viewed it was discovered that Miss Grif- 
fith's fingernails were longer than Miss Clark's, 
and that her hands, therefore, could not sub- 
stitute effectively for Miss Griffith's. 

So Miss Clark spent two days teaching Miss 
Griffith the fingering of the harp, and how to 
come in with the orchestra. Then the star did 
the scene herself. The music and songs, ac- 
cording to those acquainted with the facts, 
were "dubbed" in the East — a feat easily 
accomplished merely by watching the picture 
on the screen and getting from doubles a 
sound-track that would fit properly. 

Voice doubhng is often done in the monitor 
room after the production is complete, the 
double playing the designated instrument or 
reading the hps of the player and timing his 
words to fit these lip movements. 

But voice doubling seems to be on the wane. 
As time goes on, there will be less need for it. 



In rare instances, of course, it will be don?, 
where stars can't sing or play the instruments 
called for in the script. But stars are rapidly 
learning to sing and play. It won't be long 
now until a majority of players can boast of 
these accomplishments. 

Then, too, microphone miracles are becom- 
ing more pre\'alent every day. This is due 
primarily to rapid improvement in equipment. 
Josef Cherniavsky, the musical director for 
one company, says: " Give me a person who is 
not tone deaf and I will make him ninety-five 
percent perfect in talking pictures." Perhaps 
Mr. Cherniavsky is a wee bit enthusiastic, but 
at least his outlook indicates the present 
Hollywood trend. 

Bearing out his statement, it is interesting 
to note that if a voice has tone quality, but 
lacks volume, the fault can be easily corrected 
by the amplifier. Take Alice White. Alice 
sang her own songs ( unless I have been terribly 
fooled, and I suspect I have!) in "Broadway 
Babies." sang them sweetly, but in a piping 
little voice that couldn't be heard off the set. 
Yet when the "play-back" gave evidence of 
surprising volume in her tones, loud cheers 
went up from company officials. The "play- 
back," by the way, is a device \s'hich plays back 
the voices of the cast from a wax record shortly 
after the scene is filmed. It's an invaluable 
check-up. 

The problem of the foreign player is, of 
course, difficult to solve. At first it was re- 
garded as an insurmountable obstacle. It is 
being discovered by producers, however, that 
what they thought a hopeless liability in the 
beginning has actually become an asset. 
In the case of feminine players in particular, 
accent is a decided charm. Such foreign play- 
ers as Baclanova, Goudal, ct al, are gi\'ing up 
the thought of perfecting their English. Nils 
Asther is studying English religiously. Care 
will always ha\'e to be exercised, nevertheless, 
in casting these players. 

Another instance of piano doubling occurred 
in "Speakeasy," that splendid underworld 
picture about the prize-fighter and the girl 
reporter. Fred Warren, an exceptionally 
capable pianist, doubled at the piano for 
Henry B. Walthall. This was accomplished by 
tying down the keyboard of the real piano at 
which Walthall sat, so that when he struck the 
keys, nothing happened. You will remember, 
of course, that he sat facing the audience in 
such a position as to conceal his hands. Warren 
sat off stage at a real piano, about fifteen or 
twenty feet away, in a spot where he and 
Walthall could see each other. The recording 
"mike" was near Warren. As he played, 
Walthall imitated his motions. They had re- 
hearsed the thing to perfection. 

Although voice doubUng is to the public the 
most interesting phase of sound work — because 
it is hidden from public view, no doubt — it is 
one of the comparatively simple things which 
confront producers. Problems much more 
subtle really vex them. For instance: New 
caste has grown up with the advent of con- 
versing pictures; sound engineers are compet- 
ing with directors for prestige and dominance; 
there is often open warfare between directors 
and morutor men; the new terminology of the 
business — "dubbing," "bloping," the inven- 
tion of "spht sets"; the mere fact that light 
travels faster than sound — a circumstance 
frequently baffling to engineers, and one that 
gives them grey hairs. 

Just recently sound engineers found out 
that perfect synchronization in a big theater 
is virtually impossible — all because light 
travels faster than sound. If you are sitting 
comparatively close to the screen, all is well. 
If you are sitting in the back of the house, or 
in the balcony, it's another matter. Sound 
Ndbrations reach you after you have seen the 
image speak. The speed with which hght 
vibrations exceed sound vibrations will depend 
of course upon where you sit. And this is a 
problem that sound engineers are trying to 
solve. 

So you see producers have other trouble?, 
than doubles! 



Every advertisement In PHOTOPL,AT MAGAZINE Is piarsnteed. 



Photoplay Magazine — Advertising Section 



1 1 1 



Brickbats and 
Bouquets 

I CONTINUED FROJI PAGE 10 1 



I really believe the objectors have had some 
Sround for their stand as some of the talkies 
have been quite terrible. But in spite of all 
this, there has been very pronounced improve- 
ment in all directions since their introduction 
about a year ago, and this would indicate that 
still further advances will be made all around. 

DONATO A. GlANGIULIO. 

Gentlemen, Make a Bow! 

Honolulu, T. H. 
Let's hand the newsreel camera man a nice 
big bouquet for his patience and courage. 
Stars come and go, but the newsreel goes on 
forever. 

Gloria M. Wall. 

A Flower for Bill Powell 

Jamestown, X. D. 
I heard my first talking picture a few days 
ago. It was "The Canary Murder Case." I 
thought it was great! William Powell had 
always been ti.xed in my mind as a villain of 
the screen until then. He will never seem the 
same to me again and I am glad of it, because 
I like him so much better this way. He has a 
really remarkable voice. It is so easily under- 
stood and contains such a soothing quahty. 
Let's hear and see more of him! 

Xancy Kimball. 

And Now a New Problem 

.\ few nights ago I went to see ni}- faxorite 
actor, Wallace Beery, playing in "Chinatown 
Nights." I had looked forward to seeing this 
picture as Mr. Beery was taking a somewhat 
different part than usual. 

Imagine my disappointment; I didn't enjoy 
the evening at all. To me it was a total 
mystery, because it is a talkie. I am deaf and 
dumb and I guess I will have to gi\e up the 
movies (talkies) now. ".Vctions speak louder 
than words," but you can't guess it all. 

Helen C. Clemons. 

Movies Teach How lo Write 

University of Oregon, 

Department of I^nglish, 

Eugene, Oregon. 

I have been trying to teach college juniors 
and seniors how to write the English language. 

One day I asked them to review a current 
film. And I discovered this: They all did 
remarkably well, considering their past efforts. 

They saw life through the medium of the 
pictures. It «as not a perfect way for them 
to see it, but I found in time, the ideas that 
ihey gleaned from the screen broadened and 
deepened until they began to be interested in 
life itself, with its moral, and social, and 
economic problems. Finally I learned too, 
that these students as a whole were beginning 
to demand of life the things they demanded 
from their movie entertainment; honesty, and 
beauty, and at least a semblance of truth. 
Margaret Clarke. 

Maybe He's Also a Ventriloquist 

Tulsa, Okla. 
I personally am in favor of the Silent Drama. 
Although an actor is able to change his make- 
up, his dress and his mannerisms, he is never 
able to change his voice. Lon Chaney may be 
"The Man of a Thousand Faces," but with 
movietone he is merely the man of one voice. 

L. J. N. 
( please turn to page 125 ] 




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The fear of being conspicuous 

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112 




Photoplay Magazine — Advertising Section 



ALL THRU 
TttTHING TIMt 

Do you know that thousands 
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That Awkw^ard Length 



[ CONTINUED FROM PAGE 43 ] 




The old-fashioned bob is good enough for Lois Moran. For 

sports she wears her hair almost straight. For less informal 

occasions she waves it a little around her face, and for evening 

wear she curls it in charming ringlets all over her head 



Xothing about feminine Hollj'wood is ever 
romplete without some mention of the Garbo. 
An expert once said, "Garbo doesn't dress her 
hair, she just wears it." No matter, she 
achieves something interesting. At the 
moment it is being drawn tiglit and straight 
off her forehead and ears and curled loosely 
at the back. 

But I won't go on record as saj-ing that 
she'll be wearing it the same way ne.xt month 
— or next week. 

JIany of the stars prefer their hair long for 
personal wear, but must bob for picture pur- 
poses. This was the case with Fay Wray, who 
wept (but not with delight) when her long hair 
was closely cropped for a new iilm with George 
Bancroft. 

But who would not choose to sacrifice even 
one of her most appeaUng expressions of 



personality to gain favor with the multitude 
of mo%ie fans? And sacrifice it might have 
been justly considered in that era, ending 
not so many years ago, when but one accepted 
style of coiffure could prevail at a given time, 
to which all must conform regardless of in- 
dividual possibilities. 

In this "individual" age of ours when we 
may, if we wish, adapt our style of hair dress 
to every hour and every mood, certain barbers, 
like certain stars, may have to leave town 
for lack of work. But there will always be 
enough shorn maidens to keep many of the 
clippers busy. 

The general consensus of opinion is that 
bobbed hair is not passe, nor is it likely to be, 
and that both long and short hair is the vogue 
now and fore\'er more, according to individual 
taste and tjpe. 



State 




Loretta 'ifoung's hair has grown long enough to coil in a soft, 
flat knot at the back of her neck. For informal wear she some- 
times lets it hang in little girl fashion. Not recommended 
unless the hair is waved or naturally curly, and unless you are 
as youthful as Loretta 

Every advertisement In PHOTOPLAY MAGAZINE 19 guaranteed. 



Photoplay Magazine — Advertising Section 



Trials of the Talkies 



[ CONTINUED FROM PAGE 53 ] 

became noisy. And while they were getting 
their osculatory re-education, the operators nf 
the "mixing" panel coined the words "squish " 
and "squack." The staccato kiss makes an 
audible concussion in the record and therefore 
is called the "squack." 

Most of the Hollywood actors and actresses 
already kissed silently when the talkies came 
in, due to their silent drama training, but the 
newcomers from the stage usually put a lot 
sound into it. The "strong, silent kiss," im- 
planted by a "strong, silent man," Lewis 
Stone, upon Greta Garbo's lips, was demon- 
strated for a class of novices as the one which 
gives the studio mechanical experts the least 
trouble from an electrical standpoint. 

ATHOUS.\XD and one adjustments have 
been necessary to accommodate screen 
technique to the talkie. One difficulty was 
found in the heels of the feminine stars' evening 
slippers, whichare not easytoequip withrubbcr 
tips. The patter of the film star's dainty foot 
reproduces like the clank of a cavalry horse's 
iron-shod hoofs on a cobble-stone pavement, so 
the Central Casting Bureau opened negotia- 
tions with several rubber companies to find a 
suitable tip for the heels of stars and extras in 
the "soup and fish" and evening gown se- 
quences. 

"Mike's" ears are so sensitive that even 
some of the so-called sound stages do not ex- 
clude the noises of the 'eavy 'orses that 'ammer, 
'ammer on the 'ard 'ighways in the \icinity of 
the Hollywood studios as they haul garbage 
and trash wagons from place to place. 

Follomng several complaints by production 
super\-isors, the kindly board of public works 
of the City of Los Angeles, of which the film 
capital is a part, equipped its garbage wagon 
horses with figurative balloon tires; that is, the 
iron shoes were replaced with rubber ones. 
Thus joy was brought into the drab existence 
of Tom, Dick and Harry through the movies, 
for they now do their day's work happily and 
noiselessly, bounding along at a pleasing clip 
with no corns, bunions or calluses to hinder or 
to hurt. 

"Jlay the rubber never lose its bound," 
chorused the talkie directors, and that also 
is the sentiment of the most citified residents of 
Hollywood, whose sleep frequently was dis- 
turbed by the prancing garbage wagon horses. 

One day Monta Bell was picturing a se- 
quence with sound in which one of the male 
actors had the "business" of putting on his 
overcoat. Everything worked beautifully in 
the reproduction until it reached the point 
where the actor slipped his left arm into the 
sleeve of his garment, and then there was 
heard something akin to the noise made by a 
uind machine going at full pressure. 

IT a glass is put down upon a table it sounds 
-'-from the screen as if someone had struck the 
table with a wooden mallet. That is why the 
shining surface of a perfectly normal mahogany 
desk or table, if it is to be used in a talkie set, is 
covered with a layer of mahogany-varnished 
felt. This, for camera purposes, looks like the 
original wood, but makes a world of difference 
to the microphone. 

All "props" put on the stages where dialogue 
or music is being recorded must be subjected 
to the microphone test, and if they prove 
"noisy" or sound reflecting are treated in the 
studio workshops to remo\'e the trouble. 

Even such a simple action as dropping a 
couple of lumps of sugar into a cup of coffee has 
to be modified, or the character can't take 
sugar. Harmless, little white lumps of sugar in 
their numbers sound like a sector of the war 
zone in action when the "stepped up" repro- 
duction is heard in the theater. And the dunk- 
ing of a doughnut in the coffee will give the 




Es/e/le Taylor, Lon Chaney and Lloyd Hughes in the 

thrilling steamer scene in Metro- Goldwyn - Mayer s 

recent sensation, "Where East is East" 

At right— Estelle Taylor applying Boncilla clasmic pack 

Wake The Skin 
As Beauties Do 

CLEAR IT... CLEANSE IT... MAKE IT GLOW 

Remove the Blemishes — Combat the Faults 



MOVIE st.irs and st.ige stars hy the scores 
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A youthful look demands that little lines 
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Natm 


Address 


189 



When you wiile to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



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effect of Annette Kellerman performing a high 
dive. 

Every sound is so greatly magnified that 
absolute silence is necessary for the sound film. 
A pair of dainty sUk bloomers worn by one of 
the stars nearly caused havoc on one of the 
sound stages. James Gleason, directing, had to 
ask a certain petite young lady what she was 
wearing, for silk crackled so loudly that it 
interfered with the picture. The star blushing- 
ly gave a list of her underpinnings and was re- 
quested to remove the offending bloomers. 

Of course, to a reasonable degree, the sound 
of bangles and bells of a group of Nautch 
dancers, the crackle of starched petticoats of 
bygone days in period pictures, the rustle of 
crisp taffeta that heralds the approach of a 
New England spinster, the squeak of a detec- 
tive's shoes, all have their place in the audible 
picture, but they are the exception and not the 
rule. They are permitted, in subdued form, 
only where such sounds will add color or 
atmosphere to the action. 

ALMOST alarming discoveries have been 
made in the tests of the rustle of silk, the 
slither of satin, the clink of bracelets, the swish 
of beaded fringe and other "gossip of gar- 
ments" that in the past have been seen but 
not heard. The subject of sound and clothes 
at first was looked upon as being somewhat 
facetious. 

One of the tests was made with a costume 
worn by Gloria Swanson in an old picture. It 
consisted chiefly of strands and garlands of 
pearls. The sound that came from the screen 
when this gown was worn by the player re- 
minded the experts of a terrific Indiana hail- 
storm. Dorothy Dwan wearing an Indian 
costume in "The Devil Bear" had to change 
into an unsophisticated village girl dress be- 
cause of the click of the beads on the Indian 
garment. 

The costume director has to be sure that the 
hero's shoes do not squeak. Many kinds of 
boots and shoes which have a tendency to send 
out squeaky vibrations have to be treated 
chemically and given a coat of silencing com- 
position. And it has been found safer, so far as 
sound is concerned, to have the heroine faint 
in crepe de chine instead of in taffeta, for the 
term "loud clothes" no longer applies solely to 
garments of pronounced design or unusual 
combinations of vividly contrasting colors. 

One of the Hollywood studios for a number 
of years had been using a fabric known as 
glazed tarlatan, which on the screen gives the 
illusion and fragility of sun glass. In "A Kiss 
for Cinderella" the sixteen bridesmaids were 
clad in gowns of this material and it mattered 
not in a soundless picture that their approach 
was accompanied by a noise like that of an 
Autumn storm, with falling leaves hissing in 
the wind . 

Imitation rubber jewelry has been developed 
to replace the jingling bracelets, creaking 
strands of pearls and other evidences of wealth, 
so that when a dowager heavily laden with 
these glittering ornaments engages in repartee 
with another matron similarly bedecked, the 
noise set up by their agitated jewelry %\ill not 
drown out their words. 



DURING the 
f 



filming of "Interference," 
Clive Brook and William Powell were 
cautioned against carrying too much loose 
change and too many keys and other metal 
objects in their pockets. The chnk of coins 
and keys is apt to reproduce like a regiment 
of King .Arthur's Knights in full armor cross- 
ing a drawbridge. 

Even the clanking of swords had to be great- 
ly modified by having the glistening weapons 
made of rubber and painted to look real, and 
likewise the familiar spurs of the cowboys in 
the "horse operas." A wide variety of leather 
accessories required to complete sartorial out- 
fits in pictures of the soldier and Western types 
also must be silenced. 

Mary Nolan discovered that breaking 
matches before the microphone produced a 
sound like the crackle of musketry, and when 



Claire Windsor clicked a cigarette lighter the 
resultant tone was like that of a heavy blow. 
Lupe Velez accidentally tore a piece of paper 
while recording her delightful Mexican accent 
and the result was a noise like the collapse of a 
building in an earthquake. 

Sound in movies has' brought a new style in 
manicuring, for even the click of long nails, on a 
nervous hand, records with a definite and mag- 
nified clarity that is startUng. So the long, 
pointed nail has given way to the short, oval 
one that does not extend beyond the finger tip. 

/^NXY recently a recording was marred by a 
''-^mysterious clicking sound that puzzled the 
director. It was afterward discovered that 
an actor (one not even in the cast, but 
merely watching the recording and filming of 
the scene) had tapped his finger nails ner\'- 
ously on a mahogany table top that had not 
been treated with the felt coating. 

This business of making whoopee before the 
"mike" and the camera at the same time is 
beset with so many difficulties that it makes 
the producers' heads swim. Every day new 
complications are discovered. 

When Clara Bow turned the full force of the 
Bow personality on the microphone and 
shouted "Whoopee!" her first "line" in "The 
Wild Party," the one word caused an electrical 
crew an hour's work, the producers an hour's 
delay and the studio the price of a set of deli- 
cate sound tubes. The sensitive electrical 
system could not stand the shock of Clara's 
IT. But that was not all. 

The picture is an all-talkie and there is much 
dialogue. Whenever Clara began dialoguing, 
the delicate little bulbs quivered and died. 
The operators tried to locate the trouble, but 
all they could do was to replace the bulbs. 

Each time Clara talked the same thing hap- 
pened. Any of the others could talk indefi- 
nitely and nothing would happen. Butthepic- 
ture was made in spite of these difficulties. 

Further evidence of the delicacy of the 
recording instruments was given in the filming 
of "Interference" when Clive Brook slipped up 
on his lines several times. The last occasion 
annoyed him so much that he slapped his hand 
against his leg. That slight concussion blew 
out every tube in the recording machine, which 
was attuned only to voices. 

Then, too, slapping a fellow actor on the 
back with a little too much realism is likely to 
come back from the screen like a one-gun 
salute from the U. S. S. Pennsylvania. Taking 
a deep breath between lines sounds like a Buick 
taking a hUl on high. 

One Holly\vood director wasted about three 
thousand dollars on a sneeze — and it was his 
own, at that. The alert microphone regis- 
tered the sneeze so vividly that a retaking of 
about a thousand feet of film was necessary. 
A cough in the midst of a love scene makes a 
"villain" of the hero. 

ANYTHING resembling hay fever, colds or 
even the least suggestion of a sniffle is ab- 
solutely taboo on the sound stage, for the mer- 
ciless "mikes" seem to pick up even the sound 
of a fly blinking its eyes. The director's costly 
sneeze was responsible for the invention of the 
simile : 

"As welcome as hay fever on a sound-proof 
stage." 

William Powell originated this wise crack the 
day after his first ex-perience in a talkie set, 
while talking about bill collectors and book 
agents. He was watching Evelyn Brent and 
Doris Kenyon do a scene when he felt an un- 
controllable desire to sneeze. Fortunately he 
didn't happen to be working in that particular 
sequence and was able to make his exit before 
the nasal explosion came. 

Another hazard is soup. Six husky broth- 
sippers created such a mixture of melodious 
tunes during a dinner scene in "The Broadway 
Melody" that the voices of the principals 
could not be distinguished. Casting directors 
now demand well-bred extras, and when such 
cannot be found they are fed bananas instead 
of soup. 



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115 



Chester Conklin's walrus soup-strainer may 
have to go, too, because the microphone does 
not take kindly to mustaches. Voices of the 
mustache and beard-wearing actors in the 
talkies are less distinct than those of their 
clean-shaven colleagues. 

It must have been Conklin talking when a 
certain producer ordered a retake of a sequence 
because he couldn't hear the "k" in "Swim- 
mink." Conklin's friends say this producer is 
the one who stopped the production of "Lucia" 
because he felt sure the censors would cut out 
the se.xtette. 

While directing Reginald Denny in "Red 
Hot Speed," Eddie Cline was having consider- 
able trouble with the "mikes" during the talk- 
ing sequences. The electricians were unable 
to locate a certain buzzing noise which made 
it impossible to "shoot" the scene. Suddenly 
Cline, who was becoming frantic, glanced at 
the "mike," slapped it with a newspaper and 
said: 

" A LL right, boys, you can start now — two 
-'•■flies were making love on the edge of 
the 'mike.' " 

Foreign noises were reported from the 
"mbdng" panel during the taking of a love 
scene between Maurice Chevalier and Sylvia 
Beecher, and the studio sleuths finally traced 
it to a loose board in the floor over which 
Chevalier was walking. When the scene was 
retaken, the electrician at the earphones, just 
at the point where the offensi\-e sound had been 
heard before, shouted jubilantly, "It's O. K. 
now," thereby ruining the scene again. 

A morning newspaper usually costs but a 
few cents, but a copy of one is being preserved 
at the offices of one of the Hollywood studios 
as an object lesson. This one cost nearly a 
thousand dollars, and illustrates what an un- 
charted field sound and dialogue production 
was when first the producers rushed pell-mell 
into it. 

The newspaper was being read by an em- 
ploye of the studio on the outskirts of the set 
on which scenes for "The Missing Man" were 
being made. .\s the employe turned the pages 
of his paper the rustling sound was so slight 
that it passed unnoticed by all until the 
"rushes" for the day's work were run for the 
director and his staff in the sound play-back 
room. Those present heard what sounded 
like a tornado drowning out the voices of the 
players. 

After considerable sleuthing someone found 
someone else who recalled the incident of the 
employe reading the newspaper. 

When they first started to make talkies, the 
studios had a great deal of trouble \vith 
"static" and interference, just as did the radio 
pioneers. King Vidor finally traced most of 
the trouble to low-flying airplanes, which are 
almost as thick in Southern California as sea 
gulls on the Pacific Coast. The roaring, 
buzzing and humming noises of the aircraft 
reproduced in some of the sequences as a first- 
class sawmill in action. 

In order to remedy the situation, Vidor ap- 
pealed to the Academy of Motion Picture Arts 
and Sciences and to the Los Angeles city coun- 
cil that aerial "zones of qi'iet," such as are 
marked on streets in the vicinity of hospitals, 
be established in the air o%'er the studio area. 
This is accomplished by raising signal flags 
over the studio buildings whenever the "mike" 
is "open," warning aviators to make detours or 
fly high enofigh to prevent the sound of their 
motors reaching the studios. 

TOURING the filming of a large e.xterior se- 
-'-^quence of "Hallelujah" before the estab- 
lishment of the "zone of quiet," lookouts were 
posted to apprise directors and players of the 
approach of airplanes, and so numerous were 
the aerial craft that only ten minutes of the day 
could be devoted to "shooting" the scene. 

Gum chewing has been ruled out on the 
sound stages. An accidental "crack" in 
chewing is sufficient to ruin a scene. But even 
before quiet became the rule for the noisy 
drama, e.\tras and stars who chew gum were 



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a particular anathema of directors. Twice it 
was found necessary to retake scenes because 
extras ciiewed "not wisely but too well." 

In tlie spectacular sequences of the crossing 
of the Red Sea in "The Ten Commandments," 
it was found that many of the players were 
complacently mixing their emotions with gum, 
and whoever heard of gum chewing in Biblical 
days? 

Atmosphere players in the background of 
various scenes of social splendor in " The Battle 
of the Sexes" also forgot to "park their gum" 
and the error was not discovered until the 
rushes were shown in the projection room. 

"V\ 7HILE a chorus of beauties was doing a 
'^ dancing number mth Nancy Carroll and 
Charles (Buddy) Rogers in "Close Harmony," 
one of the technicians complained of hearing a 
snapping noise at the "mi.xing" panel. Investi- 
gation revealed that one of the girls in the 
chorus was stiff from rehearsals and that the 
kicks in the dance routine caused the joints of 
her legs to snap. 

Sounds which pass unnoticed in everyday 
life are brought to the film fans through "In 
Old Arizona," which was filmed for the most 
part in Zion Canyon, Utah. They hear the 
lover's whisper, the pat of a hand on the 
sweetheart's cheek, the rustle.of the girl's sUk 
dress, the twittering of birds, the murmer of 
a blossom-ladened apple tree, the breathing of 
a baby in its crib and the sigh of a lover. 

The location of the picture was near the 
main line of a transcontinental railroad, and 
so many trains passed during the daylight 
hours that no scene of importance escaped 
delay for the sound of the engine to get beyond 
the range of the "mike." 

.After work on the picture had been going on 
for about a week, the negatives, sound and 
silent, were sent back to Hollyivood to be 
developed. Nearly a hundred thousand dol- 
lars' worth of work had to be scrapped because 
of sounds that appeared to be the distant puflSng 
of steam locomotives. 

The musical clink of spurs, most harmonious 
and pleasing to the ear in the uncanned state, 
became a veritable anvil chorus — a deafening 
clatter which quite drowned out the voices of 
the speakers. The gentle gurgle and purl of a 
little creek, on the contrary, supplied a gentle 
obligato to the words of the players, but the 
directors soon learned that there was nothing 
to do but knock off work the moment a good- 
sized breeze sprung up. Branches brushed 



together with all the energy of a corps of car- 
penters at work building a house. 

In speaking of the breezes and their effects, 
one of the directors declared he found the 
microphone sensitive enough to pick up 
Tennyson's "music of the spheres" or distant 
sounds on Mars. 

The tribulations of the recording staff of 
another company, which made Lillian Gish's 
"Wind," were of the opposite character. The 
sound recorders wanted audible wind and 
couldn't find it. They passed many weeks in 
the cyclone belt of Kansas and on the cattle- 
stampeding grounds of Western Texas before 
they finally captured a "near twister" of 
sufficient volume to stampede cattle. It 
wasn't an out and out cyclone, such a one as 
makes the natives take to the cyclone cellars, 
but, thanks to the sensitive ear of the "mike," 
the results were terrifying enough when they 
came from the screen. 

E.xperiences of some of the Hollywood 
sound recorders have shown that the approach 
of a swarm of bees produces sound of almost 
sufficient volume, through the "mike," to 
double for a coy little cyclone or tornado. 
James Gleason, dialogue writer, whose sce- 
narios sometimes call for the presence of the 
honey gatherers, also is interested in bee cul- 
ture. He has installed a sound apparatus near 
his apiary so that he can listen in on the con- 
versation of his insect pets. 

TF riveting machines could be prevailed upon 
■'■to do their work in secret, if street car wheels 
could be taught not to screech at every curve 
and intersection, if motorists could be sen- 
tenced to the electrical chair for honking their 
way through the traffic, if sirens would be 
thoughtful enough to subside at least part of 
the time, if motorcycle cutouts could be taught 
that they are not privileged cut-ups, if street 
peddlers w-ho squawk their wares could be run 
into the hoosegow, and if the a\'erage loud 
speaker could have its neck wrung by the 
neighbors, there would not be so many nervous 
wrecks in Hollywood. 

But the scientists and inventors, who here- 
tofore have been devoting all their time to 
producing bigger and better noises, are direct- 
ing their efforts in the opposite direction since 
silence has become golden in the film colony. 
However, they haven't yet discovered how to 
make a pistol shot register in a talkie. The 
bullet travels so fast that even the celluloid 
cannot record it. 




Columbus, Ohio. 

Photoplays — and prisoners. I won- 
der how many fans in the outside 
world really know what a moving 
picture means to a prisoner, and the 
effect? 

Well, I can tell you, because I 
happen to be one of the prisoners in 
the Ohio penitentiary who recently 
saw "Weary River." It probably 
impressed the general public as just 
another picture with a prison theme, 
but to us it carried a moral — and a 
convincing one ! To us men behind 
the gray walls it demonstrated the 
truth we have been told and even- 
tually must learn — "It doesn't pay at 
any price." 

I'm not saying this picture made 



converts of hundreds of convicts, for 
it didn't. 

But — had you seen the faces and 
noted the actions of many of my fel- 
low prisoners before and after we 
saw that picture, you would be more 
than mildly surprised. 

Such pictures, to my way of think- 
ing, can do more toward sending com- 
pletely rehabilitated men back into 
the world than aU the feeble tactics 
employed by modem prison reform- 
ers. 

This isn't a plea for more pictures 
for prisoners — .but rather an expres- 
sion of sincere appreciation for what 
we have seen, which has made us 
think — constructively. 

W. R. G. 



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Photoplay Magazine — Advertising Section 



Technicians at one of the big studios have 
developed the echometer, a device that pursues 
elusive sound rebounds to their source so that 
they may be put to death. This Uttle gadget is 
said to bring recording results that are acous- 
tically perfect, eliminating all the vibratory 
overtones that marred the projection of some 
of the earher sound pictures. 

Upon the heels of this invention came 
another panacea — a panacea of paint. It is an 
acoustical paint with qualities so sound 
absorbent that light blows struck on walls 
treated with it cannot be heard on the other 
side. The formula is secret and the paint will 
not be placed on the markets for general u.sc, 
much to the disappointment of those living in 
apartment houses and other quarters. 

Another production company is decorating 
the walls of its picture sets with a sound- 
absorbent paper imported from Japan. Inas- 
much as one of the ingredients of this paper is 
the blood of animals bought from the meat 
packers in Tokio, the killing of animals in the 
flowery kingdom will help kill the echoes of 
Hollywood. 

TT seems that most paints heretofore used in 
■'■coloring the walls of the sets reflect sound as 
well as hght. Papering the walls with the 
specially prepared porous paper, however, 
gives excellent color value without echoes. 
The paper has somewhat the appearance of the 
gold and silver leaf used by sign painters. Its 
use also does away with the necessity, to a 
large e.xtent, of padding the walls to keep out 
sound, which is eflfective but undesirable in 
some respects. Padded walls frequently ha\e 
the effect of making the voice of the players 
record flat. 

For the special benefit of persons who can 
recognize whether a coin is "good" by its 
clink, a new kind of money was developed for 
the talkies. It sounds "good" through the 
microphone, but is, nevertheless, phoney. 

A federal law prohibits photographing real 
money in the films, so the studios have been 
using stage money. That was O. K. when the 
films were silent and still so, in so far as currency 
is concerned, for it can be held so that it can- 
not be distinguished from the real. But in the 
talkies a false clink would break the spell in a 
tense scene for many in the audience. 

It is not only with coins that the producers 
are doing their trick stuff. They are curbing 
unwanted real noises, but in the meantime also 
inventing synthetic noises to double for the 
real when the latter are not obtainable. For 
instance, in filming Lionel Barrymore's 
dramatic "Confession," the sound of heavy 
army trucks outside a hut on a battlefield was 
obtained by letting in the noise of the air- 
filtering plant on the sound stages. 

IN working out sound effects for talking 
dramas hundreds of sounds have been ana- 
lyzed for methods of dupUcating them. A Los 
Angeles theater ow'ner pulled a nifty in this 
connection at a preview of "The Hangman's 
House." His house was not wired for sound 
and this was supposed to be a sound picture, so 
the theater man had his organist inject some 
sound eft'ects while two film cutters from the 
studio concealed themselves in the pit and 
dragged heavy chains across the floor, made 
knocking noises and produced other sound 
effects essential to the picture. Many persons 
in the audience were deceived into thinking 
they had heard a sound picture. 

Now that Leo, the M.-G.-M. lion, is roaring 
and the Pathe rooster is crowing for the talkies, 
the fans are wondering what kind of sound 
may come from the other trade marks. 

Will the chain, they ask, that surrounds the 
northern hemisphere clank when a First 
National picture flashes on the screen? WiU 
the wind whistle around the top of the Para- 
mount snow-covered mountain? And how 
about Warner Brothers, with the picture of a 
studio as a trade mark? What kind of noise 
does a studio make? Some one suggested that 
it probably would be a loud voice shouting 
'Yes!" 



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ii8 



Photoplay Magazine — Advertising Section 




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A Jungle Lorelei 



f CONTINUED PROM PAGE 36 1 



crimson, pagan mouth which she paints like 
a Christian. 

Shcum, erstwhile boot-black on the Metro- 
Goldwyn lot and now assistant to King Vidor, 
was interlocutor at the party, presenting me to 
the various celebrities. 

Shcum and Nina May danced. I couldn't 
because of the strict etiquette at the Apex: 
(My complexion was oflf, but what with my 
deepening coat of tan and a natural kink in 
my hair it won't be long, hey! hey!) 

DURING one dance I went over to the table 
of Stepin Fetchit, who assured me that 
Nina was a very nice girl. 

"Ya, he proposed to me," said Nina scorn- 
fully. "But he don't save his money. He 
says the Holy Virgin will take care of him. I 
say, 'Ya? . . . The Holy Virgin is goin' to 
turn on you some day, big boy!' " 

Nina requested a powder puff from her 
mother, who sat with us. Her mother is a 
young woman of thirty-two, of light skin, who 
might have Spanish blood. She spoke very 
little, but her eyes never left the bedevihng 
Nina. 

"No suh," said Nina. "When I marry it's 
goin' be for money. Yes suh, I think that's a 
good idea." 

"Ah, Nina, you ought to marry for love," 
said I white-trashily. 

"I can't," said Nina. "He's got a wife. 
Anyhow what does love get you? No suh, 
I wouldn't keep no man like some these girls 
do — give 'um fur'coats an' they go round talkin' 
about you . . . Not me! ... I know. I 
want a man to do for me as much as I do for 
him. . . . More! Yes suh. I take everything 
I get. I want furs hangin' to the ground — an' 
dresses like Miss Swanson's — and diamonds 
dribbhn' all over my physique — um-jim.'" 



Nina buried her face in her hands in a spasm 
of ecstasy at the visionofherphysiqueperspiring 
with diamonds. 

"I'm going to take Paris by storm," she con- 
tinued, when she had regained her calm. "I'm 
going to do what Josephine Baker did — you 
know, Josephine Baker the colored girl hit of 
Paris. But I ain't going to marry no count 
like she did. No suh, not me! 

"I don't want no title. I want automobiles 
an' clothes an' diamonds an' ..." Nina 
threatened to break down again in hysteria of 
heavenly bliss. 

As a child, Nina May McKenney was a little 
maid in white cap and apron for a wealthy 
Carolina family. 

They used to send her to the bank to deposit 
money. 

"They trusted me with thousands of dollars 
an' I never stole none of it, never did," avers 
Nina. But she did grow powerful fond of it. 

Her mother wanted her to be a school 
teacher. Nina \Miggled her nose at the absurd- 
ity of that. Instead, she went on the stage at 
the age of fifteen, sang and danced in "High- 
Flys" in Harlem, then went into the chorus of 
the Broadway colored musical show, "Black- 
birds," where King Vidor saw her. Her 
theatrical career to date amounts to nine 
weeks; she's a little more than sixteen — not 
eighteen yet! 

""T C.\N'T say enough 'bout Mistah Vidor," 
-'■ she said solemnly. "He's wonderful — 
never curses at you — makes you feel at home — 
what he's done for me and my race — I never 
can repay." 

All Hollywood is wonderful to Nina. Sure 
is. 

"They invite me to all their parties — I been 
to Miss Swanson's an' Miss Davies' an' 



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Glenn Tryon is showing Merna Kennedy one of those gay night 
clubs. The little toy is a model of the big night club set used in 
"Broadway." The set is all wired for electricity, it has miniature 
chairs and tables and, probably, miniature prohibition agents 

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IIQ 



Mistah Vidor's an' John Gilbert's. Oh Lordy, 
Mistah Gilbert ! ..." 

Nina again had to stifle her squealing emo- 
tion by covering her face. 

"I like Nils Asther too — but Mistah Gilbert 
most of all." 

She adored Valentino and was greatly dis- 
turbed to hear that his house is haunted. 
Someone suggested to Nina that she rent it 
during her stay in Hollywood. "Not mc/" 
gasped Nina. "Ain't goin' to get me in no 
house where rockin' chairs rock all by their- 
selves — -oh-oh, not met" 

KING VIDOR reciprocates Nina's admira- 
tion. When he asked her to do a crying 
scene she burst into a wail that lasted fifteen 
minutes. All the colored players act with 
abandon. They continue to act after the cam- 
era stops and it sometimes takes half an hour to 
bring them back to reality. After the colored 
hero carried his dead brother past the camera 
and off the set King waited in vain for his re- 
turn. Calls were of no avail. 

When King went out to ascertain the cause 
of delay he found the two "brothers" in a par- 
oxysm of emotion, weeping and stroking each 
other. 

As for Nina, she never stops wriggling. 
When forced to sit in a chair she curls up like 
a tawny jungle cat, stretches, writhes, licks her 
lips and yawns, wriggles her nose or presses it 
into her face with her thumb and eventually 
subsides into purring slumber, to dream, no 
doubt, of a copper-colored maiden in a shower 
of diamonds driving Paris mad with the 
rhythm of the tom-toms beating in her blood. 

I shall feel very, very sorry for Miss Peggy 
Joyce when Nina undulates abroad. 



Lucky Amateur 
Detectives 

[ CONTINUED FROM PAGE_41 1 



a secretary to three surgeons. She once sold a 
motion picture scenario and has literary am- 
bitions. Miss Rusk loves mystery stories, 
which probably accounts for her success in the 
Photoplay contest. Her favorite author is 
G. K. Chesterton. 

Fi\e prizes, of $100 each, were awarded to 
the following: 

5. Kenneth Weaver, 1221 West 46th Street, 
Los Angeles, Calif. 

6. Elizabeth Gaskins, 3240 Osceola Street, 
Denver, Col. 

7. Mrs. Katherine T. Bishop, 803 Colonial 
Avenue, Norfolk, Va. 

8. Mrs. Mary E. OHver, 1221 Butternut 
Street, Utica, N. Y. 

9. Mrs. Horace Campbell, 5203 Jonathon 
Avenue, Fordson, Mich. 

The remaining ten prizes, of $50 each, were 
awarded to the following: 

10. J. R. Davenport, 71 West 92nd Street, 
New York City. 

11. Mrs. C. H. Monks, 131 Ackerman 
Avenue, Glen Rock, N. J. 

12. Mrs. Chester H. Eames, 224 Union 
Avenue, Framingham, Mass. 

13. Mrs. Sara Loacker, 2413 North Cedar 
Street, Spokane, Wash. 

14. Marion Fay, P. O. Box 8118, Squirrel 
Hill Station, Pittsburgh, Pa. 

15. Phylon H. Cox, c/o The Marlin Grocery 
Company, Marlin, Texas. 

16. E. C. March, 3907 E. 39th Street, Kan- 
sas City, Mo. 

17. Mrs. Dana B. Reid, Allegheny College, 
Meadville, Pa. 

18. Mrs. J. C. King, 1947 Snowden Avenue, 
Memphis, Tenn. 

19. Mrs. Lottie Putnam, 2 Fifth Avenue, 
Webster, Mass. 




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Little Alabam 



[ CONTINUED FROM PAGE 29 1 



I was at Dorothy's sweet little Brentwood 
house the night she got the part. I was ahead 
of her. I always am. Dorothy is usually late. 
That comes from being born in Alabama. 
When she did arrive she stepped into the room 
very grandly and, making a haughty gesture, 
said: 

"Meet John Barrymore's new leading 
woman." 

I fell in a swoon upon the floor and had to be 
revived. 

VX TE were very grand that evening. We 
"^ were full of high hopes and great ambi- 
tions. What swank Dorothy would put on 
when she attended the premier performance of 
"Tempest." 

How she got the part in the first place is a 
neat Uttle story itself. 

It concerns a bewildered foreign director 
named Tourjansky, who came to this country 
under contract to M.-G.-M. and cooled his 
heels at the studio for eight long months. Just 
before his contract expired he was given the 
job of directing Tim McCoy in a Western. 

It doesn't sound reasonable for a sensible 
studio to assign a famous Russian director to a 
Western. There are very few reasonable 
things in HoUj^vood. 

Dorothy was given the lead in this picture. 
The girls never act in Westerns. They walk 
through them with their other e.x'pression and 
constantly complain at a horrid old fate that 
makes it necessary for them to succumb to 
being carried into a sunset on the horn of a 
cowboy's saddle. 

Dorothy really trouped in this inconsequen- 
tial drama. She did it for the Uttle Russian 
director who was going back home humbled 
and broken in spirit. She gave her best to him 
to help him when the others laughed at his 
absurd English and his ignorance of .American 
ways. 

Dorothy had no ax to grind, certainly. 
Nobody of importance would ever see the film 
and Tourjansky was going away. She felt 
sorry, that was all. So Dorothy put the httle 
picture and the little director out of her mind 
until, instead of going back to Europe. Tour- 
jansky was signed to direct John Barrymore's 
picture, " Tempest." 

And, when they asked Tourjansky for his 
choice of leading woman, he called for Dorothy 
Sebastian. 

When this all came about I made three 
salaams toward Mecca and decided that there 
was a just .-Ulah hovering somewhere in the 
vicinity of Hollywood, after all. 

Those were happy days for Dorothy. Barry- 
more's leading woman. 

Loaned from M.-G.-M., she received more 
attention at United Artists than on her home 
lot. 

A star's dressing room. A maid to attend 
her on the set. And the knowledge that she 
was doing good work. She gloried in it as 
ever>- girl would. 

For three months she was Barr>'Tnore's lead- 
ing woman. .And then the blow fell. Tour- 
jansky was taken off the picture. Sam Taylor 
was put on as director. Camilla Horn arrived 
from Germany. Dorothy was taken out of the 
picture, CamUla put in. The real reason for 
all these pohtical changes has never been 
known. One of the theories was that Taylor 
wanted full credit for the film and saw no 
better way of getting it than to change leading 
ladies. As a selling point Camilla was under 
contract to U. A. and Dorothy wasn't. I have 
my personal opinion about it. They can't 
shoot me at daybreak for that. 

•T^HE minute I heard about the tragedy I 
■*- went to Dorothy. She hadn't come from 
United .Artists yet. I waited. .A big box of 



flowers arrived. It looked like a coffin. I sat 
in the room with the ghastly thing. I felt like a 
funeral. 

At last I heard the purr of her car in the 
driveway. She opened the door. There was 
not a sign of weeping on her face. She looked 
as pert and gay as you please. 

"Hello, honey," she said to me. "Have you 
had your dinner?" People always say such 
meaningless things in crises. 

And suddenly we fell into each other's arms 
and wept together. I told her what a bunch of 
meanies I thought all producers were and the 
bunch at United Artists in particular. Dorothy 
smiled wanly and opened the box. 

There were dozens and dozens of red roses 
from John Considine, the head of United. The 
note was to tell her that in all his years as a 
producer he had never seen such a fine display 
of real trouping as he had that day. 

"What did you do, Dorothy?" I asked. 

"I didn't do anything but go into his office 
and grin from ear to ear and tell him that I 
loved e\ery minute I had worked with him and 
that I was glad to have had the opportunity of 
playing with Mr. Barr>'more, even if three 
months' effort would never be seen on the 
screen and that I hoped some day to have the 
pleasure of working at his lovely stucho again." 

I smiled wickedly. I, too, lo\'e a bean gcsle. 
".And you meant it?" 

"That," said Dorothy, "is my own busi- 
ness." 

"And you didn't cry?" 

"■r\ON'T be silly. Not before HIM. Not 
■'-'before anybody at the studio. Wasn't 
that other girl, Camilla Horn, taking a test? 
Taking my part? Going to wear my clothes 
and do my scenes? Do you think I'd cry? Oh, 
honey, I thought you knew me!" 

And we both fell to weeping again. 

The phone began to ring. The cameraman 
called her, the assistant called, the prop boy. 
All wanted to tell her how sorry they were. 

We sat there while Dorothy told me how 
much the part meant to her. 

"We're going to the Ambassador to dance 
and dine," she said suddenly. 

I couldn't have faced the music that night, 
for when the four of us (our young men had 
arrived by this time) stepped into the Cocoa- 
nut Grove (it was mo\ie night, too) there was 
whispering and conjecture. Why had she lost 
the part? Was she a rotten actress? Had she 
been temperamental? 

.And Dorothy, her head held high, nodded 
brightly to her friends, danced as gayly as any 
and was, as usual. Little Alabam, the Ufe of the 
party. 

I never saw "Tempest." I couldn't bear to 
look at it, but there's a strange tag to the story. 
Camilla Horn was tested for a speaking part in 
"The Green Ghost." The character was sup- 
posed to have an accent. 

It would hax'e kept Camilla from being sent 
away to Germany. Camilla lost the part and 
now Dorothy has it ! 

TIGUND up in a poUtical mess at M.-G.-M., 
•'-'Dorothy has not had, until recently, the parts 
she deserved. But she has never fallen down 
on an assignment. She gave an outstanding 
performance in "A Woman of .Affairs," and I 
guess there's no argument about her work in 
"Spite Marriage." It wouldn't be right if 
Dorothy were kept out of good roles. 

I'm glad Dorothy is the way she is. I'm 
glad she's not the roisterous kid Hollywood 
thinks her. But I'm happy that they know her 
as "Little .Alabam." I couldn't bear a 
Paghacci. I couldn't stand a person who 
prated of being unhappy and misunderstood. 

I'm proud that Dorothy is exactly like she is 
and one of my best friends. 



Every advertisement in PHOTOPLAY MAGAZINE is piaranteed. 



Photoplay Magazine — Advertising Section 



1 21 



The Lawyer for the 
Defense 

[ CONTINUED FROM PAGE 37 ] 

been created just for him. Even with Norma 
Shearer, one of Metro-Goldwyn-Mayer's ace 
actresses in the title role, Hackett's work 
stands out as one of the fine things of the pro- 
duction. 

Perhaps it is why again in the role of an 
attorney, this time pleading at the bar for 
the life of his mother in "Madame X," even the 
electricians and the prop boys found themselves 
reduced to lachrymal outpourings. They 
couldn't help crying — these hard-boiled men 
who usually regard the emotional histrionics 
as part of the mechanics of the job. 

It is because of the fine sincerity in his work 
in these first two pictures that Metro-Goldwyn- 
Mayer now regards Raymond Hackett as one 
of their "big shots" in talking pictures. His 
ne.xt wiU be "Eva, the Fifth." 

H.\CKETT is twenty-six— the boyish type. 
Clear, blue eyes. Blond hair. He is re- 
served, shy, the sort of lad mothers Hke to 
point proudly to as son. 

From the beginning, Raymond took his 
work as only a serious-minded boy with a deep 
sense of chivalrous protection toward a mother 
and sister could. 

When he was seven, he was playing the im- 
portant child role in "The Awakening of 
Helena Ritchie" with Margaret Anglin. He 
came early to work one day to find a new- 
comer rehearsing his role. 

A little later, he was discovered choked up 
with sobs in a dark corner of the wings. 

"Why, Raymond, what's the matter?" he 
was asked. 

No answer. Only a dismal shake of the 
head. 

Margaret Anglin, summoned, sensed the 
trouble. 

"Raymond, did you think we were going to 
put a new actor in your role?" 

The boy nodded. 

"Why, he's just an understudy. Didn't you 
ever hear of an understudy?" 

Another shake of the head. 

"He's someone trained to take your place 
in case you are ever ill." 

Raymond sat straight up. "I'll never be 
ill," he stated quite simply. And he never was 
during the run of that play. 

WHEN he was sixteen, he went to see about 
getting the role of Scott, the boy whom 
Lincoln pardons in Drinkwater's famous drama. 

William Brady and Lester Lonergan were 
interviewing the applicants. They liked 
Raymond's looks. 

"What salary do you want?" Lonergan 
asked. 

"Well," he said almost apologetically, "I 
was getting S125 in my last part." 

"■What?" bellowed Brady, "a boy like you? 
I don't believe it." 

Raymond, suddenly white-faced, picked up 
his hat and walked away. 

By the boy's very gesture, they knew he 
was telling the truth. 

"I believe he's the. one we want," Lonergan 
said. 

"Send a messenger for him," returned 
Brady. 

From this engagement and a later one with 
Lionel Barrymore in "The Copperhead" 
Raymond became a veritable encyclopedia on 
Lincoln. 

He never had an education, in the formal 
sense of the word. Two years in a private 
school, three years with a tutor. 

But ask him about Lincoln. Or ask him 
about Dickens' haunts, Stratford-on-.'^von, 
Westminster Abbey — he knows them all. For 
about the time the average boy is a freshman 




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Photoplay Magazine — Advertising Section 




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AMERICAN SCHOOL 

D«pt. HB43, Dr.x.l Avo. &58lhSt. (f) A S 1923 CHICAGO 





in college, he was playing in George M. Cohan's 
"So This Is London" on the London stage. 

He knows a good deal of law from "Mary 
Dugan." He knows most of the contemporary 
dramatists from appearing in their offerings. 
He knows the best Uterature of the world from 
his study for the drama. 

One of his childhood tragedies was that he 
couldn't own a bicycle. He did find time in 
the midst of his stage career, however, to try 
the movies. 

When he was five, after appearing with 
Maude Adams in "Peter Pan," D. W. Griffith 
chose him for a role in a picture. Raymond 
cannot remember the name of it. 

"T REMEMBER I Hked Griffith because he 

-*■ let me play with a lot of tin soldiers and 
then gave them to me," he grinned. 

"And I played parts on the old Lubin lot 
in Philadelphia from 1912 to 1915. My 
mother was married to Arthur Johnson, a 
Lubin star, whom she later divorced." He 
paused a moment, looked away regretfully — 
his way of saying that chapter was closed. 
Then he added, "For three years, Albert, 
Jeannette and I worked on the lot." 

"No, I don't remember much of what I 
played then. No important parts. I was the 
child carried from the burning cabin at mid- 
night, or the little boy who galloped miles on 
horseback to let the settlers know the Indians 
were coming. Things hke that. 

"I didn't care much about the movies then. 
I liked the stage. I liked the applause the 
audience gave me. Now that I've come back 
to pictures," he grinned — "I say that as if 
I had the choosing — I am terribly interested. 
It's been hard work getting the technique. I 
should have known my part in 'Mary Dugan' 
letter perfect. In fact, I did on the stage, but 



when it came to the cameras and the micro- 
phone I found I had a great deal to learn. 
Oh, well— 

"The nicest part is that it gives Mrs. 
Hackett and me a chance for a home and 
evenings together. We have a house at Santa 
Monica overlooking the ocean. It's a nice, 
homey sort of a place. Brown shingled — ■ 
NOT Spanish. It has green shutters and a red 
chimney. 

"Awfully cozy. I have some things in New 
York, some old books picked up in London, 
some old brass and odds and ends, you 
know, that we still need to make it thor- 
oughly homelike." 

TJTACKETT is married to Myra Hampton, 
-*■ -'■whom he met while playing in that rau- 
cously funny farce, "The Cradle Snatchers," 
in New York. That was two and a half years 
ago. They have never been separated, although 
Miss Hampton is an actress and has carried on 
professionally aU the time. There was a 
period during which Raymond went into the 
cast of "The Nightstick" and Miss Hampton 
went to Chicago with a play, when it looked 
as if they might be separated, but Raymond's 
piece was sent West, too. After that, they 
both came to California in the stage version of 
"Mary Dugan." He was performing in this 
melodrama at the old Mason Opera House in 
Los Angeles when M.-G.-M. agents saw him 
and signed him. 

One of the ironic things about his success, 
however, is that the movie magnates were not 
thinking so much of his personality as they 
were of getting an actor-proof cast for Norma 
Shearer's first talking picture. They needed 
him for that play only, they thought, but he 
turned out to be so good that he seems to be 
on the books for keeps. 



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Questions and Answers 



[ CONTINUED FROM PAGE 90 ] 



S. N. M., Herkimer, N. Y. — Am I such a 
character that it requires so much courage to 
write to me? George K. Arthur and Jean 
Arthur are not related to each other. George 
uses his own name in pictures while Jean's 
original monicker was Gladys Greene. George's 
most recent pictures are "All at Sea" and 
"China Bound." 

Fred Beach, Garwood, N. J. — The cute 
young lady who played the part of the cap- 
tain's daughter in "Scarlet Seas" was Loretta 
Young. She is nineteen years old, fi\e feet, 
three and a half inches tall, weighs 100 pounds 
and has Hght brown hair and hails from Salt 
Lake City, Utah. Her next picture will be 
"The Girl in the Glass Cage." 

L. Garcia, Tampa, Fla. — Florence Vidor 
was bom in Houston, Te.xas, about thirty- 
four years ago. She is married to Jascha 
Heifetz, the well known concert vioUnist. 
Lupe Velez was born on July 18th, 1909, and 
hails from Me.\ico. 

Mrs. E. James, San Antonio, Tex. — At 
last your letter has reached my attention. June 
Mathis, scenario writer, died on July 26th, 
1927. She was attending a theater in New 
York and during the performance she was 
stricken with a heart attack, passing away 
before help could be given her. 

Dot B., Gadsden, Ala. — Fer gosh sakes, 
don't carry out your threat to scalp me. I'll 
settle the question right now. William Haines 
played the title role in "Brown of Harvard." 
Clara Bow has made one talkie, "The Wild 
Party," to date. Did you see it? 

J. H. P., Philadelphia, Pa. — Eleanor 
Boardman and Conrad Nagel played in "Mem- 
ory Lane." 



J. P., Montreal, Canada. — Lane Chandler 
was born in Culbertson, Montana, about 
twenty-eight years ago. His original monicker 
was Oakes. Yes, he played the part of 
Ilolabird in "The Legion of the Condemned." 
You will have to write direct to Lane for the 
photo. 

J. R., Miami, Fla. — Edmund Lowe is thirty- 
five years old and claims San Jose, Calif., as his 
birthplace. Before going into the movies he 
appeared on the stage. He is married to 
Lilyan Tashman. His next picture will be 
" The Cock-eyed World." 

R. E. S., Pulaski, N. Y.— Gilda Gray is 
thirty-one years old, five feet, four inches tall 
and weighs 120 pounds. Her latest picture is 
"Piccadilly," made in London, England. 

W. E. D., Jr., Savannah, Ga. — Dolores Del 
Rio was divorced from Jaime Del Rio who 
died Dec. 7, 1928. John Mack Brown is 
married to a non-professional. Charles 
FarreU's first picture was "Sandy." 

J. P. D., New York, N. Y.— Sorry, but we 
can't give information about obtaining em- 
ployment in motion pictures. 

G. P., Brooklyn, N. Y. — Kenneth Harlan 
has been married three times. His first wife 
was Salome Jane Harlan; his second, Flo Hart; 
and his third is Marie Prevost. James Hall is 
divorced; that is to say, he is waiting for his 
final decree. So you see, he is married and yet 
he isn't. They do say James likes Merna 
Kennedy. But, of course, I leave all the gossip 
to Cal York. 

H. N., Indianapolis, Ind. — Don Alvaradois 
married. But "Buddy" Rogers is still a 
bachelor. And that's the lad's real name. 



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Photoplay Magazine — Advertising Section 



123 



A Bunch of Syracuse U. Girls. — You get 
your answer. The bunch of you certainly 
write a persuasive letter. Write me any time 
and you'll get a response. Richard Arlcn's 
first wife was a non-professional. The pro- 
duction of "Dirigible" has been postponed. 

Z. M. M., Cleveland, O.— In answering 
your letter I am answering about five hundred 
others just like it. Douglas Fairbanks, Jr., 
is eighteen years old and Joan Crawford is 
twenty-three. Friends claim that Joan and 
Doug are married, but they themselves deny 
it. All I can say is that I hope these two stars 
will come to my aid soon and definitely answer 
the question themselves. 



The Butterfly Man 
and the Little Clown 

[ CONTINUED FROM PAGE 39 ] 



Then that thing about the young clubman 
from Denver — was his name Courtland Dines? 

A crazy kid chauffeur who idolized Mabel, 
as does everyone who ever worked for her, shot 
Dines. In his stupid fashion, he tlfought he 
was protecting Mabel. Instead, he involved 
her in another mess. But Mabel understood 
the motive back of his silly interference and 
she stood by him at some cost to herself. 

The worst indictment against Mabel is that 
she has been foolish, that she wasted and 
allowed others to waste her great spirit. But 
on the other side are those things of which Paul 
speaks in the greatest passage in the Bible — 
the 13th chapter in his Epistle to the Corin- 
thians. That should be Mabel's "swan song." 

Do you remember it — "Faith, hope and love. 
And the greatest of these is love. Love suffer- 
eth long and is kind. Seeketh not her own, is 
not easily provoked, thinketh no evil." 

Mabel came to us a young, uneducated 
girl. She became a great personality, a star 
and an unusually brilliant woman. Then she 
faded into obhvion andwe lostherbright image. 

Scandal and tragedy haunt those years, 
but not a single accusation of unkindness, ill 
temper, meanness, selfishness, envy or be- 
trayal. The craft and the malice and the 
trickery of life. They were too much for the 
Uttle clown who never understood nore.xpected 
them. 

THEY won't let anyone see Mabel now, in 
her Beverly Hills home where she lies so ill 
and wasted. 

Do you know why? 

Because she is so touched and grateful that 
anyone remembers her, that the wasting fever 
chmbs up and up to a danger point. Even 
flowers bring tears of joy and appreciation to 
the laughter-loving eyes — and Mabel has no 
tears left e.xcept those that come from her 
very heart and her poor heart has aU it can do 
these days to keep pace with life. 

It is cowardly, but I am glad that I cannot 
see her. Because it hurts so to think of Mabel 
in that pitiful state, with all the great things 
that her life should have meant, undone. I 
know how brave her eyes would be, and how 
the ghost of laughter would rise in them, and 
how that haunting little voice would re- 
member to speak only of her joy in my happi- 
ness. 

Perhaps Lew in his struggle to win back 
enough health to leave his desert, feels 
something hke that. Understanding life as he 
does, he understands Mabel. I think he mar- 
ried her to protect her — in one of those 
gallant gestures of his. But he wasn't strong 
enough. 

So the romance of the butterfly man and 
the beautiful clown has come to its unhappy 
ending. The screen lacks, and will lack for 
some time, perhaps forever, two people who 
gave much happiness and who, so far as their 
work was concerned, always gave their best. 




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Photoplay Magazine — Advertising Section 




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What Next for Gloria.? 



[ CONTINUED FROM PAGE 65 1 



Thus Gloria Swanson — four years ago the 
most sought-after star in America, who is now 
working her way back to the top from a pre- 
carious position on the screen. 

Thus Gloria Swanson — who came from 
nothing to a position at the very top. And who 
is now awaiting the effect of her newest picture, 
"Queen Kelly," upon the genus-public to see if 
she is still popular. That is, if "Queen Kelly" 
is ever released. 

A X amazing woman, who has had every- 
-**-thing and lost it and had it again. Over and 
over. A cynical woman in the early days. A 
cynical woman still. One of the unhappicst 
actresses on the screen, who is still envied by 
thousands of girls. 

Envied — and she doesn't know when she 
may have to leave her luxurious home in 
Be\'erly Hills to move into a small apartment. 

Envied — and she cannot bear to be alone for 
a moment. She is afraid of her thoughts. 
Introspection is impossible for her. 

Envied — and her whole future (for there is 
still a Swanson future as there always has been) 
rests upon the public's reception of "Queen 
Kelly." She has not been seen on the screen 



Her past is one of the Amazing Stories of an 
Amazing Town. 

npHERE have been many people in her Ufe 
-'- who affected her deeply, who left an indel- 
ible mark upon her future. Elinor Glyn was one 
of these. Madame Glyn, I firmly believe, taught 
her how to clothe herself. For the woman who 
was to become the synonjon for chic the world 
over knew less about her dressing than the 
Thanksgiving turkey. She had been swathed in 
DeMille atrocities. She had never worn clothes. 

Luckily for her, her first starring picture 
away from De MiUe was Madame Glyn's 
"The Great Moment." 

The writer of novels of purple passion is 
noted for her frankness. Upon meeting a 
world famous male star she said, even before 
the conventional gestures had been made, "You 
must change your barber. Your hair cut is 
frightful." 

Nor was she any the less tactful mth Gloria. 
She attempted to make a lady, and a well 
dressed lady at that, of the Keystone comedy 
girl. And she succeeded. For this white 
flame that is Swanson is pliable when 
she is properly approached. Otherwise, 



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in nearly two years. There is no reason to 
envy the unhappy, melancholy Gloria. 

But something may happen, as it always has 
happened to Gloria. Years ago it was the 
financial failure of a studio that saved her from 
ruin. Shortly after she was given her Triangle 
contract the company went into bankruptcy. 
But Cecil B. De Mille had seen her in her first 
dramatic role (the picture was released, if it 
was released, under the title of "Smoke") and 
liked her so much that he gave her a contract that 
more than doubled her salary. The creditors 
were quiet for awhile. 

T\ THAT has happened to her lavish apart- 
''* ment on top of a Manhattan building 
where a cohort of carpenters and painters 
worked for weeks so that it would be ready for 
her? What has happened to her \\'estchester 
property, where she and Henrj-, her husband, 
and the children were going to Uve for the rest 
of their lives? 

.\nd what will happen to her Beverly Hills 
palace that she bought from Gillette, the 
safety razor king? Once she gave it up to move 
into a small apartment. Rumor began. One 
of the Gillette officials was questioned about 
it. He refused to admit that the place had 
been taken from Swanson. He also refused to 
deny it. And this significant fact constituted 
a newspaperman's confirmation. 

She is living back at the old home. But how 
long will she continue there? It all depends 
on you and "Queen Kelly." We, who know 
her, hope it will be the beginning of a happier 
era. And yet Gloria remains a personality. She 
is still a significant and startling figure in the 
intricate design of Hollywood. 



she is as forceful as a night nurse. Paramount 
found that out when they attempted to keep 
her. 

V\ THEN Gloria was a star she wanted to 
''* leave the home studio. She had done as 
she pleased there for all her quarrel with Pola 
Negri, when the two ruUng geniuses of the lot 
vied with each other for best dressing room, 
best pictures, best e.xploitation and best money. 

Paramount was prone to favor Gloria in 
these squabbles. 

Shortly after her return from Paris, follow- 
ing her marriage, Maurice Cleary persuaded 
her to hold out for a fabulous sum from Para- 
mount. They wanted to keep her. But not 
that badly. Their final offer was $20,000 a 
week for two years. She left and, after a year's 
absence from the screen, signed a contract with 
United Artists to produce her own pictures. 

"To produce her own pictures" — that has 
hurt more than one star. Gloria had the final 
word on story, direction, photography, clothes, 
casting. It isn't practical. Neither is Gloria. 

What has happened to Gloria as a person 
during those fitful, restless years, those years 
of misery and ecstasy, of bottom to top and 
back again? Has she changed? 

Her marriage to Henry brought her some- 
thing, for he is a sweet, gentle soul of unusual 
kindhness; too gentle, I'm afraid, too sweet for 
Gloria. He is now in Paris as a foreign contact 
man for Pathe. And the word is out that they 
are separated. 

Men cannot fill Gloria's life. They can only 
be a side issue, for she is too full of energy and 
vitality and activity to give herself completely 
to a husband. 



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Photoplay Magazine — Advertising Section 



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She is envied and adored, but is little 
changed from the Keystone kid who contracted 
to pay S165 on a S150 salary. 

She wears the clothes of a lady. She has 
slid into the new role gracefully, but at heart 
she wiU always be a triile bitter and very hard. 

She is a glorious fighter when her back is 
against the wall. And she has a straight, 
serious gaze and a brisk, firm hand clasp. 

WITH all her many failures, with all her 
financial worries, with all her personal 
troubles, one success stands out sharply — her 
adopted son, Joseph. 

A sickly, weak baby when she took him, he 
stood before his mother not long ago and held 
in his hand a httle square of cardboard. It was 
his school report. He, a chubby, healthy 
boy of six, had received one hundred in every 
study. 

Gloria looked at him, her eyes brilliant with 
unwept tears. 

Joseph had succeeded. While she? 

Has she failed? 

Can Gloria Swanson fail? 

Her new future lies ahead of her! 



Brickbats& Bouquets 

1 CONTINUED FROM PAGE 111] 

Short Story 

Kansas City, JIo. 

About seven months ago I met a boy who 
was ideal in every way but one. He was tall, 
with clean-cut features and appealing eyes and 
had a good character, but he just looked like 
a hick. He had a good position with a good 
salary, but was just naturally sloppy, the kind 
of young man that is so wrapt up in his work 
and unselfish that he doesn't know what color 
his hair is and that he is terribly good looking. 
The only thing that stood between us was his 
appearance and I could not go through Ufe 
with him looking like a rag-picker's offspring. 

One night we went to see Adolphe Menjou in 
the movies and for the following \\'eek I raved 
about .\dolphe's smart clothes and wonderful 
appearance. Then the miracle happened. 
From a slouching, ill-clothed and dusty-shoed 
boy he turned into a shining, well-groomed, 
well-tailored young man. He is just as unsel- 
fish as ever and not a bit conceited since he 
found his real self. Success! 

H. E. 

Movies Her Style Center 

Glendale, Calif. 

As I am planning to be a dress-maker and 
it is very hard indeed to get all of the difierent 
styles, because I cannot afford to visit some 
of the style making cities, such as Paris, I am 
truly thankful to the movies in furnishing to my 
mind the different styles, different hem designs, 
different collars and cuffs. 

I believe the movies are largely responsible 
for the simplicity of our American clothes. 

A bouquet should also be handed to those 
who plan the settings. 

Dolores L. Hlt)son. 

Do We Get Too Much Romance? 

San Diego, Calif. 
A generation ago, it was the bright lights 
of the city which our parents feared. Now it 
is the glitter and glamour of the movies. The 
movies make love-making the summiim bonuin 
of life, and accentuate too strongly its im- 
portance. They cheapen love by making it 
too common. Romance has its place in life, 
but it is not the only important or the all- 
important thing. The movies sugar-coat life 
to such an extent that young people are un- 
prepared and shocked when they marry and 
face Ufe as it is. 

Lee Hamilton. 




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[ CONTINUED FROM PAGE 67 ^ 



He seemed too young and too good looking 
to have knowti many lonely moments, but tbe 
youthful sincerity with which he said it gave 
Elsa an odd little thriU. 

"Last night I couldn't sleep for thinking 
about you — Please don't laugh at me," he 
begged, for Elsa'slips had cun'ed in an unbeliev- 
ing smile. "Oh, I know I shouldn't tell you this 
when I've only just met you but — " 

And then he went on, impulsively, to say the 
things which every woman loves to hear and 
which Elsa had not heard for some time. 
While he was talkiag Elsa was thinking: 

"This is really the most thrilling thing that 
has happened to me in ages. It's just what 
I've been needing. What a perfectly intrigu- 
ing mouth he has. Such expressive eyes, too. 
I wonder if he has ever thought of going on 
the screen?" 

Afterwards, when she dropped him off at the 
Spanish bungalow court where he Uved, and 
he persuaded her to come in for just a moment, 
she learned that he had. 

"You see I had a bit of success on the stage 
in London, and then came the war — " He 
paused and Elsa noticed a certain sadness, 
which she found very appealing, had crept 
into his blue eyes. ".Afterwards, when I got 
out of a hospital, I couldn't seem to get a 
thing. I was awfully up against it — finally had 
to take a horrible dancing job in the south of 
France—" he shuddered at the recollection. 

"y/'OV ought to be good in pictures," Elsa 

-*■ said sincerely. 

"Do you think so?" he asked eagerly. "Tell 
me why. I would value your opinion so much." 

"Well, for one thing, you're different. I 
think people are getting tired of Latin types." 
She paused to insert a cigarette into a slender 
onyx holder. "Women would like you." 
She smiled kno%vingly. "And after all, isn't 
it women who measure the popularity of male 
stars? Look at Valentino." 

"Oh, I say, if you could only help me! 
You've no idea how difficult it is to get a hear- 
ing when one is absolutely unknown." 

For a moment Jason's eagerness, the flame 
of ambition which kindled in his eyes, put 
Elsa on her guard. "So," she said to herself, 
"it is not Elsa Delmar whose favor he courts — 
it is Mrs. George Delmar, the wife of the 
famous director." But as she raised her eyes 
again to meet his ardent look, she dismissed 
the thought as unworthy. He was so young 
and shy, and it was so plain that he adored her! 

When Elsa said goodbye she had promised 
to speak to George about Jason as soon as he 
returned from location. 

Now Elsa had no intention of letting this 
flirtation get out of bounds. She knew of 
course that it was playing with fire to go to 
Jason's bungalow so often (there had been 
several repetitions of her first visit) but then 
it had been a long time since Elsa had played 
with fire and it gave her a very delightful 
sense of warmth. Besides, she told herself, it 
was much safer to go there than to have him 
come to her. One could never be absolutely 
sure of one's ser%'ants. She was very careful 
to park her car some little distance from the 
entrance. But in spite of this precaution, each 
time she hurried along the hedge-bordered 
walk leading to Jason's door, she always 
had the feeling she was skirting a volcano. 

'T'HE cheaply furnished bungalow was a poor 
-'■ setting for Jason but it was the best he could 
afford, he told her. Elsa was tempted to sug- 
gest a quaint little Norman studio which she 
knew about, but men were odd about things 
like that and she could not be sure just how he 
would accept it. In fact, she had not been able 
to figure Jason at all. His restrairit quite 
batBed her. It is true that she had held him 



off — at first. Still, flirtations always progressed 
toward something. As a rule Elsa had had to 
apply the brakes long before this. 

And then one night it happened. 

Elsa was on her way to a party and had 
followed a sudden impulse — or perhaps it was 
feminine intuition — to stop in to see Jason. 
She found the room dark, except for the 
flickering of the candles which Jason had 
lighted. She slipped off her ermine wrap and 
stood revealed in evening dress — a shimmery, 
silvery dress, created by an artist, to tease the 
eye and ensnare the senses. 

"T JUST came by for a minute to — " but she 
-'• got no further than that, for looking up at 
Jason she saw that something had crept into 
his eyes which had never been there before. 
She drew back self-consciously, as though to 
reach for her wrap. But a little outsUpped 
word which she had not meant to utter, a 
gesture which betrayed her, and in one swift 
second she was in Jason's arms. 

^'Please, Jason — you mustn't. There are 
eyes, ears — everywhere — " 

Elsa knew her HoUywood — knew that it 
takes one small ounce of fact to make many 
pounds of fiction. She could hear them saying: 
"Have you heard the latest? Elsa Delmar is 
having an affair with that handsome young 
Jason Castle." 

She tried weakly to push him away but his 
lips, so strong, so sweet, were pressed against 
hers. 

"Oh, my darling," he whispered. "I need 
you so — " 

In the end, it was his need of her that caused 
Elsa to throw caution out of the window. 

It was not long before everybody was say- 
ing: "Doesn't Elsa Delmar look marvelous 
these days?" 

To these compliments Elsa smiled wisely 
and said nothing. She could never remember 
having felt so absolutely alhc. E\-ery hour 
she could steal was spent with Jason, and on 
the days when some important social engage- 
ment prevented their rendezvous she never 
failed to send him tender little notes. Jason 
loved those little notes, he told her. 

Sometimes they drove to the beach in 
Elsa's car and sat for hours on the Palisades, 
watching the ships like tiny specks on the far 
distant horizon. Elsa liked best, when she 
could manage it, to drive to the beach at 
night, when the water shimmered hke oiled 
sUk, and she could lie in Jason's arms while he 
told her of places he had seen — Paris, Monte 
Carlo, Bucharest. Whenever their conversa- 
tion turned to pictures, which it often did, for 
Jason was working occasionally, he would re- 
mind her of her promise to speak to her hus- 
band about him. 

" JUST be patient, darling. I'll know when 
•J the right moment comes. George is broad- 
minded but — " She left the sentence in mid-air 
for Jason himself to finish. 

Onenight, when they were having their coffee, 
Elsa said to George, apropos of nothing at all: 

"Isn't it odd that there are so few really 
attractive blond men on the screen?" 

"I could use one in my next picture," said 
George, ashing his cigar in his coffee cup, a 
habit which always rather annoyed Elsa 
though she never mentioned it. 

"For the lead?" she asked, trying to make 
her interest appear very casual. 

"Yes — opposite Dalmores." 

Now it is often said of women drivers that 
you can never anticipate what their next move 
vnW be. The same is true of women in love. 
Elsa had begun the conversation with the in- 
tention of asking George to give Jason a 
chance, without,' of course, hinting that she 
had any personal interest in him. She felt 



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27 



that Jason was really a potential star and once 
he was established it would be rather thrilling 
to have him referred to as "Elsa Dclmar's 
discovery." But with the mention of Donna 
Dalmores, that torrid importation who al- 
ready had several Hollywood casualties 
chalked up to her credit, Elsa's question con- 
gealed on her Ups. 

SHE thought of Jason, her beautiful, blond 
Jason, playing opposite the sultry Donna. 
The way the Continental actress abandoned 
herself to love scenes was common gossip. It 
was a matter of professional pride with her that 
no man could resist her. " I have but to pout ze 
red mouth — .10," Donna had been heard to 
remark. Would Jason be able to resist her? 
Or rather, could she herself hold him, once he 
knew Donna? 

No — she would not chance it. She knew her 
limitations. She heard George's voice from a 
long way off, for her mind had been back in 
the Spanish bungalow. 

"Did you have somebody in mind?" 

"No, darling." Elsa quickly lighted the 
cigarette which she had been idly twirling 
between her fingers. "I merely remarked that 
it is odd there are so few blond men in 
pictures." 

E.\cuse for Elsa there may have been none. 
Morals, however, are often a matter of geog- 
raphy. Elsa, remember, was living in the 
emotional center of the world; in a fantastic 
community where love-making is looked .upon 
as a legitimate business; where love dramas 
are manufactured for world consumption just 
as cars are manufactured in Detroit. It is only 
natural that private Uves should be influenced 
by professional lives. 

Elsa considered that her private life was no 
one's afifair but her own. She confided in no 
one and congratulated herself that no breath 
of scandal had touched her. She felt that she 
had really been very clever about it. The 
trouble with most women was that they did 
not use their heads. Her greatest difficulty 
now was with Jason himself. He was becoming 
rather insistent that she persuade George to 
give him a part in his new picture. 

"I" HEAR they are looking for a leading man 
-'■ for Dalmores," he said. " I ought to be ideal 
for that." 

Elsa admitted that he would be. 

"But you see I have to handle George very 
carefully," she explained. "If he thought I 
was trying to sell him the idea of using you in a 
picture he might become suspicious. And 
we don't want that, do we, dear?" 

Jason agreed that of course they didn't. He 
confided, however, that he was really awfully 
up against it and that he had to get something 
soon. 

"Just trust me to know the right moment 
to speak to George about you," she tried to 
placate him. Elsa was thinking that perhaps 
when the Dalmores picture was finished might 
be a very opportune time to speak to George 
about Jason. 

But a few days later something happened 
which caused her to change her mind about 
that. 

She and George were at dinner. 

"I saw your car parked on Argyle Street 
this afternoon," he said casually. "I thought 
you were going to Ona Munsell's party." 

Elsa was engaged in spearing an oyster in 
her cocktail. 

"I did — but I had to drop in at the dress- 
maker's," she quickly alibied herself, trying 
to remember whether any of the dressmaker's 
bills, giving her proper address, were on 
George's desk. 

"That Rolls-Royce of yours is rather con- 
spicuous you know," added George. 

It was just a little thing, of course, and per- 
haps George's words carried no hidden mean- 
ing. Still, his remark had given Elsa a start. 

The next day when Jason telephoned at the 
usual time the maid told him that Mrs. Del- 
mar was not in. 

"What did he say?" Elsa asked from the 



bathtub where she had been coaching the 
maid on the conversation. 

"He says, Madame, that it is very important 
that he see you today," the maid answered 
without change of e.xpression. 

But Elsa did not see Jason that day nor the 
next. Two or three times she took up the 
telephone to call him, then changed her mind 
What if George had heard something to arouse 
his suspicions? Suppose he were having her 
watched? She could not, she told herself, 
afford to take any chances. It had been a very 
pleasant interlude while it lasted but Elsa 
knew which side her bread was buttered on. 
She knew, too, that there were some things 
which George simply would not stand for. 
Newspaper notoriety, for instance. The time 
had come, she wisely decided, to ring down 
the curtain on Jason. 

She failed, however, to take into considera- 
tion the fact that Jason might have some ideas 
on the matter himself. Consequently, when 
the butler announced one evening a week 
later that Mr. Castle was waiting in the draw- 
ing room, Elsa simply went cold all over. 
Whatever had possessed Jason to come to her? 
Her first impulse was to refuse to see him, but 
on second thought she decided it might be 
better to get it over with. She would be very 
sweet, very charming, but she would make it 
plain that everything was ended. 

" TlUT you can't end it — like this," Jason said 
■'-'when she had explained the matter to him. 

"No?" Elsa lifted her finely arched brows. 
Something told her that Jason was going to be 
difficult. "Why not?" she asked. 

"Perhaps you have forgotten, my dear Elsa, 
that you made a promise — a promise which you 
have not yet kept." 

"I'm sorry about that, Jason — I really am — 
but you see George has heard something — 
about you and me, I mean. I wouldn't dare 
ask him now." 

"I see," he said thoughtfully. "You love 
your husband then?" 

"Of course I do." 

"And you wouldn't want him to know that 
you had been — shall we say, indiscreet?" 

Elsa stared at him a little dazedly. This 
was a new Jason she was facing. What was he 
driving at? Her nervous fingers twisted the 
long string of jade beads which hung about her 
neck. 

"Naturally, I wouldn't want him to know — " 
Elsa flushed a little. She wished he would not 
look at her like that. She glanced toward the 
mantel. The little ivory clock pointed to 
almost six. George might be coming any 
minute. She must get rid of Jason as quickly 
as possible. 

"Then perhaps you would be %vilUng to pay 
— to keep that knowledge from him." 

"Why, what do you mean?" demanded 
Elsa, knowing of course exactly what he 
meant. 

"I mean, my dear, that foolish women some- 
times have to pay for the foolish letters they 
write." He took from his pocket a httle packet 
of letters. Elsa's heart seemed to do a nose 
dive toward her stomach as she caught sight 
of the tall vertical writing. 

""YOU mean you are blackmailing me?" 

■'• There was a little shiver in her voice. 

Jason shrugged. "If you wish to call it 
that." 

At that moment Elsa heard a car turn into 
the driveway. 

"How much do you want?" she asked 
tensely. 

"There are ten letters here." He fingered 
the packet as though to make sure. "I think 
a thousand dollars each would be only fair." 

What price indiscretion! She had fooHsh- 
ly been thinking in terms of fifty or perhaps 
a hundred dollars, but ten thousand! She stared 
at him with unbelieving eyes. Could this 
coolly demanding person be the tender, ador- 
ing Jason she had known — the man in whose 
arms she had foohshly tarried — because he 
needed her so? 



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A shaft of the afternoon sun fell upon his 
iDlond head and touched it %vith gold. Incon- 
^'ruously enough Elsa thought of that other 
Jason who had gone in search of the Golden 
Fleece. A gallant quest that. But times had 
indeed changed. This Jason was in quest of a 
fleece, too, but of a more modern variety. 

TTEN thousand doUars! Certainly an exorbi- 
-*• tant price to pay for a packet of meaningless 
little notes. Still, it might be a small price to 
pay for safety. Suppose the thing should get 
into the papers. E.xcerpts from some of those 
notes paraded through Elsa's mind. 

"My own darhng — 

Do you have the smallest idea 
how I've missed you today? 
Yesterday at this time you 
held me in your arms. . . 

"It is so sweet — so precious — 
this love of ours. . . . 

"Vou are with me in thought 
every minute. ..." 

.'Vnd the one where she quoted the popular 
song hit — 

"You will always be 

My necessity" (she remembered she had 

underlined that) 
"I'd be lost without you." 

How perfectly awful it would be to see those 
letters on the front page of the morning paper. 
She could \'isualize the headhnes — .\ctor 
Blackmails Wife of Celeer.\ted Director. 
Hollywood Lon'E Tryst Bared. George 
would never forgi\e her and Elsa certainly had 
no desire to rehnquish her position as Mrs. 
George Delmar. Ten thousand was a lot of 
money — she would probably ha\e to pawn her 
pearls — but at that moment Elsa wanted 
safety at any price. 

She rose to her feet, trying to register utter 
contempt. 

"I haven't that much money now — but 
I'll bring it to you tomorrow," she promised 
recklessly. 

".\ check will do, my dear Elsa," he said 
suavely. 

"But I can't do that. You'll have to trust 
me to — " 

Before she finished the sentence George was 
in the doorway. Elsa, who had always con- 
gratulated herself that she used her head, 
knew that she was trapped. 

"Hello, dear," he greeted her. Then, 
noticing Jason who was seated with his back 
to the door, he added: "Pardon me for burst- 
ing in like this — I didn't know you had com- 
pany." 

Elsa introduced them. She wondered if 
George noticed how odd her voice sounded. 
She could feel Httle beads of perspiration 
coming out on her hp, though a moment before 
she had been shivering. Jason, she noticed 
with considerable rcUef, had at least been 
considerate enough to slip the packet of letters 
into his coat pocket. 

"Is this the young man you were telling me 
about, Elsa?" inquired George after he had 
rung for the butler to bring some cocktails. 

"Why — I don't remember," she lied. 

"That night we were talking about a blond 
man to play opposite Dalmores," he reminded 
her. 

"Oh, yes." Elsa managed a sickly smile. She 
remembered distinctly that she had not 
mentioned any particular man. Was George 
just being subtle? 

MR. CASTLE would be a perfect contrast 
for Dalmores. Don't you think so?" 
Elsa nodded. This wasn't a bit like George. 
"Ha\'e you done any picture work?" he 
turned to Jason. 

Elsa was left out of the conversation that 
followed. Shesat there twistingand untwisting 
the jade beads while George outlined the story 



for the next Dalmores picture. 'While he 
talked, Elsa was thinking: "If George gives 
him that role opposite Dalmores he certainly 
ought to be decent enough to return those 
letters to me. I wonder if I ought to put in a 
good word for him so he'll know that I really 
meant to speak to George all the time." Two 
or three times she moistened her lips to speak, 
then changed her mind. 

When Jason finally rose to go George had 
agreed to give him a screen test the following 
day. A week later the papers announced that 
Jason Castle, the Continental actor, would play 
opposite Donna Dalmores in the ne.xt George 
Delmar production. 

Now this came as a complete surprise to 
Elsa, who had had a very uncomfortable week. 
George had said nothing whatever about the 
screen test and she thought it wiser not to ask 
him about it. Nor had she heard from Jason. 
She interpreted his silence as indicating that 
he meant to do nothing further about the 
letters. However, when George announced 
that the company was going to the mountains 
on location she felt considerably reUexed. His 
absence would gi\'e her a chance to get hold of 
herself. 

So she bought some smart new clothes 
which did a great deal toward restoring her 
self-confidence, found a new masseuse who was 
really a wonder, went on a lamb chop and pine- 
apple diet, and by the time George returned 
she felt better able to cope with the situation. 

CO' much so that when he came in to kiss her 
'-'goodnight on his first evening at home she 
was able to say quite naturally: 

"By the way, how did your new leading man 
turn out?" 

"Splendid, my dear. I consider him one of 
my greatest discoveries." 

Elsa mentally patted herself on the back. 
Funny how absolutely blind men were — -par- 
ticularly husbands. 

"He should go far, that boy. He works in a 
rather unique way." 

Elsa mentally added: "A}id how!" 

"In fact, my dear, I feel so indebted to you 
for introducing him to me that I brought you 
a Uttle gift as evidence of my appreciation." 

"Oh, George, you arc a darling." Elsa 
sUpped her arms about his neck and kissed him 
lightly on the cheek. She hoped it was those 
emerald earrings she had been wanting. 

"It's somewhat chfferent from my former 
gifts." He paused for a second, then added: 
"But I hope it may prove even more valuable 
to you." Something about the way he was 
looking at her caused Elsa to feel oddly self- 
conscious. 

He took from his pocket a tiny key and 
handed it to Elsa. 

""T TOOK a safety deposit bo.x for you at the 
-'■ bank today. This is the key." 

She took it, puzzled. A safely deposit box. 
What use could she have for one. Her jewels 
were well insured. She had nothing else of 
value. She knew that some women went in 
for bonds, but she never had. 

"But, George — " she began. 

"Yes, I know, my dear. You're wondering 
what you will keep in it." He handed her a 
small oblong package which he took from his 
inside pocket. "There are only two places 
where this will be absolutely safe. One is in a 
safety bo.x." His eyes twinkled with an oddly 
amused smile. "Good night, my dear — and 
sweet dreams." 

Before Elsa could open the package he had 
left the room, closing the door softly behind 
him. 

Still puzzled, she ripped the covering from 
the package, and a crimson flush mounted her 
cheeks. Instantly she knew that the other 
safe place for such a package was the fire. 
Impulsively she flung it where the fire was 
hottest. A flare shot up, revealing for one 
second a fragment on which was written 
" . . . . always be — my necessity." A slender 
flame curled over it and Elsa breathed a sigh 
of reUef as it dropped into black ash. 



Every advertisement In PHOTOPLAY JIAGAZIXE is guaranteed. 



Photoplay Magazine — Advertising Section 



Ten Years Ago in Photoplay 



REACHING into the grab-bag of mem- 
ories of ten summers ago — wlien you 
and I were younger, Maggie. 
Here's a quaint little paragraph from the 
issue for July. iyi9: 

"A new dramatic star is promised by George 
Loane Tucker when his independent produc- 
tion, 'The Miracle Man,' is produced. She is 
Betty Compson, long an ornament to Christie 
comedies." 

Well, there's one we and George didn't go 
wrong on! 









.xfl^^^riUilHHl ■^- -''^^1 




■1 
i 


133BH|B^^^> 



Betty Compson and hat. She 
looked like this in her Christie 
comedy days, just before bloom- 
ing into stardom in 1919 in "The 
Miracle Man" 

MARY PICKFORD has just had a birth- 
day — her Hventy-fifth. 
All the poor little tike got was a few dia- 
monds and emeralds, a mink coat and a saddle 
horse. And Mother Smith threw her a big 
birthday dinner, and Mary blew out all the 
candles. And she's just about to appear on 
the screen in "Daddy Long Legs" and be just 
toocunnin' for anything! 

SAY — just how mildewed are we, any- 
way? Here's a bit that says, "Florence 
Yidor long a Lasky favorite, is coming 



back under the direction of her husband, 
King Vidor." 

I don't believe it. Hortense, just have a 
good look for a gray hair on this dizzy head, 
will you? 

•"PHIS is a big month for us — the lilms are 
-'■ making history, as fast as the cranks can 
grind. 

"We feature "Broken Blossoms" in story 
form — that master-picture by Old Fox Grif- 
fith that set Barthelmess for "Tol'able David" 
and gave Lil Gish another beating. Look — 
Donald Crisp is dragging her by the hair — 
Iiere she is dying in the garret, with Chinky 
Dick bending over her. 

.And just beyond the horizon is "The Miracle 
Man," maker of Meighan and Compson and 
Chaney. 

A PRETTY photo of PauUne Starke before 
-' »• she found IT. Remember what a blank 
she was then? . . . Jack Holt with all his 
hair. . . . Mary Thurman, just out of bathing 
suits at Sennett, coyly showing two inches of 
ankle to the camera. . . . Norma Talmadge's 
new picture is "Nancy Lee," and Conway 
Tearle is her leading man. ... A pitiful story 
headed "Where is Mac Marsh?" It seems the 
little girl has retired for a spell. 

npEN years ago this month one of the \'ery 
^ first "Do you remember when?" stories 
appeared in connection with lihns. 

COMMODORE BLACKTON has written 
us a piece on the old Vitagraph gang. I 
\i ish you could all see some of these pictures 
■vc print! 

"The Big Four" — John Bunny, Kate Price, 
ITora Finch, Hughie Mack. Here are 
I illian ("Dimples") Walker and Florence 
Lawrence. And dear old Charles Kent, long 
dead, and William Shea, too. Leo Delaney 
(a nice leading man) and the beloved Florence 
Turner in a scene from " A Tale of Two Cities." 
And a shot from the first "Uncle Tom," with 
Link- Eva dying just as dead as she did when 
Universal paid nearly a million for the pri\'i- 
lege not long ago. Naomi Childers, Zena 
Keefe, Rosemary Theby, Rose Tapley, Julia 
Swayne Gordon — Hortense, a clean hankie and 
the smelling salts, please. 

GLORIA SW ANSON'S new one is "For 
Better, for Worse," and our learned Julian 
Johnson says it is for the better. Elliott Dex- 
ter, Tom Forman, Theodore Roberts, Wanda 
Hawley, Ray Hatton — all that grand old 
gang. . . . Gerry Farrar and Milton Sills have 
just appeared in "The Stronger Vow," and 
Johnson is very sweet about it all. . . .Whoa! 
Man the lifeboats ! May Allison is stranded on 
a desert island in "The Island of Intrigue." 
Jack Mower to the rescue! . . . -And Pauline 
Frederick is playing another of those double 
roles she specializes in. 

BUSYBODY, ROCHESTER— Checking up 
again, you old thing! Pauline Frederick 
is about 33. Alice Brady is in her middle 
twenties. Bert Lytell is about 30. Norma 
Talmadge is about 22. 

No — .Antonio Moreno is NOT engaged to 
anyone! 



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request. A postcard will bring thetn and a copy of the 
complete rules. Address Cut Picture Puzzle Contest, 
Photoplay Magazine, 750 N.Michigan Ave., Chicago, 111. 




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130 



Photoplay Magazine — Advertising Section 



FRECkLES 




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feeling ashamed of your freckles, as 
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It is seldom that more than an ounce is 
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See page 58 of this issue for 
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Cut Puzzle Contest 



Girls' Problems 



CONTINUED FROM PAGE 14 ] 



eye. Perhaps you would have made a 
tragedy of this dissimilarity of coloring. But 
not Colleen. Her Irish sense of humor and her 
good common sense came to the rescue. When 
people spoke about her eyes she made some 
comic, amusing answer. She couldn't change 
them, but she could laugh at them. 

And now she wouldn't change, even if she 
could. Her eyes are one of her greatest assets 
— perhaps it is the oddity of coloring that 
makes them photograph so "electrically," 
that makes her Colleen Moore of the un- 
forgettable eyes — different from anyone else. 

And for the girl who is large-boned and 
somewhat tall, whose hands and feet are cor- 
respondingly large and whose neck is some- 
what long, what better example of overcome 
difficulties is there than Greta Garbo? She has 
turned awkwardness into a rare and unusual 
charm, and who thinks of her ever as a big- 
boned, tall girl with oversize hands and feet? 
The glamorous Greta makes us all forget mere 
physical qualities. But I doubt very much 
if she could have achieved this without con- 
scious effort on her part. 

ZaSu Pitts isn't the prettiest girl on the 
screen. But she has one of the most expressive 
faces to be seen. And she is thought by many, 
many people to have the most expressive 
hands. I heard a popular leading man say one 
day that he would rather watch the play of 
expression in ZaSu's hands than the most 
beautiful face in Hollywood! Extravagant 
praise, but it proves that personality just must 
oiil, and that facial beauty is not the only 
beauty that attracts. 

Baclanova has a mole on her cheek, right 
near her nose. It's part of the Baclanova 
allure and charm. But Jessica S. ^\Tites me 
that a small mole on her face is turning what 
has every reason to be a blessed and happy 
girlhood into a veritable tragedy — she can't 
forget that mole a minute and she spends 
most of her time tr>'ing to cover it up with 
creams and powders. And yet Baclanova, who 
could easily disguise her mole with makeup 
judiciously applied, knows it for the dis- 
tinguishing mark that it is and flaunts it 
proudly before the all-seeing ej'e of the camera. 

There isn't any moral to tids. Except the 
age-old one of making the best of it and for- 
getting the rest of it. If there are any ques- 
tions of this kind which are troubling you, 
write to me, stating your problem as clearly 
and briefly as you can, and perhaps I can help 
\'ou. There are simple methods of temporarily 
removing superfluous hair from arms and legs 
and rendering it less conspicuous on the face; 
there are colors and Unes that modify the lines 
of one's figure and make for grace and chic. 
Watch the many helpful articles which are 
appearing constantly in Photoplay — articles 
that tell you how to dress your hair becoming- 
ly; how to apply cosmetics to the best ad- 
vantage; and, best of all, how to achieve beauty 
that is more than skin deep. 

Peggy L.: 

You are the same type as Viola Dana, who 
is just 4 feet, 11 inches. Yes, you are one of the 
lucky "in-betweens." You should have no 
trouble in dressing to accentuate your good 
points, if you follow the ad\'ice contained in 
the color article which appeared in the May 
Photoplay. 

Therese: 

It is true that certain perfumes suit certain 
t>'pes. For instance, a small, piquant bru- 
nette would not use the same odor affected by 
a tall, languid blonde. There are hea\'y, exotic 
perfumes and faint delicate odors, subtle per- 
fumes and the more ob\'ious ones. It is only 
by trying a variety that each girl discovers the 
one scent that best e.xpresses her personality. 



Many perfumers make up small sample bottles 
which may be obtained free of charge or for a 
small sum, so that you need not buy expensi\'e 
perfumes without l^rst testing them. 

Faye K.: 

It is all very well to be abrupt and superior 
in manner if you are willing to run the risk of 
social isolation. But as long as you care what 
people think of j'ou and are eager to be liked, 
you will have to learn to be more gracious. A 
good disposition and a friendly manner are 
great aids to popularity. 

Nancy S. : 

Your letter realh' requires a personal reply, 
but you did not enclose a self-addressed en- 
velope. You are in a difficult position and you 
must be careful to act so that you will have 
nothing for which to reproach yourself later. 
Don't do anything that wiU cause your self- 
respect to suffer. If )'ou bring unhappiness to 
others you are not apt to remain happy your- 
self. 

LiBBY B.: 

Many young girls develop quickh- and are 
made unhappy by the problem of a large bust. 
In a few j^ears }-our form will become more 
symmetrical and what seems like an affliction 
to you now is really the foundation of a lovely, 
womanly figure. What if you can't wear the 
tight httle sweaters and broad, high belts that 
smaller girls affect? You can be pleasingly 
different from the rest and wear soft blouses of 
non-clinging materials and trim little skirts 
that bring out slimness in the hips. Wear 
three-quarter or full length coats in preference 
to short jackets. Wide collars in certain 
shapes decrease the apparent size of the bust, 
but the wTong shape collar adds to it. Diagonal 
lines of trimming across the front and flat 
frills skillfully crossed also give length and 
slimness. 

Peggy: 

I am afraid that a boy who is jealous and 
mean enough to talk against a girl to her 
friends would not be a desirable person to 
cultivate. Probably every time you and he 
would disagree he would let his temper and his 
tongue run away \v\ih him. It wouldn't 
matter then how sorry he Was afterward — the 
mischief would be done, and you would find 
it increasingly hard to forgive him. If you 
decide to take one more chance because you 
believe in the sincerity of his apology, make it 
clear that a repetition of such conduct will 
arbitrarily end your friendship for all time. 

Frances : 

I think you are just a bit conceited and I 
am afraid the boy you write about has the 
same impression. He probably thinks you are 
too sure of yourself, and of him, and he wants to 
teach you a lesson. Better not act the coquette 
with him again, but be your natural self, .\fter 
all, that is what attracted him in the first place. 
.•\nd don't let your feelings run away with you 
and faU in love until you know more about him. 
I don't think you need be ashamed of your 
home because it is poorly furnished. No man 
worth knowing will give that a thought. 

Wallflower: 

It is perfectly proper for you to be friendly 
to the boys in j'our classes, especially the ones 
that seem a little bashful. Only be careful not 
to give the impression that you are forcing your 
attentions or that you want imitations. Those 
will follow as a matter of course if the boy en- 
joys your company. Be sweet and friendly to 
everyone, and the attention and companion- 
ship of boys will come to you naturally and 
^vithout any special effort on your part. 



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Photoplay Magazine — Advertising Section 



Do You Drink 
Enough Water? 

[ CONTINUED FROM PAGE 69 ] 



fluids you drink, from the water contained in 
solid food, and from that produced by the 
chemical reaction of life. Just as your body 
is about two-thirds water so do all solid foods 
contain water. The ordinary mi.\ed diet may 
provide as much as a quart a [day. Many 
foodstuffs are naturally soluble in water. The 
processes of digestion render many soluble 
which are otherwise dissolved with difficulty. 

Opinions differ as to how much water 
should be taken with a meal. Some doctors 
advise as little as possible, others copious 
draughts. All agree that food should be prop- 
erly chewed and not sluiced down with great 
swigs. 

In my opinion there are very few people 
drinking enough water. A good plan to follow 
is to drink a pint of hot water in the morning, 
soon after you arise. Drink a glass of water 
before and after each meal and a glass be- 
tween meals. At bedtime one may drink 
another pint of water. Such a plan will 
assure you of adequate fluid for your body 
needs and the thorough sluicing of your sewage 
system every day with resultant increase in 
your personal well-being. The waste products 
of hfe which in a concentrated form are irri- 
tating to the kidneys are thus diluted and more 
easily eliminated. 

Consider the case of a diabetic. Two of the 
outstanding symptoms of this grave malady 
are raging thirst and frequent and copious 




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So that our readers need not miss a single issue of Photoplay 

during the $5000.00 Cut Picture Puzzle Contest we 

are making a special six month rate of" 

{See page 58 for full particulars 
regarding Contest) 

This special offer is made to avoid 
disappointment. So many of our 

readers complained last year because the newsstands were 
sold out and in many instances we were unable to supply 
back copies. If you haven't a copy of June Photoplay, the 
coupon below will bring you a reprint of the set of cut pictures 
which appeared in that number. Or, your subscription today 
will insure your receiving every copy during the Contest, as 
well as the reprint from June issue. Just send money order 
or check for $1.25 and fill out the coupon below. Do it today. 

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132 



Photoplay Magazine — Advertising Section 




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urination. The body demands a tremendous 
amount of water to Iceep the sugar which is 
piling up in the blood stream in solution. 
The resulting huge water intake causes the 
tremendous output by the kidneys, carrying 
away sugar in solution. 

Medical researches for some time past have 
been trying to determine the role of water in 
regard to the heat regulation of the body. 
Physiologists have thought that there was a 
heat regulating center in the brain, but such a 
center has never been definitely located. There 
is increasing eN-idence, however, that the 
maintenance of a normal body temperature, 
not only in health but in disease, is intimately 
associated with an adequate supply of water. 

THE body maintains a fairly constant tem- 
perature under normal conditions. Heat 
elimination is equal to the heat production, 
the body losing heat in two ways, by contact 
and by the evaporation of water. The body 
loses heat when it comes in contact with sub- 
stances cooler than itself, such as the clothing, 
tepid baths and the air which we breathe. 
When we are moderately active about seventy- 
fiA'e per cent of the heat of the body is lost in 
this manner. The body changes water to 
water vapor at the body temperature, giving 
up, at the same time, a large amount of heat. 
The air which we breathe is saturated -nith 
water vapor, and as the bodily actiN-ity is in- 
creased, there is a consequent increase in 
number and depth of our inhalations and ex- 
pirations, more water vapor being given off 
and more heat being lost. In fact the evapora- 
tion of perspiration causes the body to lose 
heat. Even though invisible to the eye, we 
are perspiring at all times. This perspiration 
evaporates and the body is cool. If one is 
perspiring profusely and is subjected to a 
draft of air, increasing the rate of evaporation, 
too much heat is lost too rapidly. This is the 
reason that the pitcher on the baseball team, 
even on a sweltering midsummer day, puts a 
heavy sweater on his throwing arm at the 
close of an inning; that football players are 
swathed in blankets between plajing periods; 
that race horses are covered with blankets 
after they have been sent through their paces 
on the track, and "cooled" by being walked 
about slowiy by grooms until they are no 
longer wet with sweat. 

If you earn your daily bread by the sweat 
of your brow, you know the need of copious 
amounts of water to drink. The water boy is 
just as essential to the section gang as the tool 
box. The endless journeys of the laborers to 
the water bucket in hot weather are not an ex- 
cuse to loaf, as many foremen erroneously 
believe. 

If you intend to drive your automobile into 
the mountains or across the desert you always 
fill the radiator to the brim before you start 
the journey. This same principle is entirely 
applicable to your body. 

THE rate at which water evaporates from the 
body depends not only upon the amount of 
heat produced by the body but upon the rela- 
ti\'e humidity of the atmosphere. The warm- 
er the air, the more water vapor it can contain. 
If the air is saturated with water vapor, the 
humidity is high and both humans and 
beasts suffer because the evaporation of water 
from the body surfaces is seriously interfered 
with. When the humidity is high, in order to 
avoid serious consequences, it is necessary to 
limit heat production by eating lightly and by 
avoiding all unnecessary work. Although the 
sale of ice cream mounts during a hot spell, it 
is a poor food for summer because of its high 
fat content; sherbet and iced fruit juice drinks 
being much more efficacious. 

In disease, when the body is exhibiting an 
elevated temperature, fluids must be forced 
because the toxins or poisons produced by the 
disease bind w^ater so firmly to the body cells 
that the loss of heat by evaporation is cut down. 
As the heat loss becomes less than the heat 
produced the temperature rises. Excellent 
clinical results have attended the administra- 



tion of copious amountsof fluid to patients with 
fever. For each degree above the normal 
temperature of 98.6 degrees Fahrenheit, the 
building-up and tearing-down processes of 
life increase approximately seven per cent, thus 
establishing another of the vicious circles so 
common in disease. 

As the temperature climbs the need for 
losing heat from the body becomes greater. 
But because of the increasing poisoning or 
toxemia of the body there is less water avail- 
able to bring about cooling by evaporation. 

"pVEN before prohibition, physicians were 
-'—'battling concerning the value of alcohol in 
thetreatmentof diseasesproducingfever. Many 
declared that a whiskey sling would tend to 
lower temperature. The thirst which develops 
w-hen the concentrated Uquors are used cer- 
tainly proves that alcohol locks up water in 
the body. In my opinion the citrus fruit juices, 
diluted with an equal amount of water, have no 
harmful effects and are much more efficient 
in the lowering of temperature and the com- 
bating of the acid condition of the body fluids 
which results from a continuing high tempera- 
ture. It is a mistake to drink copiously of 
iced fluids because the chilling process delays 
absorption. Water should be taken cool, and 
patients suffering from fever will do well to 
drink it at room temperature. 

While upon the subject of water and its role 
in the diet, it is pertinent to consider that 
many of the reduction schemes before the 
public today are attempting to commercial- 
ize sweating as a means of losing weight. 

She who thinks that a steaming bath, sat- 
urated with cheap or e.xpensive salts, will make 
her slender, is indulging in not only a foolish 
but a futile procedure. A profuse perspiration 
is induced by the bath, it is true, but she who 
stands upon her bathroom scales, weak and 
weary, after a half-hour's par-boiling and notes 
with triumph in her eye that she has lost two 
pounds with one bath, will suffer an equal 
chagrin to find that the satisfaction of the 
thirst, which the bath also increases by its 
draining of the tissues of water, has put back 
upon her half-cooked carcass the pounds 
whose loss she happily noticed an hour or so 
before. 

If you are interested in reducing, you will be 
pleased to learn that a cold bath, if j'our heart 
and nervous system can stand such an early 
morning shock, will prove to be an efficient 
metabolic whip, making your body work 
faster and burn up more of the fat deposits 
than it would without it. The drinking of 
water also favors increased bodily activities and 
it is significant to note that all of the reputable 
reduction regimens call for a liberal amount 
of fluid to be taken. You must have at least 
two quarts of fluid every day. More is not 
objectionable and can do you no harm. 

I RECALL a recent contact with a woman 
who, for some years, has enjoyed a position of 
prominence in the motion picture firmament, 
whose stardom is waning because matronly 
curves are supplanting the slab-sided modes 
which the producers demand. This girl was 
working twenty-four hours a day to keep thin. 
She wore her eyes in bags and her jowis hung 
down like the wattles on a turkey. She had 
been using vibrating machines and prolonged 
hot salt baths, a rigorous diet of the most 
skeletonized type and practicing almost com- 
plete abstinence of water. She came to me 
because she said she w^as feeling nervous and 
because of digestive disturbances. I asked her 
how much water she w^as taking every day. 
Imagine my astonishment and dismay when 
she told me she had hmited herself to an 
ounce of water three times a day. 

That she was able to be about at all was re- 
markable because, as a rule, deprivation of 
water will produce great distress in a short 
time. Death sometimes foUows in two to three 
days. Insufficient amounts of water lead to 
definite kidney impairment as well as to grave 
nutritional disturbances and defective elimina- 
tion. 



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Photoplay Magazine — Advertising Section 



The Shadow Stage 



[ CONTINUED FROM PAGE 57 ] 



THE PRINCE OF HEARTS— Imperial 

AN American film star falls in love with a 
crown prince in a mythical kingdom. It's a 
plot very dear to chronic nio\-ie-goers, but to 
the last detail, it's a weak carbon copy ot 
"The Merry Widow." Even John Reinhardt's 
characterization of the royal cousin is dis- 
tinctly reminiscent of Roy d'Arcy's in the 
von Stroheim picture. Norman Kerry is ex- 
cellent as the heir apparent, and George Faw- 
cett is very real as the blustering old king. 
Silciil, 

EYES OF THE UNDERWORLD— 
Universal 

THIS is one of a series of six thrillers starring 
Bill Cody. It could happen only in the 
movies. Single handed, the hero mops up 
with a gang of racketeers, is dragged by an 
automobile for miles, escapes from an island 
hide-out by taking a plunge into the ocean 
hundreds of feet below, but appears at the end 
of the day as nonchalant and immaculate as 
if he had just lit a Murad. Silent. 

TOMMY ATKINS— World Wide 

ANYONE interested in the professional 
past of Walter Byron, Vilma Banky's 
recent leading man, may see him to his full 
advantage in this British-made film. Made in 
London and the Eg>'ptian Soudan, the picture 
revolves about a stolen title, foreign wars 
against black tribesmen, and the association 
of two foster brothers. It has the same at- 
mosphere and appeal as "Beau Geste," but 
of course, is not as big a picture. Silent. 

PAWNS OF PASSION— World Wide 

THIS is noticeably better than most from 
the foreign mill, possessing an adequate 
amount of drama, humor, and suspense. Olga 
Chekova and Hans Stever play the title roles. 
But, in justice to these European screen favor- 
ites, they do not live down to the somewhat 
sensuous implications of the title, which does 



not in the least apply to the picture. The 
rather hysterical Franco-Russian story has to 
do ■with a powerful Soviet's persecution of a 
beautiful woman. Silent. 

GUN LAW—FBO 

WHAT'S all the shootin' for? Some ranch- 
men have a Httle get-together to play 
games — gun play, horse play, foul play, and 
that sort of thing — but it's all in fun. No one 
really gets mad at anyone else. Tom Tyler 
and Frankie Darro, however, anti-climax their 
final fade-out as a Western team under the old 
FBO regime. But it's not as dull as most cow 
sketches. Silent. 

THE GAMBLERS— Warners 

STORY of "high finance" and its attendant 
disasters. Not particularly new but well 
done by a capable cast, including Lois Wil- 
son, H. B. Warner, George Fawcett, Jason 
Robards, and Pauline Garon. A tuneful 
theme song by Gus Edwards and some no\el 
trick camera shots add interest to the story. 
Lois Wilson, looking very beautiful, not only 
talks but sings well. Quite a delightful picture. 
All Talkie. 

THE QUITTER— Columbia 

A YOUNG surgeon loses his nerve, goes the 
downgrade, and comes back in a medical 
and emotional crisis. The obvious triteness of 
tKe characterization is outweighed by a climax 
which carries a punch. The girl shoots the 
hea\'y to save the boy's life; the youth saves 
the heavy because he believes the girl loves the 
djing man. Dorothy Revier, Ben Lyon, and 
Fred Kohler are featured. Silent. 

THE HOTTENTOT— Warners 

THE picturesque ranch of the late Lucky 
Baldwin, millionaire sportsman, is appro- 
priately used for the thrilling steeplechase 
scenes in "The Hottentot." This well-known 




International Newsreel 



The girl is Lily Damita. The man is Prince Louis Ferdinand of 
Prussia, son of a certain Mr. William Hohenzollern. And the 
picture was taken several years ago in Berlin. The Prince is now in 
Hollywood, which also happens to be the home of Miss Damita. 
Hollyrvood says that it's a romance. Lily and the Prince say that 
it's just one of those cases of old friendship 




cold cream ? 

tJoeji remove it entirely 
every day 

to avoid sallcwness, acnc 
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learn to riih cold cream off 
instead of rubbing it in. 

FACE creams, dust and dirt that gather in 
the pores, powder and rouge— all these 
things endanger your skin beauty. Wash 
cloths and towels don't really remove cold 
cream. They rub it in, instead of off. And they 
must be laundered too often when soiled with 
cream and make-up. Old pieces of linen are 
regular germ-breeders, infecting the skin. 

You must remove cold cream with a sub- 
stance that is made to absorb! There is a product 
created just for this purpose, called Kleenex. 

Kleenex cleansing tissues are soft, delicate 
to touch, pure white, hygienic. You use them 
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If you don't already know Kleenex, send 
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134 



Photoplay Magazine — Advertising Section 




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story of the man with a fear complex about 
horses being mistaken for a famous horseman 
and compelled to ride in a steeplechase is here 
again. Years ago, Douglas MacLean made a 
good picture of it, but this audible presenta- 
tion, with the inimitable Edward E. Horton 
and Patsy Ruth Miller, is hilarious. All 
Talkie. 

YOU CAN'T BUY LOVE— Universal 

IN which a companionate husband (Charley 
Chase) acts as butler while his wife (Kathryn 
Crawford) entertains her friends, one of whom 
(Jean Hersholt) wants her to go with him to 
Paris to study designing. The gags are as 
plentiful as child prodigies in Hollywood. But 
what gags! A Ford falls apart. A Frenchman 
is wrongly instructed in American table man- 
ners. There's some business with an alarm 
clock. Ho-hum, how long the days are getting! 
Pari Talkie. 

ROARING FIRES— Ellbee 

■pIRES aren't all that will be roaring if this 
•*- one ever sees daylight. Here's why. Lady 
Bountiful works in the slums. Her millionaire 
father owns some flimsy tenements. His mana- 
ger wants the girl, but he builds firetraps, so the 
girl spurns him. Enter the hero — Walker, of 



mad millionaire's daughter who's tried every- 
thing once. She gets into trouble faster than 
the police force and her father's money can pull 
her out. Both she and Nick Stuart get over 
some fair acting in the more violent sequences. 
Quite the best thing either has done. Sound. 

THE BIG DIAMOND ROBBERY— FBO 

T ISTEN! Get a load of this. Cowboy Mix 
-'-'holds the spotlight in an honest-to-gosh 
thriller. Yes, this is 1929, but you'll actually 
grip the arms of your chair — or the person next 
to you. It's got all the old tricks, there's 
enough plot to stock any studio for years to 
come, but it's fast-moving, full of comedy, and 
has a hefty punch at the finish. If you care for 
Westerns in a big way, it's a Lulu! Silent. 

THE EXALTED FLAPPER— Fox 

npHE secret is out. It was Sue Carol that 
^ "put the 'pep' in pepper." Sue's first real 
part fits her hke a glo\e. A young princess 
becomes "flapperized" after a trip to America, 
and refuses to be married off according to royal 
precedent. Her own selection turns out to be 
the prince she should have married. Old story, 
but amusing throughout with some scenes irre- 
sistibly funny. Barry Norton lends good sup- 
port. Sound. 



IF you didn't start to solve the first set of Cut Puzzle Pictures 
in last month's Photoplay, here's your chance to start now. 

Maybe you mislaid, or failed to get your copy because the 
newsdealer was "sold out." 

No matter. You may have a set of the Cut Pictures appearing in 
the June issue together with the complete rules, free. 

Just make your request on a postcard. 

Address 

Cut Purde Picture Contest, PHOTOPLAY MAGAZINE 

750 N. Michigan Ave., Chicago, III. 



Hose Wagon No. 4, the left third rib of the 
fire department. Now then, add them up and 
refer to the lovelorn column of any country 
newspaper for further details. Silent. 

SHIP MATES— Educational 

WE'RE in the Navy now with Lupino Lane 
as a gabby gob. You'll like him in this, 
his first chatter film. When the bugle blows 
at daybreak he "faws down and goes boom" 
and continues to go "boom" through the rest 
of the picture. One scene, with trick banjo 
playing, is just great. Plenty of laughs while 
you hear the dishes and pies go whistling 
through the air. All Talkie. 

THE DEVIL'S CHAPLAIN— Rayart 

SHOW us an audience too Americanized to be 
interested in a prince and princess. It can't 
be done! This is the popular fairy tale of a 
crown prince hiding in America until he can 
climb his plush-lined throne in perfect safety. 
Remember "The Man From Headquarters"? 
This is a follow-up, with Cornelius Keefe in the 
same suave role he played before. Uncle Sam's 
most intelligent intelligence officer. Virginia 
Browne Fair is attractive. Silent. 



GIRLS GONE WILD— Fox 

KEEN kid stuff— plenty hot and plenty fast 
— with a remarkably original and dramatic 
touch at the end. Sue Carol is first exuber- 
ant, then petulant, as a wild and leaping dance- 

Bvery atlvertlseraent in THOTOrLAT JI.\G.iZINB Is guaranteed. 



COME ACROSS— Universal 

T INA BASQUETTE and Reed Howes in a 
-'-'synthetic movie which is a medley, and not 
a very good one, of all the old, discarded plots. 
The heiress who would a-slumming go — a low 
dive where she dances with abandon and little 
else — the gang of sinister crooks mistake her 
for one of them — et cetera, ad lib. It looks hke 
careless direction has spoiled this picture. 
Thumbs down. Part talkie. 



THE VAGABOND CUB— FBO 

AN old time ^\■estern, with all the hokum 
prescribed fifteen years ago. A cowboy 
returns to one of his old haunts and finds a 
warrant out for his arrest, charging him with 
the murder of his best friend. There is no sus- 
pense about the real murderer, but the Vaga- 
bond Club, Buzz Barton, must have his turn 
unravelling it. All the cowboy stunts of 
running and riding. 

MASKED EMOTIONS— Fox 

/"'EORGE O'BRIEN and David Sharp are 
^-^both effective in this active story of a fine 
fellow's love for his younger brother. Two 
boys with the wanderlust and the sea in their 
blood put into an unfrequented island for 
supplies. The kid stumbles across a slave 
ship; a crazy Malay stabs him and sets him 
adrift in his sloop. The older brother's search 
and vengeance furnish some real drama. Silent. 



Photopla-v Magazine — Advehtising Section 

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Wben you write to advertisers please mention PHOTOPLAY MAGAZINB. 



136 



Photoplay Magazine — Advertising Section 



Do You Ask Yourself 
These Questions? 

Is it a good picture? 

It is the kind of picture I would like? 

Which one shall we see tonight? 

Shall we take the children? 

Photoplay will solve these problems for 
you — save your picture time and money. 

Each issue of Photoplay contains the most up'to-the'ininute 
authoritative reviews of all the very latest motion pictures. 
Refer to the "Brief Reviews of Current Pictures" depart- 
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also the "Shadow Stage" department, reviewing the best 
pictures of the month and current releases. 

In addition 
Photoplay gives you: 



A wealth of intimate details of 
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on the lots and in their homes. 

Striking editorials that cut, with- 
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Authorized interviews with your 
favorite actors and actresses who 
speak frankly because Photoplay 
enjoys their full confidence. 

Articles about every phase of the 
screen by such national authori- 
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Herb Howe, Mark Larkin, Kath- 
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PHOTOPLAY 



answers all questions rela- 
tive to plays and players. 

PHOTOPLAY 

in a special department pre- 
sents the views of its read- 
ers, both favorable and 
otherwise. 

PHOTOPLAY 

conducts a personal service 
department giving advice 
on girls' problems. 

PHOTOPLAY 

prints the latest photo- 
graphs of actors and ac- 
tresses, in rotogravure. 

There is not an impor- 
tant nor interesting 
phase of motion picture 
life that cannot he found 
in Photoplay. 



PHOTOPLAY 

presents it all! 



PHOTOPLAY MAGAZINE 

750 North Michigan Avenue, CHICAGO 

Gentlemeti: I enclose herewith $2,50 (Ginada $3.00; 
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Brief Reviews of 
Current Pictures 

[ CONTINUED FROM PAGE 13 ] 



LUCKY BOY— Tiffany-Stahl.— In which George 
Jessel does a Jolson and goes in for tear-jerking. 
Silent, with lapses into sound and singing. (March.) 

LURE OF THE SOUTH SEAS, THE— Coopera- 
tive. — Picturesque, authentic South Sea story, filmed 
among those dream isles. {May.} 

MAKING THE VARSITY— Excellent.— Anyway, 
it took ingenuity to turn a football game into a ser- 
mon. {Jan.) 



MANHATTAN KNIGHTS— Excellent.- 

a plot with whiskers, but plenty of action. 



—Crooks, 
(March.) 



MAN HIGHER UP, THE— M.-G.-M.— Three-reel 
talker, with Robert Edeson and Hobart Bosworlh in 
tine voice. Heavy drammer. {April.) 

MAN OF PEACE, A— Warners.— The Vitaphone 
picks up the Ozark drawl. Too bad that Hobart 
Bosworth's first talkie had to be something like this. 
{Jan.) 

MAN'S MAN, A— Metro-Goldwyn-Mayer. — 
Lively satire of Hollywood life as it isn't. But funny. 
{h'cb.) 

MAROUIS PREFERRED — Paramount.— Light, 
sophisticated and amusing Menjou comedy. (Feb.) 

MATA HARI: THE RED DANCER— National 
Big Three Production. — German importation that 
relates, in a confused fashion, some of the exploits of 
the notorious spy. (Feb.) 

MOULIN ROUGE— World Wide.— Paris boulevard 
piece made in Paris and London by A. E. Dupont. 
with a Russian star. Mile. Chekova. (Apnl.) 

• MY MAN — Warners. — A chance to hear Fan- 
nie Brice sing all her best songs. Not much on 
story, but a good Vitaphone novelty. (March.) 

• MYSTERIOUS ISLAND, THE— M.-G.-M.— 
Beautiful and thrilling all-color production 
based on Jules Verne's story. Entertaining fantasy. 
(May.) 

NAPOLEON'S BARBER — Fox Movietone. — 
Historical drama with chin chatter. Cheer up, there's 
only two reels of it. (Jan.) 

NAUGHTY BABY— First National.— Bad Alice 
White! Naughty Jack Mulhalll Mean producers) 
Why make us suffer through a stupid evening? (Jan.) 

NAUGHTY DUCHESS, THE— Tiffany-Stahl.— 
Lame effort at sophisticated farce. (Feb.) 

NAVAJO — Goodwill. — Lives and habits of the 
Navajo Indians, shot among them. Very educational. 
Just a little longer news reel. (May.) 

NEW YEAR'S EVE— Fo.x.— Dripping with senti- 
mentality and sticky with melodrama. (June.) 

NOISY NEIGHBORS — Pathe. — Slapstick and 
trite melodrama. (Feb.) 

NO MORE CHILDREN— Broughton.— Tasteless 

and worthless birth control propaganda. Don't be 
fooled, it's just stupid. (June.) 

NOTHING TO WEAR — Columbia.— Light but 
entertaining farce that isn't hard to watch. (March.) 

OBJECT, ALIMONY— Columbia.— He done right 
bv our Nell, the little shop-girl, but it all made a trite 
and feeble picture. (A pril.) 

OFFICE SCANDAL, THE— Pathe. — Very funny 
comedy of newspaper life. (Feb.) 

ONE MAN DOG, THE— FBC— Exhibiting the 
more than Hollywood intelligence of Ranger. (Feb.) 

• ON TRIAL — Warners. — Vitaphone version of 
a drama that will hold you spell-bound. Also 
the return of Pauline Frederick as a Ulkie star. 
i<ecommended. (Jan.) 

• OUTCAST — First National. — Corinne Griffith 
is excellent in a daring, well directed and inter- 
esting drama. Send the children to a Western. (Jan.) 

OUTLAWED — FED. — Not so hot. Mr. Mix, not 
so hotl (March.) 

PACE THAT KILLS, T«E— True Life.-^One of 

those propaganda films — aimed at the dope evil. And 
dull. (Feb.) 



Every advertisement in PHOTOPLAY M.4GAZINB is guaranteed. 



Photoplay Magazine — Advertising Section 



• PAGAN, THE— M.-G.-M.— Beautifully made 
South Sea romance, with fine work by Ramon 
Novarro, Rcnce Adoree and others. See it. (April.) 

PEACOCK FAN, THE— Chesterfield.— A quickie 
mystery melodrama that could only happen in the 
films. Tom ("Big Parade") O'Brien in it- (May.) 

PHIPPS— Mctro-Goldwyn-Mayer.— A short talkie 
sketch that you'll forget before you leave the theater. 
iFeb.) 

PLUNGING HOOFS— Universal —For those who 
are crazy over horses, horses, horses. (June ) 



-Good old-fashioned 



POINTS WEST— Universal.- 
Western melodrama. (June.) 

POWER OF THE PRESS, THE— Columbia.— 
Good slant on newspaper atmosy)liere. With, of 
course, the usual heroic "cub" reporter. (Jan.) 

PREP AND PEP— Fox.— Good boys story of Hfe 
in a military academy. (March ) 

QUEEN OF BURLESQUE— Tiffany-Stahl.— Belle 
Bennett breaks her heart again in a story of show 
folks. (Jan.) 

QUEEN OF THE NIGHT CLUBS— Warners.— 
Texas Guinan in a phoney story ot silly revels Of 
course, if you want to get a look at Tex, here she Is. 
Naturally it's a noise film. (June.) 

RAINBOW, THE— Tiffany-Stahl.— Good melo- 
drama of a fake gold rush. (Feb.) 

REDEEMING SIN. THE — Warners. — Latin 
Quarter atmosphere mingled with religious hysteria. 
The story is improbable, but the picture has a certain 
pull. (March.) 

RED MARK. THE— Pathe.— Depressing business 
in a tropical penal institution. Some people have an 
odd idea of fun. (Jan.) 

REDSKIN — Paramount. — Richard Dix scores 
again in a magnificent color picture of an Indian love 
story that will delight your eye. (Feb.) 

RED SWORD, THE— FBO.— Rough old Russia 
before the Revolution, with a big chance for our old 
pal. Carmel Myers. (April.) 

• RED WINE— Fox.— Delightful and subtle 
comedy of a Perfect Husband on the loose. A 
treat. (Jan.) 

• RESCUE. THE — Goldwyn-United Artists.— 
Ronald Colman at his best. But an unsatisfac- 
tory debut for the charming Lily Damita. Too much 
Conrad plot, but good atmosphere and detail. (March.) 

RESTLESS YOUTH—Columbia. — Just a very 
old — and very cheap — story. (Feb.) 



RILEYTHECOP— Fox.— J. Farrcll MacDonald's 
work is the best thing in a not too interesting picture. 
(Jan.) 

• RIVER, THE — Fox. — An unusual and daring 
story, well played by Charles Farrell and Mary 
Duncan. A drama that is not for the children. 
(March.) 

• ROMANCE OF THE UNDERWORLD— 
Fox. — Thanks to a sure-fire story, neat di- 
rection and good acting, this film is one of the best of 
its kind. (Jan.) 

ROYAL RIDER, THE— First National— Ken 
Maynard in still another mythical kingdom. Cant 
keep cowboys on the range. Oh, dear! (May.) 

SALVAGE — Supreme. — All a picture should not 
be. (June.) 

SATANESQUE—Sparta.- An American film, but 
European in treatment, with its story of class con 
flict in romance. (March.) 

• SCARLET SEAS— First National.— Hard- 
boiled stor\' of a tough skipper and his gal, who 
manage to get religion without spoiling the picture 
Good work by Richard Barthelmcss and Betty Comp- 
son. (Jan.) 

SEVEN FOOTPRINTS TO SATAN — First 
National. — I love the title, don't you? But un- 
fortunately it's just a hodgepodge mystery story. 
(Feb.) 

SHADY LADY, THE— Pathe.— Good acting, 
some mystery and sharp comedy. (Feb.) 

SHAKEDOWN, THE— Universal.— Another yarn 
about a good bad-man. Fair enough. (Jan.) 

SHANGHAI ROSE— Rayart.— A rewriting of the 
old Madame X angle, with Irene Rich, as the mothah, 
fighting vainly to save it all from the bow-wows of 
boredom. (May.) 

SHEGOESTO WAR— United Artists.— Eleanor 
Boardman gives a superb performance of a sociel\- 
girl who turns fighter. And the battle scenes are 
wonderful. An excellent, but not great, picture 
(June.) 

SHIPS OF THE NIGHT— Rayart —South Sea 
life seen by someone never off Main Street. Just too 
kiddish for anything. (April.) 

SHOPWORN ANGEL, THE— Paramount.- War- 
time love story of a naughty chorus girl and an inno- 
cent boy. With real drama and heart interest. (Feb.) 

• SHOW BOAT— Universal.— Lavish produc- 
tion of a colorful novel that deserved le?s 
obvious direction. (June.) 




The trained animal business in Hollywood is going to the dogs. 
And all on account of the talkies. Directions cannot be shouted 
from behind the camera lines, as in the silent movies, and it's a 
clever animal trainer who can teach a dog to perform by motioned 
signals. This is a picture of King, the white collie used in *'Dr. Fu 
Manchu." King has been taught to bark when his trainer raises 
his hand, to stop when the hand is brought down and to run off 
stage when the trainer swings his arm. Neil Hamilton is the actor 
in this picture who is giving King some lessons in make-up 




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138 

This Part 
Of Skin 

With Large Pores Full of Black- 
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Other Blemishes Peeled 
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Left Skin 
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Photoplay Magazine — Advertising Section 




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like complexion. Address the author, \Vm. Witol, 
Dept. G-31, No. 1700 Broadway, New York, N. Y. 
Don't delay; write now! 



NED^*^aVBURN 



America's Foremost Dance Au- 
thority, who staged the Best Edi- 
tions of the "Follies" and over 600 
otherMuslcat Shows, Offers Traln- 
inft for SUCCESS and POPU- 
LARITY in 

^IL Every Type of 

STAGE and SOCIAL 
DANCING 

*| at a Surprisingly Low Cost 

■\fu can become a highly-paid and 

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ot tills Wizard Star Maker. Let Mr. 

Wavburn add your name to this list: 

Marilyn Miller. Ann Pennington. Fred 

and Adele Astaire, Gilda Gray. Evelyn 

Law Ada May, Al JoL^on. Eddie Cantor. 

. \\ 111 Rogers, Oscar Shaw. Marx Bros.. Gus 

KSh> Marlon Davies. Blllle Dove. Una Ba?- 

quttte Dorothy Gish, Bessie Love. Bebe 

D miela Dorothy Mackaill. Jacqueline 

Logan Jobephine Dunn. Jobyna Ralston. 

Anita Page Jack Mulhall, Noah Beery, W. 

C. Fields and hundreds of other stage and 

screen favorites whom he trained and directed. 

Put your career in the hands of a man whose 

touch spells SUCCESS. 

Call at the Studios or write for booklet ITH, 
wlilch describes Star Making at the Ned Way- 
burn Studios: or, if you cannot come to New 
York, ask for booklet UHH on Ned Wayburn's 
Home Study Courses In Stage Dancing. 





Special 

Courses for 

Reducing 

and 

Building Up 



NED WAVBURN 

Studios of Stage Dancing Inc. 

1841 BaoADWAT (Entr. on 60th St.) At CohimboB 
Circle, New York City. Open oil year "round 9 A.M. 
to 10 P. M. Except Sundays (Closed Saturdays at 
6 P. M.) Phone Columbus 3500. 




Particulars of Dr. Esenwein's famous forty - 
lesson course in writing and marketing of the 
Sliort-Story and sample copy of The Writer's 
Monthly free. Write today. 

THE HOME CORRESPONDENCE SCHOOL 
Dept. 9S. Sprlnslield, Mass. 



SIDESHOW, THE— Columbia.— Hold on to 
something! An original circus yarn! Little Billie 
plays the lead in this story of a midget's battle for 
success. (May.) 

SILENT SENTINEL. THE— Chesterfield. — A 
crook drama, of all oddities! (Feb.) 

SILENT SHELDON— Rayart.— Pleasant sort of 
Western. (Jan,) 

SINNERS' PARADE— Columbia.— The ritzy side 
of the underworld with a snappy plot. (Jan.'t 

SIN SISTER. THE— Fox.— An Alaskan melo- 
drama that has good suspense and excellent acting. 
(June.) 

• SINS OF THE FATHERS — Paramount— 
Emil Jannings in a tragedy of Prohibition, Not 
one of his great pictures — but, nevertheless, eminently 
worth your while. (Jan.) 

SIOUX BLOOD— Metro-Goldwyn-Mayer. — In- 
dian whoopee that might have been filmed in 1910. 
(Jan.) 

SKY SKIDDER, THE— Universal.— They are 
aviators now. instead of cowboys. And the thrills are 
new. {March.) 

SMALL TOWN SINNERS— Hugo Brahn. — 
German fillum. with most of the action in a barroom. 
{Feb.) 

SOME MOTHER*S BOY— Rayart.— Quickie 
hokum. {June.) 

SOMEONE TO LOVE— Paramount.— ** Buddy " 
Rogers and Mary Brian in a thoroughly agreeable 
picture. (Jan.) 

SOMME. THE— New Era.— Made in Britain. A 
grim presentation of the Sorarae campaign of 1916. 
(Feb.) 

SONNY BOY— Warners.— They've put poor 
little Davey Lee in a bedroom farce! The kid is 
swell, the film a disappointment. (May.) 

SOUTH OF PANAMA— Chesterfield.— You've 
guessed it. It's all about love and revolution in a 
Latin republic. (Jan.) 

• SPEAKEASY— Fox.— The talkies" first melo- 
drama of the prize ring and the under-cover 
barrooms. Fast entertainment. (May.) 

SPEED CLASSIC. THE— Excellent.— An auto- 
mobile racing picture — and just Hke all the others. 
(Feb.) 

SPITE MARRIAGE— Metro-Goldwyn-Mayer. — 
One of the best that Buster Keaton has made, 
with Dorothy Sebastian excellent. Don't miss. 
(April.) 

SQUARE SHOULDERS— Pathe— A story of 
father love, with Louis Wolheim as the hard-boiled 
dad. (March.) 

STOOL PIGEON— Columbia.— Gang melodrama. 
(Feb.) 

STRANGE CARGO— Pathe.— Another all-talking 
m>stery, this time on board a yacht, with an all-stage 
cast. (April.) 

W STRONG BOY— Fox.— Victor McLaglen in a 
"^n rattling good comedy drama, with the star as 
head man of the baggage smashers. (April.) 

SUNSET PASS— Paramount.— Jack Holt in one 
of the best Westerns in months. And Jack's a sheriff. 
Dearie me I (A pril.) 

SYNCOPATION— RKC— Gay and jazzy night 
club entertainment that will enliven your evening. 
(June.) 

SYNTHETIC SIN — First NaUonaL — Colleen 
Moore goes through her usual antics — but the story is 
missing. (Feb.) 

THAT PARTY IN PERSON— Paramount.— A 
talkie with Eddie Cantor, the only logical contender 
for Al Jolson's crown. Come again. Eddie. (Feb.) 

THIS IS HEAVEN— Goldwyn-United Artists.— 
Vilma Bankv talks and it is charming! But the 
story— Cinderella. No. 123456789. (May.) 

THREE PASSIONS, THE— United Artists.— 
Rex Ingram produces an old-fashioned story of 
English high life, with AUce Terry still an ice cake. 
(April.) 

THREE WEEK-ENDS— Paramount.— It has 
Clara Bow. but that's about all you can say for it. 
(Feb.) 

TRACKED— FBC— Ranger, the dog. in a picture 
that is better than most human efforts. (Feb.) 

TRAIL OFTHE HORSE THIEVES.THE— FBO. 

— Easy-going Western, with Tom Tyler just lopin' 
along. Tom and Frankie Darro together. (May.) 

TRENT'S LAST CASE— Fox.— A mystery story, 
treated like a farce. And very good, too. (June.) 



• TRIAL OF MARY DUGAN— M -G -M.— A 
distinct achievement, in that it is a hteral 
translation of one of the best recent plays. And a 
triumphant talkie debut for Norma Shearer. (June.) 

TROPICAL NIGHTS — Tiffany-Stahl. — South 
Sea Island story with an original twist to the plot. 
(March.) 

TROPIC MADNESS— FBC— Turbulent melo- 
drama of England and the South Seas. (March.) 

TRUE HEAVEN— Fox.— A poky story of love in 
the secret service, with Lois Moran and big George 
O'Brien. (April.) 

TYRANT OF RED GULCH— FBO— Not a 
Western, in spite of the title. Just a badly bent story. 
(Feb.) 

UNDER THE SOUTHERN CROSS— Universal. 
-^The natives of New Zealand are the actors in this 
picture. It's different and it has primitive charm. 
(March.) 

UNEASY MONEY— Fox-Europa.— German pic- 
ture, well directed, well acted and original in theme. 
(Feb.) 

VEILED WOMAN, THE— Fox.— Hollywood's 
foreign legion in a not bad. not good, story. (Feb.) 

VIKING, THE — Technicolor-M.-G.-M. — How 
Lief the Lucky discovered America, told in color and 
with plenti' of wliiskcrs. (Jan.) 

VOICE IN THE STORM, THE— FBO.— Just be- 
fore the hanging, mother. The old one about the 
innocent boy, the noose, the reprieve! (May.) 

VOICE OF THE CITY, THE— M.-G.-M.— Old 

stuff, written and directed by Willard Mack and 
acted by Mr. and Mrs. Willard Mack. It's a speakie. 
(Jutie.) 

WAGES OF CONSCIENCE— Superlative.— But 
where was the conscience of the producer of such a 
picture? (Feb.) 

• WEARY RIVER— First National.— Barlhel- 
mess' first talkie, with the star as a reformed 
convict. A popular sensation. (April.) 

WHAT A NIGHT!— Paramount.— Bebe Daniels 
in a gaggy — and gaga — newspaper story. (Feb.) 

WHEN DREAMS COME TRUE— Rayart.— This 
has been going on for years. Blue-grass racing 
story, with Helene Costello and Rex Lease. (May.) 

WHERE EAST IS EAST~M.-G.-M.— Another 
Clianey bed-time story, with a touch of Kipling and 
Poe. (June.) 



WHY BE GOOD?— First National.— Colleen 
Moore at her naughtiest and nicest. Peppy and 



entertaining. {April.) 



WILD BLOOD — Universal. — Rex. the wonder 
horse, sets a rough deal in a particularly childish 
Western. {April.) 

• WILD ORCHIDS— Metro-GoIdwyn-Ma\er. 
— Greta Garbo and Nils Asther in a stor>' that 
7jroves that tropical heat melts all conventions. Tlie 
scene is Java — the details are superb — and the picture 
is a riot for audiences. {March.) 

• WILD PARTY, THE— Paramount.— Clara 
Bow's first talkie. Clara is a smooth contralto. 
It's a collegiate story — and that's what they want. 
(June.) 

WINGEDHORSEMAN.THE— Universal.— Hoot 

Gibson gives up his pony and takes the air, with Ruth 
Elder his flying partner. Vague plot. {May.) 

WOLF OF WALL STREET. THE— Paramount. 
— Whether j'ou have won or lost money in Wall Street, 
or haven't played the stock market at all. George 
Bancroft and Baclanova will give you one of the most 
entertaining talkies so far made. A deliglitful eve- 
ning. (Feb.) 

WOLF SONG — Paramount. — Mountains, trees 
and some good singing by Lupe Velez. But not such 
a good break for Gary Cooper. {March.) 

WOLVES OF THE CITY— Universal. — Action 
thriller, with Bill Cody saving Sally Blane from the 
rascally ransom-crooks, {.[pril.) 

WOMAN I LOVE, THE— FBC— Mad husband 
sets out to murder man for making love to wife. 
Excited? Neither are we. {May.) 

WOMAN IN THE NIGHT, A— World Wide.— 
English production with a slow and sentimental 
story. {June.) 

• WOMAN OF AFFAIRS, A— Metro-Goldwyn- 
Mayer. — Greta Garbo and Jolin Gilbert in 
what is none other than Michael Arlen's "The Green 
Hat." Why wa.ste space urging you to drop everj'tliing 
and see this one? {Jan.) 

YELLOWBACK, THE — FBO. — More Royal 
Mounted Police, with the usual help from the scenery. 
{March.) 



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Photoplay Magazine — Advertising Section 



139 



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Addresses of the Stars 



At P a r a m o u n t - Famous-Lasky 
Studios, Hollywood, Calif. 



Richard Arleti 
Jean Arthur 
William Austin 
Olga Baclanova 
George Bancroft 
Wallace Beery 
Clara Bow 
Evelyn Brent 
Mary Brian 
Clive Brook 
Nancy Carroll 
Kathryn Carver 
Robert Castle 
Lane Chandler 
Ruth Chatterton 
Maurice Chevalier 
Chester Conklin 
Gary Cooper 
Richard Di.x 
Paul Guertzman 

At Metro-Goldwyn- 
ver City, Calif. 
Renee Adoree 
George K. Arthur 
Nils Asthcr 
Lionel Barrymore 
John Mack Brown 
Lon Chaney 
Joan Crawford 
Karl Dane 
Marion Davies 
Josephine Dunn 
Cireta Garbo 
John Gilbert 
Raymond Hackett 
William Haines 
Phyllis Haver 
Leila Hyams 



James Hall 
Neil Hamilton 
O. P. Heggie 
Doris Hill 
Phillips Holmes 
Emil Jannings 
Jack Luden 
Frederic March 
Adolphe Menjou 
David Newell 
Jack Oakie 
Warner Gland 
Guy OUver 
William Powell 
Esther Ralston 
Charles Rogers 
Ruth Taylor 
Florence Vidor 
Fay Wray 

Mayer Studios, Cul- 

Dorothy Janis 
Buster Kcaton 
Charles King 
Gwen Lee 
Bessie Love 
Tim McCoy 
Conrad Nagel 
Ramon No\'arro 
Edward Nugent 
Anita Page 
Aileen Pringle 
Dorothy Sebastian 
Norma Shearer 
Lewis Stone 
Ernest Torrence 
Raquel Torres 

1401 No. Western 
Calif. 
Janet Gaynor 
George Jessel 
Ivan Linow 
Edmund Lowe 
Sharon Lynn 
Farrell MacDonald 
Victor McLaglen 
Lois Moran 
Charles ISIorton 
Barry Norton 
George O'Brien 
Sally Phipps 
David Rollins 
Arthur Stone 
Nick Stuart 
Don Terry 
Helen Twelvetrees 



At Fox Studios, 
Avenue, Hollywood, 

Frank Albertson 
Mary Astor 
Ben Bard 
Warner Baxter 
Marjorie Beebe 
Rex Bell 
Dorothy Burgess 
Warren Burke 
Sue Carol 
Sammy Cohen 
June CoUyer 
Louise Dresser 
Nancy Drexel 
Mary Duncan 
Charles Eaton 
Charles Farrell 
Earle Foxe 

At Warner Brothers Studios, 5842 Sunset 
Blvd., Hollywood, Calif. 



John Barrymore 
Monte Blue 
Betty Bronson 
William Collier, Jr. 
Dolores Costello 
Louise Fazenda 



Audrey Ferris 
Al Jolson 
Davey Lee 
May McAvoy 
Grant Withers 



At Universal Studios, Universal City, 
Calif. 



Lina Basquette 
John Boles 
Ethlyn Claire 
Kathryn Crawford 
Reginald Denny 
Jack Dougherty 
Lorayne DuVal 
Ruth Elder 
Hoot Gibson 
Dorothy Gulliver 
Otis Harlan 
Raymond Keane 
Merna Kennedy 



Barbara Kent 
Beth Laemmle 
Arthur Lake 
Laura La Plante 
George Lewis 
Fred Mackaye 
Ken Maynard 
Mary Nolan 
Mary Philbin 
Eddie Phillips 
Joseph Schildkraut 
Glenn Tryon 
Barbara Worth 



At RKO Studios, 780 Gower Street, 
Hollywood, Calif. 



Buzz Barton 
Sally Blane 
Olive Borden 
Betty Compson 



Bebe Daniels 
Frankie Darro 
Bob Steele 
Tom Tyler 



At Pathe Studios, Culver City, Calif. 

Robert Armstrong Alan Hale 

William Boyd Jeanette Lo£f 

Junior Coghlan Carol Lombard 

At First National Studios, Burbank, 
CaUf. 



Richard Barthekness 
BiUie Dove 
Corinne Griffith 
Doris Kenyon 
Dorothy MackalU 



Colleen Moore 
Jack Mulhall 
Donald Reed 
Milton Sills 
Alice White 



At United Artists Studios, 1041 No. 
Formosa Avenue, Hollywood, Calif. 



Don Alvarado 
Fannie Brice 
Douglas Fairbanks 
Mary Pickford 



Gilbert Roland 
Norma Talmadge 
Constance Talmadge 
Lupe Velez 



At Columbia Studios, 1438 Gower Street, 
Hollywood, Calif. 



Olive Borden 
William Collier, Jr. 
Ralph Graves 
Jack Holt 
Margaret Livingston 



Jacqueline Logan 
Ben Lyon 
Shirley Mason 
Dorothy Revier 
Lois Wilson 



In care of Samuel Goldwyn, 7210 Santa 
Monica Blvd., Hollywood, Calif. 



Vilma Banky 
Walter Byron 



Ronald Colman 
Lily Damita 



In care of the Edwin Carewe Productions, 
Tec-Art Studios, Holl}fwood, Calif. 



Dolores Del Rio 
Roland Drew 



Rita Carewe 
LeRoy Mason 



Robert Agnew, 6357 La Mirada Avenue, 
Hollywood, Calif. 

Jackie Coogan, 673 South Oxford Avenue, 
Los Angeles, CaUf . 

Virginia Brown Faire, 1212 Gower Street, 
Hollywood, Calif. 

Gilda Gray, 22 East 60th Street, New York 
City. 

WiUiam S. Hart, 6404 Sunset Blvd., Holly- 
wood, Calif. 

Lloyd Hughes, 616 Taft Building, HoUy- 
wood, Calif. 

Harold Lloyd, 6640 Santa Monica Blvd., 
Hollywood, Calif. 

Bert Lytell, P. O. Box 235, HoUy^vood, CaUf. 

Patsy Ruth Miller, 808 Crescent Drive, 
Beveriy HUls, Calif. 

Pat O'Malley, 1832 Taft Avenue, Los 
Angeles, Cahf. 

Herbert Rawhnson, 1735 Highland Street, 
Los Angeles, Calif. 

Ruth Roland, 3828 Wilshire Blvd., Los 
Angeles, Calif. 

EsteUe Taylor, 5254 Los Feliz Blvd., Los 
Angeles, Cahf. 



Every adTertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



Casts of Current Photoplays 

Complete for every picture reviewed in this issue 



"BIG DIAMOND ROBBERY. THE"— FBO.— 
From the story by Frank Howard Clarke. Adapted 
by John Stuart Twist. Directed by Eugene Ford. 
The cast: Tom Markham, Tom Mix; Ellen Brooks. 
Kathryn McGuire; George Brooks. Frank Bcal; 
A untie Brooks, Martha Mattox; Stevens, Ernest 
Hiltiard; Barney, Barney Furey; Chick, Ethan Laid- 
law. 

"BULLDOG DRUMMOND"—Goldwyn-United 
Artists. — -From the stage play by Sapper. Scenario 
by Wallace Smith. Directed by F. Richard Jones. 
The cast: Bulldog Drummond, Ronald Colman; 
Phyllis, Joan Bennett; Erma. Lilyan Tashman; 
Peterson, MontaRU Love; Lakington. Lawrence Grant; 
Danny, Wilson Benge; Algy. Claude Allister; Marco- 
vitch, Adolph Milar; Travers, Charles Scllon; Chong^ 
Tetsu Komai. 

"COME ACROSS"— Universal.— From the 
story, "The Stolen Lady," by Wm. Dudley Pelley. 
Adapted by Peter Milne. Directed by Ray Taylor. 
Photography by R. Redman. The cast: Mary 
Houston, Lina Basquette; Harry Eraser, Reed Howes; 
Pop Hanson, Gustav Von Seyffertitz; "Caster Oil" 
Cassie, Flora Finch; George Harcourt, Crauford Kent; 
Harriet Houston, Clarissa Selwynne. 

"DEVIL'S CHAPLAIN, THE"— Rayart.— 
From the story by George Bronson Howard. 
Adapted by Arthur Hoerl. Directed by Duke 
Worne. Photography by Hap Depew. The cast: 
The King, Josef Swickard; Princess Therese, Virginia 
Brown Faire; Yorke Norroy, Cornelius Keefe; 
Nicholay, Wheeler Oakman; The Prince, George 
Macintosh; Boris, Boris Karloff; Ivan, Leland Carr. 

"DUKE STEPS OUT, THE "- M.-G.-M.— From 
the story by Lucian Car>'. Adapted by Raymond 
Schrock and Dale Van Every. Directed by James 
Cruze. Photography by Ira Morgan. The cast: 
Duke, William Haines; Susie, Joan Crawford; Barney, 
Karl Dane; Jake, Tenen Holtz; Tommy Wells, Eddie 
Nugent; Poison Kerrigan, Jack Roper; Bossy 
Edwards, Delmer Daves; Professor Widdicomb, Luke 
Cosgrave; Mr, Corbin, Herbert Prior. 

"EXALTED FLAPPER. THE"— Fox.— From the 
story by Will Irwin. Adapted by Ray Harris. 
Directed by James Tinling. The cast: Princess Izola, 
Sue Carol; Prince Boris, Barry Norton; Queen 
Charlotte, Irene Rich; King Alexander, Albert Conti; 
Marjorie, Sylvia Field; Bimbo Mehaffey. Stuart 
Erwin; Premier Vadisco, Lawrence Grant; Dr. 
Nicholas, Charles Clary; Old Fritz, Michael Visaroff; 
Reporter, Don Fullen; Banker, Landers Stevens. 

"EYES OF THE UNDERWORLD "—Univer- 
sal. — From the story by Leigh Jason. Directed by 
Leigh Jason and Ray Taylor. Photography by AI 
G. Jones. The cast: Pat Doran, VVilliam Cody; 
Florence Huesfon, Sally Blane; Gang Leader, Arthur 
Lubin; Gimpy Johnson, Harry Tenbrook; John 
Hueslon, Charles Clary; Gardener, Monte Montague. 

"FOX MOVIETONE FOLLIES"— Fox.— From 
the story by David Butler. Dialogue by William 
K. Wells. Directed by David Butler. The cast: 
George Shelby, John Breeden; Lila Beaumont, Lola 
Lane; Jay Darrell, DeWitt Jennings; Ann Foster, 
Sharon Lynn; Al Leaton, Arthur Stone; Swifiy, 
Stepin Fetchit; Martin, Warren Hymer; Stage 
Manager, Archie Gottler; Orchestra Leader, Arthur 
Kay; Le Maire, Mario Dominici. Principals 
in Song and Dance Numbers: Sue Carol, Lola Lane. 
Sharon Lynn, Dixie Lee, Melva Cornell. Paula 
Langlen. Carolynne Snowden. Jeannctte Dancey, 
David Percy, David Rollins, Bobby Burns, Frank 
Richardson, Henry M. Mollandin. Frank La Mont, 
Stepin Fetchit. Adagio Dancers: Vina Gale and 
Arthur Springer, Helen Hunt and Charles Huff, 
Harriet and John Griffith. Specialty Dancers: Stepin 
Fetchit, Carolynne Snowden, Jeannette Dancey. 
Evans and Weaver, Mitchell and Redman, Four 
Covans, Sam and Sam, Brown and Stevens. 

"GAMBLERS, THE" — Warners.— From the 
play by Charles Klein. Adapted by J. Grubb 
Alexander. Directed by Michael Curtiz. The cast: 
James Darwin. H. B. Warner; Catherine Darwin, 
Lois Wibon; Carvel Emersoyi.y^sou Koha^rds; Emerson, 
Sr., George Fawcett; George Cowper, Johnny Arthur; 
Raymond, Frank Campeau; Isabel Emerson, Pauline 
Garon; Tooker, Charles Sellon. 

"GIRLS GONE WILD"— Fox.— From the story 
by Bertram Millhauser. Scenario by Bculah Marie 
Dix. Directed by Lewis Seiler. Photograpliy by 
Arthur Edeson. The cast: Bahs Holworthy. Sue 
Carol; Buck Brown, Nick Stuart; Dan Brown, 
William Russell; Tony Morelli, Roy D'Arcy; Augie 
St en. Mat hew Betz; Boots, Leslie Fenton; Dilly, 
Louis Natheaiix; Mrs. Hohvorthy, Hedda Hopper; 
Mr. Holworthy, Lumsden Hare; Judge Elliott, Ed- 
mund Breese; Speed Wade, John Darrow; Grandma^ 
Minna Ferry. 

"GUN LAW" — FBO.— From the story by Oliver 
Drake. Directed by Robert De Lacy. The cast: 



Tojn O'Brien, Tom Tyler; Cy Brown. Barney Furev; 
Nancy, Ethlyne Clair; "Buster" Brown, Frankie 
Darro; "Big BUI" Driscoll, Lew Meehan; Surveyor, 
Tom Brooker. 

"HOLE IN THE WALL. THE"— Paramount.— 
From the play by Fred Jackson. Adapted bv Pierre 
Collings. Directed by Robert Florey. The ca^st: 
Jean Oliver, Claudette Colbert; Gordon Grant, David 
Newell; Mme. Mystcra, NHly Savage; The Fox, 
Edward G. Robinson; Goofy. Donald Meek; Jim, 
Alan Brooks; Mrs. Ramsay. Louise Glosser Hale; 
Mrs. Carslake, Katherine Emmet; Marcia, Marcia 
Kagno; Dogface, Barry McCollum; Police Inspector, 
George McQuarrie; Mrs. Lyons, Helen Crane. 

"HONKY-TONK"— Warners.— From the story 
by Leslie S. Barrows. Adapted by C. Graham Baker. 
Directed by Lloyd Bacon. The cast: Sophie 
Leonard, Sophie Tucker; Freddie Gilmore. George 
Duryea; Beth, Lila Lee; Jean Gilmore, Audrey Ferris; 
Jim Blake, Mahlon Hamilton; Cafe Manager, John 
T. Murray. 

"HOTTENTOT, THE"~Warners.— From the 
play bv Victor Mapes and William Collier. Adapted 
by Harvey Thew. Directed by Roy Del Ruth. The 
cast: Sam Harrington, Edward Everett Horton; 
Peggy Fairfax. Patsy Ruth Miller; Ollie Gilford, 
Edmund Breese; Mrs. Chadwick, Gladys Brockwell; 
Larry Crawford. Edward Earle; Alec Fairfax, Stanley 
Taylor; Perkins, the Groom. Otto Hoffman; Swift, 
the Butler. DoUglas Gerrard; May Gilford, Maude 
Turner Gordon. 

"INNOCENTS OF PARIS"— Paramount.— 
From the story by C. E. Andrews. Dialogue by 
Ernest Vajda. Directed by Richard Wallace. The 
cast: Maurice Marny, Maurice Chevalier; Louise 
Leval, Sylvia Beecher; Emile Leval, Rus,-;ell Simpson; 
Mons. Marny, George Fawcett; Mme. Marny. Mr?. 
George Fawcett; Mons. Renard, John Miljan; Mme. 
Renard, Margaret Livingston; Jo-Jo, David Durand; 
Jules, Jack Luden; Musician, Johnnie Morris. 

"MADAME X"— M.-G.-M.— From the play by 
Alexandre Bisson. Dialogue by Willard Mack. 
Directed by Lionel Barrymore. Photography by 
Arthur Reed. The cast: Floriot, Lewis Stone; 
Jacqueline, Ruth Chatterton; Raymond, Raymond 
Hackett; Noel, Holmes Herbert; Rose, Eugenie 
Besserer; Doctor, John P. Edington; Colonel Hanby, 
Mitchell Lewis; La Roque. Ullric Haupt; Merivel. 
Sidney Toler; Perissard, Richard Caile; Darrell, 
Carroll Nye; Valmorin, Claud King; Judge, Chappell 
Dossett. 



"MAN I LOVE. THE"— Paramount.— From the 
story by Herman J. Mankiewicz. Adapted by Percy 
Heath. Directed by William Wellman. The cast: 
Dum-Dum Brooks, Richard Arlen; Celia Fields. Mary 
Brian; Sonia Barondoff. Baclanova; Curly Bloom, 
Harry Green; Lew Layton. J^ck Oakie; D. J. Mc- 
Carthy, Pat O'Malley; Carlo Vesper, Leslie Fenton; 
Champ Mahoney, Charles Sullivan; K. O. O'Hearn, 
WiUiam Vincent, 

"MASKED EMOTIONS"— Fox.— From the 
story "A Son of Anak" by Ben Ames Williams. 
Adapted by Harry Brand and Benjamin Markson. 
Directed by David Butler and Kenneth Hawks. 
The cast: Bramdlct Dickery, George O'Brien; Emily 
Goodell, Nora Lane; Will Whitten, Farrell Mac- 
Donald; Thad Gilson, David Sharpc; Captain Goodell, 
Janes Gordon; Lee Wtng, Edward Peil, Sr.; Lagune, 
Frank Hagney. 

"MOTHER'S BOY"— Pathe.— From the story 
by Gene Markey. Dialogue by Gene Markey. 
Directed by Bradley Barker. The cast: Tommy 
O'Day, Morton Downev; Mrs. O'Day, Beryl Mercer; 
Mr. O'Day, John T. Doyle; Harry O'Day. Brian 
Donlevy; Rose Lyndon, Helen Chandler; Jake Sturm- 
berfi, Osgood Perkins; Joe Bush, Lorin Raker; Beatrix 
Townleigh, Barbara Bennett; Mrs. Apfclhaum. Jennie 
Moskowitz; Mr. Apfclhaum, Jacob Frank; Mr. 
Bumble, Louis Sorin; Gus LcGrand. Robert Gleckler; 
Duke of Pomplum. Tyrrell Davis; Dinslow, Allan 
Vincent; Evangelist, Lcolie Stowe. 

"NOTHING BUT THE TRUTH"— Paramoiwt. 
— From tlie play by James Montgomery. Adapted 
by John McGowan. Directed by Victor Schertzinger. 
The cast: Robert Bennett, Ricliard Dix; E. M. Burke, 
Burton Churchill; Frank Connelly, Louis John 
Bartels; Clarence Van Dyke, Ned Sparks; Sabel 
Jackson. Wynne Gibson; Mabel Jackson, Helen Kane; 
Gwen Burke. Dorothy Hall; Mrs. E. M. Burke, 
Madeline Grey; Ethel Clark, Nancy Ryan. 

"NOT QUITE DECENT"— Fox.— From the 
story by Wallace Smith. Scenario by Marion Orth, 
Directed by Irving Cummings. The cast: Linda 
Cunningham, June Collyer; Mame Jarrcnu, Louise 
Dresser; Jerry Connor, Allan Lane; Canfield, Oscar 
Apfel; Al Bergon, Paul Nicholson; Margie. Marjorie 
Beebe; .4 Crook, Ben Hewlett; Another Crook, Jack 
Kenney. 




FOI\THE 
FIRST TIflfE 

k9^ ccLTo h£^ rru/ 

compJ^/xjUDnptehlv 

anjoL rvoutuXaJy 

. . .m£y ujhol^ cLjulj lonq 

For I have found Armand Cold Cream 
Powder. I take a clean puff and rub the 
smooth, fragrant powder well into it. 
Then I apply it to my skin. It blends 
perfectly. The secret is rubbing it into 
the puff.' $1 at all good stores. 

This Armand Beauty Treatment will do 
wonders Jor your skin. Send 10c Jor it. 

It contains: 
1 copy Armand s new "Ten Minutes a 

Day" beauty treatment. 
1 trial package Armand Cold Cream Pow- 
der — Zanzibar shade. 
1 trial package Armand Foundation Creme 
— a marvelous discovery for powder base. 
1 trial package Armand Eau de Cologne 
Cleansing Cream — that liquefies the mo- 
ment it touches the skin. 
1 trial package Armand Lip and Cheek 
Rouge — a new creation! 
1 t 1 
You must try one of these new Armand 
Powder shades: Zanzibar, light sun- 
brown for brunettes or blondes. Star- 
light, for day or evening. 



ARMAND, 142 Des Moines St.. Des Moines, la. 
I enclose 10c, for which please send me "The 
Ten Minute a Day Beauty Treatment," in- 
cluding the four essential preparations. 

Name - 



Address— 
Cil 



;ity — 

State 

In Canada, Armand Ltd., St. Thomas. Ontario 



When you write to advertisers Dlease mention PHOTOPLAY MAGAZINE. 



142 



Photoplay Magazine — Advertising Section 




Corns 

vanish after this amazing liquid 

T3UCH the most painful corn with this amaz- 
ing liquid. In three seconds all the pain is 
gone. Acts like an anaesthetic. Tou wear tight 
shoes, dance, walk again in comfort! 

No paring or cutting — that is dangerous. 
Besides the corn then comes back. This way 
loosens it. Soon you peel the whole corn off 
with your fingers — like dead skin. Works alike 
on corns or calluses. 

Professional dancers by the score use this 
method. Doctors approve it as safe and gentle. 
Millions employ it to gain quick relief. There 
is no other like it. 

Ask for "Gets-It" at your druggist. Money 
back if not delighted. There are imitations. 
Be sure to get the genuine. 

"GETS-IT" 



World's 
Fastest Way 



f 



f 



NO MORE 

DANDRUFF^ 



f 



NOW 



.'p,.-»-^l 


5e 


\'"-"r 




.-- 


\j^f/ 










■t 


THIVIOUU 












.•**"~^. 






Apply cooling, heal- 
ing. cleansingZEMO 
on the head and rub vigorously. 
The way it rids you of DandruS 
and stops itching scalp will de- 
light you. ZEMO is also the safe, 
dependable means of relieving 
; Eczema, Blotches, Blemishes and Itching Irrita- 
tions of the skin and scalp. Clean and conveni- 
ent to use any time. 35c, 60c and $1.00, all dealers. 




PKETTY ANKLES $5.;?^ 

AND CALVESr pei-paJf 

DR. WALTER'S Spenal extra 
strong Ankle Bands of live Para 
Rubber will support and shape the 
ankle and calf while reducing 
them. 

They fit like a glove. Can be worn 
under any kind of hose. Relieves 
rheumati.sm and varlcuse veins. You 
can note the difference in shape of 
ankle at once. Can be worn at 
night and reduce while you sleep, 
or during the day deriving then 
extra beneflt of the support. 

Write fop Dr. Walter's Special 
Ankle Bands for S3. 75. I'ay by 
check or money order (no cashj or 
pay postman. 

Send Ankle and Calf ■mearure tO 

DR. JEANNE P.H.WALTER 
389 Fifth Avenne New York 





"OUR MODERN MAIDENS"— M.-G.-M.— 
From tlie storj' by Josephine Lovett. Continuity by 
Josephine Lovett. Directed by Jack Conway. 
Pliotography by Oliver Marsh. The cast: Billie. 
Joan Crawford; Abbott, Rod LaRocque; Gil, Douglas 
Fairbanks, Jr.; Kentucky, Anita Page; Reg, Edward 
Nugent; Blondie, Josephine Dunn; B, Bickering 
Brown, Albert Gran. 

"PAWNS OF PASSION"— Worldwide.— From 
the story by Carmine Gallone. Directed by Carmine 
Gallone. The cast: Anna, Olga Chekova; Paul, her 
little son, Sidney Suberly; Fedor Kornilcnv, Henri' 
Baudin; Gaston Lereau, Hans Stever; Lololte, Lola 
Josane. 

"PRINCE OF HEARTS. THE"— ImpeRl\l.— 
From the story by John Rrinhardt. Directed by 
Cliff Wheeler. The cast : Prince Casimir, Norman 
Kerr>'; Prince Milan, John Rcinliardt; Nancy 
Hamilton, Barbara Worth; King Alexander. George 
Fawcett; Queen Marie, Julia Griffith; Prime Minister, 
Hans Joby; Inn Keeper, Sam Blum. 

"QUITTER, THE"— COLL^MBIA. —Adapted from 
the story "The Spice of Life" by Dorothy HowcU. 
Directed by Joseph Henaber^-. Photographj' by 
Joseph Walker. The cast: Neal Abhoit. Ben Lyon; 
Patricia, Dorothy Revicr; Duffy Thompson, Fred 
Ivohler; Shorty, Charles McHugh; Nick, Sherr>' 
Hall; Doris, Jane Daly; Dr. Abbott, Henry Otto; 
Mrs. .Abbott, Claire McDowell. 



"RAINBOW MAN, THE"— Sono-Art- Para- 
mount. — From the story by Eddie Dowling, 
Adapted by Frances Agnew. Directed by Fred Ncw- 
meyer. The cast: Rainbow Ryan. Eddie DowUng; 
Mary Lane, Marion Nixon; Billy. Frankie Darro; 
"Doc" Hardy. Sam Hardy; Colonel Lane. Lloyd 
Ingraham; Daredevil Bill, George "Hayes; The Dog, 
Beans; Minstrel Men, The Rounders Quintet. 

"ROARING FIRES" — Ellbee. — From the storj' 
by A. B. Barringcr. Directed by W. T. Lackey. 
The cast: Sylvia Szimmers, Alice Lake; John D. 
Summers, Lionel Belmore; David Walker, Roy 
Stewart; Dennison De Puyster, Raymond Turner; 
Paddy Flynn. Bert Berkley, Spoitiswoode Ai'.ken, 
Calvert Carter. 

"SATURDAY'S CHILDREN"— First National. 
— From the story by Maxwell Anderson. Con- 
tinuity by Forrest Halsey. Directed by Gregory' La 
Cava. The cast: Bobby. Corinnc Griffith; Jim. Grant 
Withers; Mengle, .\lben. Conti; Florrie, Alma Tell; 
Willie, Lucien Littleficld; Mr. Halvey. Charles Lane; 
Mrs. Halvey, Ann Schacffer; Mrs. Corlick, Marcia 
Harris. 

"SHIP MATES" — EDUCATioxAL.^Directed by 
Henry W. George. Photography by Jay Turner and 
William Hyer. The cast; The Sailor. Lupino Lane; 
The Ensign, Stanley Blystone; The Cook, Wallace 
Lupino; The Girl. Charlotte Ncrrian; The Male, 
Francis J. Martin; Another Mate, Tom Wliitley. 

"SQUALL. THE" — First National.— From the 
play by Jean Bart. Adapted by Bradley King. 
Directed by Alexander Korda. The cast: Nubi. 
Myrna Ley; Josef Lajos, Richard Tucker; Maria, 



Wales 

How to banish thetn 

A simple, safe home treat- 
ment — 16 years' success in my 
practice. Moles (also Big 
Growths) dry up and drop 
off. Write for free Booklet. 

WM. DAVIS. M. D., 124-D Grove Ave^ Woodbridge, N.J. 



his wife, Alice Joyce; Paxil, Carroll Nye; Irma, 
Loretta Young; Peter, Harry Cording; l^na, ZaSu 
Pitts ; El Mora, Nicholas Soussani n ; Uncle Dani, 
Knute Erickson; Niki, George Hackathorne. 



"STUDIO MURDER MYSTERY, THE"— 
Paramount. — From the story by The Edingtons. 
Dialogue by Frank Tuttlc. Directed by Frank 
Tuttle. The cast: Tony While, Neil Hamilton; 
Rupert Borka. Warner Oland; Richard Hardell. 
Frederic March; Blanche Hardell, Florence Eldridgc; 
Hcleyi MacDonald, Doris Hill; Detective Dirk. Eugene 
Pallette; Gateman, Chester Conklin; Martin, Lane 
Chandler; Ted MacDonald. Gardner James; Mac- 
Donald. Guy Oliver; Goff. E. H. Calvert; Captain 
Coffin, Donald Mackenzie. 



"THRU DIFFERENT EYES"— Fox.— From the 
play by Milton H. Gropper and Edna Sherry. 
Directed by John G. Blystone. Photography by 
Ernest Palmer. The cast: Viola Manning. Mary 
Duncan; Harvey Manning, Edmund Lowe; Jack 
Winfield. Warner Baxter; Frances Thornton, Natalie 
Moorehead; Hcnvard Thornton. Earle Foxe; Spencer, 
Donald Gallaher; Myrtle. Florence Lake; Valerie 
Briand. Sylvia Sidney; Marston, District Attorney, 
Purncll Pratt; King, Defense Attorney. Selmer Jack- 
son; Anna. Dolores Johnson; Maynard, Nigel de 
Brulier; Maid, Lola Salvi; Janitor, Stcpin Fetchit. 
Reporters: Paducah, DeWitt Jennings; Crane, Arthur 
Stone; Traynor. George Lament; Aline Craig, 
Natalie Warfield; Jst Reporter, Jack Jordan; 2nd 
Reporter, Marian Spitzer; 3rd Reporter, Stan Blystone; 
4lh Reporter, Stuart Erwin. 



"TIME. THE PL.\CE AND THE GIRL. THE" 

— Warners. — From the play by Frank R.Adams and 
Will Hough. Continuity by Robert Lord. Directed 
by Herbert Brethcrton. The cast: Jim Crane, 
Grant Withers; Doris Ward. Betty Compson; Pete 
Ward, John Davidson; Mae Ellis. Gertrude Olmstead; 
The Professor, James R. Kirkwood; Bert Holmes, 
Bert Roach; M/s. Davis. Vivian Oakland; Mrs. 
Winters, Gretchen Hartman; Mrs. Parks, Irene 
Haisman; Radio Announcer, Gerald King. 



"TOMMY ATKINS"— World Wide.— From the 
play by Ben Landeck and Arthur Shirley. Directed 
by Norman Walker. The cast: Earl of Petherlon, 
Jerrold Robcrtshaw; Rulh, his ward. Lillian Halt- 
Davis; Victor, his son. Hcnrj* Victor; Capi., the Hon. 
Eric Wilson, Walter B>Ton; Harold, his son. Walter 
B.\Ton; Mason, a servant, Shayle Gardner. The 
children: Harold. Alfred Leonard; Ruth. Pat Court- 
ney; Victor, Leslie Thompson. 



"VAGABOND CUB, THE"— FBO.— From the 
story by Oliver Drake. Continuity by Oliver Drake. 
Directed by Louis King. The cast: Dave Hepner, 
Buzz Barton; Hank Robbins, Frank Rice; Bob 
McDonald, Sam Nelson; James Sykes. Al Ferguson; 
Pete Hogan, Bill Patton; Dan Morgan, Milbourne 
Morante; Jutte Morgan, lone Holmes. 



"YOU CAN'T BUY LOVE"— Universal.— From 
the stor>' by Beatrice Van. Directed by Arch B. 
Heath. Photography by Jerrj* Ashe. The cast: 
John. Charley Chase; Renault, Jean Hersholt; 
Patricia, Kathryn Cra%vford; Weston, Edward Mar- 
tin del. 




The members of Our Gang go high hat and demand their own 
chairs. Everyone who is anj^one around a studio rates a labelled 
chair. Our Gang made their own signs and if Farina should 
absent-mindedly sit in Wheezer*s chair, this serious breach of 
etiquette would have to be settled outside 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



43 




Love's immortal melodies — in the enchanting 
atmosphere of moonlit desert nights .... 
Romantic wild Riff horsemen — weird, fleeting 
shadows in a land of mystery and fascination. 

Hauntingbeauty of desert vistas — scenes — ac- 
tion — romance — stirring martial airs— that get 
into your blood— hold you entranced through 
every glorious moment of song and story. 

'The Desert Song" thrills you with its chorus 
of 132 voices. 109 musicians add their match- 
less harmonies. Exotic dancing girls charm 
you with their grace and loveliness. 

'TJie Desert Song" is Warner Bros, supreme 
triumph— the ^rst Music-Play to be produced 
as a complete talking and singing picture. 

See and hear"I7ie Desert Song"\ia VITAPHONE. 



WARNB^ 
BROS. 



Ymvnp>»t 



You See and Hear VITAPHOM only in Warner Bros, q^jf/ First National VidureS^j 



When you write to advertisers please mention PTTOTOPLAY MAGAZINE. 



144 



Photoplay Magazine — Advertising Section 




We are advertised by our loving friends 



Nina F. McClary 
Toms River, New Jersey 





Harold F. WUlett, Jr. 
Boston, Massachusetts 



Marian B. Ancerawicz 
Kulpmont, Pennsylvania 



MelUn's Food— A Milk Modifier 

The Taste of the Baby's Food 

If the baby could talk he would say that his mother's milk makes 
a strong appeal to his taste. He would also, if able, express verbally 
his distaste for some mixtures which are forced upon him in spite of 
his physical protest. 

If the baby is fortunate enough to have human milk his taste is 
satisfied as well as his needs for nourishment. It may happen, however, 
that his mother cannot nurse him and some substitute for human milk 
becomes necessary. 

The taste of Mellin's Food is so appealing that the baby takes the 
mixture eagerly, and rarely if ever is it necessary to force or urge 
nourishment prepared from Mellin's Food and milk. The baby's 
nutritive demand will also be satisfied if he is fed upon milk properly 
modified with Mellin's Food; therefore to force the baby to take dis- 
tasteful mixtures is a needless and unwarranted procedure. 



Mellin's 

Food 

Biscuits 



Especially suitable 

when it becomes time to wean 

the baby from the bottle 



Mellin's 

Food 

Biscuits 



A sample box sent free, postage paid, upon request. 

Mellin's Food Company - - - - 



Boston, Mass. 



Ever? advertisement in PHOTOPLAY JIAGAZINB Is guaranteed. 



71 

famoHs skin specialists said: 



«*" Those 2S2 Chicaslo girls liAve the 
right idea about coinple:«:ions'' 




prise, 
lieve 
sand 
and 



ID you really 

come all the way 

from New York 

just for that?" a 

young Chicago 

housewife asked 

me in utter sur- 

. She could hardly be- 

I had traveled a thou- 

miles just to ask her 

several hundred other 



girls about their complexions 
and this fragrant new Camay ! 

But I had! I knew all about 
Camay's gentleness, of course, 
from my own complexion. 
And I loved its delicate wild- 
flower fragrance. 

But just my experience 
wasn't enough, I felt. So, 
among other things, I went 
out to Chicago and talked to 
women and girls — 282 in all, 
my note book reminds me. 

What Chicago girls 
told me 

"There just never was a soap 
like Camay for my skin," one 
girl out in Evanston said. "It 
makes my complexion look so 
smooth and fresh." 

"Camay feels gentler on 
my skin than any other soap 
I ever used," and the head of 
the toilet goods department 
of a well-known shop who 
told me this, has a very wide 
soap acquaintance! 

I met enthusiasm like this 






M 




for Camay's gentleness from 
girl after girl, in every part 
of town. Then I decided to 
go farther. I took my idea 
to the editor of the official 
journal of the dermatologists 
of the United States, himself 
one of the best-known skin 
specialists in the country. 

He agreed to have Camay 
analyzed, and to test it thor- 
oughly in use. 

Why 71 dermatologists 
approve Camay 

He did this, and Camay came 
through without a single ques- 
tion-mark. And he did much 
more! He sent copies of 
Camay's analysis to 70 derma- 
tologists whom he regards as 
outstanding in their profes- 
sion today and asked them to 
examine it and test Camay, 



71 leading American skin specialist.-; ijarr Cninu/ lli.ir ninnu- 
moiis approval as the kind of soap they would recuminend for the 
daily cleansing of the most delicate complexions — something no 
other complexion soap in history has ever had! 



CAMAY 



too. Most of these men are 
heads of the department of 
dermatology in the largest 
universities and hospitals in 
the country. 

And now I am very happy 
to tell you that all these skin 
specialists approved Camay's 
formula and Camay's gentle 
way of cleansing even the 
most delicate complexions. 

So every time you cleanse 
j'our face with Camay's snow- 
flake lather, you can know 
that you are using just the 
kind of soap these skin spe- 
cialists would recommend to 
you if you asked their best 



advice about a soaj) for your 
complexion. 

Free! For you — All the 

things I learned about com- 
plexions from the famous der- 
matologists I consulted about 
Camay. Dry skins; Sensitive 
skins, are all discussed. Care 
in Winter and in Summer; 
Diet; Exercise; Rest; Sleep; 
Way to Use Cosmetics, and 
many other important sub- 
jects. Write for Booklet A to 
Helen Chase, Dept. YV-79, 
509 Fifth Ave., New York. 



CAJMA-Br MS A PKKOCTEVr &. OAlMBtE SOAM" 



66 



Reach for a Ladrr^ instead of a sweet 



99 




0JU^^0^ 



Billie Burke 
Popular American Actress 



Toasting takes out 

every bit of bite 

and throat 

irritation 




#i» 



It's toasted 

No Throat Irritation - No Cough. 



) 1929, The American Tobacco Co., Manufacturers 



■ 



I 




AUGUST 
25 CENTS 



i 





The National 
Guide to 
Motion 
k Pictures 





Greta 
Garbo 





SUMMER/ 



yet your 

POWDER 

clings, 

rouge stays on 

and you look 

ALWAYS 
LOVELY 



Summer . . . ?/'j7/i oJd ocean heck- 
unini) down llie white saitds . . . 
limpid lakes mirroring forth joy 
. . . slim young bodies Jlashing into 
caressing waters . . . Summer call- 
ing you to a thousand activities . . . 
whispering of romance in night 
silence . . . thrilling you with the 
joy of living every golden hour 
intensely. 

Ah, ^es! But there must be no 
pale cheeks after the swim ... no 
over-flushed appearance of exer- 
tion 'neath the sun's ardors . . no shiny 
nose. Adorable sunmier tan, if >ou 
like; for that is the mode. But >ou 
nnist remain serenely, coolly beautiful 
under alt conditions, to fiJly enjoy 
sunmier . . . and with Princess Pat 
beauty aids you may. 

"Summer-Proof" Make-up 

Princess Pat beauty aids, if used to- 
gether, give a marvelous summer-proof 
make-up. ^^ hy, you can actually go 
in swimming and come out with color 
perfect — or dance through the evening 
divinely assured of absolutely lasting 
beauty. 

For this wonderful make-up that wiU 
last, you first apply Princess Pat Ice 
Astringent — ^just as you would ordinary 
vanishing cream. Only, you see. Ice 
Astringent cools the skin for hours, 
keeps pores of normal fineness, and im- 
parts supremely beautiful smoothness 
to skin texture. After Ice Astringent, 
apply Princess Pat rouge for color that 
moisture simply cannot ajfect. Then 




I 



use Princess Pat almond base powder — 
the softest, most clinging ever made. 

And Joy of Joys is 
Siim,mertan Rouge 

Just think! Make-up that is summer- 
proof, lionge that instantly gives more 
glorious Ian than the sun ever did. Not 
one woman in a thousand actually sun- 
iurns beautifully. 

Every U'oman — whether blonde or bru- 
nette — acquires marvelous sun tan 
loveliness from Princess Pat Summer 
tan liouge. Gi\es any degree of tan 
you want — from pale honey amber, to 
richest tints of golden dusky glow. 
Really, it is positively thrilling. 

Too, Princess Pat has for you Princess 
Pat Summertan Powder ... an original 
and mo.st beautiful of all powders for 
the fashionable sun tan effects. 

I\oiv in Brilliant W eek End Set 

Princess Pat Sum/nertan-Rouge — and 



Summertan powder — in generous 
amounts come to you in the famous 
Princess Pat Meek End Set. Also Ice 
Astringent, Cold Cream, Tissue Cream, 
and Lip Rouge ... lip rouge to harmo- 
nize with the new vogue. This is your 
opportunity. The new creations in the 
Week End Set will give you the most 
stunningly beautiful make-up of the 
fashionable world . . and summer proof 
make-up at that. 



PRINCESS PAT, LTD., chigago, u s a. 



Tho very popular Princess Pat Week-End Set ia offered 
for a limited time for -itiia coupon and 25c (coin). Only 
one to a customer. Set contains easily a month's supply 
of Almond Base Powder and SIX other delightful Princess 
Pat preparations. Packed in a beautifully decorated 
boudoir box. Pleaae act promptly. 

Week W'\'0M1 
End r^^f^m^K^^^ 

Sef— ^^^ SPECIAL 

PRINCESS PAT, Ltd. 

2709 S. Welle St., Dept. No. A-5fiS Chicago. 
Enclosed find 25c for which send me the Princess Pat 
Week End Set. 

Name (print) 

Street 

City and State 



Photoplay Magazine — Advertising Section 



^::^ niau mou /Hiant to reau 

The Tragedy of Neglected Gums 




Cast of Characters : 
Your Dentist and Yon 

you: "My gums are responsible for this 
visit, doctor. I'm anxious about them." 

D.D.s. :"What's the matter?" 

you: "Well, sometimes they're tender when 
I brush my teeth. And once in a while they 
bleed a little. But my teeth seem to be all 
right. Just how serious is a thing like this? 

D.D.s. :"ProbabIy nothing to bother 
about, with a healthy mouth like 
yours. But, just the same, I've seen 
people with white and flawless teeth 
get into serious trouble with their 
gums." 

you: "That's what worries me. pyorrhea 
— gingivitis — trench mouth — all those hor- 
rible-sounding things! Just a month ago a 
jriend of mine had to have seven teeth 
pulled out." 

D.D.s.: "Yes, such things can happen. 
Not long ago a patient came to me 
with badly inflamed gums. I x-rayed 
them and found the infection had spread 
so far that eight teeth had to go. Some 
of them were perfectly sound teeth, 
too." 

you: QAfter a pause') "I was reading a 
dentifrice advertisement . . . about food." 

D.D.s.: "Soft food? Yes, that's to blame 
for most of the trouble. You see, our 
gums get no exercise from the soft, 
creamy foods we eat. Circulation lags 
and weak spots develop on the gum 
walls. That's how these troubles begin. 
If you lived on rough, coarse fare your 
gums would hardly need attention." 




»»»».»»»>'».»»»-»^»>-»».S->-S.9-9-S-^S-»< 





YOU : ' ' But, doctor, 1 can 't take up a diet of 
raw roots and hardtack. People ivould 
think I'd suddenly gone mad." 

D.D.s.: "No need to change your diet. 
But you can give your gums the stimu- 
lation they need. Massage or brush 
them twice a day when you brush 
your teeth. And one other suggestion: 
use Ipana Tooth Paste. It's a scientific, 
modern dentifrice, and it contains 
special ingredients that stimulate the 
gums and help prevent infection." 

* * * 

/\n imaginary dialog? An imaginary 
"you"? Admittedly, but the action is 
real. It is drawn from life — from real 
tragedies and near-tragedies enacted 
every day in every city of the land! 

And if dentists recommend Ipana, as 
thousands of them do, it is because it is 
good for the gums as well as for the 
teeth. Under its continual use, the 
teeth are gleaming white, the gums 
firm and healthy. For Ipana contains 
ziratol, a recognized hemostatic and 
antiseptic well known to dentists for 
its tonic effects upon gum tissue. 

Don't wait for "pink tooth brush" 
to appear before you start with Ipana. 
The coupon brings you a sample which 
will quickly prove Ipana's pleasant 
taste and cleaning power. 

But, to know all of Ipana's good ef- 
fects, it is far better to go to your near- 
est druggist and get a large tube. After 
you have used its hundred brushings 
you will know its benefits to the health 
of your gums as well as your teeth. 



BRISTOL-MYERS CO.. Dept. 1-89 
73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 

Name 

Addreis 

Ciiy Stale 



V\'hen you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



. . . THE NEW 
SHOW WORLD 




B 



'road^^ay and 
Hollv^wood united! 

Stage and Screen are one! 

f I iHESE changing times have seen 
■*- nothing so miraculous as the 
fusion of all forms of amusement — 
screen, stage, music, radio — into one. 
C[, Now, in the talking, singing mo- 
tion picture you get all that the 
screen has ever given you — and the 
living voices of the stars themselves. 
You get all that the stage has ever 
offered you — and scenes and action 
not possible without the far reaching 
eye of the camera. CE. It's a New Show 
World and all the arts and sciences 
are enriching the screen. IVs a New 
Show World; a famous name is 
leading it! CL Paramount — with 
eighteen years of quality leadership. 
Paramount with the largest and 
choicest array of talent from all the 
amusement fields, d. Paramount, the 
greatest name in motion pictures, 
now presents its greatest entertain- 
ments — the Super Shows of the New 
Show World. See and hear them all! 
"If it's a Paramount picture it's the 
best show in t^irin " trade ^ **** " """'^ 




SUPER-SHOWS 

of the 
NEW SHOW WORLD 



"THE FOUR FEATHERS" 

"DR. FU MANCHir 

"THE COCOANUTS" 

"CLORIFYING THE AMERICAN 

GIRL" 

"THE VAGABOND KING" 

"THE DANCE OF LIFE" 

"THE LOVE PARADE" 

"WELCOME DANGER" 45. 

and more 



Cream of Screen and 

Stage Stars 

HAROLD LLOYD # 

MORAN AND MACK 

CLARA BOW 

MAURICE CHEVAUER 

GEORGE BANCROFT 

THE MARX BROTHERS 

GARY COOPER 

DENNIS KING 

JEANNE EAGELS 

CHARLES "BUDDY" ROGERS 

RUTH CHATTERTON 

NANCY CARROLL 

WILLIAM POWELL 

and more 



Seen and Heard in 
Short Features 

EDDIE CANTOR 
TITO SCHIPA 
RUDY VALLEE 

JAJIES BARTON 
and more 



PARAMOUNT 
SOUND NEWS 

"Eves and Ears of the World" 

■X- Produced by Harold Lloyd Corp., 
Paramount release. 



y\iiximaunt ^icture^ 

PARAMOUNT FAMOUS LASKY CORP., ADOLPH ZUKOR, PRES., PARAMOUNT BUILDING, NEW YORK 

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



The World's Leading Motion Picture Publication 



FitEDERICK JAMES SMITH 
MANAOUtO KsnoB 




Contents 




For 

August 

1929 



Vol. XXXVI 




. Quirk 



No. 3 



<^= 



L D I T O R -A!N BiiP U B L 1 S H E R 



Cover Design 
Greta Garbo- 



-Painted from Life 



The High-Lights of This Issue 

Earl Christy 



As We Go to Press 

Last Minute News from East and West 

Brief Reviews of Current Pictures 

A Guide to Your Evening's Entertainment 

Brickbats and Bouquets 
The Voice of the Fan 

Friendly Advice on Girls' Problems 

Carolyn Van Wyck 
Photoplay's Personal Service Department 

Close-Ups and Long Shots James R. Quirk 

The Editor Tells You What's What and Who 
Without Fear or Favor 

The Girl Who Played Greta Garbo 

Lois Shirley 
Hired to Double She Literally Became the Swedish 
Star 

The Passing of the Extra Girl 

Katherine Albert 
The 1929 One Must Have More Than Beauty 

Should Old Acquaintance Be Forgot? 

What Yesterday's Favorites Are Doing Today 

Why Jack Gilbert Married 

Adela Rogers St. Johns 
"I Simply Met the Nicest Person I'd Ever Known," 
He Says 

Excess Baggage Katherine Albert 

Being Husbands and Wives of Film Favorites 

Hollywood's New Slayer Herbert Howe 

None Other Than Mary Duncan 

An Old Fashioned Girl Steps Out 

(Fiction Story) Grace Mack 

Something Happened When the Film Style in 
Heroines Changed 



6 

8 

10 

16 

27 

29 

30 
34 

36 

40 
43 

46 



Gossip of All the Studios Cal York 

What the Film Folk Are Doing and Saying 

How to Make a Talking Picture 

Leonard Hall 
You Need Ten Dirty Gentlemen to say "Shhhhhh!" 

The Shadow Stage 

Reviews of the Latest Silent and Sound Pictures 

$5,000 in Fifty Cash Prizes 

Rules in Photoplay's Cut Picture Puzzle Contest 

It's All Over Now Marquis Busby 

Joan Bennett Has No Further Use for This Thing 
Called Love 

How They Manage Their Homes 

Alma Whitaker 

Joan Crawford Planned Her House as the Setting for 
a Perpetual Honeymoon 

Monahan the Menace (Fiction Story) 

Stewart Robertson 
"Tug" Learns Not Always to Judge a Star by His 
Looks 



Reeling Around 



Leonard Hall 



<%>- 



Tidbits Served with a Dash of Spice 

Amateur Movies Frederick James Smith 

News About Photoplay's Contest 

Eat and Be Merry Dr. H. B. K. Willis 

Photoplay's Diet Expert Tells You the Way to Do It 

What Was the Best Picture of 1928? 

Cast Your Ballot for Photoplay's Gold Medal 

Cook with Bran 

Photoplay's Cook Book Contains These Recipes 

Questions and Answers The Answer Man 

What You Want to Know About Films and Film Folk 

Casts of Current Photoplays 

Complete for Every Picture Reviewed in This Issue 



48 

52 

54 
58 
63 

64 

66 

69 
70 
72 
78 
81 
86 
141 



A complete list of all photoplays reviewed in the Shadow Stage this issue will be found on page 14 



<<iP= 



i-a? 



Published monthly by the Photoplay Publishing Co. 

Editorial Offices, 221 W. 57th St., New York City Publishing Office, 750 N. Michigan Ave., Chicago, 111. 

The International News Company. Ltd.. Distributing Agents, 5 Bream's Building, London, England 

James R. Quirk, President Robert M. Eastman, Vice-President Kathryn Dougherty, Secretary and Treasurer 

Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba; $3.00 Canada; $3.50 for foreign countries. Remittances 

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

Entered as second-class matter April 24. 1912. at the Postoffice at Chicago, 111., under the Act of March 3, 1879. 

Copyright, 1929, by the Photoplay Publishing Company, Chicago. 



As We Go to Press 

Last Minute NEWS from East ^;/^West 



ONE more silent picture before you 
hear Greta Garbo talk in "Anna 
Christie." She is making a story by 
Jacques Feyder without sound. Garbo is 
anxious to face the "mike." 

IN Bill Hart's first comeback picture, 
Thelma Todd will be leading lady. 

LON CHANEY will talk on the screen- 
as soon as the mechanics are perfected. 
He also demands a successful dialogue 
director. Will he become the Man of a 
Thousand Voices? 

MIDSUMMER romancing — Edward 
Everett Horton and Lois Moran are 
going places. Buddy Rogers is courting 
June CoUyer. Arthur Lake and Mary Brian 
seem to care, and Marian Nixon is listening 
to the honeyed words of Eddie Hillman, a 
Chicago polo shark. The David Rollins- 
Dixie Lee romance began during the mak- 
ing of the "Fox Movietone Follies." No 
date has been set for the Bebe Daniels-Ben 
Lyon wedding, with both principals saying 
it is four or five months off. 



THREE new young 
stars at Paramount — 
Dick Arlen, Gary Cooper 
and Nancy Carroll. Gary's 
first solo picture is 
"Medals." 

WILL ROGERS is aU 
set to begin his pic- 
ture work at Fox. A $7,000 
bungalow is being built for 
him. John McCormack 
will have one too, and 
possibly Janet Gaynor. 

WITH her marriage 
to Jack Gilbert, Ina 
Claire's fan mail has 
leaped to 20,000 letters a 
week. Her former fiance, 
Gene Markey, high priced 
writer, is now one of the 
leading bachelors of Holly- 
wood. He has been lunch- 
ing, dining and dancing 
with Ruth Taylor and 
other filmland girls. 

RUTH TAYLOR will 
play the lead in "Col- 
lege Coquette" for Co- 
lumbia. Others are Jobyna 
Ralston, William Collier, 
Jr., and John Holland. 

THE cast of the all- 
color Pickford-Fair- 
banks, "Taming of the 
Shrew," will include Jef- 
fery Wardwell, Edwin 
Maxwell, Dorothy Jordan, 
Joseph Cawthorne and 
Clyde Cook. 

"TT'OOTLIGHTS AND 
-T" FOOLS" will be Col- 
leen Moore's last picture 
under her old First Na- 
tional contract. Another 
company may grab the 
Irish lass, as Warners are 
said to be averse to sign- 
ing her even at the former 



figure — $12,000 a week. She remains a 
great draw. When Colleen finishes the 
film she will charter a yacht and sail Alaskan 
waters. 



WARNER BROTHERS 
start production of 



are about to 
a daring stage 
play, "Outward Bound." The action takes 
place on a ship at sea, and all the characters 
are supposedly dead. Two suicides escape 
the ship and return to life. 



EVELYN BRENT is at last to be starred 
by Paramount. She has fought off 
stardom, feeling that a star's life is short, 
while featured players go on forever. 



HIS Paramount contract over, 



Adolphe 
■Menjou has sailed for Europe. He will 
probably live at Cannes, on the Riviera, for 
a while. He did not re-sign. 



HAL SKELLY'S second picture for Para- 
mount will be "Behind the Makeup." 
Another back stage story, with Esther Ral- 
ston as leading woman and William Powell 
in a feature role. 




PARAMOUNT may waive its rights to a 
last Richard Dix picture under his old 
contract. He will then be free to go right 
to work for RKO under his new starring 
contract. 

DENNIS KING arrives in Hollywood to 
play his famous role in the Paramount 
filming of "The Vagabond King." King 
starred in it for two years on the stage. 
Jeannette MacDonald, famous stage blonde, 
will be opposite. 

DOROTHY MACKAILL has been given 
a month's vacation, and will holiday in 
Honolulu. 

WARNERS are also to make a Vita- 
phone of "Golden Dawn," Hammer- 
stein operetta. All color, with Larry Ceballos 
staging the ensembles and Ray Enright 
directing. 

"TV/TAGNOLIA," made several years ago 

■'■''-•■as a silent film starring CuUen Landis, 

makes its bow as a talkie for Paramount, 

with Charlie Rogers, Mary Brian and June 

Collyer. The new title is 

"River of Romance." 



THERE is a rumor that 
Paramount may yet 
produce "An American 
Tragedy," if censors can 
be placated. Charles 
Rogers is a surprise choice 
for the lead. It is an emo- 
tional role in a rather 
sordid and very tragic 
story, and such a part will 
be a severe test of Rogers' 
nice-boy following. 

FOX is advertising 
Mary Duncan for one 
more picture only. Con- 
tract not renewed? 



R. 



& A. Photo 



This contraption is the long-awaited camera equipment 
for taking three dimension, or stereoscopic, movies. With 
it are the inventors, John Berggren and George K. Spoor. 
The machine represents ten years of labor and the expend- 
iture of over three million dollars. A screen fifty feet wide 
and thirty feet high is used in the projection. 



AOUL WALSH'S 
•next picture will be 
"The Cisco Kid," with 
Edmund Lowe and 
Warner Baxter, famous 
team of "In Old Arizona." 

CLIVE BROOK is home 
from an English vaca- 
tion to start work on a 
Sherlock Holmes story for 
Paramount. 

CORINNE GRIFFITH 
liked life abroad so 
well on her recent junket 
in Europe that she will 
buy a small chateau near 
Paris and spend three 
months a year there. 

NELL HAMILTON has 
joined the film yachts- 
men by buying a thirty- 
four foot yawl named ' 'The 
Venus." He will sail her 
himself. 

BILLIE DOVE'S next 
for First National will 
be "Give the Girl a 
Hand." Alexander Korda 
will direct. 



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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Brief Reviews of 

Current Pictures 



-^Indicates that photoplay was named as one 
of the six best upon its month of review 



ALIBI — United Artists. — An almost flawless 
talkie about a young gunman who marries a cop's 
daughter. Elegant melodrama. All Talkie. (May.) 

ALL-AMERICAN. THE— Supreme.— How a col- 
legiate sprinter mops up the Olympic Games, demon- 
strated by Charhe Paddock. Silent. {March.) 

ALL AT SEA — Metro-Goldwyn-Mayer. — A Dane- 
Arthur comedy. The title explains it. Silent. 
{March.) 

ALL FACES WEST— Pioneer.— Western thriller 
filmed with Mormon money. Marie Prevost and Ben 
Lyon are in it. Silent. {April.) 

ANNE AGAINST THE WORLD— Ray art- 
Story of the terrible life of a misunderstood musical 
comedy queen. Terrible is right. Silent. {June.) 

APACHE, THE— Columbia.— Just the romance of 
two sweet kids in the Latin Quarter — if you believe in 

such things. Silent. {Feb.) 

BEHIND CLOSED DOORS— Columbia.— PsstI 
Secret service stuff in another mythical country. 
Virginia VaUi. Silent, {May.) 

BEHIND THE GERMAN LINES— UFA-Para- 
mount. — The German side of the war, with excellent 
and authentic battle scenes spoiled by some obviously 
studio shots. Sound. {Feb.) 

BELOW THE DEADLINE — Chesterfield.— 
Quickie crook stuff — and something awful. Silent. 
{June.) 

• BETRAYAL- Paramount.— Not a pretty 
tale, but fine dramatic fare, with Emil Jannings, 
Esther Ralston, Gary Cooper. Sound. {May.) 

BIG DIAMOND ROBBERY, THE— FBO— Cow- 
boy Mix in a fast and thrilling one. Silent. {July.) 

BLACK BIRDS OF FIJI — Australasian. — 
Another South Sea Island picture — only so-so. 
Silent. {Feb.) 

BLACK HILLS, THE— Dakota.— In which the 
dam bursts again. Silent. {March.) 

BLACK PEARL, THE— Rayart.— Loose-limbed 
mystery that rambles aimlessly through the Orient. 
Silent. {April.) 

BLACK WATERS — World Wide.— Thrilling, 
chilling melodrama with mediocre dialogue. Silent. 
{June.) 

BLOCKADE— FED. — Bootlegging made attrac- 
tive by Anna Q. Nilsson. A good melodrama. 
Part Talkie. {March.) 

BLOW FOR BLOW— Universal.— More adven- 
tures of Hoot Gibson, if you're interested in Westerns. 
Silent. {Feb.) 

BLUE SKIES — Fox. — An orphanage romance, 
beautifully acted and charmingly directed. Sound. 
{June). 

BONDMAN, THE— World Wide,— Foreign ver- 
sion of Hall Caine's novel, messed up by poor 
photography. Silent. {June.) 

BORN TO THE SADDLE— Universal —Three 
rousing cheers! A real good Western, with action 
and humor. Ted Wclli is head man. Silent. {May.) 

BRIDE'S RELATIONS. THE— Sennett-Educa- 
tional. — One-reel talking comedy sad and funny by 
turns. Eddie Gribbon is best. All Talkie. {April.) 

BRIDGE OF SAN LUIS REY, THE— M.-G.-M.— 

To the astonishment of all, a good picture from the 
Wilder novel. And, oh, zat Lily Damital Part 
talkie. {May.) 

BROADWAY FEVER — Tiffany-Stahl. — Sally 
O'Neill being literally too cute for words in a trivial 
story. Silent. {March.) 

• BROADWAY MELODY, THE— Metro-Gold- 
wyn-Mayer. — Brilliant all-talkie of backstage 
life, with Bessie Love astonishing. Ail Talkie. 
{April.) 

BROTHERS — Rayart. — A good brotherly love 
yarn, one a crook and one a nice boy. Barbara 
Bedford dares do a heavy. Silent. {May.) 

8 



• BULLDOG DRUMMOND — Goldwyn- 
United Artists. — Great melodrama, intelli- 
ge ntly produced a nd with a fine performance by 
Ronald Colman. Don't miss it. All Talkie. {July.) 

BYE-BYE BUDDY— Supreme.— Did you know 
that night club hostesses have hearts of gold? This 
one is an unintentionally funny sob story. Silent. 
{June.) 

• CANARY MURDER CASE, THE— Para- 
mount.— Logical and well constructed mystery 
story. William Powell is perfectly swell as the de- 
tective. All Talkie. {Feb.) 

CAPTAIN LASH — Fox. — A coal stoker's romance 
or love on the waterfront. Rather strong stuff. 
Sound. {Feb.) 

• CASE OF LENA SMITH, THE— Paramount. 
— Sincere drama of the love affair of a servant 
girl, her hardships and her martyrdom. A real 
picture for intelligent adult audiences. Silent. {Feb.) 



Pictu res You 
Should Not Miss 

"In Old Arizona" 

"Alibi" 

"Bulldog Drummond" 

"The Broadway Melody" 

"jth Heaven" 

"The Singing Fool" 

"Interference" 



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



CHARLATAN, THE — Universal. — Murder mys- 
tery done with nice, light touch, especially by Holmes 
Herbert. Part Talkie. (April.) 

CHINA BOUND — M.-G.-M. — Messieurs Dane 
and Arthur in a Chinese.revolution. Fairly funny. 
Sound. (June.) 

CHINA SLAVERS, THE— Trinity.— Ragged 
story of the Oriental slave trade, but smartly acted by 
Sojin. Silent. (April,) 

CHINATOWN NIGHTS— Paramount.— Piping 
hot melodrama of tong wars and such, with Wallace 
Beery and Florence Vidor good. All Talkie. {May.) 

• CHRISTINA — Fox. — Slender and improbable 
story made beautiful and worth seeing by the 
inspired acting of Janet Gaynor. Part Talkie. {June.) 

CIRCUMSTANTIAL EVIDENCE— Chesterfield. 
— Nothing that you could care about in a big way. 
Silent. {March.) 



CLEAR THE DECKS — Universal. — Reginald 

Denny in one of the oldest farce plots in the world. 
Part Talkie. {March.) 

• CLOSE HARMONY— Paramount.— Brilliant 
talkie of backstage vaudeville life. Fine fun, 
with Buddi' Rogers and Nancy Carroll aces. All 
Talkie. {May.) 

COHENS AND KELLYS IN ATLANTIC CITY, 

THE — Universal. — For those who like this sort of 
thing. Part Talkie. {March.) 

COME ACROSS— Universal.— Just a round-up of 
discarded movie plots. Part Talkie. {July.) 

• COQUETTE — United Artists. — Denatured 
version of the stage play with a fine perform- 
ance by Mary Pickford. And Mary's voice is one of 
the best in the talkies. Of course you'll want to see — 
and hear — her. .\11 Talkie. {June.) 

DANGEROUS WOMAN, THE— Paramount.— 
Reviewed under title of "The Woman Who Needed 
Killing." Tropical and torrid drama of the South 
Seas. Not for children. All Talkie. {June.) 

DESERT NIGHTS — Metro-Goldwyn-Mayer. — 
One of Jack Gilbert's less fortunate vehicles. Sound. 
{March.) 

DESERT SONG, THE— Warners.— All-singing 
and talking operetta that is a bit old-fashioned and 
stagj'. Some good singing by Jolin Boles. Part 
Talkie. {June). 

DEVIL'S CHAPLAIN, THE— Rayarl.— Adven- 
tures of royalty in America. Fairly entertaining. 
Silent. {July.) 

DIPLOMATS, THE — Fox-Movietone. — Clark 
and McCullough in a two-reel talkie that will give you 
some laughs. .Ml Talkie. {March.) 

• DOCTOR'S SECRET, THE— Paramount.— 
Barrie's playlet. "Half an Hour," emerges as a 
superior and well-constructed talkie. It is brilliantly 
acted and well worth your time and money. All 
Talkie. {March.) 

DOMESTIC MEDDLERS— Tiffany-Stahl.— The 

eternal and well-worn triangle. Silent. {Feb.) 

DONOVAN AFFAIR, THE— Columbia.— Mys- 
tery play with too little suspense and too much 
forced comedy. Nevertheless, it has a good cast. 
All Talkie. {June.) 

DREAM OF LOVE — Metro-Goldwyn-Mayer. — 
The prince and the pretty peasant — again. Phoney 
stuff in spite of Joan Crawford and Nils Asther. 
Sound. (Feb.) 

DRIFTER, THE— FBO.— Just another Western. 
But send the kids, anyway, because Tom Mix is in it. 
Silent. {March.) 

DUKE STEPS OUT, THE— M.-G.-M. — Light- 
weight but amusing stor\- of the romance of a cul- 
tured prize-fighter. Part Talkie. {July.) 

• DUMMY, THE — Paramount. — In this excel- 
lent all-talking crook melodrama, two HoUy- 
wooders — ZaSu Pitts and Mickey Bennett — steal 
honors from a lot of stage stars. .AH Talkie. (,-l;>ri;.) 

ELIGIBLE MR. BANGS, THE— Coronet-Educa- 
tional. — A clever little dress-suit comedy in one reel, 
with Edward Everett Horton fine. All Talkie. 
{AprU). 

ETERNAL LOVE— United Artists.— John Profile 
Barrymore and Camilla Horn get romantic in the 
Swiss Alps. Sound. {April.) 

ETERNAL WOMAN, THE — Columbia.— 
Frenzied society melodrama with a rubber plot that 
bounces all over the map. Silent. {June.) 

EVA AND THE GRASSHOPPER— UFA.— Some 

remarkable insect photography and a not-so-good 
modern story. .-Anyway, a novelty. Silent. {Feb.) 

EXALTED FLAPPER, THE — Fox. — A princess 
turns flapper and upsets royal traditions. Frothy but 
funny. Sound. (July.) 

[ PLEASE TURN TO PAGE 14 ] 



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When you write to advertisers please mention PHOTOPLAT MAGAZINQ. 



j^rickb 



ats/ 



Three prizes 

are given every month 

for the best letters'^ 

$25, $10 and $5 



and 





Bouquets 

The REAL CRITICS, 

the FANS, 
GIVE THEIR VIEWS 



The Monthly Barometer 

THE war of words between those who want 
speech with their movies and those who pre- 
fer pantomime and silence is still waging 
fiercely. 

Many of our correspondents have written us 
a second time, retracting some of their earlier, 
bitter denunciations of the talkies, after they 
have seen the amazing progress made by the 
lisping infant of a few short months ago. 

The response to attractive singing voices has 
been marked. John Boles, who played the Red 
Shadow in "The Desert Song"; Charles King, 
in "The Broadway Melody"; Eddie Dowling 
in "The Rainbow Man"; Maurice Chevalier in 
"Innocents of Paris"; each has had his share of 
favorable comment for delighting the ears of 
his listeners. Ramon Novarro's admirers write 
us that hearing his voice as he sings in "The 
Pagan" has given them the ultimate in thrills. 

Of women's voices, only that of Carlotta 
King, who sings opposite John Boles in "The 
Desert Song," has seemed impressive enough 
to bring forth praise from our readers. 

§25.00 Letter 

Buffalo, N. Y. 

I have been a musician in the movies for 
many years, almost since the first dark days of 
their crude presentation to the world, and from 
my own intimate experience with the industry 
in general, I must say that the new talkies 
(despite their struggling infancy) are just about 
the last word in amusement. 

I have "sawed" through thousands of per- 
formances in my day, watched with impersonal 
interest both picture and audience, and it is a 
fact that people never seemed quite so wholly 
satisfied with what they got for their money as 
they have recently with tlae talkies. To be able 
to sit and hear, as well as see one's favorite 
actor or actress on the screen, accompanied by 
specially selected and expertly applied musiccil 
scores, is to me perfection in itself. 

I am one musician who is glad to sacrifice 
my job; in other words, step aside, to give way 
to what I believe is the greatest, most satisfy- 
ing and undoubtedly most lasting of all movie 
attaimnents — the thriUing talkie. 

Mrs. M. Bates. 

$10.00 Letter 

Forfar, Scotland. 
Please, America, Land of the Motion Pic- 

10 



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



ture, in the mad rush to produce talkies — and 
still more talkies! — do not altogether neglect 
the silent drama. To many, like myself, 
nothing will ever take the place of the silent 
motion picture, which is a distinct art having 
nothing in common with the spoken word. Of 
course, there is room for both talking and silent 
films, but I see it predicted that in a year or 
two the silent movie \nU have ceased to exist. 
If that day evercomes (perish the cruel thought) 
I'll be content to sit at home of an evening, 
\\-ith a book for company, and meditate upon 
the good old days when moNies were movies — 
and silence was golden! 

Artists of the calibre of Jannings. Bancroft, 
Chaplin, Gilbert, Veidt, Garbo, Goudal, Swan- 
son, Davies, Del Rio and Baclanova have no 
need of words to cx-press themselves. The art 
of the silent drama is international; boundaries 
do not exist. Pantomime is the screen's own 
Esperanto, .^nd yet this triumph is to be 
trampled in the dust! 

America has done so much — indeed, I might 

say, everything — to elevate the motion picture 

to the plane of a great art, that I, for one, shall 

be sorry if all that good work has been in vain. 

David Donald Jolly. 

$5.00 Letter 

New Castle, Pa. 
I have read Mr. Quirk's sympathetic and 
understanding editorial regarding sound de- 
velopment in pictures and the cry of woe that 



has come from the deaf. Long ago, pride led 
me to master Up-reading. I owe it to my 
vanity that I can now enjoy the new life that 
animates the picture ^Norld. I am deaf, but 
the best entertainment the world has to give 
is mine at my favorite theater. 

I do not hear the instrumental music. I do 
not hear sounds, but I do have pleasures that 
a year ago I never dreamed would come into 
my humdrum existence. I have laughed at the 
jokes of Eddie Cantor and Fannie Brice. I 
have cried over the words of Al Jolson and 
Da\-ey Lee. I have thrilled to the spoken 
drama of "The Letter" and "The Trial of 
Mary Dugan." I am deepl)' grateful for the 
splendid enunciation that comes from the 
gifted lips of Lionel Barrymore, Ruth Chatter- 
ton, Mary Pickford, Laura La Plante, Joseph 
Schildkraut and Conrad Nagel. Take heart, 
deaf comrades. "\'ou may laugh and cry with 
the world at the talkies. The way is shown. 
Doris Bland. 

Mr. Quirk Dodges a Brickbat 

MinneapoHs, Minn. 

I have just come from seeing what I consider 
the most amazing talking film of all time, "The 
Letter." I am not alluding to its very ob\T[ous 
dramatic and histrionic superiority, but to the 
illuminating contrast it affords between the 
finest appearance before the sound apparatus — 
and the worst. 

It goes without sa>'ing, that Jeanne Eagels' 
performance of the unfaithful wife stands alone 
as the best spoken screen appearance to date. 
It likewise goes without sa>ing that that other- 
wise admirable fellow who struggled painfully 
through the introductory foreword (s-s-sh — 
is he around any place?) is unconditionally the 
worst. 

It surely was a let-dowm to see the man 
whom we sincerely esteem as the last word in 
what is or isn't in the business, leave himself 
open as he has by that fatal episode. 

Frank M. Woollen. 

It's All in the Point of View 

Chicago, lU. 
This letter is also about the talkies and per- 
haps the fans may be interested in what I have 
to say. 

Sometimes I get disgusted with the movies. 
I feel that way now about the talkies. I have 
just read a critic's review on the talking pic- 
[ please turn to page 94 ] 



Photoplay Magazine — Advertising Section 



1 1 




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Photoplay Magazine — Advertising Section 



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Brief Reviews of Current Pictures 



[ CONTINUED FROM PAGE 8 ] 



EYES OF THE UNDERWORLD— Universal. — 

Old-fashioned movie thriller. Silent. (July,) 

FAKER, THE— Columbia. — Well done expose of 
spiritualistic charlatans, with Warner Oland fine as 
the phoney spook-chaser. Silent. {April.) 

FLOATING COLLEGE, THE— Tiffany-Stahl.— 
Based on one of those university cruises, this picture 
had possibilities that aren't realized. Silent. {March.) 

FLYIN' BUCKAROO, THE— Pathe.— How to 
capture bandits. Silent. (Feb.) 

• FLYING FLEET, THE— Metro- Gold wyn- 
Mayer. — The training of a flyer, told with 
thrills, accuracy and an absence of bunk. It's a real 
picture; you'll like it. Sound. (Feb.) 

*FOX MOVIETONE FOLLIES— Fox.— Lots 
of good tunes, swell comedy by Stepin Fetchit 
and the good-looking girls that go with any revue 
All Talkie. {July.) 

FUGITIVES — Fox. — Conventional story of a 
wronged girl and a Horatio Alger district attorney. 
Sound. {March.) 

GAMBLERS, THE—Warners.— Well acted ston* 
of higli finance with a pretty theme song. All Talkie, 
{Jtdy.) 

• GENTLEMEN OFTHE PRESS— Paramount. 
— A newspaper story tliat is a knockout. Fine 
performances by an all-stage cast. Check up this 
as one of the hits of the talkies. All TalkJe. {June.) 

GHOST TALKS, THE— Fox.— A talkie farce. 
Plenty of laughi. All Talkie. (Feb.) 

GIRLS GONE WILD— Fox.— Plenty hot and 

plent^■ fast. Sound. {July.) 

GIRLS WHO DARE— Trinity. — Sleuths fail to 
find a reason for this picture. Who cares if girls do, 
after this one? Silent. {.April.) 

GIRL WHO WOULDN'T WAIT, THE— Liberty. 
— In spite of its title this is one of the best pictures 
turned out by an independent producer. You'll 
like it. Silent. (June.) 

GLORIOUS TRAIL. THE— First NaUonal.— 
Ken Maynard and Tarzan work on that first overland 
telegraph Une. Vou know the rest. Silent. (March.) 

GREYHOUND LIMITED, THE—Warners — 
Not a dog story, but a railroad melodrama. It's 
speed>, exciting and good fun. Sound. {June.) 

GUN LAW— FBO.— A lot of shooting, all in fun. 
Silent. {July.) 



GUN RUNNER, THE— Tiffany-Stahl. - 
and romance in a Soutli American republic, 
entertainment. Silent. {Feb.) 



■Bullets 
Frothy 



HARDBOILED— FBO.— Hackneyed story about 
a gold-digging show* girl, but well played by Sally 
O'Neill ana Donald Reed. Silent. {.April.) 

HAUNTED LADY, THE— Universal.— Laura 
LaPlante knows who did the murder, but is afraid to 
tell. She a nd the stor^- are good. Part Talkie. 
{.April.) 

• HEARTS IN DIXIE— Fox.— Plantation life 
according to a Fox talkie, with the stupendous 
debut of Stepin Fetchit, colored comic. All Talkie. 
{May.) 

• HIS CAPTIVE WOMAN— First National- 
Getting away with murder in the South Seas. 
However, good performances by Milton Sills and 
Dorothy Mackaill make this melodrama worth your 
attention. Part Talkie. {March.) 

HIS LUCKY DAY— Universal.— Another flimsy 
story for Reggv Denny, with the star a dizzy realtor. 
Part Talkie. '{.April.) 

HOLE IN THE WALL, THE— Paramount.— Con- 
fusing crook story, acted by a good cast. All Talkie. 
{July.) 

HONEYMOON ABROAD — World Wide.— 
Monty Banks in a spotty comedy made in London 
and Paris. Silent. {.April.) 

HONKY TONK— Warners.— Story of a night 
club mamma with a heart of gold. With Sophie 
Tucker and her songs. AH Talkie. {July.) 

HOT STUFF— First National.— Collegiate stuff in 
musical comedy style. Alice White disrobes, smokes 
and tipples, as usual. Part Talkie. {May.) 

HOTTENTOT, THE— Warners.— Hilarious farce 
comedi'. You'll like it. All Talkie. {July.) 

HOUSE OF HORROR, THE— First National.— 
Cheap claptrap mystery movie which is saved by the 
comedy of Chester Conklin and Louise Fazenda. 
Sound. {May.) 

HOUSE OF SHAME, THE— Chesterfield.— Do- 
mestic drama — if that's what you want. Silent. 
(Feb.) 

HUNTINGTOWER — Paramount. — Imported 
Scotch — celluloid. With Sir Harry Lauder and a lot 
of atmosphere. Silent. {Feb.) 

IN HOLLAND— Fox - Movietone — Another by 
those fine stage comedians, Clark and McCuUough. 
All Tcilkie. (April.) 



Photoplays Review^ed 


in the Shadow Stage This 


Issue 


Save this magazine — Refer to the criticisms before you. pic\ out 




your evenings entertainment. 


Make this your reference list. 






Page 




Page 




... .111 


High Voltage — Pathe 


....112 


.\rgyle Case, The — Warners 


.... 54 


Idle Rich, The— M.-G.-il 


....111 


Black Watch, The— Fox 


.... 56 


Mysterious Dr. Fu Manchu, The— 


- 


Broadway— Universal 

Campus Knights — Chesterfield. . 

Careers — First National 

Charming Sinners — Paramount . . 

Clean-up, The— Excellent 

Cocoanuts, The — Paramount .... 


.... 54 
...112 

.... 57 

56 

Ill 

57 


Paramount 

On With the Show— Warners 

Prisoners — First National 

Protection — Fox 


.... 56 
.... 54 
.... 55 
...111 
...111 


Skin Deep — Warners 

Sophomore, The — Pathe 


.... 57 
...110 


College Love — Universal 


110 


Thunder— M.-G.-M 


.... 56 


Constant Nymph, The— Gainsborough. 110 


Thunderbolt — Paramount 


.... 56 


Evangeline — United .-\rtists 


55 


Tip-off, The— Uni\-ersal 


...110 


Far Call, The— Fox 


57 


Two Sisters — Rayart 


...111 


Fashions in Love — Paramount. . . 


55 


Untamed Justice — Biltmore Pro- 




Father and Son — Columbia 


110 


ductions 


....112 


Fbdng Fool, The— Pathe 


Ill 


Wheel of Life, The— Paramount . . 


.... 57 


Glad Rag Doll, The— \A'arners. . . 


.... 56 




.... 57 







Every advertisement in pnoTOPI..\T MAG.\ZINE Is euarantced. 



Photoplay Magazine — Advertising Section 



IS 



^K^ Inconsequential plot made delightful by the 
charming personality of Maurice Chevalier. All 
Talkie. (Jidy.) 

*IN OLD ARIZONA— Fox. — Pointing the way 
to bigger and better talkies. A fine Western 
that pleases the eye, the ear and the dramatic 
instinct. All Talkie. (.Feb.) 

• IRON MASK, THE — United Artists. — Doug 
Fairbanks goes back \.o D'Arlagnan — hurrayl 
,'\ction and more action. A good evening. Part 
Talkie. {Feb.) 

JAZZ AGE, THE— FBO.— Flaming youth and 
mostly a bad imitation of "Our Dancing Daughters." 
Part talkie. (Feb.) 

JAZZLAND — Quality. — If you can'guess what this 
is all about, you ought to get a prize. Silent. (March.) 

• JEANNE D'ARC — Societe Generale de Films. 
— A rarely fine artistic achievement and a 
significant picture. You may not see it at your local 
theater but you will feel its influence in future films. 
Silent. (Feb.) 

JUST OFF BROADWAY— Chesterfield.— Boot- 
legging, serious drinking, gunfire and pure night-club 
gills in an impossible hodge-podge. Silent, {.\liril.) 

LADY OF CHANCE, A— Metro-Goldwyn-Mayer. 
— Norma Shearer in a drama of a gold-digger who 
reforms. If they only would in real lifel Sound. 
(Feb.) 



Producer Announcements 

ofJ^ew Pictures 

and Stars 


While all good advertising is news, 
we consider producer advertising 
of particular interest to our read- 
ers. With this directory you easily 
can locate each announcement: 


First National 


Page 136 


Fox Film Corp 


Page 138 


Metro-Goldwyn-Mayer . 


. Page 135 


Paramount 


Page 4 


RKO (Radio Pictures) . 


. Page 144 


Warner Bros 


Page 143 



LADY OF THE PAVEMENTS — United Artists. 
— In which the vivid Lupe Velez runs away with a 
Griffith picture. Sound. {Feb.) 

LAST WARNING, THE— Universal.— Muddled 
mystery with no plot but a lot of fancy sets and 
fancier photography. Part Talkie. {Feb.) 

LAWLESS LEGION, THE— First National.— A 
cowboy story, with Ken Maynard. that is good 
enough entertainment for anybody. Silent. {June.) 



LEATHERNECK, THE- 

film crippled with some talk, 
and Co. tine in Marine yarn. 



-Pathe. — Good, silent 
Bill Boyd. Alan Hale 
Part Talkie. {April.) 



• LETTER, THE— Paramount.— The talkies' 
first big emotional performance, by Jeanne 
Eagels. Good strong drama. Not for kids. All 
Talkie. (May.) 

LINDA — Mrs. Wallace Reid Production. — Maud- 
lin sentimentality. Silent. {Feb.) 

LION'S ROAR, THE— Educational.— A Sennett 
comedy with all the incidental noises. All Talkie. 
{Feb.) 

LITTLE SAVAGE, THE— FBO.— A Western that 
is saved by some good human interest touches. 
Silent. {March.) 

LONE WOLF'S DAUGHTER, THE— Columbia. 
•^Bert Lytcll's perennial crook, the Lone Wolf, in a 
good melodramatic comedy. Part Talkie. {May.) 



LOOKOUT GIRL. THE— Quality.- 

your valuable time. Silent. {Feb.) 



-Not worth 



LOOPING THE LOOP— UFA-Paramount.- For- 
eign drama of circus life, with an old theme, but with 
some good Continental atmosphere — if that's what 
you're looking for. Sound. (March.) 

[ PLEASE TURN TO PAGE 137 ] 



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When you write to advertisers please mention PHOTOPLAY &£AOAZINB. 



Friendly Advice from Carolyn Van Wyck 

GirlsJProblems 



on 



DEAR CAROLYN VAN WYCK : 
You have so often said to girls who 
write you about being self-conscious 
and ill-at-ease in the presence of people 
they don't know well — "Try to forget 
yourself and be interested in others." I'm 
quoting that exactly as you wrote it to a 
friend of mine who asked you for 
advice. 

That sounds so easy, Mrs. Van 
Wyck, but I'm finding it very hard. 
Self-consciousness has been my be- 
setting sin all through my school life. 
Now that I am in my last year at col- 
lege I begin to worry about facing the 
world without having overcome my 
timidity, my childish habit of getting con- 
fused, and blushing and stammering when 
people speak to me. 

I feel I have missed a great deal of the fun 
at school because I have always been afraid 
of being singled out for attention, of having all 
eyes turned toward me. At parties and college 
affairs, when the others get up and do silly little 
stunts and sing and dance I often long to act 
foolish flith the rest. I try to, but the minute 
anyone pays special attention to me, then I 
can't go on. 

I'm really a good "eccentric" dancer. My 
sister is a professional dancer and she has 
taught me some of her steps. I haven't let 
many people know I can dance because I'm 
afraid I'll be asked to perform. Of course I 
don't mind dancing for a few of the girls I know 
well. 

What can I ever do to cure myself of getting 
"fussed" so easily? I might want to take up 
dancing as a profession, or I might want to 
teach it, but I would have to learn to be more 
poised before I could think of doing either. 
Isn't there some system of self-discipline you 
can tell me about, some definite rule to follow? 

Elise M. 

T CAN give you some suggestions, Elise, which 
•'- should help you to overcome self-conscious- 
ness. The rest is up to you. 

First, let's analyze this thing we term "self- 
consciousness." Surely it isn't the hint of shy- 
ness, the lack of complete assur- 
ance, that is youth's great ^ 
charm. No one would want to 
see this disappear too early in 
life. 

No, it goes deeper than that. 
It's everlastingly concentrating 
on one's self, on one's real or 
fancied shortcomings, in a 
miserable, inferiority - complex 
sort of way. 

During our middle teens 
most of us begin to think of 
ourselves as separate entities in 
a world full of mental giants 
and physically perfect 
beings. We see everyone 
around us through the rose- 
colored glasses of youth, but for 
some strange reason the glasses 
get murky and discolored when 
we turn them on ourselves. And 
it isn't usually until some of the 
rose blush has been rubbed off 
the rest of the world that we 
are able to dab some of it on 
ourselves, and bring ourselves 
into a true balance with other 
people. 




To hasten this readjustment, which lias been 
rather slow in your case, Elise, you will have to 
be as patient, as kind, as generous \nth your- 
self as you would with someone else who 
needed your help. You will have to stop con- 
demning and blaming yourself, and you will 
have to begin a system of self-training. 

Several years ago I met a scientist who was 
experimenting with television, at a time when 
that was only a name — when it hadn't even 
approached rcaUty for any except a few re- 
search workers. This man explained to me 
what he was trying to do, gave me a brief idea 
of the wonders that were being unfolded to him 



How to Overcome 
Self-Consciousness 

Is This Montli's Discussion 

I WONDER if there is anyone who hasn't, at some time and 
under some circumstances, been made tongue-tied and 
awkward by a sudden and merciless attack of self-consciousness. 
In my answer to Elise I have tried to point out some of the reasons 
for self-consciousness, and some of the ways by which it has been 
overcome. 

Perhaps your problem is different, but just as bothersome to 
you. My time is yours, for helpful and unbiased discussion of any 
question of personal appearance, health or happiness. Needless 
to say, your letters will be held in strict confidence. 

My leaflet on the care of the skin will be sent you on request. 
There is a charge of 10c for my booklet containing simple and 
sane reducing exercises and menus. 

All communications requiring a personal reply by mail should 
be accompanied by a stamped, self-addressed envelope. Please 
print your name and address clearly on both your letter and the 
return envelope. 

Address me in care of PHOTOPLAY, 221 West 57th Street, 
New York City. CAROLYN VAN WYCK 



The girl who casts aside self- 
consciousness, who adds her bit 
to the give-and-take of con- 
versation or to the general en- 
tertainment, is welcome in any 
group 



each day in his work. And he made 
a significant remark, which I often 
have cause to remember. 
He said: "Look around you, at the 
people you meet wherever you go. 
Why, they're only half-alive. They 
haven't any breadth of vision, any idea of 
what is really happening in the world. 
They can see only those things that are 
right in front of their eyes. Why don't they 
wake up, and really live?" 
That applies to the girl who is self-conscious. 
She is only half-ahve. Her mind travels in a 
limited circle — the circle of self and the circle 
of her own hmitations. The hne that marks 
the circle is purely imaginary, but to her it 
seems as impregnable as a buttressed wall. It 
binds her whole being, restricts her interests, 
warps her outlook on life, makes all her think- 
ing introspective. 

You, Ehse, have come to the point where you 
realize what you are doing to yourself, how you 
are depriving yourself of many interesting ex- 
periences and much of the joy of U ving, through 
your excessive timidity. 

When you are introduced to a group of 
people for the first time, you probably go 
through this sort of conversation with your- 
self: 

"Oh, I wonder what she thinks of me? Is 
my hair tidy? I hope he won't think my dress 
is too short. Why didn't I wear the black hat 
today instead of this brown one? I'll bet my 
nose is shiny. Her father has so much more 
money than mine. Oh, my, she's been to 
Europe and is so cultured. How can I ever 
carry on a conversation with her? I wonder if 
he's going to start talking about books. I 
haven't read anything new for ages!" And so 
on, and so on. 

With these thoughts twirling around in your 
mind, you murmur a confused 
~ acknowledgment of the intro 
duction, barely glance at the 
people you are meeting, and 
having scared yourself more 
completely than anyone else 
could scare you, you try to 
make yourself as inconspicuous 
as possible. And by that time 
you couldn't make an intelli- 
gent or a natural remark to save 
your life. 

Try this method of meeting 
new people. Look right into 
the eyes of the person who is 
being introduced — not in a 
staring way, but in a friendly, 
searching way, and ask your- 
self: "What sort of person is 
this — someone I shall want to 
know better?" Instead of 
worrying about the other per- 
son's appraisal of you, do a 
httle appraising on your own 
account. Very often you can 
determine at first meeting 
whether or not a friendship is 
to be begun. Learn to meet 
[ PLEASE TURN TO P.\GE 113 ) 



16 



Photoplay Magazine — Advertising Section 



17 



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i8 



Photoplay Magazine — Advertising Section 



THI/ IS THE f O A V 



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BTer7 advertisement In PHOTOPLAY MAGAZINB Is guaranteed. 






(CTlJlRlEJP 



rHE little boy who storted an avalanche of mammy and daddy 
pictures in the talkies — Davey Lee. Davey is the only star 
actually born in Hollywood. He is four years old — going on 
five. And you'll see him next with Al Jolson in "Little Pal" 




Ruth Harriet Louise 



•^N these pages are two girls with a dash of Spanish ancestry. Anita Page was bom Anita 
r Vpomares and she is a blonde, blue-eyed Latin. And, too, she represents the new type of girl 
that is superseding the boyish flapper. Anita is fluffy, feminine and not too thin. Her newest 
picture is "The Gob," in which she plays the heroine wooed and won by William Haines 








Bachrach 



(JT^EBE DANIELS swears that she will make no more tomboy comedies; she is going to change 
/j her whole style of acting when she makes her debut as a talkie star. She'll go in for singing 
and dancing instead of stunts. In "Rio Rita," produced by RKO, you'll discover a new and 
glamorous Bebe. The picture, of course, is a talkie version of the Ziegfeld stage production 




Hal Phyfe 



r t ' HIS is the American Girl who will be glorified in Paramount's sound revue inspired by the 

/ Ziegfeld slogan. Although new to the screen, Mary Eaton has been singing and dancing on 

the stage since she was nine years old. Miss Eaton made such a good impression in her first 

talkie, "The Cocoanuts," that she was placed under contract for "Glorifying the American Girl" 




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Ruth Harriet Louise 



/3E1LA HYAMS is listed among the newcomers to the screen, but as a matter of fact she played 

/ in her first picture five years ago. Perhaps you remember her in "Sandra," although she was 

^^^^^t overshadowed by the magnetic personality of the late Barbara La Marr. Rediscovered 

by the talkies Miss Hyams is one of those lucky girls whose voice is as attractive as her face 




Vandamm 



z' w FURTHER information on the friendly rivalry between Ronald Colman and Jack Gilbert: 
fi While Mr. Gilbert's marriage was making the front pages of the newspapers, Mr. Colman was 
%^ reaping columns of praise for his acting in "Bulldog Drummond." So the score stands 
with Jack leading in romantic interest, but with Ronald slightly ahead indicting honors 



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The National Guide to Motion Pictures 



[TRADE MARK] 




August, 1929 



Close-Ups 



and 



Long-Shots 



By James R. Quirk 



Paris, France 

I AM witnessing an opera boiiffe 
battle here in Paris that would 
be amusing if the principal actors 
did not play their roles with such 
tragic mien and deadly seriousness. 

Firmly entrenched in their incom- 
petency, French producers of motion 
pictures have adopted as their very 
own the glorious slogan of their great 
army, "They shall not pass." 



"N. TO bullets whistle over No Man's Land. No 
■^ ^ machine guns rattle. No artillery booms. 
But there is much use of smoke screens, stink 
bombs, word grenades, and newspaper propa- 
ganda. 

The French producers have patriotically 
raised the national flag over their studios and 
are using their largest megaphones to rally the 
people to their cause. 

But the people seem utterly lacking in motion 
picture patriotism. 

They believe in the real thing. 

"CVERYBODY is being interviewed on the 
-*— 'subject. I felt a little neglected because 
they did not get around to me until my second 
day in Paris. 

Not being acquainted with the terrain and 
unaware of what the shooting was all about I 
boldly gave out the news that we actually had 
talking pictures in the land of prohibition. 

Then donning my old reporter's disguise, out- 
fit No. 1907, I set out to do a little observing 
and interviewing myself. 




I took it for granted, having spent 
three years in Washington, that 
government officials are always too 
busy dodging issues to discuss them. 

There was no necessity of troubling 
the producers themselves. 

They were absorbed in waving the 
flag and singing the Marseillaise. 

And then, too, I had read all they 
had to say again and again in their 
own newspapers. 



TT seems that a wicked and vicious monopoly 
-'■in America, headed by an archfiend known as 
Will Hays, and with many, many billions of 
dollars with which to accomplish its nefarious 
purposes, will not permit our folks in Fort 
Wayne, San Antonio, New York and w^ay 
stations to view the beautiful and artistic efforts 
of the cameramen of Nice and Paris, and will 
not give the sheik and hot mamma talent of 
their studios a chance to show up Jack Gilbert 
and Mademoiselle Bow. 

TT also seems, paradoxically enough, that the 
-*- French people have been so deluded by 
certain wily rascals like William Fox, Adolph 
Zukor and Joseph Schenck that they are un- 
willing to contribute their hard-earned francs 
to see French films. 

These necromancers are trying to American- 
ize France, and the French people are so lacking 
in patriotic feeling that they want the Holly- 
wood product or practically nothing. 

That is about all they will get if the cute 
little program of the local talent becomes a law. 

27 



THEY want the American producers to buy 
one French film for every three or four they 
distribute here. 

In other words, unable to make pictures with 
any entertainment value themselves, they want 
the American producers to subsidize, endow, 
and otherwise support with beaiiconp d'argent 
(meaning heavy dough) the patriotic lads who 
have fallen down on the job, but who, neverthe- 
less, admit they are the brains of the French 
picture business. 

It would perhaps be indelicate of me to sug- 
gest that there is a possibility that these boys 
are in the wrong business, and that there are 
undoubtedly other Frenchmen who could learn 
to make good pictures. 

There are enough Frenchmen in Hollywood 
doing it now. 

FROM where I sit — outside the Cafe de la 
Paix, sipping my aperitif in true Parisian 
fashion, and kidding myself that the swell new- 
hat and cane I just bought are fooling the other 
American tourists — it now looks as though 
Demon Hays and his gang of American cut- 
throats are very willing to get out of the French 
market, and are mostly concerned about what 
will happen to certain theaters of theirs if they 
cannot get good pictures to draw the crowds. 

IN the course of my architectural studies and 
my serious business of sampling the local 
vintages in a tour of the beautiful chateau 
country south of Paris, I took in the motion 
picture cathedrals of Tours, Nantes, and other 
towns along the route. 

I saw French, German and English pictures, 
relieved only by one old Reginald Denny sub- 
feature. 

The theaters, judging from the thin audiences, 
are not such hot investments. They rank with 
second-rate small houses of ten years ago. 

Returning to Paris, I attended the Para- 
mount Theater, which is conducted in Ameri- 
can fashion, and had a grand time until the so- 
called feature appeared. 

Ho\v good it was to see Mr. Fox's movietone 
news reel and the old familiar inkwell comedies 
in which clowns flow out of bottles and giraffes 
dance the 'Charleston ! 

THEN the feature. Some dish! It was all 
about a serious looking Valentino-type of 
Spanish nobleman who got stuck on a Lupe 
Velez type of Spanish tamale who worked in a 
tobacco factory. 

He bought her a seven-foot rope of genuine 
pearls big enough to play marbles with, but she 
never learned what love was until one day the 
nobleman got sore because she locked him out- 
side the palace he bought her as an engagement 



present or something of the sort, and whaled 
the tar out of her. 

But he forgot to beat her up the next week 
and she walked out on him, taking along her 
marbles. 

BUT the joke is still to come. Next morning 
I read an attack on the American motion 
picture industry by M. Jean Sapene, who is 
the director of the company that made the pic- 
ture, and also head man of one of the most 
powerful Paris newspapers. 

In closing, he said, "Without the quota the 
French industry will have to die, and French 
thought, its influence, the spreading of its ideas, 
beauty, progress by the animated image — in 
short, all that which down through the ages has 
contributed to its honor, its glory, and its power 
will disappear, not only from the screens of the 
world, but our own screen as well." 

The gentleman quoted above made the pic- 
ture I saw at the Paramount. 

Now, taking off my reporter's disguise and 
putting on my new French bonnet, the better 
half and I are going for a real treat. 

We are going back to take another look at 
Notre Dame, and then for a third trip to the 
Louvre. 

EX'ERYTHING connected with pictures on 
this side of the Atlantic is a bit quaint, a bit 
reminiscent of days that are no more to Amer- 
ican audiences. I picked up an issue of The 
Film Weekly, the popular English fan publica- 
tion, to read a good old-fashioned interview 
with Pola Negri. 

I AM an extremist in everything I do," Miss 
Negri was quoted as saying. "Whether it 
be love or hate or work or play, I throw my 
entire self into the passion of the moment. In 
the way I work I am a little like Emil Jannings. 

" I mean that I lose Pola Negri in the identity 
of my role. If I am playing a servant girl, 1 
come home at night and eat humble food, and 
dress myself in humble clothes. 

" If I am playing a queen, a millionairess, a 
rich society lady, I live the part both inside and 
outside the studio. Pola Negri is forgotten." 

AND if you are playing a wicked vam- 
pire?" the interviewer coyly inquired. 

"Ah, then — that is the difficulty! When I 
play the vampire, I must ask everyone to — to — 
leave my house! They cannot trust me, you see, 
and I cannot trust myself! 

" I have to live all alone with my dogs, who 
are my truest friends and forgive me whatever 
I do!" . . 

Oh, for the good old days of stars born withm 
the shadow of the pyramids ! 




Hired to 
double, she 
literally be- 
came the 
Swedish star 




Greta Garbo herself — The white flame of Sweden. 

Note the uncanny resemblance of the extra girl 

opposite to the popular star 



Geraldine De Vorak — Greta's double. The 

resemblance is remarkable. Physically she is 

the same to the half-inch in measurement 




Girl who Played 
Greta Garbo 



g: 



OTT! She looks like me!" 

Greta Garbo, seated in the dark projection room, 
''saw her e.xact likeness flashed across the screen. The 
' gowns made for her newest picture were being modeled 
by her double. 

"You like this frock, Miss Garbo?" the costume designer 
asked. 

"Oh, yes, O.K." she said absently. Her interest was not in 
the way the dresses hung, nor how the colors photographed. 
She was held by the amazing likeness she saw before her. "Dot 
girl! Gott, don't she look like me?" 

There are two Garbos in Hollywood. 

One is the white flame from Sweden. 

The other is Geraldine De \'orak, her double. 

Geraldine's duties consist in having gowns fitted on her, in 
making wardrobe tests and in standing in front of the camera 
until the lights are ready. Occasionally she is used for "a long 
shot to save the star's energy. 

She has assumed more specific duties than these. Having 
become a figment of her own imagination, she has taken it upon 
herself to play the role of Garbo. She is what Garbo should be 
and isn't. 

She is Greta Garbo's private life. 

Her physical requirements are e.xact. Greta and Geraldine 
measure the same to the half inch, weigh the same to the half 
pound. Their faces are shaped alike. 

Geraldine has everything that Garbo has except whatever it 
is that Garbo lias. To the latter has been given a great, vital 
talent. To the other an imagination only. An imagination so 
demanding that she has been able to re-create herself in the 
likeness of the Garbo. 

Psychologically, the thing is sound. 

Garbo's own private life does not suit the silver sheet lady of 
passion. The off-screen Garbo is hopelessly young, as gauche 
as a farmer boy and as timid as a younger sister. Her tweed 
coats are the despair of the modistes. She wears her little sports 
hats pulled tight down over her ears. 

Her dislike of grandeur amounts to a passion. It is her de- 
light to pass up limousines in her shiny little Ford. She has 
attended but one premiere. She has never crossed the sacred 



portal of Eddie Brandstatter's Montmartre Cafe. .\ publicity- 
man's camera is a red signal for flight. 

These outward manifestations she leaves, ironically enough, 
to an extra girl on a forty dollar a week salary. Greta takes the 
cash and Geraldine the credit. 

The paraphernalia of stardom is anathema to Garbo. .\t 
heart she is a simple Swedish girl, and the sudden success that 
now surrounds her is not worth a single white-capped wave on 
a Scandinavian sea. 

She is, I'm afraid, a bitter disappointment to the executives 
at the studio. Not from a box office standpoint, mind you. 
The shekels she has brought in are of bright, true gold. But she 
has failed as a private life star. 

Such a dazzling personality on the screen! She might see her 
picture in every paper in every city every day. But she refuses 
to do anything to put it there. She leaves the studio at night 
and goes straight home. She pulls her little sports hat over her 
eyes and travels the world incognito. 

STARDOM bores her, so she leaves her glittering, dazzling, 
successful garments at the studio. And there Geraldine De 
\'orak finds them and puts them on. 

Strange — that to the one should be given the divine gift and 
to the other only the desire. 

Garbo is the actress. De \'orak, the star. 

Geraldine is everything that a star should be. 

Tweed coats and little sports hats? There's not a one in her 
wardrobe. She wears what Garbo should wear. Small, inter- 
esting toques. Clinging velvet gowns. Furs. 

Her hair is combed back off her face like Garbo's. She walks 
majestically into the studio commissary and sits alone at a 
table. She has grace, where Garbo is awkward. She cups her 
chin in her hands and imagines that she is Garbo. 

Strange — that two women should be made in the same mould. 
They are alike, completely alike, physically. But one has, in 
some inexplicable manner, clasped a feather of the bird of 
beauty. 

Geraldine, living in a world of her own making, ignores the 
difference in their stations. To Garbo the acclaim is nothing. 
Shedoesn't care a Swedish herring [please turn to page 108] 

'29 



Jhc Jr 



assing of the 




Frances Johnstone, 
one time silent film 
extra, now secretary 
in a Hollywood play- 
ers' agency 



Ouida Willis, another 
silent extra, now 
saleswoman in a 
woman's shop on 
Hollywood Boulevard 



Dorothy Irving, one of 
the old studio extra 
guard, now a shopper 
for Howard Greer, 
clothes designer 



The micro- 
phone era has 
transform ed 
Hollywood, and 
the 1929 extra 
must have more 
than beauty 



THE extra girl is gone. 
Her beaded evening gown, her gleaming riding boots, 
her exotic negligee, her thoroughly impractical bathing 
suit — all a symbol of her — lie dejectedly in ber clothes 
closet. 

One doesn't need a beaded evening gown, nor a pair of riding 
boots behind the counter of a five- and ten-cent store, nor at the 
steam table of a cafeteria, nor in the nursery of a rich man's 
home. 

When the shadow of the microphone fell across Hollywood, 
the extra girl put aside her number two pink grease paint and 
her number six black mascara and took up other tools for other 
trades. Glamour was left behind her. 

A new era has dawned. It is heralded with sound effects. 
And the new extra girl is a pair of dancing feet, a lithe, hardy 
body and a throat that can sing "Mammy." 

Once beauty spelled film success. Now it is accomplishment. 

A few days ago I walked on a new sound stage at one of the 
old studios. There were fifty girls on the set and I saw not a 
single familiar face! 

I recalled the stages of six months ago. A certain dull, 
droning atmosphere was felt on the old silent sets. Their only 
claim to brilliance was the beauty of the girls with their 
vivid costumes, their bizarre taste in jewels and their mania 
for exhibiting their ravishing backs. 

The girls themselves were a trifle haughty, a trifle proud. 
Easy, light patter was at the tip of their tongues and their 
laughter was sudden and a trifle 
hard . 

They collected in little groups 
when they weren't in front of the 
camera. They usually removed 
the silver or gold dancing pumps 
and substituted house slippers 
(silver shoes cost $16.50 a pair in 
Hollywood). The lazy smoke 
from their cigarettes wafted to the 
overhead lights the extra girl's 
prayer, "May there be work to- 
morrow!" 

Some played bridge in corners. 
Others bent over pieces of sewing. 
On very rare occasions one of them 
read a book. This was unique 
enough to be considered in the 
light of news. The rest chatted. 

"I tell you, dearie, she gets all 



Requirements of the 




1929 Extra 


1. 


A pretty face 


2. 


A pretty figure 


3. 


Ability to dance 


4. 


A voice 


5. 


Youth 


6. 


Personality 


7. 


Excellent health 



her work because her boy friend is the assistant director." 
" Where did you get that swell lip rouge, Mabel?" 
"Oh, sure. I went to that party, but it wasn't so hot and I 
didn't stay long because I knew I was working today." 

"Remember that beige lace dress I had? I dyed it blue. 
Looks nice." 

The drone of the voices went on all day. Briskness was a 
social error. It was a dull, stagnant sort of life with boredom 
as its keynote, but it had glamour and it was comparatively 
secure. The "dress" extras, those used on the smart sets, 
were employed about three days a week. It was enough to 
carry them along. And it was easy work. 

BUT it isn't easy now. Big rehearsal rooms have been built 
just off the sound stages. Here are to be found dozens of 
girls and a couple of pianos. Vo-de-o-do. The girls have live, 
young faces (every chorine used in the Fox Follies was under 
sixteen) and slim, active bodies. And they're busy. They're 
working. They're dancing, dancing, dancing. 

In one corner three youngsters are doing the most exhausting 
leaps and catches. In another part of the room a little girl (she 
hasn't a very pretty face but heaps of personality) is strutting 
on her toes. The muscles of her legs stand out like walnuts. 
The piano is incessant. Ta-ta-ta. Two kids are doing tap 
work and break-downs. No bridge playing here! No idle 
chatter! No indolence! It's all work. Fast, exciting, exacting 
work pitched in a high key. 

\nA there isn't a familiar face. 
For these few extras are picked up 
in dancing schools or they come 
from the local choruses, from the 
legitimate stage or from New 
York. 

They are alert like the quick 
music that accompanies their 
dancing. 

But where are the old cohorts? 
The sinuous, voluptuous extra of a 
few months ago — where is she? 

A group of us happened to drop 
into a shabby little restaurant on 
the beach at Santa Monica after a 
swim. The waitress came to our 
table for the order. She was 
beautiful, I noticed, and there was 
something familiar about her face. 
Suddenly I remembered where 




By 

Katherine 
Albert 



I had seen her. It was on a sump- 
tuous set at oneof the studios. She 
had worn a flame colored velvet 
gown. Crystals sparkled at her 
throat and wrists. And here she 
was, a waitress in a shabby, little 
beach restaurant. 

Her hand trembled as she set 
the water in front of us. She turned 
was a little tear on her cheek. Once, 
glycerine for a crying scene. 

When we had finished our meal she 
for God's sake, don't tell anybody 
you saw me here. I wouldn't have 
any of the girls know. I'm just 
tiding myself over until people get 
sick of these stupid talkies. It 
won't be long, will it?" she asked 
fiercely. "Don't you think the 
public will want silent pictures 
again ? I took this job because 
the place was away from Holly- 
wood. I'd die if I saw any of 
the girls. Maybe if I'd henna 
my hair it would change me." 

HAD I wanted to prolong the 
agony of the meeting, I could 
have told her of the other e.xtras 
who would "die if any of the girls 
saw them." 

There's the girl who learned 
manicuring and goes out in the 
evening with her scissors and liquid 
nail polish. She's just "tiding 
herself over until the public is 
tired of talkies." She's sure 
"they're just a fad." 

And there's the girl who owns 
her own car and hires out for taxi 
service. 

One of the prettiest extras I 
ever saw is taking care of children 
in the evening. Does she tell 
them wild, exciting stories of the 
glamorous da\'s when she stood 
next to Lillian Gish for a big close- 
up and when Richard Barthel- 
mess looked right at her and said, 
"I want that girl to do this bit 
forme"? 



Now, no bridge and gossip. The extras rehearse every spare moment. 

Above, Archie Cottier teaching new steps to the girls of the Fox 

Movietone Follies. Fifty were chosen out of 500 

away quickly and there At the Ambassador Food Show recently a beautiful girl pre- 

on a set, she had to use sided over the waffle iron. She talked to housewives for hours, 

trying to impress them with the fact that the waffle batter she 

called me aside. "Please, demonstrated was better than the kind they made up at home. 

The dramatic ability that the 
home town folks told her she had 
before she came to Hollywood 
thus served its purpose. 

You meet the girls on the 
street. They put up a good 
front. They are a proud lot. 
Oh, they're just between engage- 
ments. It won't be long until 

they'll be working "steady" 
again. And isn't it strange 
that you just happened to 
catch them in one of their old- 
est frocks ? 

The wise ones are not wait- 
ing for the talkie fad to be over. 
They have left the business 
completely. 

In Jessie Wadsworth's office 
(Jessie is an actor'sagent) Isaw, 
at the desk, a brisk, efficient, 
beautiful secretary. "Hello, 
Miss Wadsworth's office. Miss 
Wadsworth isn't in. Who's call- 
ing, please?" 

She turned to me and smiled 
and I remembered Frances 
Johnstone, one of the most 

[ PLEASE TURN TO PAGE 122 ] 



Recall "The Wedding of the 
Painted Doll" in "The 
Broadway Melody"? Then 
you remember Joyce Mur- 
ray, who is the new type of 
talkie extra girl. She can do 
all sorts of acrobatic dances 
— and do them well 

31 





/T^ home— Mr. and Mrs. Douglas Fairbanks, Jr. Joan Crawford and 

(^yi youns: Doug were married on June 3rd, in New York. The ceremony 

took place at St. Malachy's Roman Catholic Church, with the Rev. 

Edward F. Leonard officiating. This is the actors' church, near Broadway, 

from which Valentino was buried 




The grand old Hotel Hollywood, filmland's first and most famous inn, on a busy, licentious 
afternoon. Note the orgy in progress on the lawn. What these walls have heard! 

Ip Daring Days of 

Hollywood 

Hollywood Has Vanished Along with 
Tahiti and Timbuctoo, Says Herbert Howe 



THE Hollywood hotel, in its flesh-colored stucco, sprawled 
in the morning sun like a freshly tubbed baby. Wreathed 
in flowers and the coo of birds, it was all innocence. But 
tourist ladies poking among the shrubs suddenly re- 
coiled with frightened squawks. There, under a pink Ophelia 
rose, lay a gentleman in pajamas. 

Thus is Hollywood discovered: under the rose, the serpent. 
Or at least so it was in the palmy days of ten years ago. 

At first it was thought that the gentleman in robe dc unit had 
been winged from his window by a carefree bullet from Te.xas 
Guinan's gat. Te.x lived at the hotel, and in those days was the 
two-gun woman of pictures, "the female Bill Hart"; whenever 
she returned from a tour she was met by her cowboys and 
escorted to the hotel with a rattle of musketry. The regular 
guests knew enough to bury their heads in their pillows and 
pray, but a curious innocent might peer out the window, get 
punctured and faw down boom among the floral offerings. 

But the gentleman was not shot by a bullet. He had been 
attending a party in his pajamas the previous night. Seated in 
the window, glass in hand, he suddenly had passed out via the 
window. Of course, the gossips — and what merry, daring souls 



they were in those days — insisted that he was in the wrong 
room when the right man had returned home from location and 
had been torn from a right wrong embrace to be dropped out- 
side. He was not dead, but sleeping, for men were hardy in 
that pioneer epoch. 

THERE were no formalities then. A window was as good an 
e.xit as a door. On the first night of my arrival I had been 
called upon to assist a young rapture through a window because, 
as she hastily breathed, she didn't want people seeing her go 
through the lobby to her friend's room. 

The hotel of those days had sound-proofless walls and ever>'- 
one's secret was everyone's. Vi Dana talking to her sweetheart in 
Chicago by long distance at midnight was told to pipe down by 
a grouch in the seventh room beyond. A brawl on the first floor 
had people taking sides in their beds on the first. It was just a 
great big family. 

The Thursday night dance was the weekly event in the vil- 
lage. Stars fraternized in perfect equality, for there were no 
princesses, or marquises, or friends of royalty among us. All was 
communism. [ please turn to page 104 ] 

33 





You remember her, of course. Katherine MacDon- 
ald, the American Beauty. She has made only one 
picture since 1923. Recently it was rumored that 
she had been killed in an automobile accident. As 
a matter of fact. Miss MacDonald has just returned 
from a tour of Europe with her husband, Christian 
K. Holmes, a wealthy resident of Santa Barbara. 
Miss MacDonald owns a wholesale cosmetic estab- 
lishment and is a successful business woman. Her 
address is 6312 Selma Avenue, Hollywood 



Kathlyn Williams was one of the first serial 
queens. At the height of her popularity she mar- 
ried Charles Eyton, then an executive of the Para- 
mount Company. After her marriage, she played 
in dramatic pictures, notably "The Whispering 
Chorus." Upon the death of her only son, she 
dropped all her professional and social activities. 
Recently she returned and appeared as Anita 
Page's mother in "Our Dancing Daughters." Her 
address is 458 N. June Street, Hollywood 



Should Old Acquaintance 





Crane Wilbur was a matinee idol. Thousands of 
girls wrote him silly adoring letters. Wilbur 
couldn't stand it and, ten years ago, he fled to Nev^ 
York to write and produce his own plays. It meant 
an uphill fight but he kept at it. "The Monster," 
"The Woman Disputed," and "The Ouija Board" 
are some of his plays. He has just signed a contract 
to write, direct and act in talkies for Metro-Gold- 
wyn-Mayer. He is living at the Roosevelt Hotel in 
Hollywood 



When Ethel Clayton's husband died, she was so 
grief-stricken that she left the movies. As the wife 
of Joseph Kaufman, director for Paramount, she 
had been earning $5,000 a week. A few years ago 
she appeared in a few films and made a vaudeville 
tour. Last year she married Ian Keith, a leading 
man. She is young and attractive and could return 
to the screen if she wanted to. But she prefers 
home life. Her address is Highbourne Gardens, 
1922 Highland Avenue, Hollywood 





Jewel Carmen played with Douglas Fairbanks in 
"Manhattan Madness" and with William Farnum 
in "Les Miserables." She was on the way to star- 
dom when an unfortunate lawsuit kept her from 
the screen for several years. In 1918, she married 
Roland West, the director. Three years ago she 
retired from the screen but her husband has per- 
suaded her to stage a comeback in the new talkies. 
She has a beautiful home at 17560 Revello Drive, 
Santa Monica, Calif. 



At one time Theda Bara was one of the greatest 
box-office attractions. Theda made screen history; 
she put the word "vamp" into common usage. 
Theda was the rage. But styles change and stars 
pass. Theda has tried several comebacks and now 
she is making voice tests. She is married to Charles 
Brabin, the director, and if you want to write to 
her, send your letter to 632 N. Alpine Drive, Holly- 
wood. The "wickedest woman in the world" likes 
to be remembered by her old friends 



What y ester day'' s favorites 

are doing now and where 

you can write to them 




For several years Ruth Stonehouse has seen other 
stars rise into prominence, while she has been 
relegated to the "quickies." But Ruth has the last 
laugh. In January, 1928, she married Felix Hughes, 
brother of Rupert the novelist. Mr. Hughes is a 
voice teacher and has many stars under his tute- 
lage. Ruth gets her lessons free. Her picture 
career dates back to 1914 and she was one of the 
most popular Essanay stars. Her home is at 204 N. 
Rossmore Avenue, Hollywood 



And here is Florence Lawrence, the Biograph Girl 
and famous before Mary Pickford came into prom- 
inence. She was starred in Griffith's first pre- 
tentious film, a one-reel version of "Resurrection." 
In 1915 she joined a new company and was injured 
in rescuing her leading man from a burning build- 
ing. The boss sent her roses but she never received 
a cent of compensation. For three years she was 
partially paralyzed. Now she has a cosmetic busi- 
ness at 821 N. Fairfax Avenue, Hollywood 

35 



Wy]^C K Gl LBERT 




he had found happiness. His 
first marriage belongs to a 
dim and distant past, when 
he was trying and without 
much success to arouse Holly- 
wood to the consciousness of 
his existence. Her name was 
Olivia Burwell, and she lived 
in the same boarding house. 
It was a typical marriage of 
extreme youth, brought about 
by propinquity and yearning 
for romance. 



ik 



International Newsreel 



Breakfast for two at Jack Gilbert's home in Beverly Hills where, because 

they were both working in pictures, the Gilberts spent their honeymoon. 

"There is no home and fireside stuff about it," says Jack. "We shall 

share our work always" 



JACK GILBERT married Ina Claire three weeks after they 
met because he had found at last the thing for which he had 
been seeking all his life. His other experiences, his many 
romances, his two previous 

marriages, his famous love affair 

with Greta Garbo, were mere steps 
leading to the ultimate — marriage 
with Ina Claire. 

He might well sum up his own 
reason tor the elopement that startled 
the whole picture world, in the words 
of the poet: 

" I wandered all these years among 
a world of women, seeking you." 

Perhaps it is because they wander 
in "a world of women" that the 
search of screen sheiks for happiness 
is so difficult. They grow confused, 
they are misled and they make tragic 
mistakes. 

Rudolph Valentino, the greatest 
matinee idol who ever lived, followed 
that same path, seeking the right 
woman, the one woman, who would 
bring him real happiness, among the 
thousands who worshipped him. 
Surrounded always by women who 
offered him love, he desired the happi- 
ness that only love could give, he was 
constantly reminded of love and of 
women. He died before he came to 
the end of his quest. 

Certainly, Jack Gilbert has wan- 
dered. Unhappily, as most of his 
friends know. Lonely, with that 
awful loneliness that comes only in 
crowds. Restless, feverish, dissatis- 
fied, as are all seekers. 

Three times, at least. Jack thought 

36 




"There is a tradition that men 
like myself do not make success- 
ful husbands. No man makes 
himself a husband. It is the wife 
who does that" 



T failed because they didn't 
know each other, had never 
really known each other. 
Jack Gilbert simply married 
a girl — any girl in the same 
circumstances would have 
done as well. Marriages of 
youth must all face the time 
when the veil is torn off life. 
Then the two of them — man 
and wife — stand face to face, 
two people, with minds, 
tastes, aspirations, characters. 
Sometimes luck has been 
with them, and they fit. More 
often, they do not. 

Jack Gilbert found him- 
self married to a strange girl 
who didn't belong in his life 
at all. Because he was fire-hot with ambition, he was honest 
enough and ruthless enough and fortunate enough to break the 
thing then and there instead of allowing it to drag a miserable 
trail into middle-age. 

The second time he tried marriage 
with Leatrice Joy. 

That marriage ran the dangerous 
course of young success, of two 
careers, of strong natures at the top 
of their physical and creative powers, 
without the wisdom of experience 
and the divine leaven of tolerance. 

After years of struggle and hard- 
ship, life opened its doors to young 
Jack Gilbert and he wanted it. He 
wanted the things poverty and lack 
of opportunity had denied him. He, 
then, needed a woman who could 
devote all her time to being his wife 
and who could weather the storms 
of his clashes with the world — for 
Jack had many clashes. 

Leatrice, who is an altogether 
lovely person, wasn't that woman. 

She had her own career, her own 
clashes, her own struggles. There 
was nothing to teach them the mutual 
give-and-take that any marriage, and 
particularly the marriage of two 
striving and successful artists, must 
have. So much forgiveness, so much 
tenderness, is needed to bring such a 
marriage through the temptations of 
the world. One or the other must 
yield, since they are not wise enough 
to find the middle path of harmony. 
No amount of love or passion or 
admiration is enough. 

Jack was a failure as a husband 



Married 



By Adela 
Rogers St. Johns 



"I simply met the 
nicest person I'd 
ever known in all 
my life," says Jack 
of Ina Claire 



because he was giving too much of 
himself to the world without. 

Leatrice was a failure as a wife be- 
cause her career and her family and 
herself came first, and not marriage. 
Since they were both jealous, violent, 
high-strung and high-tempered, and 
very young, they parted in bitterness 
and misunderstanding. 

Certainly, Leatrice had a right to 
leave Jack if she no longer found it 
possible to live with him. Whether 

or not she had a right to leave him as she did, is a question. 
The memory of what he believed to be her injustice stung Jack 
to a bitterness that clung for years and bred cynicism and a 
wildness which spurred him on in what he believed was a hope- 
less quest — for happiness. 

And at last his seeking led him to the glamorous Garbo. 

The first Question 
that all Hollywood 
asked when the amaz- 
ing news of Jack Gil- 
bert's marriage to Ina 
Claire flashed across 
the wires was. ''What 
about Garbo?" 



THERE can be 
no question that 
Jack was quite mad 
about Greta Garbo. 
But it was a ro- 
mance which brought 
him absolutely no 
happiness. 

Perhaps no greater 
misfortune can hap- 
pen to a mortal than 
to have a passion for 
someone who doesn't 
belong. 

For two, hectic, un- 
happy years, Jack 
Gilbert and Greta 
Garbo loved and 
fought together. No 
two people ever lived 
who were further 
apart in thought, tem- 
perament, taste. 




This is the house that Jack built, overlooking the hills and sea. 

Here he lived in bachelor freedom until he asked Ina Claire to 

share it with him. "And so," says Jack, "I never can be alone — 

so futilely alone — again" 



Jack Gilbert loves laughter better than anything else in life. 
He loves people, talk, gaiety. He is gay and vivid and interested 
in everybody, what they do, what they say, what they think. 
His mind is as open and as honest as the day. Temperamental, 
yes, if by that you mean easily swayed, easily played upon by 
circumstances and surroundings. But without any hidden, 

tortuous complexes. 
He is either violently 
unhappy or wildly 
happy. The most lov- 
able thing about him 
is his sincerity and a 
child-like simplicity 
of feeling. He needs 
— he must have — 
warmth and light and 
laughter. The typical 
Latin. 

Garbo is a strange, 
lonely, deep creature, 
who does not like 
people, cannot stand 
human contact. A 
solitary soul, little 
given to laughter. No 
one knows her, no one 
quiteunderstands her. 
Still, sad, cold — a 
Norse. 

Any love affair 
which is thoroughly 
unhappy must die in 
time. 

Myself, I do not 
believe there was ever 
any question of a 

[ PLEASE TURN TO 
PAGE 120 ] 

37 




p. & A. 



Ina Claire is a tj^pe more familiar to New York than to 
Hollywood. She is no young flapper looking for fame and 
romance, but a witty and sophisticated woman, with an 
understanding of men and life. And, incidentally, very 
much a star in her own right 




Lest We Forget: Rudolph Valentino 



38 



Born in Castellaneta, Italy, on May 6, 1895 
Died in New York, on August 23, 1926 







■ rrif'^ 





^ 



n im 







Illustrated hy 

Ken Chamberlain 



evolution 
in Hollywood 

Broadway's hordes have swept over 
the hills of filmland! 

By Leonard Hall 




C'Ctwt,^ ^/t^ 



Artist's drawing of tlie 
Hollywood Front, siiowing 
tlie Second Shock Battal- 
ion of Mammy Song 
Writers, with other troops, 
detraining for their attack 



ACROSS the sun-baked hills of Hollywood is sweeping 
the greatest revolution in the history of public enter- 
tainment. 
It is a quiet war, as wars go. There are no barri- 
cades in the streets, no clatter of machine guns, no bombs 
bursting in air. Slowly, but as surely as death and taxes, the 
well-entrenched hosts of the silent drama are giving way before 
the army that bears the banners of a new kind of fun — the 
talking pictures. 

The braver and wiser souls of the old movie horde are going 
out to meet the talkies, open-minded and ambitious to succeed 
in the new medium. The die-hards, sticking their heads into 
ostrich holes, are going down to artistic and business death, to 
be heard no more. 

The war has swept quietly across these sunny hills where the 
movies of the world are made. So quickly, so softly has come 
the great offensive that Hollywood itself, whose people live so 
close to the business of entertaining us, doesn't realize quite 
what has happened. But to a war corre- 
spondent from outside there is a realiza- 
tion of a new world. 

For twenty years our friends of the films 
had lived and worked in this sunny land 
above the Pacific shore. They fought 
and played and loved and labored, grind- 
ing out their millions of feet of tears and 
giggles for our daily pleasure. 

Hollywood was a close corporation, 
and picture making was a delicate and 
certain art, known only to those who had 
practiced it for years. Amused, the 
movie makers saw stage stars sweep into 
the flickers and flop before the demands 
of the sUent drama. 

Gradually the photoplay became aGreat 
Art in their minds — a Great Mystery 
known only to them, and handed down 








to their children. Salaries ran into the thousands, and egos ran 
with them. The makers of films, secure in their hills, looked 
down upon the world and found it pretty good, though not 
quite up to their own tight little lives. 

Then crashed the shot heard round the world ! 

SOME boys named Warner turned loose a picture caUed "The 
Jazz Singer," wherein the colossal Al Jolson actually sang 
songs and talked to his old gray mammy. 
Hollywood tottered. 

For months there was panic. Producers ran in circles, chas- 
ing their tails. Actors stormed at the talkies, wept, oiled 
revolvers, took vocal lessons, ran the scales. 

And all the time, from the East, writers, actors and directors 
from the speaking stage began filtering through the trenches of 
the photoplay, eager to attack the problems of the talking 
picture. 

The revolution was on! 

The armies of the silent pictures rallied to repel the 
invading host. 

The hills of southern California saw the encampments of 
two armies — the brigades of Broadway 
and the embattled HoUywoodians. The 
newcomers from the East were shy and a 
little bit brash and cocky — the picture 
people were frightened, and covered their 
fear with brag and bluster. 

"What do these stage people know 
about picture technique?" screamed the 
Hollvv/oodians. "They can't make 
films'" 

But stage actors, with spotlight dust 
still on their dinner coats, stepped before 
the camera and the microphone and gave 
movie performances to the manner born. 
Directors from the theater put picture 

[ PLEASE TURN TO PAGE 100 ] 

39 




E 



xcess 



Our film girls check 
spouses with 



A picture of Lowell Sherman and Pauline 
Garon taken in the joyous days when the 
love-birds still twittered. Both were 
players — there might have been happi- 
ness. But soon Polly packed up and 
departed 

THE play, "Excess Baggage," ended happily. 
It doesn't work out so nicely in real life. 
And this poignant little drama, set down 
by the thousands who saw it as fiction mere- 
ly, is, with the exception of the final fadeout, gospel 
truth. Its three acts are played out almost daily 
behind the motion picture cameras in Hollywood. 

Every time you cross a studio lot you find your- 
self knee deep in e.xcess baggage. You see the non- 
professional husbands of the younger players. 
Their eyes are bewildered as they, baffled at the 
state they have found themselves in, realize the 
fame and glory of their wives. 

On these pages you see four smiling brides and 
four grinning grooms. Renee Adoree and Bill Gill, 
Helene Costello and Jack Regan, Pauline Garon 
and Lowell Sherman, Dorothy Mackaill and 
Lothar Mendes — all happy enough until the grins 
turned to glowers and the husbands became ecxess 
baggage — checked at the station. 

John Regan, Allan Keefer, Harry Rosebloom, 
Julian Ancker, Logan Metcalf — unfamiliar names, 
aren't they? Yet they are the excess baggage of 
Hollywood. They were, at one time, the husbands 
of Helene Costello, Sue Carol, Jeanette Loff, Jean 
Arthur and Madge Bellamy, respectively. 

You remember the stage and film story of "Ex- 
cess Baggage"? It concerned a tight rope walker 
whose wife — and also his inspiration — was singled 
out for a film career. She had been excess baggage 
to him, her sole raison d'etre being to hand him 
parasols. But when Hollywood bore down upon 
them, he found himself the second rate member of 
the family. 

These non-professional husbands who do not 
speak the easy, unconventional language of the 
screen or, as in the case of Marian Nixon and Joe 

40 



By 
Katherine Albert 



Benjamin, speak it too fluently, hamper the professional 
growth of their wives. There is a strange barrier between 
them. It concerns money. The men can't hope to compete 
with their wives' salaries, yet can they, without losing pres- 
tige, dig ditches? And even if the husbands have money of 
their own the fame and attractiveness of their wives give 
them a second-hand position. 

JEANETTE LOFF'S case is fairly typical. Three years or 
so ago she married Harry Rosebloom in Portland. He was 
a salesman, she was an organist at one of the theaters. They 
were young and contented. They were ordinary. Their lives 
took on the color of every other young married couple in 
America. His men friends. Her girl friends. Bridge par- 
ties. Sunday night suppers. Laughter. Hopes. Ambition. 
The savings account at the bank going nicely enough, thank 
you, for Jeanette to have a fur coat next year. Or maybe 
the first payment on the house. 




Actress Renee Adoree and Businessman William Gill 
caught in the act of worshipping each other at the time 
of their marriage. But soon the royal road to the studio 
and the dusty path of trade diverged, and Mr. Gill was 
marked excess baggage in the world of screen art 



B 



aggage 



their non-professional 
the Judge 



A spoiled dessert. A shopping tour with one of the girls. 
Christmas presents much too expensive and therefore much 
more precious. Little sacrifices. Little hopes. Little ambitions. 

An ordinary life, if you will. But there is something so secure 
about being ordinary. There is something that touches glory 
in being ycung and contented. 

And then the little hopes and the little ambitions grew into 
large ones. All day long as Jeanette played the organ at the 
theater she watched girls no prettier than she (hadn't Harry 
told her how beautiful she was?-") go through their screen tricks. 
So she came to Hollywood to go into the movies. 

Being young and contented had meant something in Port- 
land. But in Hollywood it was being young and unattached 
that counted. Suddenly her life was changed. She found her- 
self achieving fame and a fair amount of fortune. A fame and 
fortune with which HarPi', her husband, had nothing to do. 





A handsome pair if ever one stood up — 
Helene Costello and young John Regan. But 
Jack was a non-professional, and didn't 
understand things, and a divorce separated 
two kid sweethearts forever 



It was not being a wife, but being an actress that counted. 
Harry had no place in her new life. 

He came on from Portland, of course. He found it hard to 
get any sort of job in the new city, but much more difficult to 
find a position that was worthy of the name he bore, the name 
of Jeanette Loff's husband. 

Jeanette Loff's husband. And, like the heroine in "Excess 

Baggage," she told no one that she was married. It was not 

that she was ashamed of him. Gracious, no! But there is 

something psychological about being unattached. It concerns 

not so much the fans, as you might imagine, but 

the directors and producers. Not that any of them 

wanted to marry her, but they, subconsciously, 

wanted the knowledge that they could if they 

chose. A subtle intangible thing that assumed 

important proportions. Important to a film career. 

H.\RRY went to a couple of parties with 
Jeanette and they both realized that it was all 
quite impossible. It was a mixed marriage and by 
that I mean a marriage between a professional and 
a non-professional, and it simply wouldn't work. 

They talked it over quite calmly. They were 
both unreasonable, of course. They were both 
right. Jeanette, by this time, knew the demands of 
a tilm career. Harry couldn't (or wouldn't) under- 
stand. He was immensely proud of her, but not 
willing to accede to the dictates of this strange 
business. Not willing to be tolerant when her job 
(he couldn't realize how a mere job could be so all 
enveloping) made it necessary for her to be nice to 
and smile upon people who bored her. He couldn't 
understand why it was good business to be seen at 
various parties, to give her time to people who 
meant nothing to her. 

And Jeanette knew that this was part of her job, 
as vital a part as putting on grease paint in the 
morning. It was nobody's fault. It was the situa- 
tion itself. 

So they separated, [ please turn to page 108 ] 

Dorothy Mackaill smiles happily as the 
judge hands her the fateful paper that makes 
her one with Lothar Mendes, the director. It 
wasn't long, however, until she grinned when 
another one handed her a note that made 
them two again 

\1 




(fT)UTTING things down in black and white is a good costume 
J^ rule for a red-haired girl. Nancy Carroll wears a white silk 
jersey bathing suit trimmed with black satin squares. The 
cape is of black velvet lined with white satin 







■m^^i 






Mary Duncan has been criticized for obvious vamping. Her exuberance has bedeviled directors into 
letting her do her stuff. But she is too clever to continue long in error 

ollywood's New Slayer 

Snapshot of Mary Duncan at age of six: Axe 
in one hand, gentleman's scalp in other . . . 

By Herbert Howe 



JUST about the time you despondently decide Hollywood 
has beeno'ertaken by the lock-step of civilization, to become 
as standardized and zipless as near beer, a new siren arrives 
to shoot the pulse up. 
So it is with cries of Hallelujah that I introduce Miss Mary 
Duncan, with an exclusive snapshot of her at the age of six: axe 
in one hand, gentleman's scalp in the other. A highly promising 
kiddie. 

The unnecessary axe has been thrown aside but the scalps 
multiply. Mary's debut in Hollywood society brought fright- 
ened clucks from the matrons. Lcs dames regarded her as a 
stalker of men, not because of the maniacal nymph she played 
in "The Shanghai Gesture," but because in Hollywood drawing 
rooms lcs Itommes gravitate helplessly to whichever corner Mary 
chooses. 

Mary is accused of making eyes. Mary doesn't make them, 
she just naturally has them. But it isn't the eye so much as the 
sirenic laugh that draws the mariner into the Charybdic whirl- 
pool. 

Like all the great charmers, she has a spontaneous wit 
and, what is even more enchanting, a hilarious appreciation 
of it. Nothing is more alluring to the male than an appre- 
ciation of his bon mots. And did not Scheherazade hold 



the sultan captive for a thousand and one nights by her wit 
and delicious lies? 

I can personally testify to Mary's human wreckage with 
exhibit I. What was left of my social position collapsed when 
I met Mary. Invited to a dinner by one of our society leaders 
(Hollywood has become very Long Island), I dropped in for a 
cocktail with a friend. Mary also dropped in. 

At fifteen minutes to dinner I called mv prospective hostess 
to ask if I might bring bclla Duncan. In a voice of sherbet, my- 
never-again-to-be hostess informed me that she expected me to 
take another lady in to dinner. Mary, it seems, had uncon- 
sciously "lured" hostess' husband at a party. Of course, I 
never did get to the dinner. But, as Eva Tanguay once 
shouted, who cares? 

IN view of the kiddie snapshot of Mary with the scalp and axe, 
you'd never suspect she comes of aline, old Southern family. 
Even fine, old Southern families suffer atavism, with cave-ladies 
recurring. And, despite the snapshot, Mary reminds me not so 
much of a cave ladv as of a character from an old English 
novel: the one described as a veritable little devil, tossing her 
saucy curls and driving her horse full canter. Spirited, as 
they say. [please turn to page 105 ] 

4-? 




^tarlets 



p. & A 



A mere glance will tell you that this is 
the daughter of John Gilbert. Little 
Leatrice Joy Gilbert is only four years 
old, but she takes life seriously, as be- 
fits the child of two famous stars 



The three shooting Bosworths, George, the 
Missus and Hobart. When the Bosworths 
practice archery on the front lawn, their 
neighborhood in Beverly Hills is as danger- 
ous as Sherwood Forest was to the Sheriff 
of Nottingham in the days of Robin Hood 



Picture of a bad 
man being good — 
George Bancroft, 
with Mrs. Bancroft 
and their daughter, 
Georgette. Before 
her marriage, Mrs. 
Bancroft was 
Octavia Broske, a 
well-known prima 
donna in operettas. 
Bancroft was 
a comedian and, if 
you'll believe it, a 
dancer 



Some youngsters who 
may follow in the foot- 
steps of their famous 
parents 





p. &A 



Two little boys who are happy in spite of the fact that 
they were the storm center of a divorce case. Charles 
and Sydney Chaplin, sons of the world's most 
famous comedian, are cared for by their grand- 
mother, while their mother is on a vaudeville tour 



Irving Cummings, Jr., has a 
swimming pool in his own back- 
yard. The Cummings live in 
Lankershim, a suburb of Holly- 
wood, where boys may be boys. 
Not so many years ago, Irving, 
Sr., was a popular actor and 
thrilled 'em in serials. But the 
canny Mr. Cummings gave up 
acting and became a producer. 
And so, instead of being an out- 
moded matinee idol, he is now a 
prosperous and successful director 



Three colleens who would win any 
freckled-face con test — Eileen, Mary 
and Sheila O'Malley. Their dad is 
Pat O'Malley, bom in Dublin and 
proud of it, and their mother was 
formerly Lillian Wilks. And while 
some of your other actors may com- 
plain of the du Uness of domesticity, 
Mr. O'Malley can boast of the liveli- 
est home life in Hollywood 




^ 



A 



n 



Old Fashioned 

Girl 

^teps Out 



By Grace Mack 

The film style in heroines 

changed and Lorna Lane had 

to take a desperate course 



LORNA LANE knew that she looked extremely smart as she 
entered the gilded reception othce of the Supreme Studio. A last 
look in the mirror had assured her that the black satin frock 
clung to her figure in a way which only Paris could achieve, and 
the tight-fitting turban of shiny black feathers which hid her soft hair 
and most of one eye, added a final note of sophistication. But even 
this knowledge did not prevent a feeling of nervousness as she stepped 
up to the desk and asked for Bernard Thornburg. 

Not so long ago the inner door would have opened automatically 
when Lorna Lane entered the reception room. But now the boy at the 
desk said: 

" Mr. Thornburg's in conference. Did you have an appointment?" 

Lorna nodded. It was little things like this which made a star know 
she was slipping. 

"Will you wait a few minutes?" he asked. "I'll tell his secretary 
you're here." 

Lorna sank down in the high-backed chair in the corner and care- 
fully drew the fur scarf more closely about her face. There were other 
people waiting and she had never quite gotten used to being stared at. 

It is doubtful, however, if any of those waiting recognized her. 
Certainly there was little resemblance between this sleek young woman 
of the world and the wide-eyed, curly-haired ingenue in the old- 
fashioned crinoline frock, whose picture still hung on the wall of the 
reception office. 

Almost unconsciously Lorna's eyes wandered toward that picture. 
Once it had given her a thrill to see it hanging there. Now she had a 
mad desire to jerk it off the wall. 

"The Girl in the Crinoline" had been her first big role. It had made 
her, everybody said. But now, looking back on it, Lorna wondered 
if it hadn't really ruined her. 

After her first success in that picture Thornburg had tied her up with 
a contract. Not very much money at first but it had seemed like a lot 
in comparison with the seven-fifty and ten dollars a day which she had 
been earning as an extra girl. Besides, as the company lawyer had 
pointed out, the contract contained an option clause. If at the end of 
two years the option were exercised, it would put her in that charmed 
two thousand a week class. 




"The Girl in the Crinoline" grossed more than half a 
million. Lorna Lane was declared to be a "find" and 
the company continued to cast her in the type of role 
which had brought her fame. They built up a legend 
about her. "Lorna Lane, Supreme's Old-Fashioned 
Girl." They dressed her in pinks and baby blues. 
They photographed her in laces and furbelows. And 
Lorna, a little dazed by it all, tried to hve up to the 
legend, off screen as well as on. That, she realized now, 
was where she had made her biggest mistake. 

Then, almost overnight it seemed, the public taste 
changed. Elinor Glyn coined the word IT and cute 




Illustration by 

Everett Shinn 



When the mask was pulled aside the pale face of Supreme's Old-Fashioned Girl was revealed. 

"Do I get the part, Bernie?" she asked weakly. 

"Hell, no," Thornburg exploded. "I ought to bar you oflE the lot for pulling a stunt like that. 



little flappers who always got their man suddenly became the 
vogue. You had it or you didn't. Directors said Lorna Lane 
didn't. Of course she was sweet and lovely and all that, but she 
had no sex appeal. She was unfortunate enough to be identi- 
fied with three pictures which were box office flops. Her fan 
mail began to drop off. She begged Thornburg to let her try a 
different type of role entirely. But it is almost as easy for a leop- 



ard to change its spots as for a picture actress to change her 
type, once she is established as such. Thornburg patted her 
hand and assured her that the idea was ridiculous. 

"We've sold vou to our exhibitors as Supreme's Old-Fashioned 
Girl. It would' be foUv to attempt to play you otherwise. You 
take care of the acting, Lorna, and leave the business end 

(O us." [ PLEASE TURN TO PAGE 125 ] 

A7 



Gossip of AW 






ft 



Not a trick photo of one girl, but 
an unusual camera study of two 
of the prettiest actresses at the 
Fox Studios. At the left is June 
Collyer, at the right Mary Astor. 
Both girls are live feet, five inches, 
and the same weight, 115 pounds. 
Mary is one year older than June 




THE INFANT TALKIE 

My mamma is a camera, 

My papa's name is mike- 
No ■wonder no one ever knows 

Just quite what Pll be like! 

WHY did Ina Claire marry Jack. Gilbert? 
Adela Rogers St. Johns is at great pains to tell, elsewhere in this 
issue, vihy John married the lady. And, as she is the leading comedienne 
of the American stage, admired and even adored by thousands, old Cal 
was interested to knovi' why Miss Claire yessed the demon lover. 

I found out over a luncheon table in the Claire dressing room on the 
Pathelot. 

Ina Claire married John Gilbert because she liked his laughter! 

AT any rate, it was the boyish spirit in him that made her give him a 
second look, Their second meeting was at a Hollywood party, and 
the uproarious good time Gilbert had over some silly little parlor game 
fascinated Ina. She, too, loves to ha-ha — her real name being Fagan and 
her real nature all the Gaelic gayety that goes with it. 

The more she saw of him the more she was attracted by his enormous 
vitality and good spirits. Astonished, in a week or two she was saying to 
herself, '" Where has this been all my life! I want this!" 
And, in a sun-baked little Nevada town, she got it! 

WHATEVER happens to the mating of Gilbert and Claire, they 
understand each other thoroughly. 

Ina is a brilliant girl, with a keenkutter mind. She has the jump on 
this delightful playboy she married, and when they are together there is the 
flash of continual verbal sword-play. It is better than a show. 

At present Jack is the fascinated and adoring boy. He makes dental 
appointments for her, he pops in and out of her dressing room when he can 
get away from his own lot — he pointed out a cowlick on the back of her 
blonde bobbed head as though he were showing off the eighth wonder of 
the world. 

In self-centered, movie-minded Hollywood, Gilbert is the great I-Am, 
while Claire is just another stage star out to try pictures, and this galls 

45 



The girls go into long trousers. For 
the sea scenes of "The Single Stand- 
ard," Greta Garbo wore Hannel trou- 
sers with a plain, tuck-in sweater and 
sea-going canvas shoes 



T/^. S 



TUDIOS 



By 

Cal 
York 



The newest pupil at Public School 
No. 17 in New York. Notto be talked 
out of American pictures by the 
talkies, Camilla Horn goes with 
her school books every evening to 
the English classes at the little red 
school house on West 48th Street. 
Her teacher is Mrs. M.J. Petersen 




Leila Hyams' pa jama outfit is more 
elaborate. The suit is apple green 
and the sleeveless, tuck-in jumper 
has a printed yoke. The trousers, 
too, have a yoked top 



Ina no little, though she laughs it off. The queen of New York is not one 
to be a mere lady-in-waiting in Hollywood. 

" Tell Jack, that I'm somebody in the theater!" she commanded, and old 
Cal did. 

"Jack," said Cal, "when you two get off at the Grand Central Station, 
you'll be just an actor carrying Ina Claire's bags!" 

And the infatuated Jack, Playboy of the Western World, even took 
that, and liked it! 

/TLENE MARKEY was signed to write dialogue for Columbia Pictures 
^-^ and arrived in Hollywood just after the Jack Gilbert-Ina Claire 
wedding. It was understood that Markey had been engaged to Miss 
Claire, and the sob sisters took typewriter in hand to say in headlines 
that a broken-hearted writer had come on to air his grief before the 
film colony. 

"What do you think about all this publicity?" asked Harry Cohn, 
head of Columbia, when he showed Markey the papers. 

"I think it's disgusting," said the writer. 

"Don't you care, don't you care," said Cohn. "Don't every story 
mention Columbia Pictures?" 

AFTER a year's trial, Robert Bow, father of Clara, has closed his "IT" 
restaurant on Beverly Boulevard. For a while things were up and 
coming, with Clara dropping in frequently to dunk her doughnuts and tear 
a herring. When Clara stopped coming so did the rest of the trade. 

Bow pi-re's cafe fell in hard lines right at the beginning of its career 
when the Paramount studio refused to permit the use of Clara Bow's name 
for advertising purposes. The loss reported to the flaming "IT" girl is 
reported as better than SIO.OOO. 

Before entering the restaurant business, Father Bow operated a cleaning 
and dyeing business which his daughter purchased for him. 

BETTY COMPSON and not Pauline Starke, as previously announced, 
will play the leading feminine role opposite Eric Von Stroheim in 
James Cruze's picture, " The Great Gabbo." 

News of the fact that Miss Compson was to appear in Cruze's produc- 
tion was received with marked interest in the film colony, due to the recent 
separation of the two, with a reconciliation following. 

49 





International Newsrecl 



Picture of one little clown who is not 
suffering from a broken heart. Under 
the grease-paint is Clara Bow, the 
Brooklyn bonfire, in circus makeup 
for her second talkie aptly — in fact 
inspiredly — titled "Dangerous Curves" 



A lovely lady retires from the screen. Florence Vidor 
sails for Europe with her husband, Jascha Heifetz, 
who will make his annual summer concert tour of the 
Continent. Miss Vidor tried one talkie and didn't like 
it. She asked for a release from her contract, so that 
she might be free to accompany her husband 



It was explained in the daily newspapers that ]\Iiss Starke 
was unable to take the role on account of a slight injury sus- 
tained from a fall while riding horseback. A well-authenticated 
rumor, however, has it that she had difficulty in remembering 
her lines in the production, and that Von Stroheim's shirt front 
was plastered with her cues. Miss Starke has not made a screen 
appearance in several months. "The Great Gabbo" was to 
have marked her come-back. 

QOMEONE asked Al Jolson how many times he had sung 
'^"Mammy." It didn't take Al, now on his third picture 
for Warner Brothers, long to figure an answer. 

"If all the Mammies I have sung about were stood in 
single file, beginning at the far end of California, the old 
South would be practically depopulated," he explained. 

THEY tell a story of rare self sacrifice in Hollywood. Ricardo 
Cortez was offered the name role in "Trader Horn" but 
refused it. It would have meant glory and money and a vivid 
come back for him. 

But it also meant being in Africa for eight months away from 
Alma Rubens when she needed him most. 

PRINCE FERDINAND of Prussia asked Anita Page to go 
with him to the opening of "Show Boat." It threw the 
family into a state of hysteria. Mamma and Papa Pomares 
(Anita's parents) have never let their daughter appear in public 
without them. But a prince is a prince even in Hollywood. 

.\nita was at last allowed to go, however, but the Pomares 
couldn't bear to sit at home, so they jumped into their car, 
dashed to the theater 'and were on handl to see that daughter 
was properly chaperoned on the way back. 

T EW CODY, who is, by the way, able to call on his friends 
■^^and attend the Orpheum after his serious illness, says 
that now that so many Broadwayites are in Hollywood, even 
if you wanted to write a letter there's nobody to write to. 

THE fortieth milestone does strange things to men and 
women. Charlie Chaplin has crossed that fateful line, and 
according to his friends all is not so well with the little clown. 
Nothing critical — simply that Chaplin, facing the downward 
slope, has become age-conscious. As you know, he has taken to 
touching up his gray hair with a more youthful hue, but that 
is a trifling symptom of the spiritual change. 

50 



His friends say that he thinks and speaks a great deal, these 
days, of the chances and changes of old age, in a gently melan- 
choly way. The old-time mad buffoon is on the way to extinc- 
tion, leaving a much more serious little person touched by time. 

In short, our maddest wag has come to that time-conscious 
period through which all men and women must pass. And 
right now, with Chaplin, it is another case of leff, clown, leS. 

THE most radiant girl in Hollywood today is Lila Lee. 
Gone the slender, pale creature of the last few years. 
The new Lila is sturdy, tanned by the beach sun, vivid with 
health and the will to succeed. She is by aU odds the most 
glittering young thing of the moment. 

To match this spiritual and physical health, Lila is happy. 
After a dull stretch, she is busy in the studios on various talking 
pictures. Moreover, she has an elegant boy friend in the hand- 
some and brilliant person of John Farrow, one of the ace 
writers at Paramount. 

It would do your heart good to see Lila Lee glisten. For we 
all have a soft spot in our hearts for her, as one of the youngest 
of the real veterans who have literally grown up with the screen. 

FOR the first time in exactly seventeen years, Lon Chaney 
has been sick! 

By that token, for the first time Chaney has begged off 
posing for studio portraits and other things that take time and 
strength. Always the first star on the lot, he has struggled 
through his latest picture on his nerve, and now needs a rest. 

Chaney, in health, turns up at nine in the morning, ready for 
work, in a dingy suit and a knockabout golf cap. He is Lon 
to the lowliest call boy on the Metro-Goldwyn lot. At heart he 
is still the old vaudevillian — regular as they come, and every- 
body's pal and adviser. 

At Christmas time every gal on the lot, whatever her rank, 
gets a glove order from Chaney, delivered by his own hand. 

The other day I saw him on the lot. A mother and a little 
girl were waiting near the offices. Chaney, in dowdy suit and 
old cap, picked up the child and fondled her. That was Chaney, 
the $4,000 a week movie star whose public is everlasting. 

WE have been advised that Mrs. William Powell, wife of 
the Paramount star, is returning to the screen. At pres- 
ent she is appearing on the stage in "Burlesque," under her 
maiden name, Eileen Wilson. For future picture work she will 
appear under her married name. 




Little Eva, all set to join in the angels' chorus. The 
girl in wings is Bessie Love, who plays a trouper in an 
"Uncle Tom's Cabin" company in "Eva the Fifth." 
Don't write in to tell us that wrist watches weren't 
worn before the Civil War. The timepiece is used so 
that Little Eva can be sure of an 11:15 curtain 



Looking ahead on the new Fall hats. 
Jean Arthur wears a small, helmet- 
shaped hat made of velvet. It is per- 
fectly plain and worn slightly off the 
forehead. Witli it is worn a circular 
piece of tulle for a nose veil 



WHEN Greta Garbo was in Catalina on location the citi- 
zens of Avalon were thrown into a state of constant 
panic. Local physicians report eight necks broken when sight- 
seers tried to get a look at her. But Garbo appeared in the 
little village only once. 

Dressed in her usual careless manner and with her hat pulled 
over her eyes, she walked into a curio store, bought a sea shell 
and, finding she had no money, had it sent to the hotel C. 0. D., 
giving her maid's name. 

And the same curio dealer was among the crowd who tried 
to catch a glimpse of her when she hurried from her hotel to the 
location yacht. 

'TPHE naive curiosity of Ralph Forbes, who is playing an 
important role in "The Green Goddess," with George 
Arliss, for Warner Brothers, led to this. Forbes was testing 
the rather extensive botanical knowledge of his friend and 
co-player in the picture, H. B. Warner, by bringing him 
small pieces of flora from about the company's location 
set near Chatsworth, Calif. 

"What's this?" he asked Warner one morning, displaying 
a single, green leaf. 

"That," said the obliging Mr. Warner, "is poison ivy." 

IT may be for solace or it may be for spite, but the fact remains 
that since Jack Gilbert and Ina Claire were married Greta 
Garbo and Nils Asther have been chummier than ever before. 

Rockabye, Baby Star, 

Up at the top; 
While the blurbs rave 

Yon never can flop! 
When the blurbs stop 

Your contract will fall. 
And down will come Baby Star, 

Options and all! 

THIS is the Recipe of the Month, so far as Cal is concerned. 
It is the Louise F'azenda cocktail — as smooth and per- 
suasive a concoction as ever soothed a parched gullet. 
To serve six people — 

One pint of pineapple ice, the juice of one-half grapefruit and 
two lemons. 

I hear, also, that it would be improved if that obsolete fluid 



known as "gin" were achled, to taste. But this, of course, is 
quite impossible in a prohibition country. 

HOW time does fly! Can you believe that little Bill Ince, 
son of the late Thomas Ince, is old enough to get married? 
Well, he is twenty now and very shortly will be married to Miss 
Ada Williams, a Kentucky girl who won a beauty contest in 
Florida and came West to win further fame in pictures. 

Miss Williams has appeared on the screen intermittently, but 
the best thing she has done for herself is to win the affections 
of "Nell " Ince's son. 

Mrs. Ince is one of the most beloved women of the film colony 
and Bill numbers his friends by the score. Besides, the young 
people will have no financial worries. 

"T^R. STEPIN FETCHIT, the eminent sepia comedian, 
■^is now the undisputed king of the colored colony of Los 
Angeles. 

Dr. Fetchit took Dr. Herb Howe, whose brilliant inter- 
view on the comic appeared in Photoplay, to see the 
colored aristocracy, not long ago. Their gathering place is a 
big, noisy and joyous cafe named The Apex. 

At a table near Drs. Howe and Fetchit sat a particularly 
handsome girl of a yellow tint, and dressed to kill. 

Fetchit called her over, and Dr. Howe was presented to 
the belle of the high-toned set. 

"Very pretty girl," commented Herb. "Who is she?" 

"Mrs. Smith?" drawled Stepin. "Why, she's the wife of 
dat big p'liceman you saw outside the doah!" 

TIME was when Joan Crawford and Doug Fairbanks, Jr., 
were the most audibly devoted couple in Hollywood. They 
could be seen any noon at the M.-G.-M. commissary languishing 
over the soup and crooning sticky phrases. 

.A daily witness of the procedure penned the following 
epitaph which Dorothy Herzog ran in her column: 

Here lie the bodies of Doug and Joan. 

They died as they lived — making sweet moan. 

THEN, alas, came the day when the vivacious Lupe brought 
her Gar-r-ee to the commissary. They occupied the table 
next to Doug and Joan and completely out-mooned the former 
billing and cooing champs. [ please turn to page 88 ] 

51 



^OW to Make 



a 



Aged scientist reports on the love life of the 
domesticated microphone 



I WILL try to explain to you, with the aid of a quart of 
commas and a few semi-colons, how talking pictures are 
made. 
Of the history of talking pictures I will only remark that 
they were invented by I and Dr. Herb Howe, the young 
Armenian numismatist, in the early fall of '93, which you re- 
member as Centennial Year, but I remember for an attack of 
shingles. Our first talking picture was that of a snail crawling 
across the head of cabbage. Then, you may recall, came the 
war, and an unpleasant incident it was. 

My researches in the modern talking picture were carried on 
on Stage 13 of the great Paramount Studio in Hollywood, to 
which I gained entrance by lisping, as an actor. I was assisted 
in my experiments and observations by the famous Case D, 
the young lady who slept through the burning of Rome and 
" The Trial of ilary Dugan." 

My chief subject was Dr. Adolphe Menjou, that distinguished 
Siamese model who was sewed into a claw-hammer coat in 1919 
and has not since emerged. Our experiments were carried on 
during the filming of "The Concert," a sophisticated Viennese 
comedy in which Dr. Menjou appears as a jaded lover, a jealous 
husband, a Knabe baby grand piano and a flourish of trumpets 
heard off. He was in process of being directed by Dr. \'ictor 
Schertzinger, the eminent composer-director who is still under 
sentence of death for having composed the song " Marcheta." 

After looking at a test tube, eating a piece of litmus paper and 
drawing pictures on a desk calendar for 1922. I find that the 
following properties are needed for the making of a 'modern 
talking picture. I list them in the order of least importance. 
1. Dr Menjou and the actors. 
Dr. Director Schertzinger. 
Tweve colored maids to hold things. 
Eighty electricians, blonde or brunette. 
Twenty experts, cameramen, technicians, 
bat-boys, rubbers and chief seconds. 

6. Ten dirtv gentlemen to say 
"Shhhhhh!" 

7. A young doctor, fresh from 
mail order school for electrical engi 



neers, who sits at a desk, pushes buzzers, yells "Sink it!" and 
thus sinks the talking picture — in short, makes the shadows 
yodel, chortle and play dead. 

Let us now proceed to the actual making of a talking picture 
scene. In words of one syllable let us see what actually happens 
on a great sound stage, among microphones both wild and 
domestic. 

The big felt-lined stage is buzzing with talk. Electricians are 
knocking over lights, character women are doing the black 
bottom, blondes are fighting in corners, Dr. Director Schert- 
zinger is pulling out handfuls of his own hair and stuffing a sofa 
pillow with it. Seated in a chair marked " Miss Compton," Dr. 
Menjou is trying to keep from falling through his eight inch 
collar. In a chair marked "Mr. Entwhistle," Miss Compton, 
an English actress, is trying to say "America" so that it will 
sound less like "Hemuddicah!" 

At last Dr. Schertzinger, having pulled out the last hair, says, 
"Are we all set?" 

The young electrical doctor puts down his diploma, swallows 
his toothpick and says "oh kay !" 

"Lock the doors!" booms the assistant director. 



2. 
3. 

4. 
5. 



My chief sub- 
ject was Dr. 
Adolphe Menjou, 
who was sewed 
into a claw-ham- 
mer in 1919 and 
has not since 
emerged . The big 
felt-lined stage 
was in action. 

The cameras 
and the meduUae 
oblongatae were 
beating as one. 

"Darling," said 
Dr. Menjou, "our 
two hearrts are 
beating togedder 
like one." 

"Cut!" yelled 
Director Schert- 
zinger. 

52 





Pi 



icture 



By Prof. Dr. Leonard Hall 

{Western Electric Co.) 



The mighty portals shut out the world. 

The professional shushers all begin shushing. 

Four cameramen, with dirks in their teeth, are shut into air- 
proof, sound-proof cells with their cameras and a dozen 
tarantulas. Electricians maladjust the lights for the last time. 
Dr. Menjou and a bon-bon blonde take their places on the 
"set." The blonde looks as though she wishes a cloudburst 
would descend and melt her. Dr. Menjou has the gay and 
debonair appearance of a gentleman about to be hanged. 

"How are yah fi.xed, kid?" asks Dr. Menjou, in his best 
Parisian. 

"Oke," says Dr. Schertzinger. 

A field piece booms from the roof of the studio. Signal flags 
are run up at the masthead. Rockets break in the afternoon 
sky. A bell is rung — once, twice, thrice. A whistle blows 
sharply. 

young 
electrical doctor into a telephone. 



Silence falls. The cameras and the medullae 
oblongatae, or sound dinguses, are beating as 
one. Eye and ear are in "synchronization," 
or "are sunk," as we scientists say. 
In the mLxer they are being mixed, 
or mu.x. 

Here comes 
Dr. Menjou, 
gnawing first at 

' PLEASE TURN 
TO PAGE 100 




Illuitrated by 

Ken Chamberlain 



THE NATIONAL GUIDE TO MOTION PICTURES 




The 



yf^ THE ARGYLE CASE— Warners 

THIS is not only Thomas Meighan's first talkie; it is one 
of the most logical murtler mysteries we've yet seen. As 
a modern Sherlock Holmes-Craig Kennedy sort of sleuth, 
Meighan is superb. The story is sane, sophisticated and 
thrilling. High above the plane of the ordinary crook melo- 
drama, the battle is one of wits, not gats. It is vibrant with 
mental action and suspense. 

H. B. Warner is singularly fine in the role of Joint A r gyle's 
attorney. Lila Lee, as the chief siispect, and Gladys Brock- 
well, a mystery woman, are both splendid. There are too 
few flashes of ZaSu Pitts of the querulous voice. 

This picture shows a marked improvement in the voice 
reproductions of the Vitaphone. Howard Bretherton's di- 
rection is highly commendable. All Talkie. 




■^ ON WITH THE SHOW— Warners 

ONE hundred per cent everything — singing, dancing, 
talking and technicolor. The color photography makes 
it unique. 

The situations have whiskers, but the transitions from 
back stage drama to footlight hey-hey are well done. There 
is a large chorus with lively dance routines, and tuneful 
music. The conversation consists of snappy comebacks, 
1910 variety. 

Performances from the large cast are almost uniformly 
good, with Joe E. Brown standing out with sparkling comedy 
interpolations. Sam Hardy scores as the harassed pro- 
ducer, and Betty Compson is optically entertaining. The 
Blues singing of Ethel Waters is a highlight. Alan Cros- 
land's direction is competent. All Talkie. 

54 



Shadow 
Stage 

(REO. U. fl. PAT. OFF.) M ^ 

A Review of the New Pictures 




yi^ BROADWAY— Universal 

THE original of all the night club and underworld dramas 
— and still the most effective. You may quarrel with 
the too lavish settings given the Dunning-Abbott play, but 
you'll have no complaint against Director Paul Fejos' direct 
and sharp handling of the story. 

Here you will find no hodgepodge talkie, tr>ing to get by 
on the strength of its novelty, but an expert drama, with 
concise dialogue, tense melodrama and, for the most part, 
good acting. 

Glenn Tryon plays the role of the innocent hoofer em- 
broiled in a bootlegging murder. 

Tryon is surprisingly good in a difficult part. But he has 
keen competition in Thomas E. Jackson, a member of the 
stage cast, and Evelyn Brent, as the vengeful chorus girl, 
who steal the show. Mr. Jackson is decidedly a talkie find. 
What a voice! Paul Porcasi, as the proprietor of the night 
club, also duplicates the hit he made on the stage. Merna 
Kennedy is not so good and is swamped by superior per- 
formances. 

"Broadway" is tricked out with theme songs, with special 
dancing acts and with a mammoth cabaret scene, three 
times as large as any New York night club. 

But these bits of over-elaboration are immediately for- 
gotten in the rush of the melodrama back-stage in the night 
club. 

And so you will not be disappointed in Universal's version 
of one of the most entertaining plays presented in several 
seasons. All Talkie. 



SAVES YOUR PICTURE TIME AND MONEY 



The Best Pictures of the Month 

BROADWAY EVANGELINE 

THE ARGYLE CASE ON WITH THE SHOW 

FASHIONS IN LOVE PRISONERS 

THUNDERBOLT 

The Best Performances of the Month 

Thomas Meighan in "The Argyle Case" 

Thomas Jackson in "Broadway" 

Evelyn Brent in "Broadway" 

Adolphe Menjou in "Fashions in Love" 

George Bancroft in "Thunderboh" 

Casts of all photoplays reviewed will be found on page 14-1 




y^ EVANGELINE— United Artists 

THIS is a most unusual picture. It has a synchronized 
score but no dialogue. It took six months to make and 
cost a half million dollars. It marks Edwin Carevve's seven- 
teenth anniversary as a motion picture director. It is the 
filrii version of one of the best loved Ameiican poems. 

The poet Longfellow's story of the Arcadian lovers, Evan- 
geline and Gabriel, who are torn from each other on their 
wedding day and spend all their lives trying to find each 
other, is familiar to every school child. 

Dolores Del Rio plays Evangeline and while she does not 
talk, she sings both in French and English and her voice will 
qualify when she wishes to talk. In her Norman cap and 
curls, she hardly looks as beautiful as formerly, but she gives 
a fine characterization of the French peasant girl and her 
transformation as the old lady is striking. Roland Drew as 
Gabriel is satisfactory and Donald Reed as Baptisle is 
particularly pleasing. 

The dramatization by Finis Fox, who has done most of 
the Del Rio pictures, is a fine elaboration of the original. 
Everything has been done to make this picture entertaining, 
pictorially beautiful and historically correct. Miss Del Rio 
is seven hours in icy cold, fast moving rapids for a scene that 
runs only a few minutes. The town of Grand Pre is built 
and burned down at a huge cost. 

The picture just misses being notable, but the gorgeous 
breath-taking settings and the universal appeal of the love 
story guarantee intense interest. It would be a distinct loss 
to miss "Evangeline." Sound. 




^ FASHIONS IN LOVE— Paramount 

ADOLPHE MENJOU breaks out with a voice, a French 
accent and the best performance he has given in many a 
movie moon. Disguised by a ridiculous title, this is "The 
Concert," played so successfully by Leo Ditrichstein. It's 
an old school farce of a concert pianist whose spirit to be a 
Lothario is willing, but whose flesh is weak. Its glaring 
fault is that a great musician should compose such inferior 
melodies. Fay Compton and Miriam Seegar, both from the 
English stage (the former a native of Britain, the latter an 
American girl) give their first film performances in this 
country. Both are capable actresses. 

But the honors go to the star. His French accent is ex- 
cellent, although he was born in Pennsylvania. Not a great 
picture but big entertainment. All Talkie. 




^ PRISONERS— First National 

THIS is not another "Divine Lady," but it is an interest- 
ing story of a girl's struggles to lift herself up by her boot 
straps. A beautiful Hungarian peasant girl, Riza Riga, be- 
comes involved with the proprietor of a low-class night club 
where she is an entertainer. To escape him, she steals money 
and runs away. Her weakness again overtakes her and she 
steals to buy clothes whereby she can charm one Nicholas 
Cathay. Alas, alack! It is the irony of fate that he is the 
lawyer called to defend her when she is arrested. Now, 
don't get excited. This is a different "trial" scene. Ian 
Keith plays the difficult role of Cathay, while Otto Matiesen 
and Bela Lugosi also have important roles. Ferenc Molnar's 
play becomes effective screen entertainment and Corinne 
Griffith is quite adorable. Part Talkie. 

55 



Sound or Silent, You Will Find the 



THUNDER- 
BOLT— 
Paramount 

* 

All Talkie 




the black 
watch- 
Fox 

All Talkie 



WITHOUT George Bancroft and Josef von Sternberg, this 
would have been just another gangster yarn. But Ban- 
croft gives it realism; von Sternberg artistry. A best-of-the- 
month, but crowded over here by six other good films. Fay 
Wray sheds the crinolines, and the silence, and steps out as 
a very fast young lady with a lovely voice. She and Richard 
Arlen, who is e.xcellent, .supply the romance. 



HOW Captain King saved India from the mad hordes across 
the Himalayas. Tretty extravagant and unconsciously 
hilarious when the brusque captain (Victor McLaglen) makes 
love to the goddess of the Khyber Pass hillmen (Myrna Loy). 
McLaglen is not fitted for this sort of role. The film has two 
superb opening reels, showing the Black Watch entraining in 
London. Miss Loy is good as Yasmani, the mountain girl leader. 



THE MYS- 
TERIOUS 
DR. FU 
MANCHU— 
Paramount 

All Talkie 




CHARMING 

SINNERS— 

Paramount 

All Talkie 



TAKE off those drooping moustaches, Warner Oland, we 
know you. And you too, Jean Arthur, even if you do walk 
around in a hypnotic state. And that big curtain with the 
blood-stained dragon — why, it's onh- a prop. Yessir, this is one 
of those mystery yarns that don't carry conviction. As the 
title would lead you to believe, this concerns an old Chinese 
badie with the most ripping methods of committing murder. 



RUTH CHATTERTON, who has done such tense, dramatic 
work in her recent pictures, has an opportunity for some 
delightful shadings in the picture version of Maugham's " Mar- 
riage Holiday." Clive Brook is excellent as the physician-hus- 
band who plays a little with his wife's best friend, the beautiful 
Mary Nolan. Bill Powell gives his usual suave performance 
— this time as the ''other man." Delightful entertainment. 



THUNDER 
M.-G.-M. 

Sound 




THE GLAD 
RAG DOLL— 

Warners 

All Talkie 



DON'T be skeptical. Lon Chaney actually drives that en- 
gine and, if you don't believe it, he'll show you his honorary 
membership in the brotherhood. His only disguise is grey hair 
and moustache. As usual, he turns in a sturdy performance. 
And, this is your last chance to see Phyllis Haver on the screen. 
She retired, you know, when she became Mrs. William Seaman. 
Snow storms, train wrecks and floods. Good entertainment. 

56 



A TAWDRY tale which, if done smartly, would have devel- 
oped into a good satirical comedy. Here it is just hokum 
written around a theme song. A shrewd showgirl with brains 
takes the snooty Philadelphia Faircbilds down the line and 
makes 'em like it. They oppose her marriage to Jack Fairchild 
until she delves into their private life. Dolores Costello needs 
better material and direction than she gets here. 



First and Best Screen Reviews Here 



CAREERS— 

First National 

All Talkie 




THE WHEEL 
OF LIFE— 
Paramount 

All Talkie 



A FRENCH magistrate in a small town in Cochin-China 
finds himself unable to secure promotion, regardless of 
ability. He is married to a beautiful woman, but she doesn't 
have the inside dope on how to promote a husband's "career." 
Her attempts to practice the usual method brings disaster. 
Billie Dove radiates beauty; Carmel Myers sings a lovely song; 
Antonio Moreno makes love nicely. Fairly good suspense. 



THIS romance of a British officer and his colonel's wife out 
in India is a bit disappointing. The picture lacks the work- 
manlike touch which has lately identified several outstanding 
Paramount productions. It is Esther Ralston's first all talkie, 
and she's very beautiful. Richard Dix plays with dignified re- 
straint. O. P. Heggie, whose performance in "The Letter" was 
so fine, is splendid as Colonel Daiigan. Expertly synchronized. 



THE 
COCOA- 
NUTS— 
Paramount 

All Talkie 




SKIN 

DEEP— 

Warners 

All Talkie 



THE Marx Brothers are photographed and sounded in their 
Broadway musical comedy of this title. The thing has been 
screened in tola, painted back drops and all. This shows signs 
of hurried production, but Groucho Marx is funny in his rapid 
fire wise-cracking and there are hilarious moments. His 
brothers lend assistance. Mary Eaton and Oscar Shaw are 
present but buried beneath the ^larx antics. Fairly good. 



THIS is another revival. The original was made seven years 
ago with Milton Sills in the lead. In the Warner-Vitaphone 
revival, Monte Blue plays the frightful looking gangster (it's 
all done with putty and theatrical glue) whose face and soul 
are re-made by plastic surgery and Alice Day, respectively. A 
fair crook yarn (aren't we getting familiar with our underworld?) 
with Betty Compson as scheming and beautiful as ever. 



THE FAR 

call- 
Fox 

Sound 




THE 

WOMAN 

FROM 

HELLr— 

Fox 

Sound 



A VIVID action story of seal piracy in the Bering Sea. A 
crooked young sailor plans a raid on the government seal 
rookeries. He precedes his crew to St. Paul's Island, where the 
natives find that he's the lost son of the founder of the island. 
The determined crew lands, mutinies, and the boy fights for his 
family traditions. Boy, what a fight! Short 6«/ sweet! Charles 
Morton and Leila Hyams head the excellent cast. 



WHEN Jaime Del Rio wrote this story, it looked like good 
picture material. The final achievement, however, is 
divested of value except for the intriguing title. It takes more 
than modern credulity to believe a city girl would give up the 
Gay White Way for a home too small to bathe in. Mary 
Astor is beautiful and Bob Armstrong's smile tones down his 
villainy. Mild entertainment. [ please turn TO page 110 ] 

67 



$5,000 ///Fifty Cash Prizes 



RULES OF CONTEST 



Fifty cash prizes will be paid by Photoplay Magazine, as follows: 

First Prize $1,500.00 Fourth Prize $ 250.00 

Second Prize 1,000.00 Fifth Prize 125.00 

Third Prize 500.00 Twenty Prizes of $50 each . 1,000.00 

Twenty-five prizes of $25 each $625.00 



2. In four issues (the June, July, August and 
September numbers) Photoplay Magazine is publish- 
ing cut puzzle pictures of the well-known motion 
picture actors and actresses. Eight complete cut 
puzzle pictures appear in each issue. Each cut puzzle 
picture will consist of the lower face and shoulders 
of one player, the nose and eyes of another, and the 
upper face of a third. When cut apart and properly 
assembled, eight complete portraits may be produced. 
$5,000.00 in prizes, as specified in rule No. 1, will be 
paid to the persons sending in the nearest correctly 
named and most neatly arranged set of thirty-two 
portraits. 

3. Do not submit any solutions or answers until after 
the fourth set of cut puzzle pictures has appeared in the 
September issue. Assembled puzzle pictures must be 
submitted in sets of thirty-two only. Identifying 
names should be written or typewritten below each 
assembled portrait. At the conclusion of the contest 
all pictures should be sent to CUT PICTURE PUZZLE 
EDITORS, Photoplay Magazine, 750 North Michi- 
gan Avenue, Chicago, 111. Be sure that your full name 
and complete address is attached. 

4. Contestants can obtain help in solving the cut 
puzzle pictures by carefully studying the poems appear- 
ing below the pictures in each issue. Each eight-line 
verse refers to the two sets of cut puzzle pictures appear- 
ing directly above it. The six-line verse applies generally 
to the four sets on that page. Bear in mind that it costs 
absolutely nothing to enter this contest. Indeed, the 
contest is purely an amusement. You do not need to be 
a subscriber or reader of Photoplay Magazine to com- 
pete. You do not have to buy a single issue. You may 
copy or trace the pictures from the originals in Photo- 



play Magazine and assemble the pictures from the 
copies. Copies of Photoplay Magazine may be 
examined at the New York and Chicago offices of the 
publication, or at public libraries, free of charge. 

5. Aside from accuracy in assembling and identifying 
cut puzzle pictures, neatness in contestants' methods of 
submitting solutions will be considered in awarding 
prizes. The thirty-two cut puzzle pictures or their 
drawn duplicates, must be cut apart, assembled and 
pasted or pinned together, with the name of the player 
written or typewritten below. 

6. The judges will be a committee of members of 
Photoplay Magazine's staff. Their decision will be 
final. No relatives or members of the household of 
anyone connected with this publication can submit 
solutions. Otherwise, the contest is open to everyone 
everywhere. 

7. In the case of ties for any of the first five prizes, the 
full award will be given to each tying contestant. 

8. The contest will close at midnight on September 
20th. All solutions received from the time the fourth 
set of pictures appears to the moment of midnight on 
September 20th will be considered by the judges. No 
responsibility in the matter of mail delays or losses will 
rest with Photoplay Mag.azine. Send your answers as 
soon as possible after the last set of cut puzzle pictures 
appears in the September issue, which will appear on 
the newsstands on or about August 15th. The prize 
winners will be announced in the January, 1930, issue of 
Photoplay. 

9. No solution will be returned unless sufificier 
postage accompanies the solution and such request 
made at time of submission. 



Cut Puzzle Pictures Are on Second and Third Pages Following This Announcement 



SUGGESTIONS 



Contestants should study the poems appearing in connection 
with the cut puzzle pictures. These are the indicators for 
identifying the contest puzzle pictures and winning prizes. 

Contestants will note that identifying numbers appear at the 
margin of the cut puzzle pictures. These numbers may be 
copied upon the cut portraits, with pencil or pen, so that, in 
pasting or pinning the completed portrait, it will be possible to 
show the way the cut pieces originally appeared. 

68 



As no solutions may be entered before the fourth set of puzzi! 
pictures appears, it is suggested that contestants merely pin 
their solutions together until the conclusion. This will permit 
the shifting and changing about of pictures as the contest 
progresses — and will give time for lengthy consideration and 
study. 

Each cut puzzle picture is a portrait of a well-known motion 
picture actor or actress. 




/'"T'^ROM the little gal of Hoot Gibson's Westerns to leading woman for John Barrymore — ■ 
A' that's what the talkies have done for Marian Nixon. Marian's success in the microphonic 
^ drama is one of the surprises of the season. The demure little ingenue of dozens of minor 
films is now playing in big-time company 



Photoplay Magazine's New $5,000 Cut Puzzle Contest 











^ 



/ AND! 
The hair is a blonde, she has eyes of deep blue — 
The eyes have the same color plan! 
The mouth has been married for two happy years 
To screenland's most rising young man! 



3 AND 4 
The hair's a New Yorker — and she's a brunette— 
"The eyes have appeared close to love; 
The mouth has been often — too often! — miscast. 
But her r61es sh^ has risen above. 



The hair is soft brown, with a light golden sheen, The hair went to school in a convent; the eyts 
The eyes were renamed for a bird. Just outside the States first saw day. 
The mouth is quite new to the films — and her voice The mouth posed for artists, and once on the stage- 
In a talkie was recently heard! She's the loveliest star, some folks say! 

RESUME 

Two of them are rmirrted, two of them are r\ol. 

Three of them were born ir\ the East. 

Two gicls went to Zteg^eld's best ,fintshtr\g school, 

They re wonders — that s saying the least! 

One starred in a number of fine costume p/uyj. 

And one shows the ftafiper with all her wild ways. 



Complete Rules for Competition Appear on Page 58 








/ AND 1 3 AND 4 

The hair went to college — the old U- of K. — The h^ir is from England — was there on the stage; 

The eyes did two parts from Van Dine. The eyes have a seven year child — 

The mouth was twice married; his last romance grew The rr^outh plays the trombone (don't take it too hard- 

In a picture of Russia — 'twas fine! For he's otherwise quite undefiled!) 

The hair played in stock, and with L. Ditrichstein; The h^ir with Lupe Velez appeared on the screen. 

The eyes went to Paramount class; The eyes knew film fame with L Cish. 

The mouth took a gallant part in the World War, The mputh has done villains — oh, when he is bad 

And at Ypres he was wounded, alas! He's a^ wicked as people could wish! 

RESUME 

Three came from the Vejl — sUghtly middlic. al thai! 

And two are extrernely brunette. 

And two have been rnarried. and one u divorced — 

And one is not married, as yet! 

Tvx> of them have light eyes, they're all very iaU-~- 



Arvi all are the sort for which womenfolk fall: 



ry I 
fall 




Duncan 



/f^ sixteen, Joan Bennett ran away from school and married. At seventeen she was the mother 
^^yi of a daughter. And now at eighteen, she is divorced. On the opposite page you will find 
the story of a refreshingly unconventional and interesting young actress, who is determined 
to live up to the traditions of a daring and fascinating stage family 




Over 

Now 



Joan Bennett has no 

further use for this 

thing called love 

By Marquis Busby 




WHEN Joan Bennett was sixteen she packed her 
nightie and her toothbrush and walked calmlj' away 
from her boarding school in Versailles, bound for 
London, a certain romantic swain, and marriage. 
At seventeen "a little stranger" joined the family. Now, just 
past eighteen, Joan is in Hollywood with a divorce and well on 
her way to screen fame. She was Ronald Colman's leading lady 
in "Bulldog Drummond," and will appear in "Three Live 
Ghosts" and "Disraeli." Before these pictures she played a 
small part with William Boyd in "Power." 

Now, isn't that a mark for all properly ambitious girls to aim 
at? Yes, she still has the baby, a beautiful little girl now at the 
"faw down" stage. The baby was a constant source of embar- 
rassment to the Goldwyn publicity offices during the filming of 
" Bulldog Drummond." An eighteen-year-old leading lady had 
no business with a healthy infant, nor even an unhealthy one, 
for that matter. So baby was kept in the background. Joan 
herself is intensely proud of her daughter. 

It would be surprising to discover a daughter of Richard 
Bennett to be lacking in at least the rudiments of practical, 
everyday sophistication. Bennett plrc was shocking prim 
maiden aunts fifteen years ago in Brieux's play-preachment, 
"Damaged Goods," and even today, when it seems like a dull 
evening, he indulges in caustic curtain talks about critics so 
benighted as to disapprove of his plays. 

Joan, the youngest of the Bennett daughters three, is no blot 
on the family 'scutcheon. She is a poised young woman of the 
world with amazing chameleon gray-green eyes, and a manner 
as cool as a cucumber — at once a protection to the lady and a 
challenge to all up and coming young men. 

" Father was furious when I married," Joan explained to me. 
"He thought that I was too young, and would live to rue the 
day, so to speak. I never have and I never shall. Every girl, 
I suppose, has thoughts of marriage and babies. It's one of 
those experiences one has to have. Well, I've had it, and it's 
all over with. I don't think I shall marry again. I'm glad I 
tried it while I was young. Of course, being the youngest of 



Joan Bennett, in- 
spiration of all 
the mysterious 
adventure in 
"Bulldog Drum- 
mond," is eigh- 
teen 



the Bennett sisters, I would be the first to make father a grand- 
father." 

With every opportunity to follow a stage career, this golden- 
haired, svelte Joan grew up without any burning desire to bear 
the flaming torch of histrionics to new heights. During her 
boarding school days in Waterbury, Conn., she was always 
taking part in amateur theatricals but her favorite studies were 
languages and music. She was quite sure that her career was to 
become the wife of some nice young man and settle down in a 
cottage covered with roses and mortgages. 

" My decision to go on the stage was a rather sudden affair," 
Joan smiled, and those smiles are all to the good. "Father gave 
me a role in the play in which he is now appearing, 'Jarnegan.' 
I played a bad girl who died in the second act. There was 
another bad girl who died in the first act. I thought I might as 
well spend as much of the evening as possible. On the last night 
of 'Jarnegan' in New York, John Considine was in the audience 
and offered me the leading role with Ronald Cohnan in 'Bull- 
dog Drummond.' " 

SINCE Joan came to Hollywood she has been joined by her 
two sisters, although each of the girls maintains her own sepa- 
rate establishment. Constance Bennett, well known in Para- 
moimt pictures four years ago and who, at that time, had no love 
for the fair and sunny Hollywood, will make pictures for Pathe. 
Barbara Bennett, dancing partner of the late Maurice and now 
married to Morton Downey, the tenor, will appear in RKO 
productions. It is the first time in several years that the girls 
have been together in the same city. 

Joan's sophisticated bearing and her splendid speaking voice, 
are undoubtedly the result of years of association with stage 
people, and the polishing-off process of European schooling. 

"When we girls were very young father used to engage a 
governess and take us about with him on road tours. I can 
remember being taken on the stage by father when he made 
curtain bows at the close of 'Damaged Goods.' I was three 
then. I have always been about [ ple.i^se turn to page 119 ] 

63 



H-jow They Manage 



Joan Crawford planned her house as 
the setting for a perpetual honeymoon 




%^m^^^mmm: 









■ftl 



Wells' "Outline of History," Lud- 
wig's "Life of Napoleon." "Yes, I 
am really reading them," says Joan, 
smilingly. "Doug is crazy about 
Napoleon just now — " 

The dining room, guiltless of rugs, 
is pure Spanish — large, antique table, 
twelve chairs, sideboard, chinacloset, 
all matching. A tall, painted screen 
guards the door from the pantry. 
Green drapes shroud the tall French 
windows leading out to the patio. 

The sun porch has windows on 
three sides, and is furnished with a 
gay rug, comfortable chairs, little 
tables — and shelves galore, all within 
reaching distance. 

These shelves are the home of 
Joan's toys. You never saw such a 
wonderful collection of toys, outside 
of a department store at Christmas 
time. One precious doll, with lovely 
long hair, used to belong to Joan's 
grandmother — but most of the toys 
are modern, diabolically clever, 



A gay rug, colorful pillows and drapes, lamps and 
comfortable chairs and settees make Joan's sun- 
porch an attractive place at any hour. The shelves 
hold her collection of dolls and toyland animals 



JOAN CRAWFORD'S charming ten-room house at Brent- 
wood Park was prepared for its master many weeks — 
perhaps many months — before Joan and Douglas Fair- 
banks, Jr., as bride and groom, returned from New York. 
They were quietly married in that city on June 3rd, as all 
the world now knows. 

One approaches the house over rustic stepping-stones, across 
a broad, velvety lawn, and through a Spanish patio to the front 
door. The bright brass knocker on this door represents two 
heads, male and female, lips pressed in a long kiss. 

Joan herself is quite liable to answer the door, with home-like 
informality. If it is daytime, she will probably be wearing a 
little sleeveless sport dress and a gay sweater. 

The floor of the hall, and of the dining room leading directly 
from it, is of terra-cotta tiles. A precious old carved Italian 
chest forms a seat in the hall. 

The living room is carpeted in soft green, with rich, brocaded 
silk drapes hanging from ceiling to floor at the French windows. 
The center of the room is bare, giving an impression of space. 
Two settees, upholstered in the same gold fabric used for the 
curtains, form a nook at the fireplace; a low, round table, laden 
with smoking paraphernalia, is between them. Other golden 
chairs, a green divan, and tiny Italian occasional tables, are 
arranged in confidential mood near the walls — and a grand 
piano, covered with a rich Burmese drape, supports a large 
picture of Joan and young Doug together, near a huge vase of 
gladioli. 

A few books in this room, on low tables near cosy chairs — • 



>^.: 



CO. 



-«>-, t^^m wm^l^Vm wtlff'v^.fSmi 



^J 



'PT/ 



These gates separate the living and dining rooms 
in modern fashion. And, as you'll agree, the grill 
work isn't the only thing decorating the archway 



64 



Their IiQ^.es 



By 
Alma Whitaker 



irresistibly funny. A life-size hen 
that cackles and lays an egg! A 
life-size baby pig, that walks and 
grunts! Teddy bears of every 
shape and size — with provocative 
expressions. Rag dogs, rag dolls, 
gorgeous lady dolls, clowns that 
sing — and, at the end of the porch, 
a little table about two feet high, 
with four chairs, and four funny 
dolls seated in them — with the 
table laid for dinner. This last 
outfit was the gift of Doug, Jr., 
last Christmas. A monster elec- 
tric railroad, with complete equip- 
ment — Joan's Christmas gift to 
Doug, Jr. 





The mistress and the new master of the house stop 
to admire the beauty of the informal patio garden, 
abounding with shrubs and bright flowers. A foun- 
tain, in the image of a lovely dryad, malies tinkling 
music here 



"We play with them for hours and hours," confesses 
Joan. 

A second patio garden lies outside of this porch, with a 
fountain in the middle, and flowers and shrubbery galore. 
" I'm going to plant some high shrubbery beyond, to shut 
out the vacant lot next door," explains Joan. 

Next the tiny breakfast room — with a pair of twitter- 
ing love-birds in the window, flirting away in a gilded 
cage! 

Joan has quite a household of pets. Beside the birds, 
there is "Coquette," the Chow pug, named after Mary 
Pickford's picture — Mary, [ please turn to page 84 ] 



The little stairway, decorated with 
colored tiles, that leads to the entrance 
hall. Oddly shaped windows and door- 
ways, beamed ceilings and tiled floors add 
much to the beauty of this house 



Exquisitely wrought laces, dainty painted 
furniture, closets that are models of 
orderliness. These make Joan's bedroom 
a charming place. She is an industrious 
housewife as well as a successful actress 




Q5 




onahan 



Wherein a twenty-minute egg 

discovers that not all movie 

stars have marshmallow heads 

and muscles 



Illustrated 

h 
R. Van Buren 



'Tug" Monahan 



THE mellow chimes of a gilt-edged Parisian clock sounded midnight 
as a man and a woman entered the magnificent pavilion and paused 
for a moment, as though dazzled by the cascade of light that streamed 
like honey from the lofty crystal chandeliers. 

Then, without speaking, they began their fateful pilgrimage down the 
thick, claret colored rug, watched by careless eyes from the triple tier of 
marble balconies spaced by Moorish arches. On they went, unheeding the 
richly tasselled hangings of blue and olive, the uniformed sentries, the gal- 
leries of regal paintings, the patrician outline of satin covered furniture. 

The girl walked with the remoteness of a French aristocrat, her rather 
plain face transfigured by a rapt idealism; the man plodded beside her with 
head bowed in thought, enormous hands clenched, until a sound like hushed 
thunder warned him that a multitude was pouring through the doors behind 
them. 

He had barely grasped the girl's arm before the mob was barking at their 
heels, sweeping them helplessly forward, not to a guillotine, but into the 
crisp gloom of an autumn evening in Detroit, for the show was over. 

A biting wind hurried them along Bagley Avenue, but although INIiss 
Sadie Allen's legs were protected by only the sheerest chiffon, she showed no 
sign of returning to normalcy until Grand Circus Park was reached. 

Once there she allowed her dreamy brown eyes to wander casually over 
her hulking escort; then, wincing at this mundane spectacle, they vaulted 
once more to the heavens and a long, luxurious sigh escaped from her gen- 
erous mouth. 

"Gee," she murmured, "but he certainly is swell!" 

"Yeah," sneered Mr. Tug Monahan, "beginnin' with his head." 

"The grace of him," said the girl softly, ignoring this coarse allusion. 
"The elegant way he grabbed hold of the heroine without even ruffling his 
silk dressing gown. I just sat there and pretended it was me — alone in the 
twilight with Carlos Cabrillo! No wonder all you clumsy gorillas are jealous 
of him." 

MR. MONAHAN, who was built on the general lines of a Windsor ferry- 
boat, scowled ferociously. He did this without effort, for nature had 
topped his torso with a set of second-hand features to which some of 
nature's children had added a smashed nose and cauliflower ears. 

"What!" he bawled. "Jealous of a guy who looks like me bootblack? Go 
on, Sadie, you're nuts. It just naturally riles me to hear you rave about 
such a fake, that's all." 

"Be careful who you're calling a fake," said Sadie hotly. "Didn't you 
see him throw those eight men down a flight of stairs?" 

Tug leered incredulously. "Don't you suppose them birds had instruc- 
tions to take a dive?" 

"Certainly not," sniffed Sadie. "Haven't you read how Carlos always 
lets the villains try their hardest? 'He conquers them,'" she quoted from 
memory, " 'by virtue of his superior skill and agility, due to his boyhood train- 
ing in old Barcelona, where he practiced dodging wild bulls on the family 
estate.' " 

"He couldn't dodge my left hook," declared Mr. Monahan, "and what's 
more, maybe he'U get a chance to try it." 

"That's right, talk big with twenty states between you," scoffed Miss 
Allen. "What use has California for a third-rate prizefighter, anyway?" 

66 



" Plenty," said Tug grimly, " and don't be knock- 
in' your future husband. I'm goin' to battle in four 
semi-finals out there and I leave for the coast to- 
morrow night. I'd of told _vou this before if you'd 
quit gurglin' about Carlos. Listen, baby, you'd 
better forget that slinkin' shadow and marry me 
while >'ou're able. Then you won't have to work in 
no laundry." 

Sadie's broad and unfashionable bosom heaved 
rapidly. She knew in her heart that her chances 
were few, but she realized that Tug would never be 
harassed by se.\-starved damsels, and her daily pe- 
rusal of ".\dvice to the Lovelorn" had satisfied her 
that the proper thing was to keep him guessing — 
for a while. 




f^eM 



enace 



By Stewart Robertson 



"I , I couldn't," she faltered. "Perhaps a girl could get 

used to that face of yours across the table but she'd always be 
pining for Carlos. Everything about him is perfect, Tug, he's 
the best man I've evei seen." 

"I can see where I've got to sock that guy," said Mr. IMona- 
han viciously, as he hailed a Cass Avenue bus. "The chances 
are thousands of dizzy dames all over the country are sobbin' 
about him, and it's a bet that he wouldn't leave none of you 
even butter his hair. It's up to me to slough him in the name 
of all us ordinary fellows, and I'll make that prolile of his look 
like a crumpled fender." 




"I'll tell him that 
"Don't ask me to 
Choke on it. 



MISS ALLEN eyed him tantalizingly, 
ne.xt time I write," she stated 

"Huh?" said her startled companion, 
swallow that. I'm no whale." 

" We've been corresponding for three months 
if you'd rather." 

"I suppose he sends out a circular to all his invisible girl 
friends, hey? What does he use — a stencil?" 

"He writes a classy, dignified letter, on grand purple paper. 
I keep them all tied with ribbon under my pillow." 



Sadie 




" Listen," said the 

disgruntled swain, 

"this is the last 

time I'll fork up six 

bits for you to gape 

at that Spanish 

squawker. I might 

as well have had a 

dummy beside me 

tonight, but I'm not 

as thick as I look." 
He lapsed into an 

uneasy silence while 

the bus bumped and 

bounded uptown 

until it reached 

Ferry Street, where 

the pair alighted. Sadie walked thoughtfully to her boarding 

house steps and had about decided to smooth ilr. jVIonahan's 

feathers with a caress when she was suddenly imprisoned by 

two muscular arms. 

" Come on, give us a kiss," growled Tug, scorning the correct 

preliminaries for such a favor, 
and leaning over, he im- 
pressed several ine.xpert sa- 
lutes on vaiious parts of the 
struggling lady's counte- 
nance. "Yell for Carlos, 
baby," he chuckled, "and 
maybe he'll drop out of a tree, 
or somethin', like he done in 
the picture." 

The seething Sadie, with 
all a female's fury at being 
anticipated, scratched her- 
self loose and ran up to the 
door. " You roughneck ! " she 
panted. "You big homely 
palooka! Don't you ever 
come near me again and I 
hope Carlos murders you." 

"You look swell when 
you're mad," observed Mr. 
Monahan, commencing to 
amble cornerward, much 
pleased at this turn of the 
tide, "and you can tell me 
the rest tomorrow." He pro- 
ceeded a few steps, then 
looked back. The door was 
slightly ajar and a white face 
watched an.xiously through 
the opening. " Michigan Cen- 
tral — four-thirty," he called, 
and the door shut with a pet- 
ulant slam. 

The cavalier departed feel- 

[ PLEASE TURN TO PAGE 128 ] 

Grunting, Tug Monahan 
tried to straighten up. 
Then the handsome Carlos 
Cabrillo let him have a 
long uppercut to the chin. 
A thoroughly dazed Mr. 
Monahan crashed through 
the rail, made a graceful 
arc, and p'opped into the 
Pacific! 

67 




How 



to 



If this advice conies 
to you too late 
to prevent sun- 
burning, a lavish 
application 
of buttermilk to 
the affected area 
will quickly draw 
out the painful 
"fire." This does 
not apply to a 
severe burn, which 
should be treated 
at once by a physi- 
cian 



Raquel Torres 
demonstrates the 
correct system of 
acquiring a real 
tan withouta pain- 
ful and sometimes 
serious burn. This 
beach helmet is 
the newest creation 
in seaside mil- 
linery. It amply 
shades face and 
eyes, and the 
netting veil keeps 
out insects 




Take 
A 

Sun 
Bath 



Expert ad- 
vice on how to 
bronze your 
skin without 
burning 



The right way. Begin 
with only five minutes 
a day, slowly increas- 
ing the time. Rub 
the exposed skin with 
plain vinegar and pro- 
tect the eyes from sun 
glare with dark 
glasses. Do not ex- 
pose your feet to the 
direct sun, but keep 
them lightly covered 




Reeling Around 

^* — f with 



/ 



Leonard Hall 



The Girls of Hollywood 

The girls of Hollywood are nice. 
They're made of lipstick, fire and ice. 

Their legs and arms are tanned and hare, 
They wear few clothes with lots of air. 

They are quite mannerly at table 
A nd only speak lohcn they are able. 

They seldom drink, they smoke a little — 
Tlicir actions, talk and tastes are brittle. 

And, much involved with simpler joys, 
They make few passes at the boys. 

In fact, I fiiid, on taking stock. 
They're just like Annie down the block! 



Good Mean Fun 

Science now promises us talkies by telephone. ... I can't 
wait to hang up on a courtroom scene! . . . And there'll be 
plenty of wrong numbers! . . . On dull Sunday mornings in 
Hollywood newsboys yell "Scandal in Hollywood! Another 
good girl gone wrong!" But if you think that sells any papers, 
you're crazy. . . . The combined salaries of the love-birds, 
Jack Gilbert and Ina Claire, for the next year will be 8820,000. 
Those young things showed real courage to try marriage, and 
at that Ina will probably spend most of her time over a wash 
tub until Jack nicks Louis Rlayer for a raise. . . . The Kansas 
City Times wrote a profound editorial on the proposal of Doug 
and Mary to film "The Taming of the Shrew," and now some 
fool is apt to say "Well, IMary, if the shrew fits, put it on!" . . . 
Prince Louis Ferdinand of Prussia denies his engagement to 
Lily Damita. Boy, even that's a privilege! . . . Clara Bow's 
young step-mother is a red-head, too, and one house seems to 
hold them! . . . For the benefit of love-maddened maidens, 
Davey Lee's phone number in Hollywood is Gladstone 2605. . . . 
Now try and get Charlie Farrell's! 



The Gag of the Month Club 

This month's prize of a pair of Mexican jumping beans 
goes, without a runner-up, to Howard Dietz, Metro-Gold- 
wyn-Mayer press agent. 

FRIEND ON PHONE IN NEW YORK— "Howard, I 
want a pair for 'Broadway Melody.' It must be tonight, 
as I'm leaving for Chicago in the morning." 

MR. DIETZ— "We're sold out here. I'U fix you up when 
you get to Chicago." 

FRIEND — "No good, Howard! I want to see the New 
York company !" 



EXTRA GIRL— 
"Can yuh 'ma- 
jine, Rosalie? 
Me in the 
pictures eight 
years, and tliat 
sap talkie direc- 
tor ups and says 
my use of the 
English lang- 
widge ain't so 
hot!" 




Getting Personal 

Norma Shearer is getting very thin, while Greta Garbo has 
just put on sLx pounds, as the bosses thought some contour 
wouldn't hurt. Merely more dangerous curves ahead. . . . 
Lilyan Tashman is one of the best dressed women in Holly- 
wood, but burns up the local dressmakers because she has all 
her duds made at home. . . . Handsomest couple in Holly- 
wood — Charlie Farrell and Virginia ValK. . . . Lupe Velez 
and Gary Cooper always sit side by side at fancy dinner parties 
and hold hands. . . . State pride in Kansas! A Wichita 
theater bills Buddy Rogers as "former University of Kansas 
saxophone player." . . . George Baxter, stage actor, and 
Pauline Garon, are Running Around. . . . Hollywood is just 
like the rest of the world. Its commonest cocktail is gin and 
orange juice. . . . Every English speaking country in the 
world save New Zealand has at least one theater showing talk- 
ing pictures. New Zealand steamers are booked up until April, 
1937. . . . Ann Pennington, little stage dancer known as the 
Knee Plus Ultra, is in Hollywood for pictures. She wears the 
smallest shoe in the show business — one and a half A — and is 
now red headed. . . . Doug Fairbanks is subject to air- 
sickness. . . . Lewis, Iowa, had one movie theater. While 
holy citizens were protesting against the showing of pictures 
on Sunday, the theater burned to the ground. There are now 
no Sunday movies in Lewis, Iowa. . . . Fifteen years ago Lon 
Chaney had just been given a divorce fron Cheva Chaney, 
cabaret singer, and Webb Talking Pictures made their appear- 
ance. Their first bill included a talk by Tramp Comic Nat 
Wills and a scene from "Faust." . . . Laura La Plante is so 
near-sighted that at the theater she wears horn-rimmed 
spectacles and uses a lorgnette at the same time. . . . Cecil 
De Mille wears an enormous pigeon-blood ruby on his left 
hand. . . . Jean Hersholt, who is a Dane, has never played a 
Dane in pictures, even a melancholy one. Most people think 
he is Jewish because of his success in Jewish roles. . . . The 
creaking of crickets held up the filming of a talkie snow scene 
at the Pathe studio. As soon as the crickets froze to death, the 
cameras ground. . . . Talking pictures are going to be made in 
India in the native dialects. Going to be made? I've heard 
some! 

69 



Details of Leading Contestants and 




Left, Helen Johnson, 
leading woman of 
"Quickie," submitted 
in PHOTOPLAY'S con- 
test by Jac Than, of 
Brooklyn. Miss John- 
son is one of the dis- 
tinct screen personal- 
ities revealed by the 
contest 

Right, Edward 
Jacobsen, of New 
York City, entered a 
striking scenic of 
Manhattan and an 
unusual drama, 
"What Does It Mat- 
ter?" Mr. Jacobsen 
is an advertising 
agency art director 






t 



Below, Clyde Hammond, of 
Youngstown, Ohio, winner of an 
honorable mention in last year's 
contest and prominent in the 
1929 contest with a drama, 
"Disappointment," that indi- 
cates unusual cinematic skill 



Left, Scott Hardester, who 
plays the dying doughboy 
in "Three Episodes," en- 
tered by Foto-Cine Pro- 
ductions, of Stockton, 
Calif. Mr. Hardesfer does 
an excellent piece of work 
in this unusual film 



Right, Eugene Kingman, Yale 
University freshman, who en- 
tered an out-of-the-ordinary 
study of bird life. Mr. Kingman 
obtained some extraordinary 
shots after many hours of wait- 
ing and much ingenious prepa- 
ration 




Above, Wallace W. Ward, 
cameraman of the Foto- 
Cine Productions, the 
Stockton amateurs enter- 
ing "Three Episodes." 
Mr. Ward's photography 
indicates unusual resource 
and ingenuity 



70 



Films in Photoplay's $2,000 Contest 

Amateur Movies 



By Frederick James Smith 



THE final awards in Photoplay's 
second Amateur Movie Contest 
now are not far distant. The 
board of judges, with its aids, has 
spent weeks in making careful exam- 
inations of all the films submitted. 

It is possible to describe some of 
the lilms reaching the S2,000 contest 
finals and to tell something about 
their amateur makers. One of the in- 
teresting dramatic subjects is a 16 
millimeter film, "Three Episodes," 
submitted by the Foto-Cine Produc- 
tions, of No. 418 South Stanislaus 
Street, Stockton, Calif. 

" Three Episodes" reveals the men- 
tal flashbacks of a dying soldier in a 
shell hole in Flanders. Almost all of 
the acting is in the hands of one 
player, Scott Hardester, who por- 
trays the boy. The three episodes 
reveal a vivid childhood memorv' of 
the killing of a bird, a touchdown in 
a high school football game, and the 
boy's parting from his sweetheart as 
he starts for the front. Instead of a 
dissolve, this amateur organization 
obtained an original effect for 16 milli- 
meter cameras by moving the camera 

in and out of focus. The camera slides up to the boy's eyes as 
he lies in the shell hole and then slips back to reveal him in an 
incident of the past. 

Robert Burhans, who entered a film in last year's contest, 
directed "Three Episodes;" Wallace W. Ward was cameraman, 
Alice L. Buckle acted as title and script girl, and Edwin J. 
Fairall was production supervisor. Mr. 
Ward has been an active amateur 
cinematographer since he was very 
young. So, too, has Mr. Byr Burhans. 

TWO striking contest efforts were 
submitted b\' Edward E. Jacobsen, 
of No. 9 East 41st Street, New York 
City. One of Mr. Jacobsen's films was 
a superbly photographed scenic of New 
York and the other was a dramatic ef- 
fort, "What Does It Matter?" Both 
are in 16 millimeter film. The drama 
is a tersely told story of an old man 
who can't land a job. 

The playing of the old druggist, the 
only role in the film, is done by Foth- 
ingham Lysons, an advertising model. 
Mr. Jacobsen himself is art director of 
an advertising agency. "What Does 
It Matter?" was made after business 
hours, between 9 P.M. and 1 A.M. and 
required three nights work to reach 
completion. Mr. Jacobsen was author, 
photographer, director, electrician, ed- 
itor and part actor, his hands appear- 
ing in one or two scenes as dramatic 
aids to the one player. Mr. Jacobsen 
used a Bell and Howell Filmo, with a 
Cooke f 1 .8 lens. He obtained lap dis- 
solves by irising down his lens, rewind- 
ing his film in a dark room and running 
the film through again while irising 




Leonard Clairmont, a Hollywood 
studio retoucher, who entered a 
striking dramatic film, "Neme- 
sis," costing $92 




Interesting shots from "Inci- 
dent," submitted by the 
Undergraduate Motion Pic- 
tures of Princeton in PHOTO- 
PLAY'S contest 



open. Mr. Jacobsen states that he 
has been dabbling in still and motion 
picture photography for ten years. 

ONE of the noteworthy non-dra- 
matic efforts (35 millimeter) is 
Ralph Steiner's "H2O," which, in a 
less perfect form, has been shown at 
various amateur gatherings about 
New York. 

Mr. Steiner is a Dartmouth gradu- 
ate. He has been taking pictures for 
fifteen years and has been interested 
in movies for two years. He studies 
at the Clarence W. White School of 
Photography in New York and takes 
advertising photographs for a living. 
"H.;0" is his first completed film. 

"H.;0" is a study of mater water 
and its moods. Mr. Steiner started 
making it last Summer, beginning 
with an E3-emo and completing the 
abstract part of the film with a 
DeBrie. Mr. Steiner used a six and 
twelve inch lens on both cameras to 
get his water reflections enlarged and 
to get pure abstract patterns of shad- 
ows on water surfaces. "No tricks 
of any kind were used," said Mr. 
Steiner, "as I was interested in seeing how much material could 
be gotten by trying to see water in a new way, rather than by 
doing things to it with the camera." 

ANOTHER interesting 35 millimeter contest contribution 
came from Hollywood and, whUe it was made by a studio 
worker, the contestant comes well 
within the amateur classification. The 
contributor is Leonard Clairmont, of 
6247 Banner Place, Hollywood. Mr. 
Clairmont is employed as a retoucher 
at the First National Studios and has 
held this position for a year. He has 
never been connected with the actual 
studio making of pictures. "What I 
have picked up about making pictures 
is only what I have seen during my 
lunch hours," he states. 

"The whole picture was made on 
Sundays, because my actors worked 
as carpenters and, like myself, were 
busy tfiroughout the week." Mr. Clair- 
mont'sfilm, "Nemesis," which is based 
on an old Swedish legend of crime and 
its retribution, cost exactly §92.50. 
The camera, an old Pathe, was secured 
from the California Camera Hospital at 
a cost of S75. The still camera was bor- 
rowed and Mr. Clairmont made his own 
reflectors. The first foot of film cranked 
on " Nemesis" was the first foot of film 
Mr. Clairmont ever shot, which is un- 
usual in itself. It was found necessary 
to retake only one scene. 

Mr. Clairmont, by the way, is 24. 
He came to America from Sweden a 
few years ago and is now an American 
citizen. His real name is Einar Leonard 

Asplund [ PLEASE TURN TO PAGE 78 ] 

71 



/;at 



and 



Be Merry 



"You owe it to your health 

and happiness to enjoy one 

satisfying meal a day" 

Says 

Dr. H. B. K.Willis 



YOUR daily diet, in order to be efficient, must have that 
quality which Mack Sennett has always recognized in 
making his comedy product — roughness. 

Roughness in a film is the assaulting of actors' 
strategic points with the slapstick or the hurling of custard pies. 

Roughness in the diet, "roughage," appeases the mechanical 
demands of the gastro-intestinal tract. 

Lack of roughage spells faulty function of the bowel, faulty 
absorption of food elements and faulty elimination of waste 
products. 

It has been estimated that eighty per cent of our people are 
constipated. Much of the constipation is the result of a too 
concentrated diet which produces a 

small, dry, hardened intestinal 

mass, which is not only more irri- 
tating than stimulating, but which 
also accumulates in the sacculations 
of the intestines %vhere it remains 
for long periods of time rather than 
being rapidly eliminated, because 
the small size of the intestinal mass 
does not supply the urge to the 
bowel to eliminate it. 




HAVE you a problem of diet? Let Dr. Willis of 
Photoplay be your adviser. Write to him 
in care ot PHOTOPLAY, 816 Taft Building, 
Hollywood, Calif. And be sure to enclose a self- 
addressed stamped envelope for reply. Dr. Willis 
will give your question his personal attention. 

needs, if it is to function properly. Cellulose is not digested and 
is acted upon only by the bacteria which inhabit the intestinal 
tract, remaining behind as an indigestible residue after its 
digestible elements have been extracted by the digestive juices. 
In its passage along the intestinal tract the cellulose is com- 
pletely pulped and absorbs water. 

Bacterial action brings about fermentation in the soggy mass, 
which, when mi.xed with other fecal material, has the proper 

bulk and soft consistency ideal for 
stimulating the muscle of the bowel 
to contract and expel it. 



THE lower animals, unlike man, 
are seldom constipated; their 
diet contains plenty of roughage. 
The functional activity is best as- 
sured by substances giving a large 
semi-solid bowel content. 

The rough native foods, such as 
the green leafy vegetables, not only 
furnish the very valuable vitamins 
but also supply physical urge that 

the bowels need for proper activity, normally stimulating the 
mucous membrane lining the bowel and furnishing an intestinal 
mass which the bowel can move forward with the least difii- 
culty. 

As man has advanced in civilization his diet has become more 
refined and concentrated. Primitive people eat whole grains 
and whole fruits, and thus secure an abundance of vegetable 
fiber which is conspicuous by its absence from the diet of their 
brethren of more elevated social strata. 

Cellulose, the woody fiber predominating in certain vege- 
tables and fruits, forms the type of residue which the bowel 



IS your diet too dainty? Are 
you, as a healthy person, try- 
ing to exist on invalid fare? 
This month Dr. Willis tells you 
why you need roughage in your 
food; why you should eat vege- 
tables, salads and fruits. He also 
shows why it is harmful both to 
your health and disposition to 
allow yourself to go hungry; why 
your food must satisfy as well as 
why it must nourish you. 



THE diet, therefore, must con- 
tain a large amount of cellulose 
daily. The green vegetables, such as 
spinach, turnip greens, cabbage, 
cauliflower, Brussels sprouts, lettuce, 
celery, peas, beans, etc., contain 
large amounts of cellulose. Peaches, 
apples, pears, melons and berries 
also furnish a large amount of cellu- 
lose and a large residue which is 
greater if the fruits are eaten with 
the peelings. Grapes have a high 
cellulose percentage and pumpkin a 
very small one. Sweet potatoes 
have almost twice the cellulose 
value of white potatoes ; strawberries 
almost twice that of lettuce. 

Since our epicurean tendency de- 
mands the milling of our cereal grains to such a high degree that 
little or none of the hull remains, many people today make up 
for this deficiency by eating bran as a breakfast dish. If plain 
bran grows monotonous, }'ou may take your bran in the form 
of muffins or a pudding. You will be surprised to learn what a 
satisfactory breakfast dish can be made of bran, stewed fruit 
and cream. 

It is not at all uncommon to find a person more or less 
neurotic who firmly believes that he or she is unable to eat fruit 
or green vegetables. Sometimes gastric or duodenal ulcers or 
some other gastro-intestinal ail- [ please turn to page 106 ] 



Photoplay Magazine — Advertising Section 





Mrs, Cornelius I anderbilt, Jr. 



Lady Violet Astor 



Mrs. Elizabeth Doiibleday 



The Duchesse de Gramont 



DISTINGUISHED IN THE SOCIETY OF FIVE NATIONS . ■ . 
THEY TRUST THEIR BEAUTY TO THE SAME SURE CARE 




The Duqiiesit de .ilba 



Mrs. Allan .i. Ryan, Jr. 



Lady Louis Mountbutteti 



The Countess Howe 



'VXTOMEK in society are subject to 

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A /7f«««f^faz(/v, enchanting Mrs. Eliza- 
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Lady Violet Astor declares, "Pond's has 
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Namp 



Street_ 
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_State_ 



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Mrs. Adrian Iselin II Pond's four preparations are the simplest, safest way to a lovely skin. 

When you write to advertisers please mention PHOTOPLAY M.4GAZINE. 




/^~^ H A R L I E 

§0 CHAPLIN'S 
\2y newest and 
best photograph — a 
portrait study by 
Homer Peyton. Yes, 
Charlie is making a 
comedy called "City 
Lights," but no one 
knows when it will 
be finished, least of 
all Charlie himself. 
It may be for years 
and it may be for- 
ever. The story — in 
its present version — 
is a comic tragedy 
or a tragic comedy 
telling of the hope- 
less love of a friend- 
less tramp for a 
beautiful blind 
flower girl 



Th 



Photoplay Magazine — Ad\'ertising Section 



75 




a 



P/, 



ease 



tell 



99 



me ... 



Jean Carroll's 
Page on Hair IBeauty 



So dry and dull I envy other girls 

Dear Jean Carroll: It's been over a year 
since I last got my hair cut and it has not 
grown a half inch since. It is so dry and 
dull I envy other girls when I see them. 
My hair also is burnt very badly from 
marcels and from curling it myself. I don't 
know what to do. — E. R., Cleveland, O. 

Dear, dear, E. R., I wish I could 
have caught you a year ago. And 
how I wish I could hide your curl- 
ing iron and take away your spend- 
ing money so you couldn't get a marcel 
for a month until we do something for 
that hair. 

Then, a special shampoo to help you cor- 
rect that dryness — that's the next thing 
I'd wish for you. There is a delightful 
shampoo especially for dry hair, made by 
the Packer Company, with whom I am 
associated. This is the lovely gold-colored 
Packer' s OlJve Oil Shampoo. It leaves dry 
hair softer and shinier than usual because 
it contains olive oil and soothing, soften- 
ing glycerine. It won't make your sensi- 
tive scalp sting, and it helps the little 
natural lights to come back. 

Use this special shampoo every ten days 
and get out your hair brush and polish up 
your hair. And watch! Perhaps, when 
you see lovely sheen and life coming back 
you'll decide that straight hair is becom- 
ing after all! And do write me what 
happens. 

Oily hair . . . and a special sham- 
poo for relaxed oil glands 

Dear Jean Carroll; What is good for oily 
hair? Sometimes my hair looks as if I have 
just come from a bath — it looks so damp. 
I shampoo every two weeks and sometimes 
I must do it more often. — Mrs. B. B., 
New Bedford, Mass. 

Where did that "every two weeks" 
rule begin anyway? No doctor be- 
Krl gan it. The doctors who cooperate 
with the Packer Company say that 



oily hair should be washed as often as it 
needs it — that may mean every four or five 
days until the oil glands become nor- 
malized. 

The Packer Company makes a shampoo 
especially for oily hair — Packer's Pine Tar 
Shampoo. It could be used every day with- 
out deadening the hair. Packer's Pine 
Tar Shampoo is slightly astringent in its 
action — and if you use it regularly, vi'ith 
daily massage of the scalp, you ought to 
begin to get the better of that excess oil. 
But probably for sometime you will have 
to wash your hair at least once a week to 
keep it looking fluffy and shining. 

Dandruflf — and a remedy from 
the pine -woods! 

Dear Jean Carroll; I am having trouble 
with my hair — it is coming out in bunches, 
truly. Looking through the hair, I can see 
dandruff, lots of it, especially where my 
hair is heaviest. I have tried everything I 
can think of. — Mrs. A. W. A., Pittsburgh, Pa. 

^ , I don't want to alarm you but 

^^ something should be done at 
once. Dandruff should be checked 
before it becomes so serious a case. Pine 
tar has been for years a standard recom- 
mendation of physicians in cases of dan- 
druff and skin affections. Use Packer's Tar 
Soap, shampooing every two or three days 
at first. Massage the good thick piney 
lather into your scalp. If eight or ten 
Packer shampoos don't show a noticeable 
improvement, go to your own physician 
for additional help. 

My dear Miss Carroll: Some good news. 
I want to tell you of the satisfactory results 
I've had from following your directions. 
My hair was dreadfully dry, falling out so 
badly I scarcely had any left. And it was 
mousy and horrid looking. I have been 
using the Olive Oil Shampoo (as well as the 
Tar Soap) and massage as you recom- 
mended. And I must tell you that my hair 
is getting so nice and soft and so shiny I 



can see the lights in it again. And it scarce- 
ly comes out at all, and I have arrested 
the dandruffi Very gratefully. — Mrs. 
E. F., Quincy, Mass. 

That's a letter to warm any editor's heart ! 
I hope we get many more with the same 
kind of news. 

JEAN CARROLL 

Radio talks by Miss Carroll on hair-beauty 
and becoming colors, every Friday 12 
noon (Eastern Davlight Time) over the 
Columbia Broadcasting System. 



If any of the letters above describes the 
condition of your hair, one of the packer 
products will help. If you have some 
special problem, write Miss Carroll per- 
sonally. 



Send for samples 

(lOc for one; 25c for all 3) 

JEAN CARROLL, The Packer Mfg. 
Co., Inc. (Dept. i6-H), loi W. 31SC 
Street, New York, N. Y. Please 
send me your Packer Manual on the 
Care of the Hair, and sample of the 
Packer Shampoo I have checked. 

I enclose cents (enclose loc 

for I sample; 2.5c for all 3). 

n Packer's Tar Soap (Dandruff) 

n Packer's Olive Oil Shampoo 
(Dry Hair) 

D Packer's Pine Tar Shampoo 
(Oily Hair) 



ADDRESS 



When you write to advertisers please mention PHOTOPLAY MAGAZINS. 



What was the Best Picture 




Ninth Annual 

Gold Medal 

Award 



Winners of 
Photoplay Medal 

1920 
"HUMORESQUE" 

1921 
"TOL'ABLE DAVID" 

1922 
"ROBIN HOOD" 

1923 
'THE COVERED WAGON" 

1924 
"ABRAHAM LINCOLN" 

1925 
"THE BIG PARADE" 



of 

1928? 



Vote for the 

Picture You Think 

Should Win! 



(( 



HAVE you voted in Photo- 
play's ninth annual gold medal 
award? 

Get busy — and do your bit for the 
betterment of pictures. 

The Photoplay Magazine Gold 
Medal is the highest award in the 

world of motion pictures. Every year the vote is watched with 
tremendous interest throughout the screen world. The awards 
of the past eight years — to "Humoresque," "Tol'able David," 
"Robin Hood," "The Covered Wagon," "Abraham Lincoln," 
"The Big Parade," "Beau Geste" and "7th Heaven"— have 
been veritable landmarks of the film's progress. Remarkable 
interest will center in the picture selected as the best of 1928, 
since it must occupy its niche among these noteworthy pro- 
ductions. 

In voting, remember the high standards of previous awards. 
The Photoplay Medal of Honor was designed as a reward for 
the producer making the best picture of the year in points of 
story, acting, direction and photography. If you vote this year 
for a talkie film, take into consideration the sounding of the 
production. Chiefly, Photoplay wants its readers to consider 
the ideals and motives governing the picture's production. 

In case of a tie in the voting, equal awards will be made to 
each of the winning producers. 

Will the award for 1928 go to the last silent film or to the 
first talkie film? You alone will decide! 1928 represents a new 

Fifty Pictures Released in 1928 



1926 
BEAU GESTE' 



1927 
"7th HEAVEN" 




epoch in picture 
making, mark- 
ing the dawn of 
theaudiblefilm. 
There is nothing to 
indicate how the 
award will be made 
t h i s y e a r — b u t i t 

will offer an interesting commentary upon how much the talkie 
has. met public favor. 

Remember, too, that the Photoplay Gold Medal is the only 
award going direct from film fans to the maker of pictures. It is 
the decision of the millions of picture lovers themselves. 

A list of fift)' important pictures released during 1928 is ap- 
pended. It is not necessary, of course, for you to select one of 
these. You may vote for any picture released during 1928. 

The Photoplay Medal of Honor is of solid gold, weighing 
123J 2 pennyweights and is two and one-half inches in diameter. 
Each medal is designed and made by Tiffany and Company of 
New York. 



Abie's Irish Rose 

Alias Jimmy Valentine 

Barker, The 

Beau Sabrenr 

Bellamy Trial, The 

Chicago 

Circus, The 

Cossacks, The 

Czar Iran the Terrible 

Dcril Dancer, The 

Divine Womatt, The 

Docks of New York, The 

Dove, The 

Drag Net, The 

Drums of Love 

Enemy, The 

Fasil 

Fleet's In, The 

76 



Flying Fleet, The 

Four Devils 

Four Sons 

Four Walls 

Gaiicho, The 

Gentlemen Prefer Blondes 

Interference 

Last Command, The 

Laugh, Clown, Laugh 

Legion of the Condemned, 
The 

Lilac Time 

Little Shepherd of King- 
dom Come, The 

Man Who Laughs, The 

Masks of the Devil, The 

Me, Gangster 

Mother Knows Best 



Mother Machree 

Noose, The 

Our Dancing Daughters 

Outcast 

Patriot, Tlie 

Racket, The 

Ramona 

Sadie Thompson 

Singing Fool, The 

Speedy 

Street Angel 

Trail of '9S, The 

Wedding March, The 

West Point 

While Shadows in the 

South Seas 
Woman of Affairs, A 



Photoplay Medal of Honor Ballot 

Editor Photoplay Magazine 

221 W. 57th Street, New York City 

In my opinion the picture named below is the 
best motion picture production released in 1928. 



NAME OF PICTURE 



7<lame- 



Address- 



Photoplay Magazine — Advertising Section 



n 




m^^: 



>\ 



What!! a laxative 

p^r lovelmesj ? 



rr 













.^- 



IT may se- 
ing this 



seem strange to you — bring- 
mg this word "laxative" into a dis- 
cussion of beauty! And — what, pray, 
has a laxative to do with creams and 
lotions, with fair complexions and 
young and supple skins? 

It has a great deal to do with them ! 
It is almost all- important! For, unless 
you keep clean internally, your skin is 
bound to suffer, and will always lack 
the clear, fresh bloom which every 
woman wants! 

Those tiny blemishes which baffle 
the cleverest cosmetics can be defeated by 
Sal Hepatica! "Women who know the 
saline method, who use salines as the 



family laxative, know how quickly they 
purify the bloodstream and bring new 
color and translucence to the cheek. 

In Europe, the wonderful saline 
springs have for years been thronged 
with men and women sent there by 
their physicians to drink the saline 
waters for the sake of their complexions 
and their health. 

Oal Hepatica is the American equiva- 
lent of these saline springs. It rids the 
body of poisons and acidities. That is 
why its use is a great relief for head- 
aches, colds, rheumatism, auto-intoxi- 
cation, constipation, indigestion, com- 



Sa.1 Hepatica 



plexion disorders and many other ills. 

Sal Hepatica, taken before breakfast, 
is speedy in its action. Rarely, indeed, 
does it fail to act within thirty minutes. 

Get a bottle today. Whenever con- 
stipation threatens your complexion 
with blemishes and "broken out" spots, 
take Sal Hepatica. And send now the 
coupon for the booklet which tells in 
detail how Sal Hepatica keeps your skin 
fresh and free from blemishes and how 
it relieves many common family ills. 



Brjstol-Myers Co., Dept. G-89, 71 West St., N. Y. 
Kindly send me the Free Booklet that explains 
more fully the many benefits of Sal Hepatica. 

Name 



Street_ 



City- 

Whcn you write to advertisers piMse mention PHOTOPLAY MAG.4ZIXE. 



.Staie_ 



Amateur Movies 



and his father is chief of detectives of the city 
of Stockholm. 

He studied art in Sweden, but the only job 
he has found open over here thus far is that of 
studio retoucher. 

Mr. Clairmont spends his spare time con- 
tributing to Film-Journalen, a Swedish motion 
picture fan publication. 

STILL another unusual dramatic film (35 
millimeter stock) was entered by Jac Thall, 
of 957 77th Street, Brooklyn, N. Y. Mr. Thall's 
entry was called "Quickie," and was suggested 
by Paul Fejos' difficulties in making his now 
famous e.xperimental picture, "The Last Mo- 
ment." 

Briefly, it depicts the tribulations of a quickie 
company trying to finish a production before 
its bank roll gives out. 

"Quickie" has one of the most promising 
amateur players of any film submitted in 
Photoplay's contest, possibly the most prom- 
ising. 

npHIS player is Helen Johnson, an artist and 
-'- art model, who plays the leading woman 
of the quickie company. 

Miss Johnson has never acted before but she 
has shown an unusual personality and much 
charm. 

"Quickie" was filmed with a Bell and Howell 
camera. 

The actual cranking of the film was done by 
Mario D' Giovanni, an amateur enthusiast who 
is also a licensed chauflfeur. Mr. Thall. how- 
ever, supervised the details of the photograph}' 
and the composition. 

The exteriors were taken onlocationinStatcn 



[ CONTIITOED FROM PAGE 71 ] 

Island. A few borrowed lights from a photog- 
rapher's studio served for the interiors of the 
film. Mr. Thall, since he graduated from col- 
lege, has worked as a publicity writer for a 
theater circuit. 

"PUGENE KINGMAN, a nineteen-year-old 
■'—'freshman at Yale University, entered an in- 
teresting study of bird and animal life filmed on 
16 millimeter stock with a Bell and Ho .veil 70 
Filmo. Mr. Kingman used an attachment by 
which the camera could be operated from a 
distance. 

The camera was shielded by a board, the 
lens projecting through a small opening. Thus 
the contestant avoided frightening his timid 
subjects. 

Mr. Kingman lives at 140 Slater Avenue, 
Providence, R. I. 

pHOTOPLAY presents these facts about a 
^ few of the contestants whose entries reached 
the finals. 

This summary, of course, does not include 
all of the fortunate amateurs who successfully 
passed the preliminaries, nor does it imply that 
the contestants here described are the final 
winners. However, some of them will find 
themselves among the final choices of the 
judges, no doubl. 

Films failing to reach the contest finals are 
being returned to their owners as rapidly as 
they are discarded by the board of judges. 

CT. LOUIS now has its amateur cinema club. 
'~'.\n organization meeting was held recently 
under the leadership of J. M. Guyol, who was 
elected president of the organization. Arnold 



Kansteiner was named secretary-treasurer and 
E. E. Star was selected as chairman of the pro- 
gram committee. 

The New Utrecht High School of Brooklyn, 
N. Y., now has its motion picture club. A 
1,600 foot (16 millimeter) production, depict- 
ing the life of a newspaper reporter, is now in 
the making. The story was written by Joseph 
Kester. 

Frank J. Buchlman has been elected presi- 
dent of the Flower City Movie Club of Roches- 
ter, N. Y. At the same election, Mrs. Roland 
Potter was named vice-president, William 
Gushing was made secretary and business 
manager, Mrs. Frank J. Buchlman was elected 
treasurer,and RolandPotter was given the post 
of supervisor. 

The Philadelphia Amateur Motion Picture 
Club has a club him contest in progress. The 
competition closes September 31st. 

Cups w ill go to the winners of the first and 
second prize. 

/"^ULVER Military Academy has completed 
'—'its film, entitled "Sinister Sam." 

The Bakersfield, Calif., Amateur MoNie Club 
is making its fourth production, "Lingering 
Lips," a burlesque on the familiar desert 
island story. This will run 400 feet in 16 milli- 
meter stock, and the cast includes Walter 
Thornton, Dorothy Beck and Elva Mae 
Stinson. 

The Cleveland, Ohio, Movie Club is planning 
an amateur movie contest for Cleveland and 
Northern Ohio. 

A silver cup will go to the winner, to be 
retained by the lucky contestant until the next 
annual competition. 




Building 

the 

Sargasso 
Sea 



Two pictures of one of the most aston- 
ishing movie sets in Hollywood's 
history, before and after completion. It 
is that erected on the First National lot in 
California for the new version of "The 
Isle of Lost Ships," first made si.x years 
ago for the same company by Maurice 
Tourneur. The locale is the Sargasso Sea, 
that dank and windless waste of water 
where dead ships go. With marvelous 
precision the First National artisans 
turned thousands of feet of new lumber 
into rotting hulks — fragments of old gal- 
leons, great liners of today, modern war- 
ships torn by storm and battle. Five 
hundred feet away the big studio hums 
busily ! 

78 



At 25 Rue Ste. Cudule, is the salon de 
beaule of Fontaine, proud possessor of 
warrants from tie Queen of the Belgians 
and other titled women of distinction. 






'~^,- 






IFO NTA I N E efBruneff 

Beauty Speciafi'if by Appointment to tterAlaJesty, tite Queen of ttie Beti/iuhf 

advocates this twice a day treatment 
to keep skin lovely 



"The one way of ensuring that the skin is 
thoroughly cleansed of all impurities in 
the pores is the regular use twice daily 
of a really good soap — and in my ex- 
perience the soap to use is Palmolive." 



^ f¥sz^ 



25 Rue Ste. Gudule, Brussels 



VISITORS to the beautiful dry of Brussels 
often stop before a cenain shop window, 
opposite the stately Cathedral, to note with in- 
terest several distinguished crests — one the 
seal of Her Majesty the Queen of the Belgians. 
In this shop Fontaine has acted as beauty ad- 
viser to lovely women of the European aris- 
tocracy. Here he has received, with pride, 
warrants from the Queen and from such dig- 
nitaries as Madame la Princesse Napoleon . . . 
proclaiming him official "Fournisseur," as was 
his father, since the year 1866. 

This season Monsieur Fontaine is attracting 
much attention from Continental women of 
fashion because of a brilliantly unusual metallic 
coiffure of his own design. 

"The first step in 

beauty care" 

OneofFontaine'sspecial- 
ties is a facial massage for 
which he employs "lesavon 
Palmolive qui rend a la peau 
la veloute" (Palmolive Soap, 



4808 



Retail Price IQc 




which makes the skin as smooth and soft 
as velvet). "The first care of a beauty spe- 
cialist," says M. Fontaine, "is to see that 
the skin is in a condition to respond to 
treatment in the Salon. Many complex- 
ions begin to lose their freshness and 
youthful suppleness long before their 
time because the skin is never allowed to 
breathe. For skins do breathe— through 
the pores. If the pores are allowed to 
remain clogged up indefinitely with powder, 
rouge, fine dust, etc., the delicate tissues must 
suffer and lose all their vitality. 

"The one way of ensuring that the skin is 
thoroughly cleansed of all impurities in the 
pores, is the regular use twice daily of a good 
soap . . . Palmolive. The value of palm and 
olive oils is well known— and it is a mistake to 
suppose that the same thorough cleans- 
ing can be got by other means. 
Thar is why I always insist that 
> before my own preparations are 
applied, the skin must first be 
cleansed with Palmolive." 




Monsieur Fontaine giving a facial treatment in i>is 

salon. Fontaine believes in tfie twice-a-day use of "le 

Savon Falmolive, " whiich, he says, is used witlj great 

success for facial massage in his establishment. 



What Fontaine advocates, in Brussels, is 
recommended in London, by such authorities 
as Madame Bertha Jacobson; in Paris, by 
Cavalieri, Madame Valentin le Brun, Payor, 
Masse, Vincent, Delord et Bion; in Vienna, 
by Pessl; in Berlin, by Elise Bock. In fact, 
every authority of consequence, all over the 
world, gives this same advice on the care of 
the skin: protect beauty with Palmolive 
Soap. Massage the skin for 2 minutes with 
Palmolive lather; rinse with warm water, then 
cold. That 'sail. Its simplicity is onereason why 
this is the world's most popular treatment. 



PALMOLIVE RADIO HOUR- Broadcast every Wednesday night -from 9:30 to 10;30 p.m., 
eastern tim^: 8:30 to 9:30 p. m., central time: 7:30 to 8:30 p. m., mountain time, 6:30 to 7:30 
p. m.. Pacific Coast lime— over WEAF and 39 stations associated with Tfie National Broadcasting Co. 




CHAMPIONSHIP CHUKKERS^^^CHOICE CHATTER^^^ COOLER SMOKE 

At Meadowbrook...mad melee of ponies, men and mallets. ..gay chatter runs through the boxes... packages 
and packages of cigarettes are consumed! That's where the smart smoking world appreciates the greater cool- 
ness of Spud's smoke! Back for a tea-time resume of the game. ..more Spuds. ..clean mouth, nimble-tongue 
cigarette... its refreshing cooling effect heightening its full tobacco flavor... making the last cigarette as de- 
lightful as the first. Thus, among life's modern pleasures. Spud is the new freedom in old-fashioned 
tobacco enjoyment. At better stands, 20 for 20c. The Axton-Fisher Tobacco Co., Inc., Louisville, Ky. 



MENTHOL-COOLED 







CIOARETTES 



(^ook 



with 



B 



ran 



These recipes 

will add variety 

to your daily 

menu 




STORED within the humble bran is the nu- 
cleus of health and beauty. This fibrous food, 
rich in mineral content, does an important 
regulative work in the body, and no housekeeper 
who has the health of her family in her keeping, 
can afford to neglect it. 

On another page in this issue you will find an 
article by Dr. H. B. K. Willis in which he speaks about bran 
and stresses the body's need of it. I merely want to tell you 
here how you may use bran in cooking, bringing variety to your 
meals while you are storing up health and energy for the mem- 
bers of your household. 

Laura La Plante gives us her recipe for Bran Muffins. These 
are the ingredients for eight large, or twelve medium size muffins: 



Laura La Plante is a clever cook who knows the value of 

presenting healthful foods in attractive and palatable 

form. The star of Universal's "Show Boat" includes 

bran in many of her recipes 



GINGER cake made with bran is a simple, healthful dessert 
for hot weather meals. First measure out: 



2 tablespoons shortening 



4 cup sugar 



1 teaspoon baking powder 

1 cup flour 

]/2 teaspoon soda 

34 teaspoon salt 



34 cup shortening 
3^ cup sugar 
1 egg 

13^ cups flour 
Y2 teaspoon salt 

1 cup bran 



1 teaspoon soda 

1 teaspoon ginger 

2 teaspoons cinnamon 
Yi cup .sour milk 

Yl cup molasses 



1 egg 

1 cup sour milk 

1 cup bran 

First, cream the shortening and sugar together. Then add 
the egg. Mi.x and sift the flour, soda, salt and baking powder. 
Next add the bran to the creamed mixture; then add the milk 
alternately with the sifted dry ingredients. Pour into muffin 
tins that have been greased and bake in a moderate oven for 
twentv minutes. 



..^^ 



Photoplay Magazine 

750 N. Michigan Ave., Chicago, III. 
Please send me a copy of Photoplay's Cook 
Book, containing 150 favorite recipes of the stars. 
I am enclosing twenty-five cents. 



Be sure to write name and address plainly. 
You may send either stamps or coin. 



Cream the shortening and sugar together. Add the egg and 
beat thoroughly. Next add the bran. Mix and sift the dry 
ingredients and add them to the creamed mixture alternately 
with the sour milk and molasses. Bake in a moderate oven 
from 30 to 40 minutes. 

SERVED with cooling drinks, with ices or ice cream, bran 
tea cakes and cookies provide just the right touch. To make 
24 very small tea cakes, use: 

2 eggs \/i teaspoon salt 

1 cup brown sugar Yi cup nut meats, cut small 

Yl cup flour Yl cup bran 

34 teaspoon baking powder 
Beat eggs slightly, and add the remaining ingredients in the 
order given. Fill small buttered tins two-thirds full of mix- 
ture. Bake in moderate oven ten to fifteen minutes. 

For a generous batch of the cookies, provide the following 
ingredients: 

Yi cup butter 1 teaspoon baking powder 

% cup sugar M teaspoon cinnamon 

1 egg Yi teaspoon cloves 

2 tablespoons milk 
15^ cups flour 
3^ cup raisins 

Yl cup bran 

Cream the butter. Add sugar and egg, and beat well. Pour 
in the milk next, and then add the bran and raisins, and flour 
which has been sifted with the spices. Chill, roll thin, cut in 
any desired shapes, and bake in a moderate oven. 

Carolyn Van Wyck 

81 



Y^ teaspoon mace 
34 teaspoon nutmeg 
Y teaspoon salt 



82 



Photoplay Magazine — Advertising Section 



LLow 9 out of\0 love If screen stars 



keep their skin 




w^' 




Photo by C. S. Bull, Hollywood 

Renee Adoree, famous Metro-Goldwyn-Mayer star, in the ultra- 
marine and silver bathroom which reflects so charmingly the flower- 
like quality of her loveliness. 

Like nine out often screen stars, Renee Adoree is devoted to Lux 
Toilet Soap. She uses it both in her own attractive bathroom and 
in her dressing room on location. She says: 

'''■Lux Toilet Soap gives my skin that beautiful smoothness I thought 
only the finest French soaps could give. It is certainly a lovely soap. 
I so enjoy it." 



Lux 



Every adrertiscment In PHOTOPLAY MAGAZINE Is guatsnteed. 



Photoplay Magazine — Advertising Section 



83 



irresistibly soft and smooth 



"JVithout smooth skin no girl 

can be lovely^'' say 
3 9 leading Hollywood directors 



PEOPLE thrill to it, always— to the subtle 
magic of a really lovely skin. "Ex- 
quisite skin has tremendous appeal," says 
Tod Browning, Metro-Gold wyn-M ay er di- 
rector, summing up the directors' experience. 
" Smooth skin is a vital factor in every screen 
star's success. No make-up can fake it." 

Because beautiful skin is absolutely es- 
sential for success in motion pictures, 442 of 
the 451 important actresses in Hollywood, 
including all stars, use Lux Toilet Soap. And 
all the great film studios have made it the 
official soap in their dressing rooms. Holly- 
wood has found that the instant, caressing 
lather of Lux Toilet Soap leaves the skin 
smooth as a flower-petal. 

Once you have used this daintily fragrant 
white soap, you, too — like 9 out of 10 screen 
stars — will be devoted to it. For it is made 
by the very method beauty-wise France de- 
veloped for her finest toilet soaps. Buy 
several cakes — today. 





photo by Steichen, Hollywood 



Betty Bronson, Warner Brothers' fascinating young 
star, in the bathroom — one of the most luxurious seen in 
Hollywood — a feature of which is a beautiful sunken 
marble tub. 

Betty Bronson is one of the 442 important Hollywood 
actresses who are devoted to Lux Toilet Soap. Because it 
is made by exactly the same method as are the finest 
toilet soaps of France, it keeps the skin as smooth as a 
gardenia petal. She says about this daintily fragrant, 
white soap: 

"^ screen star must have smooth skin — for everything 
shows in a close-up. I find that this lovely soap is wonder- 
ful/or my skin." 



Anita Stewart, famous star, says: "The 
more I use Lux Toilet Soap the better I like 
it. My skin is so velvety-smooth afterward." 



Toilet Soap 



Luxury suck as you have found only in French 
soaps at 50(z' and $L00 the cake . . . 



now 



m 



When you write to advertisers please mention PHOTOPLAY MAGAZINBl 



How They Manage Their Homes 

[ CONTINUED TROM PAGE 65 ] 



who now is her stcp-mamma-in-ta'iv. 
And a black and white cur named 
"Four Spot" — and "Patrician," the 
baby bulldog. 

Then there is the tiny marmoset 
monkey, which they wouldn't let 
Doug keep at the Hollywood Athletic 
Club before his marriage. Marmoset's 
hand is just large enough to clutch a 
blackberry out of Joan's palm, but his 
mouth has to take four bites. 

"Boots" is the black Persian cat, 
with four white feet — the proud 
mother of two kittens, which Joan 
fondled affectionately. 

"And then I have about two million 
frogs in the pond," informed Joan. "I 
love their noise — but oh, they do make 
a clatter. I'm expecting the neigh- 
bors to complain any day." 

On the ground floor, too, is the 
library, which also serves as a sewing 
room. Joan loves to sew. She not 
only makes many of her clothes, but 
also most of the drapes for the house, 
even the shower-curtains in the bath- 
rooms. 

Which brings us just naturally to 
Joan's hope chest. She embroidered 
countless towels herself, and 
grandmother has promised four dozen 
pillow cases and two dozen sheets, 
aforned with hand-made lace. Joan 
has designed a monogram, with a big 
F in the middle and a little J and D 
balancing it on either side. 




Green and gold is the color scheme of Joan Crawford's living room. 
The center of the room is bare of furniture, giving an effect of coolness 
and spaciousness. Chairs, settees and small tables form cozy, inti- 
mate groups around the sides 




Through the arched gates, to the dining 

room beyond. Antique Spanish furniture, 

the chairs richly upholstered, is set on the 

bare terra-cotta tiled floor 

8^. 



Joan owns two grand lace tablecloths, but prefers the runner and doily 
plan for the dining room table. The lace cloths are reserved for buffet 
suppers. 

In the hope chest, too, was some utterly alluring hand-made, crepe de 
chine and georgette underwear. Joan cut the garments out at home and 
works on them on the set, between rehearsals. 

I remarked on the extraordinary, orderly neatness of the house. 
"I am proud of that," says Joan. "You see, I never had a servant before 
I went into pictures, so I know how to do everj-thing myself. I am a work- 
ing girl. I worked my way through grammar school, waiting on tables — 
doing any sort of work. Then I went to a private school, where I kept a 
fourteen-room house clean, and cooked for 
t«'enty-tive children, helped wash and dress 
them, put them to bed. After that, two years 
at Ste\-ens College for Girls — where I waited 
on table. I don't know how to be lazy . . . 
I always have to find something to do." 

"LJEXCE, Joan is a marvelous house- 
■*- •'■keeper — and works on a budget system. 
She keeps three servants — a cook who, be- 
cause dinner is the only meal to consider, 
also looks after Joan's clothes. The cook 
receives S30 a week. Then there is the maid 
who does the house work for S25 a week. 
The chauffeur, at §30 a week, also helps 
with the garden. 

" I have no maid at the studio. I can take 
care of myself quite well — and shall get the 
house paid off sooner without her," confides 
Joan. 

Joan eats no breakfast, other than coffee, and she lunches at the studio — 
off a "Joan Crawford" salad. Either chicken and lettuce, or avocado and 
pineapple. No bread, potatoes, or butter ever. She wants to keep her 
figure — ".\nd breakfast is the most fattening of all meals," informs Joan. 
So dinner is the one meal of the day at home. This consists of a 
fruit cocktail, with marshmallows; no soup; a small hght salad; a roast, two 
green vegetables, and coffee. Joan admits being a coffee addict. "That 
and cigarettes are my only vices," she confesses. " I don't drink liquor of 
any kind — just once I took some champagne at a New Year's party." 

When there is company, however, hors d'oeuvres and soup precede a 
menu similar to the above, and a fancy dessert follows. "But I never give 
a truly formal dinner," she says. 

All the laundry, excepting Joan's own silk underwear, is sent out, costing 
about fourteen dollars a week. "I love being extravagant \vith clean 
things," she explains. 
Here is a typical working day for this [ ple.\se turn to p.\ge 101 ] 




Photoplay Magazine — Advertising Section 



85 



Tee off with golf balls your tooth paste 

pays for 




See teeth whiten! 

Feel your mouth grow 
healthier! 



EVEN those whose teeth 
are hard to whiten com- 
ment on how swiftly, yet how 
gently, Listerine Tooth Paste 
performs this task. Such ac- 
tion is due to a new type of 
polishing agent. 

And regular users assert 
that this dentifrice definitely 
improves mouth hygiene. The 
gums grow firmer. The en- 
tire mouth seems fresher, ex- 
hilarated, and healthy. 

Buy a tube of ListerineTooth 



Paste and give it a thorough 
short trial. Compare it with 
any paste at any price — and 
judge by results alone. After 
such tests, more than a million 
people have switched to 
Listerine Tooth Paste. We 
can think of no greater trib- 
ute to the product. 

Incidentally, Listerine 
Tooth Paste saves you about 
$3 per year, over dentifrices 
in the 50(2" class. Lambert 
Pharmacal Company. 




Listerine Tooth Paste 



When you write to advertisers please mention PHOTOPLAY JIAGAZINE. 



QUESTIONS ef ANSWERS 



Read This Before 
Ashing Questions 

You do not have to be a 
reader of Photoplay to have 
questions answered in this De- 
partment. It is only necessary 
that you avoid questions that 
would call for unduly long an- 
swers, such as synopses of plays 
or casts. Do not inquire con- 
cerning religion, scenario writ- 
ing, or studio employment. 
Write on only one side of the 
paper. Sign your full name and 
address: only initials will be 
published if requested. 




Casts and Addresses 

As these often take up much 
space and are not always of in- 
terest to others than the in- 
quirer, we have found it neces- 
sary to treat such subjects in a 
different way than other ques- 
tions. For this kind of informa- 
tion, a stamped, addressed 
envelope must be sent. It is 
imperative that these rules be 
complied with in order to insure 
your receiving the information 
you want. Address all inquiries 
to Questions and Answers, 
Photoplay Magazine, 221 W. 
S7th St., New York City. 



BiLLiE Branman, New York 
City. — Helen Foster is twenty-three 
years old. five feet tall and weighs 
102 pounds. Her ne.xt appearance 
will be in "The Gold Diggers." 

L. McD., PiTTSFIELD, MasS. — 

Nils Asther was born in Malmo, 
Sweden, Jan. 17, 1902. His next 
picture will be "The Single Stand- 
ard." Gary Cooper played opposite 
CoUeen Moore in "Lilac Time." 

Pat, Delavan. Wis. — John Boles 
is an -American and is married. His 
latest picture is "The Desert Song." 
His ne.xt will be "Rio Rita." The 
"X" in Francis Bushman's name 
stands for Xavier. Simple, isn't it? 



"pHOTOPLAY is printing a list of studio 
•*• addresses with the names of the stars 
located at each one. 

Don't forget to read over the list on page 134 
before writing to this department. 

In writing to the stars for photographs 
Photoplay advises you to enclose twenty- 
five cents, to cover the cost of the picture and 
postage. The stars, who receive hundreds of 
such requests, cannot afford to comply with 
them unless you do your share. 



SCOTTY AND Wl>fNIE, SPRING- 
FIELD, Mass. — Don Aharado and 
Bryant Washburn played with Con- 
stance Talmadge in "Breakfast at 
Sunrise." Don played the part of 
Lussaii, and Bryant was known as 
Tlie Murqiiis. Has the argument 
been settled? 

Eugenia Arnold, Baltimore, 
Md. — Clara Bow is twenty-four 
years old and still single. Bessie 
Lo\e and Lloyd Hughes played the 
leads in "The Lost World," and 
VLlma Banky and Ronald Colman 
played the leads in "The Dark 
.\ngel." Greta Garbo is not mar- 
ried. 



J. H., No. Tiverton, R. I. — Doris Dawson 
was born in Goldfield, Nevada, April 16, 1909. 
She is five feet, one inch tall; weighs 103 
pounds and has red hair and blue eyes. She 
uses her own name in pictures. Does the rela- 
tionship check up now? 

Louise D. Johnson, Everett, Wash. — 
James Hall was born Oct. 22, 1900. His next 
picture will be "Smihng Irish Ej'es." Colleen 
Moore has the feminine lead. 

Mrs. F. S. M., Scranton, Pa.— It was 
Arthur Rankin who played the part of Nancy's 
boy friend in "The Wolf of Wall Street." 

Jerry, .Austin, Texas.— Anita Page was 
born in Flushing, Long Island, nineteen years 
ago. She is five feet, two inches tall; weighs 
118 pounds and has blonde hair and blue eyes. 
Her real name is .\nita Pomares. Her latest 
picturesare " The Broadway Melody " and " Our 
Modern Maidens." Mary Brian hails from 
Corsicana, Texas. Other stars from Texas are : 
Joan Cra\vford, from San Antonio; IMadge 
Bellamy, from Hillsboro; Sharon Lynn, from 
Weatherford; and Bessie Love, from Midland. 

Bea., Elkhorn, W. Va. — The title of the 
music you refer to is "The Wedding of the 
Painted Doll.'' You can purchase it at any 
music store. 

C. C. C, Washington, D. C— The young 
man you mean is Cornelius Keefe. He is six 
feet, one-half inch tall; weighs 165 pounds and 
has black hair and brown eyes. He hails from 
Boston, Mass.. and has been in pictures since 
1927. Did you see him in "The Squall"? 

F. T., Memphis, Texas. — Any relation to 
^Memphis, Tennessee? James Murray played 
opposite Joan Crawford in "Rose Marie." 
He is twenty-seven years old, has light brown 
hair and brown eyes and hails from New 
York City. Do you still think we are tr>ing 
to kid you? Of course John Gilbert is married 
to Ina Claire. 

86 



A Reader op Photoplay, Montreal. — 
You are mistaken. Laura La Plante comes from 
St. Louis, Mo., and not from Ottawa. Nancy 
Carroll was educated in New York City. 



Personalities of the 
Month 

THIS month we have a few 
more short biographies for 
the fan scrap books. 

Eddie Quiilan, born in Phila- 
delphia, Pa., March 31, 1907. 
Five feet, six inches tall; weighs 
140 pounds; black hair and brown 
eyes. For twelve years he ap- 
peared in vaudeville with his 
family. 

Kenneth Thomson, of "The 
Broadway Melody," was born in 
Pittsburgh, Pa. He is five feet, 
eleven inches tall and has jet 
black hair and brown eyes. He 
entered the movies in 1926 and 
is married to Alden Gay. 

Dorothy Burgess, born in Los 
Angeles, Calif., March 4, 1907. 
Reddish brown hair, dark brown 
eyes and weighs 112 pounds. 
Taken from the stage for the lead 
in "In Old Arizona." 

Carol Lombard, born in Fort 
Wayne, Ind., and christened Jane 
Peters. Five feet, two inches tall 
and has golden hair and blue 
eyes. Appeared on the stage for 
three years. 



M. Hennessy, Dorchester, 
Mass. — ^Girls, you should stop the arguing 
during the hot weather. Audrey Ferris has 
auburn hair and brown eyes, TuUy Marshall 
did not play in "The Bellamy Trial." Now, 
I've settled both the arguments at once. 

R. T., Smyrna, Del. — Richard Arlen is 
about thirty years old and claims Charlottes- 
ville, Va., as his home town. John Darrow 
played the part of Verde with Jack Holt in 
"Avalanche." 

Ellen Moore, New York City. — Your 
mother wins. Louise Brooks did not talk in 
"The Canary Murder Case." Margaret 
Livingston did the \-ocal douWing for her. 
Now it's mother's turn to cheer. 

Margaret Luepke, Milwaukee, Wis. — 
Your cousin has been misinforming you. I 
do not send out photographs of the stars. You 
will have to write direct to yoiu- faxorites for 
them, and enclose twenty-five cents for each 
one. You will find a list of addresses else- 
where in this issue. 

Tiny, La Crosse, Wis. — Conrad Nagel was 
born March 16, 1897, in Keokuk, Iowa. He 
is married to Ruth Helms. His latest picture 
is "Dynamite." Ronald Colman was born 
Feb. 9, 1891, in Richmond, Surrey, England. 
His next picture will be "The River Gambler." 

Whoopee, Trenton, N. J. — ^Where did you 
get that name? William Haines is twenty-nine 
years old and hails from Staunton, Va. He is 
six feet tall, weighs 172 pounds, and uses his 
own name in pictures. You will find an inter- 
\iew with him printed in the October, 1926. 
issue of Photoplay, which you can get by send- 
ing 25 cents to our office at 750- N. Michigan 
.\ venue, Chicago, 111. 

Ballard Trigg, Louisville, Ky. — Greta 
Garbo is twenty-three years old and was born 
in Stockholm, Sweden. Her next picture will 
be "The Single Standard." 

[ please turn to page 116 ] 



Photoplay Magazine — Advertising Section 



87 



\yIm^narajn,^Manjmc^ is a ckartto teach uou ivku 



O 



,^v^ 






^%Jf«^ sKix C4/V «^ 



raiices 




Av 



ram 



^O. 



(y, 



'\" 



'VT'OU could read hundreds of books 
-*• and spend thousands of dollars, but, 
■with all your study and expense, you 
could never, never learn a more impor- 
tant rule than to take care of the health of 
your skin. 

You, yourself, know that your health 
has much to do with your spirits from 
one day to another. And it is the same 
with your skin — its loveliness or lack 
of it is an excellent indicator of the 
care it receives and the health it enjoys. 

I have started on my mannecjuin the 
six places where the health of your skin 
is most quickly evidenced. These are 
the places where imperfections come 
first — where lines trace on the skin 
untruthful testimonials of the years. 
Protea these places — guard well their 
health — and year in, year out, you can 
face your mirror with joy. 

Milkweed Cream will help you marvel- 
ously in caring for your skin. It is slightly 
therapeutic, and does things for your 
skin that no other cream, however 
expensive, can possibly do. It is a 
splendid cleanser but to me its most j, 
appealing virtue is the way it brings >« 
smoothness to the skin. Roughness 
vanishes — blemishes and tiny wrinkles 
disappear. Your skin becomes incredibly 
smooth, clear and lovely. ^^ 

You will find Milkweed Cream at any 
drug or department store. But I wish you 
would send the coupon for my booklet 
on skin cate. Also, if you have any special 
beauty questions, write me for advice. .^. 

t r * - 

P. S. Milkweed Cream is marvelous when 
yon are sunburned. It soothes away the red- 
ness and smarting. And, should you acquire WW 
a tan, it will encourage a lovely, even effect, 
keeping the skin soft and supple and prevent- 
ing the burn from coarsening its texture. 




The Forehead . . Lines and wrinkles are all jjL, The Neck . . Finely etched, circular lines are 



too likely to form here prematurely unless 
the skin is kept soft and pliable — and this 
Ingram's does with marvelous effect. 

The Eyes . . Puffiness and crows' feet are 
so very aging and unbecoming — so traitor- 
ous. To keep the skin smooth and supple, 
turn to the soothing and softening services 
of Ingram's Milkweed Cream. 

The Mouth . . To prevent drooping lines at 
corners of the lips, tone the skin and keep 
the muscles firm by using Ingram's. It is 
amazingly helpful for invigorating circu- 
lation. 

The Throat . . Guard against a crepey throat 
if you value your youth. Ingram's, with 
its trace of medication, keeps it lovely, 
smooth and rounded and without a trace 
of flabbiness. 



signs of accumulating birthdays. Be faith- 
ful to your use of Milkweed Cream. It 
wafts well-established lines to obscurity 
and guards against new ones. 



J, The Shoulders . . Every woman who would 

yf proudly wear evening gowns or sleeveless 

dresses should cleanse her arms and 

shoulders and keep them blemish-free 

with Ingram's. 



Frances Ingram, Consultant on Care of the Skin, 
Dept. A-89, 108 Washington St., N. V.C. 
Please send me your free booklet, "Only a Healthy 
skin Can Stay Young" which tells in complete detail 
how to care for the skin and to guerd the six vital 
spots of youth. 



Name^ 



Slreel_ 



© 1929 Addreii_ 



In GRAMS ^Ailhweed dream 



When you writ* to advertisers please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 



[ CONTINUED FROM PAGE 51 




Anita Page demon- 
strates the Oriental 
art of winding a 
turban. The scarf 
consists of two yards 
of hand-blocked 
fabric and may be 
carried in a hand- 
bag. At left. Miss 
Page draws the tur- 
ban snugly over her 
forehead. At right, 
she winds the ends 
twice around her 
head 



Half way through the meal, I.upe ex- 
tracted a pocket comb from Gary's coat 
and coiffed his dishevelled locks, while the 
big boy from the great open spaces — the 
guy with the heart of ice — submitted fatu- 
ously — and actually liked it. 

npHIS is the sad story of a Film You'll 
■*- Never See. 

J. C. Nugent, late of vaudeville, was 
brought to Hollywood to direct short sub- 
jects. 

Nugent's first assignment was to film his 
own act. 

In their ignorance the executives, hoping 
to please, assembled what they thought 
would be a very nice little cast for Mr. 
Nugent. 

Among the players summoned were Con- 
rad Nagel, Dorothy Sebastian, Karl Dane, 
George K. Arthur, Polly Moran and Eddie 
Nugent. 

J. C. walked on the set and looked the 
players over. "Now see here," he began, 
"I'm the director of this opera and I don't 
want any back talk from actors. 
I'll tell you how this thing is to be 
played." 

nPHE actors gulped a couple of 
■*- gulps and tried to look non- 
chalant. Nugent continued, as he 
turned to Conrad Nagel: "They 
tell me you're a pretty good lead- 
ing man," he said, "but I never 
heard of you, see? To me you're 
just another actor." This, of 
course, was received with loud 
cheers from Conrad. 

".\nd," said Nugent, looking 
at Dorothy Sebastian, "I under- 
stand you're famous. But j'ou've 
got to prove it to me." 

The complete account of the en- 
suing two hours is too grewsome 
to relate. The short subject will 
not be filmed! 

/'^OME to your local theater 
^— 'and take left-overs. That's 
what a new Fox opus, " Words and 
Music," will be. The phrase is 
used mthout attempt to.belittle. 
When "Fox Movietone Fol- 
lies" was made, Lois Moran had 





And this is the turban as it is worn 

for any outdoor sport. The ends 

may either be tucked in or left 

loose at the back 




an important role. There were many num- 
bers where she did excellent work. And 
there were se\'eral catchy tunes for her to 
sing. But when the picture was completed 
it was much too long. Certain sequences 
had to be cut out. Lois was removed 
bodily by a film editor's shears. But the 
stulT was all good. The numbers were 
elaborate. Lois proved herself clever. The 
tunes were catchy. 

Therefore James Tingling was given the 
job of directing a half-finished picture. The 
left-overs or cut-outs are the basis for 
"Words and Music." 

"(-^ OOD-B'yE," said Bill PoweU 
^>Jas he boarded a train for the 
Grand Canyon of Arizona, "I have 
decided to get to the bottom of 
things." 

T\ T.XDDLES is dead. She is survived by 
*» her best friend and severest critic, 
Louise Fazenda. 

Twelve years ago Louise and Waddles, 
the Mack Sennett trained duck, 
crashed the studio gates together. 
You remember the pair in many 
comedies, don't you? 

Long ago Louise retired Waddles 
on a pension of good food and com- 
fortable lodgings. Waddles lived 
in the back yard of the come- 
dienne's Wilshire home, and al- 
though she was not young when 
she entered pictures, Louise had 
come to regard her as a permanent 
fixture. 

Now she is gone and Louise 
mourns her loss. 



w 



ILLIAM HAINES must have 
his little joke, in case some- 

PLE.^SE TURN TO PAGE 90 ] 



Hollywood goes Broadway 
and Joan Crawford prac- 
tices up on her old chorus 
steps under the tutelage 
of Sammy Lee, the dance 
director. Joan will dance 
in M.-G.-M.'s Revue of 
Revues 



Photoplay Magazine — AD^'ERTISING Section 



89 




Why It Takes a Penetrating Foam 
to Clean Teeth Completely 



The difference between Colgate's 
and ordinary toothpastes lies in the 
unique, active foam released by Col- 
gate's, the instant it is brushed on 
the teeth. 

For this sparkling foam not only 
carries a polishing agent that makes 
teeth sparkle brilliantly . . . it does 
more! It possesses a remarkable prop- 
erty called low "surface-tension" 
which enables it to go down to the 
very bottom* of all the tiny crevices 
and fissures in teeth and gums. 
There, it softens and dislodges the 
food particles and impurities which 
cause decay . . . and zvashes them 
away in a foaming, detergent wave 
of cleanliness. 

The reason why Colgate's acts in 



Colgate's active foam sweeps into every tiny 
crevice, washing out decaying impurities 
which ordinary brushing can't reach. 




Greatly magnified 
picture of tiny 
tooth crevice. 
Note how ordi- 
nary, sluggish 
toothpaste (hav- 
i ng high "surf ace- 
tension") fails to 
penetrate deep 
down where the 
causes of decay 
lurk. 



* How Colgate' 
Where Toolh 



's Cleans 1 
Decay Ma 




This diagram 
shows how Col- 
gate'sactivefoam 
(having low "sur- 
face - tension") 
penetrates deep 
down into the 
crevice, cleansing 
it completely 
where the tooth- 
brush cannot 
reach. 



this way is because it contains the 
greatest cleansing agent known to 
man. This cleansing agent makes 
the famous Colgate foam whose ac- 
tion is described above and it is the 
presence of this particular ingredient 
which makes Colgate's a better 
cleanser; a more economical cleanser 
. . . different in action and in results 
from ordinary, sluggish toothpastes 
which merely polish the outer sur- 
faces ot the teeth. 



COLGATE, Dept.B- 2546 TI? D P C 
695 Fifth Ave.. New i- i-V J-. L^ 

York, In Canada address, Colgate To- 
ronto 8. Ontario, Please send a trial 
tube of Colgate's Ribbon Dental Cream, 
with booklet "How to Keep Teeth and 
Mouth Healthy," 



Address . 



When 5'ou write to advertisers please mention PHOTOPLAY MAGAZINE. 



Gossip of All the Studios 




In "Our Modern Maidens," 
Doug Fairbanks, Jr., obliges 
with a few imitations. Tliis is 
Lionel Barrymore — or it might 
even be brother John 



body rides up in a hearse and aslcs you. Those 
who know him have come to accept this fact 
cheerfully, or otherwise. However, there is 
one time that BiUie wishes he had been a good 
boy. 

A newspaper woman, during an inter\'iew, 
asked liillie who played the feminine lead with 
him in "The Duke Steps Out." 

"Oh, I don't remember," replied Billie, 
smiling. 

The interviewer took him at his word and 
printed just that. 

And, golly, didn't Joan Crawford burn and 
burn. 

npHERE is something darned insidious about 
■*■ this theme song business. Even Pauline 
Frederick, now at work on "Evidence" at 
Warrier Brothers, will warble two numbers for 
the picture. 

Fans will undoubtedly be surprised at the 
richness of Miss Frederick's contralto voice. 

90 



[ CONTINUED FROM PACE 88 ] 

Unless Cal is mistaken it will be the first time 
this emotional star has used her voice in 
public since she sang " Towsee Mongolay " in 
"Innocent," fifteen years ago. 

A SK for a "Joan Crawford Salad" in the 
-* *-Metro-Goldwyn studio restaurant and 
you will get this — 

The usual foundation of lettuce leaves 
heaped with diced chicken and raw tomato. 

This is Joan's reducing dish, and many 
lovely ladies are going for it to tone down the 
contours. 

And if you don't think it works, know that 
Joan, after a diet of this stuff, now wants to 




And, looking above, you all 

know who this is. It's Richard 

Barthelmess, exchanging a 

dirty look with the villain 



At your right is an imitation 

that should bring young Doug 

a sharp reprimand from the 

senior Fairbanks 



get back four or five pounds, and is not above 
dallying with a few spuds these days. 

\X7"RITING of theme songs is be- 
» " coming one of Hollywood's 
greatest industries. Every picture 
has its theme melody, and songs are 
turned out at the various studios 
about as rapidly as new-bom 
flivvers. Tunes are growing scarce, 
with about everything in use from 
Handel's "Messiah" to "London 
Bridge Is Falling Down." 

A good title was suggested for a 
theme song to the new John Barry- 
more picture, "General Crack," in 
production at Warner Brothers: 

"You may show your whole face 
to some other girl but you're only a 
profile to me." 

/^\E of the most unusual, and at the same 
^-^time the most painful, accidents that have 
occurred to a film player happened re- 
cently to Charles IMorton, Fox star. He was 
playing hand ball, when the ball hit his eye, 
laying it entirely out upon the cheek. Because 
he had expert medical attention instantly, he 
w ill not lose the sight of the eye, but the acci- 
dent has been a source of great worry to his 
friends. | pi.e.\se turn to page 92 1 




Photoplay Magazine — Adn-ertising Section 



91 



n 



c 



c 



Mrs. Howard ^.handler ^hristys 

exquisilely fended hands have been painfed many fimes . . 



"It does Hatter iJie linger tips 
tne new 
Gutex Liquid Polisn, 
she says 

Her fair, exquisitely shaped hands 
are famous among artists. 

She has been painted many, many 
times — a great Italian sculptor has 
immortalized her 

"As for myself," says her dis- 
tinguished husband Howard Chand- 
ler Christy, "I have forgotten how 
many times I have painted and 
drawn those beautiful hands." 

Her slender, sensitive hands are 
a true index to Mrs. Christy. 

She is the constant inspiring 
companion of her famous husband. 
Twice she has been a house-guest at 
the White House when he painted 
the portraits of two successive 
presidents. The court circles of Italy 
feted her while Howard Chandler 
Christy was painting the great 
leader of the Fascisti. 




Stdrl using the delightful neiv Ciilex 
Liquid Polish today. You will love the 
flattering brilliance it gives your nails! A 
generous size bottle of unperjumed Cutex 
Liquid Polish or Re?nover costs only JJ^. 
In convenient sets you will Jind the new 
Perfumed Polish and Remover together 
60^, or the unperfumed Polish and Re- 
mover together 50(i. The other famous 
Cutex preparations J^i.. Norlham Warren, 
New York, London, Paris. 




/ViRS. CHRISTY in one of fhe gowns she wore the last lime she 
visited at the White House. The beauty of her almond nails is 
shown in the photograph at the left. The three simple steps ot 
Mrs. Christy's manicure are — FIRST, the Cutex Cuticle Remover 
to remove dead cuticle, to whiten the nail tips, soften and shape 
the cuticle, bringing out half moons — SECOND, the Polish Remover 
to remove the old polish, followed by the flattering perfumed 
Cutex Liquid Polish that sparkles undimmed for a week — THIRD, 
the Cutex Cuticle Cream or Cuticle Oil applied around the 
cuticle to keep It soft and under the nail tip to keep it smooth. 



Everywhere she goes she carries 
with her an atmosphere of ex- 
quisiteness. 

"The new Cutex Liquid Pol- 
ish is so flattering," Mrs. Christy 
says with charming candor. "I 
am delighted with the brilliance 
it gives my nails. 

"I am very careful about my 
hands— I know they are one of 
my best points. So I am faith- 
ful to my Cutex. 

" Before I use the new Liquid 
Polish I always soften and shape 
the cuticle and whiten the nail 
tips with Cuticle Remover. 

"Then the Liquid Polish which 
lasts days and days by the way. 
After that a bit of the Cuticle 
Cream or Oil to feed the cuticle 
and my hands can meet even my 
husband's critical artist's eye." 

Keeping one's nails as well 
groomed as Mrs. Christy's is 
simple with the new Cutex Liquid 
Polish for it requires only a few 
minutes each week. Cutex Liquid 
Polish is on sale at toilet goods 
counters everywhere! A generous 
size bottle costs only jfj!! 



This is the latest drawing by Howard 
Chandler Christy of his wife's famous 
hands. "I am very proud of Mrs. 
Christy's hands— they are as lovely as 
any I have seen in my wide artistic ex- 
perience," says the celebrated painter. 




7- — i|M.tJ\li*ii 




SPECUL INTRODUCTORY OFFER— I2ci 



I enclose \lt for the Cutex Manicure Set containing 
sufficient preparations lor six complete manicures. 
(In Canada, address P. O. Box 2054, Montreal.) 

NoRTHAM WaRREX 

Dcpt. 9Q-8. 191 Hudson Street, New York, N. Y. 



When you write to advertisers please mention riIOTOPL.\Y MAGAZIXE. 



Gossip of All the Studios 



I CONTINUED FROM PAGE 90 1 




Not a movie mob scene but a glimpse of a typical Holly- 
wood first night, the premiere of "The Black Watch" 
at the Carthay Circle. When the celebrities troupe 
down the aisle, the tourists on the side-lines get the 
thrill of their lives 



HOLLYW'OOD is full of ghosts, these days. _ 
Lured by the promise of the stage, movie veterans who long ago 
deserted the camera for the stage are back in the studios, and every 
studio restaurant is alive with memories. 

Crane \\'ilbur is back at Metro-Goldwyn — Wilbur, who years ago 
was a Ivubin leading man and made love to Ormi Hawley in a big way. 
He looks fine, is writing dialogue and doing direction, and may act. 
Willard Mack is on the same lot, writing, directing and playing. 

And along with the old timers, there are little girls from the New York 
stage who are trying their luck at talkies. 

One big-eyed child named Zita Johann was a tremendous New York 
success in an ill-fated play called "Machinal." M.-G.- 
M. signed her, and now a shy little stranger in a new and 
busy world, she wanders about the studio in a daze. 
She is actually so timorous in Hollywood that she 
doesn't even want to go into the bustling studio com- 
missary alone. 

I've dined with Rciiec Adoree 

And gabbed willi Lila I.cc — 
I've interviewed Aniln Page 

And stared at Garbo free — 
O Death, where is thy sting-a-ling, 

O Grave, thy victory? 

OVER a jug of orange juice, the other day, talk fell 
on which was the easier market for somebody with 
something to sell — men or women. 

After the story of the great purchase of Director 
Gregory La Cava, the masculine gender was elected 
without one " nay." 

One night La Cava came 
bounding home to the little 
woman full of enthusiasm and 
a bundle. 

"Look!" he cried, unwrap- 
ping the big parcel. "Every 
morning we can clean our teeth 
thoroughly ! How much better 
than the old family tooth- 
brush!" 

The package contained a full- 
sized dental engine, with all the 
little gadgets and brushes thai 



go with that horrible operation known as 

cleaning the teeth. And he had paid plenty. 

Mrs. La Cava's comments have not been 

preserved for posterity, and a shame it is, too! 

nrHAT 831,000 verdict that Jetta Goudal 
■*■ won in her famous breach-of-contract suit 
against Cecil De Mille is turning out to be a 
rubber band that has snapped back and hit 
her on the nose. 

Jetta won both a moral and a financial 
victory against her former boss. 

But Hollywood's moguls have a droll but 
effective way of turning on the screws when 
their power is successfully challenged, and 
now La Belle Goudal finds herself out of luck 
in the studios. She has no work and there is 
no particular prospect of her getting any. 

So the e.\otic looking Goudal, a vision in 
her original clothes and picture hat, drives 
about Hollywood in her mighty car, and talks 
of a long trip to the Orient, and perhaps aU 
the way around the world. 

It was a battle that Jetta won only to lose. 
And producers and elephants never forget. 

TACK 'WARNER, the producer, now qual- 

J ifies as a detective. 

One night he was working late at the studio 

when there came a tap at his window. 

Answering the knock, he sa\\' a shabby young 

man who gave him a terrible story of hard 
luck. 

Jack good-naturedly told him to come 
back ne.xt mornirvg and go to work in the 
property department. The man was 
assigned | i>le.\se turn to p.age 96 ] 



A siren at the sirens. 
Josephine Dunn plays 
the "siren organ" used 
by Universal to give 
honk and rattle effects 
for street noises. All 
types of noise devices 
are mounted together 
and operated by an 
organ keyboard 




International Newsrcel 



92 



Photoplay Magazine — Advertising Section 



93 



Still lovelj looking 



3.t CC3. 




but suddenlu his Lnle/Tst was (^one^; 



/ 



You can never tell when a temporary 
deodorant will cease to protect you.. 




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TJETTY knew she was glorious looking 
-'-' as he drove her to town for a day of 
shopping. He'd been so eager for her 
promise to tea with him! 

And now at tea time — some unaccount- 
able thing had happened. He was no 
longer enthusiastic. What could it be? 

If someone had only told her that "you 
can never tell when a temporary deodorant 
will cease to protect you!" Only by the 
regular use of Odorono, which was de- 
veloped by a physician to check perspira- 
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protection. 

Why Odorono Gives You 

Continuous Protection • • • 

Odorono keeps the underarm dry and 
fresh at all times by checking perspiration 
in a safe way. 

It is in the closed-in portions of the 

When you write to advertisers please mention rllOTOrLAY MAGAZINE. 



body that perspiration causes odor and 
leaves ruinous stains. Odorono checks 
perspiration in these places and directs 
it to more exposed surfaces where evapo- 
ration occurs more quickly. 

Odorono Regular Strength (ruby col- 
ored) for twice a week use for the average 
skin and the new Odorono No. 3 Mild 
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everyone has for something to use in the 
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(deodorant) 25(i. 



New 10^ Offer.- Mall coupon and 10< for the 
complete underarm toilette; samples of Odorono 
Regular Strength, the new Odorono No. 3 Mild and 
Creme Odorono. (If you Jive in Canada, address P. O. 
Box 2054, Montreal.) 

The Odorono Company. Inc., Dept. G-8. i^l Hudson 
Street, New York, N. V. 




Photoplay Magazine — Advertising Section 



Brickbats and Bouquets 



Q)Lp intothix 
bcdutij powder 

If you want to know the 
meaning of "face powder 
satisfaction" dip into 
Plough's Black and White 
Face^ Powder and fluff it 
over your skin. Note how 
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pleasing it feels! Then look 
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BLACK^WHITE 
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[ CONTINUED FROM PAGE 10 ] 



J^fnii/jfi.Jnc. 



New VOP,K- MtMJ'HI/^- /^AN FP.ANJCIXCO 



ture, "The Canary Murder Case," and would 
like to quote to you a few words that he wrote. 
"When you see Louise Brooks hold up her 
admirers as the Canary, you are really hearing 
ilarsaret Livingston's voice." Some jolt it 
was to me, because it means that if our fa\orite 
hasn't a good \-oice a double will be used, and 
we will be led to think it is the voice of our 
favorite. It is not fair to deceive us in such a 
way. 

Am I right — fans? I don't care if the \'oice 
is not the best that can be produced; as long 
as it belongs to the right person, I'll be 
satisfied. 

I have just heard Clara Bow's voice in "The 
Wild Party," and I think it belongs to someone 
else. I hope I am wrong. 

Lucille Span-kuch. 

Bakersfield, Calif. 

I may be a little late mth my opinion of the 
talkies, but I certainly enjoy a talkie as much 
as I do a play on the legitimate stage. 

I would dislike \-ery much to think that 
adopting the talkies altogether would mean 
the loss of such players as Nils .\sther, Greta 
Garbo and several others, but I think voice 
doubling is perfectly all right. 

In ""The Canary Murder Case," Louise 
Brooks did not do her own talking, but it cer- 
tainly did not spoil the picture. 

M.\UDE Cross. 

A Little Difference of Opinion 

Atlanta, Ga. 

Here's to Mary Pickford — a great actress. 

When I learned that "Coquette" was to be a 
sound picture, I xvas afraid the talking «-ould 
be exaggerated and overdone, as it usually is 
on the stage when the scenes are laid in the 
South. To us, born and raised in the South, 
the usual talkie sounds just a little bit stagey, 
but, in "Coquette" the dialogue sounded so 
perfectly natural it was hard to belie\e that all 
the actors were not Southern people. I was 
proud of the picture, for it's a true interpreta- 
tion of the Southern voice. I congratulate 
CN-eryone who had anything to do with the 
making of "Coquette." 

IM.WE HiGDOX. 

Richmond, Va. 

Hollywood, the Athens of today, does more 
to educate the people than any other medium. 
But sometimes the cast or the director misses 
in the representation of life. 

My home is down where the South begins, 
therefore my ears are accustomed to the 
Southerner's way of talking. Surely Miss 
Pickford and the supporting cast do not think 
that we Southerners say "sho" for sure, and 
"luv" for love. In spite of this defect I think 
that the fine acting in this picture deserves 
loud applause. 

Milton Hutchinson. 

The Universal Companion 

Salem, Ore. 

What would we do without the movies? 
Coming to a strange town, across the continent 
from everything I had known, there were 
several weeks before I had a soul e\'en to talk 
with, much less a companion. It seemed to 
me I would have died of loneliness except for 
the movies. 

Going to see my favorite stars was just like 
meeting old friends. 

Sound effects do add to a picture, but I can't 
get up much enthusiasm for the all-talking 
lilms. The action is slowed up too much by a 
lot of unnecessary noise. But it was a re\'ela- 
tion to hear Gary Cooper speak in "The Shop- 
worn Angel." He has the most attracti\e 



voice I've encountered in the talkies. And 
when he "emoted" I couldn't control a fugitive 
tear. 

Sylvia L. Peters. 

A Boy Speaks Up 

X"ew York City. 

A boy is never looked upon as a possessor of 
any knowledge at all. His opinions are never 
listened to, and his ideas are always cast out. 
At a family discussion , if he just opens his mouth, 
he is immediately "shut up" and sent to bed. 

But w-hen it comes to movies — a boy's bread 
and meat — no mere grown-up can put anything 
over him. A boy doesn't exactly care for John 
Gilbert and Ronald Coknan. They make love 
too much, and their pictures are, on the whole, 
too dry. But he loves stars like Victor McLag- 
len, George O'Brien and Gary Cooper. They 
are the real men — the giants of the movies. 
Their great build and powerful muscles fasci- 
nate him. Doug Fairljanks and Lon Chaney 
give him his thrills and chills. It's always a 
treat to see their pictures. For fun, it's 
William Haines, Stan Laurel and Charlie Chase 
who hand him his laughs. He thinks they're 
greater than great. 

Of all the girls in the movies, Clara Bow 
takes his heart, and Mary Pickford picks 
second place. The rest are all right — some- 
times. 

These are all his thought^ of the movies. I 
know — for I am a boy. 

Herbert Pelkisson. 

Some Thoughts on Husbands 

Waxahachie, Texas. 

Here is a whole armful of bouquets for Lewis 
Stone! He is the best representative on the 
screen of a husband in real life. So neglectful 
of his wife in the picture "Wild Orchids," giv- 
ing her a little peck of a kiss and going to sleep 
at the most romantic moment. 

Men may be John Gilberts before they are 
married, but most of them are Lewis Stones 
after they are married. 

ilay Lewis Stone long remain in the pic- 
tures! 

HoRTENSE Greene. 

Constructive Criticism 

Los Angeles, CaUf, 
When one goes to a silent photoplay, how- 
e\'er loud the music is or however much the 
people around are making audible remarks, at 
least one can read the titles. There is in the 
talking films a tendency in some pictures for 
the unseen orchestra to play too loudly while 
dialogue is being spoken, and unless this is 
carefully watched by the producers it is going 
to utterly spoil the talkies. Just recently I 
saw a splendid picture called "The Leather- 
neck," with those sterling players, William 
Boyd, Alan Hale and Robert Armstrong, and 
the orchestra played so loudly in many places 
that I could only with the greatest difliculty 
hear what was said, and I missed some of it. 
It made me verj' annoyed as it spoiled the fine 
picture. This is such a serious fault that I hope 
producers will be warned and take steps to 
carefully watch this important matter; other- 
wise, however good their picture may be, it 
will be spoiled. And I may add that I have 
excellent hearing, so to those who are not so 
blessed it would be still worse. 

Ernest R. Wild. 

A Successor to Rudy? 

Buffalo, N. Y. 
I ha\e been an ardent movie fan for years 

1 PLEASE TURN TO PAGE 103 ] 



Every adrerlisement in PHOTOPLAT MAGAZINE Is guaranteed. 



Photoplay Magazine— Advertising Section 



95 



"At Home after 
September 1st—** 



Each year thousands upon thousands of those neat, 
white envelopes lind their way through the mails. You 
know what they are before you open them ... an inner 
envelope, and a trim card — "Mr. and Mrs. So-and-so 
announce the marriage of their daughter" — and another 
card — "At home after September ist, at loi Moonlight 
Avenue." 

Everv one means a new home initiated, a new familv 
begun ... a new set of problems faced by "two-who- 



are-one." 



They've many a question to settle, and many a thing 
to buy. Furniture, kitchenware, linen and china — sil- 
verware, cereals, meat and potatoes . . . Familiar 
names will pass their lips as they buy — easily, naturally. 
Advertised products, quality merchandise . . . reliable 
. . . dependable. They've known them all their lives. 
But now they'll begin to read the advertisements in ear- 
nest — comparing values, budgeting expenses, choosing 
this, rejecting that, reserving the other till hubby gets his 
raise. They'll manage all right — with the advertise- 
ments to help them. 

Make it a habit to read the advertisements regularly. 
The days of helter-skelter selection and blindfolded buy- 
ing are over. For the sake of time, economy and conven- 
ience, have your mind made up when you start out to buy. 



Regular reading of the advertisements is one of the 
essentials of good housekeeping. 



When jou write to advertisers please mention PHOTOPLAY MAGAZINE. 




Photoplay Magazine — Advertising Section 



handy coynpanion 

for your trip this 

sumrmr . . . 

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Gossip of All the Studios 



[ CONTINUED FROM PAGE 92 ] 



to the Dolores Costello set and the same night 
Miss Costello missed a S5,000 brooch. The 
thief could not be found. 

Ten days later Mr. Warner was driving 
home late at night, when his lights flashed on 
a man standing under a pepper tree. In a 
second, the executive jammed on the brakes. 

"Want a ride?" he called genially, carefully 
keeping his face in shadow. 

All unsuspecting, the quarry stepped into 
the car. Whereupon Mr. Warner drove straight 
to the police station and confounded the officers 
with the sight of the xery man they had been 
trailing so unsuccessfully. 

ARTHUR CAESAR, Broadway 
wit now writing for moom- 
pitchers and who runs a sort of 
Hollywood embassy for lonely Man- 
hattanites in our midst, comes forth 
with this month's smart crack: 

"If there's a theme song in heaven 
it must be 'AU God's Chilluns Got 
Options.' " 

A NOTHER matrimonial mistake that we 

••■■are sorry to disclose. 

Those of you who ha\e watched the sunny 
smile of Douglas McLean on the screen will be 
sorry to learn that sometimes there is anguish 
back of it. We know this must be so, for he is 
separated from liis charming wife. Faith Cole 
McLean. 

The McLeans have been married thirteen 
years and were listed among that small num- 
ber of "ideal couples," so we experienced a dis- 
tinct shock when the information reached us 
that the McLeans were separating, though no 
divorce proceedings have been started. 

DURING the week which preceded the 
Motion Picture .Academy's awards, all 
those who entered the M.-G.-M. commissary 



crossed themselves, salaamed, or otherwise did 
obeisance, according to their lights, before a 
holy shrine. That shrine consisted of a black 
table on which stood in splendor the co\eted 
gold statuette. A celluloid cover protected it 
from the itching fingers of directors, actors and 
writers. 

Above it a sign bore the legend, "To 
be awarded as recognition for the most as- 
tounding contribution to motion pictures." 

Came the day when the astounded wor- 
shippers found that their shrine had vamoosed 
— and in its place hung a life-size (believe it or 
not) picture of that leviathan of title-wTiters, 
Joe Farnham. 

The legend now read, "To Joe Farnham for 
title-writing." Many habituees of the com- 
missary took their luncheon at the drugstore 
across the street. 



ESTELLE TAYLOR'S friends are 



always 
■'delighted when she entertains, as it means 
something unusual is in store. At a recent 
luncheon, Estelle gave all the girls big, beauti- 
ful evening handkerchiefs, concealed in the 
cream puflfs which were served for dessert. 

The laugh came when we observed the ex- 
citement among the servants. It seems they 
had planned to give the prettiest handkerchief 
to Estelle, but the guest next to Estelle re- 
ceived a very small cream puff, and Estelle in- 
sisted upon exchange, thereby causing panic 
among the servants when they discovered their 
ruse had not worked. 

AT this same luncheon, fortunes 
were told by opening the little 
Chinese cakes that contain printed 
slips. Estelle's read: "You have a 
secret rival." Her quick comment 
was, "The only trouble about this 
is that the word secret might have 
been omitted." 




New Orleans, La. 

For a good while I have been read- 
ing what younger folks thought about 
moving pictures, the generation that 
has had them all their lives. But 
seems like the old folks haven't had 
a chance to express themselves. 

I am an old man, near seventy-five, 
without kith or kin. I don't know 
anybody much here in the city except 
the folks who stay where I do, and 
when I come home at night to the 
boarding-house from the library 
where I work in the day time, there 
isn't much for an old man to do. All 
the rest of the folks go out on one 
sort of a party or another but they 
leave the old man to take care of 
himself. And I get pretty lonesome 
sometimes. 

But there's one place I can lose 
myself and my loneliness and that's 
in a good picture. I feel that I speak 
for all the old, lonesome people in 
this city and elsewhere when I thank 
the producers and directors and 

Brery advertisement In PHOTOPLAY MAGAZINE la guaranteed. 



actors who have provided amuse- 
ment and entertainment for us. 

I have seen hundreds of pictures, 
including the new talkies, in the 
last ten years, and while I have sat 
through many bad ones, yet in the 
main I have enjoyed them all. They 
portray Life, and to us who have 
stepped off the stage and must watch 
from the outside, they help us forget 
that we have grown old and are for- 
gotten in the mad swirl of things. 
The younger folks go to the movies, 
but they have other things to go to. 
But to me, it is my only form of 
amusement and my only way of re- 
viewing the days when I was young 
and enjoying life, and so I am an 
enthusiastic movie fan. 

The critics say that the pictures are 
bad. 

Maybe they are, but I have 
seen many bad things in my day, and 
it seems to me that the movies are 
cleaner than lots of things. 

T. E. 



Photoplay Magazine — Advertising Section 



97 



pATSY RUTH MILLER means business this 
■^ time. The multi-engaged young lady, whose 
current fianc6 is Tay Garnett, Pathe director, 
has set her wedding date definitely for the Fall 
and plans are already under way. Pat writes 
from Beverly Hills to say: 

"All I hear is talk of weddings, showers, 
luncheons honoring . . . etc. What with 
Carmel's wedding ne.xt Sunday, and May's a 
few weeks later, and my own in the offing, I 
can tell you just what the perfect bride is wear- 
ing, thinking, and saying." Carmel (Myers) 
and May (McAvoy) will be married before the 
ink is dry on this page — and Patsy Ruth soon 
after. 

Pat goes on: "All my life I have looked for- 
ward to my revenge. I have donated to showers 
for some eight years now, and have been await- 
ing my turn with impatience . . . but now 
that it has come I somehow hesitate. It docs 
seem a%vfully commercial to invite people to a 
party on condition that they bring a present! — 
so I am side-stepping showers to the best of my 
ability, although if anyone wants to give just 
a good old-fashioned party for me, I shall ac- 
cept eagerly." And that's the kind of a gal 
the future Mrs. Garnett is. 

HOLLYWOOD always gets more than its 
share of princes and princesses on the 
loose, but the most interesting nabob it has 
ever had, by all odds, is Louis Ferdinand, 
Prince of Prussia, second son of the former 
crown prince of Germany and grandson of the 
late All-Highest, now the old gardener of 
Doom. 

Louis Ferdinand is a tall, gangling youth of 
21 — a Hohenzollern by build, actions and nose. 
He is out here on the coast purely on specula- 
tion. He has a very modest allowance from 
the present German state, and is now padding 
it a Uttle by working for the Ford airplane 
people at about five dollars a day. 

BUT the film colony, always celebrity-hun- 
gry, chooses to forget the fact that Louis is 
dirtying his hands at manual toil. It throws 
him enormous parties and he is a prominent 
figure at first nights, usually with a large party 
of other invited guests in tosv. He has more 
fun for less money than anybody in Hollywood. 

He is an old friend of Lily Damita's from 
her European era, and is seen places with her 
a good deal. But his royal heritage didn't keep 
him from being refused admission to the Fo.x 
Hills movietone lot — which is harder to crash 
than Heaven. 

Not long ago Louis was the guest of a well 
known dialog writer in Hollywood, and wanted 
to stay the night. 

There were only two beds in the bungalow — 
the spare being normally occupied by the 
yellow house-boy. 

So the prince of Prussia and a Filipino boy 
shook dice for the e.xtra bed! Could the great 
leveUing of the democratic ideal go farther? 

The stars all lunch in privacy 

With but Jive hundred eyes to see — 

At every movie opening 

They prance aiui strut like anything — 

Each, nourishing her precious name, 

Just stumbles up the stares to fame! 

DOLORES DEL RIO is a lady in search of 
a voice. "Evangeline" is to be made into 
a sound picture and the producers are looking 
for a feminine voice that will match up \\ith 
Dolores' smile. No, Sophie Tucker won't do.- 

THE sunny beach season is open in Cali- 
fornia, and if you haven't a shack at Malibu 
you'll have to crash one of the beautiful beach 
clubs at Santa Monica in order to spend Sun- 
day with the sand and sea. 

The Beach Club is a favorite spot. On its 
gleaming sand you can see, if you're lucky, 
many of our friends. George Bancroft, looking 
like the rising sun in an orange bathing suit, 
parades there, and Jack Mulhall is a familiar 
figure. Cecelia De Mille, daughter of Cecil, 
crack horsewoman and smart swimmer, is one 



583 






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When jou write to advertisers please mcnUon PHOTOPLAY MAGAZINE. 



98 

T»LKI€ 

Featuring Anita Page and 
John Mack Brown 

MetrO'Goldwyti'Mayer Stars 



Photoplay Magazine — Advertising Section 




Anita : "I'm going to a party tonight, Marie 

— with Johnny Brown! Hurry! Let me have 

my new frock and my Tangee lipstick and 

. , . oh, there goes the phone!" 

Johnny : (on phone) "Hello Anita . . . Fm 

coming over soon . . . And I'll tell the world 

you're going to be the hit of the evening!" 

Anita : " JFell, after that, I simply must look 

my best. Thank goodness somebody invented 

Tangee. Now I know my lips will be lovely, 

all evening long!" 

Marie: (in background) "And it blends so 

perfectly with mademoiselle's complexion, 

too!" 

Anita : "Of course, Marie, Tangee blends 

perfectly with all complexions!" 

Demand Tangee Today t One lipstick and rouge for all 
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of the belles. It is a great place for supervisors 
and directors and their families. On the sand 
you'll see Lucien Hubbard, of "Wings" fame, 
and Bertram Millhauser, and Paul Sloan and 
George B. Seitz. 

Right ne.xt door is the Swinuning Club, haunt 
of the Jimmy Gleasons, the Robert Armstrongs 
and scads of other aces. 

On the sands of Santa Monica the players 
spend their weekly day of rest, absorbing 
health and handball, while the wild waves have 
their immemorial say. 

NO opening — and there have been 
plenty of them this month — is 
quite complete without Stepin Fetchit 
who lends color to the gay occasions. 
It is his habit to entertain lavishly 
for his friends. 

At "Show Boat" one of the gents 
in his party gave a fine example of 
what the well dressed man should 
wear. He quite outshone the ermine 
coated ladies by appearing in a white 
Tuxedo with a large medal that glit- 
tered with rhinestones and synthetic 
rubies coyly reposing on the lapel. 

THE 18-day diet has practically rendered ob- 
solete the 18-day bicycle race as a means of 
endurance entertaiment— if you like to call it 
that. 

And, verily, flagpole sitting and marathon 
dancing have nothing on marathon dieting as 
a form of self-torture. 

At a luncheon given for, by, and with Mae 
^Murray during her recent visit to New York, 
the table conversation did not deal with the 
number of talkies which had opened that week. 
.\o siree — it dealt with the number of slices of 
cucumbers which had been consumed by critics, 
stars, directors, etc. Cucumbers, it appears, 
get the star billing on the 18-day diet. 

Most of the feminine guests cast envious 
glances at the sylph-like iliss Murray who 
courageously drank unsweetened tea while they 
enjoyed a gooey and delectable dessert. It ap- 
peared that everyone but Mae was going to 
start on the 18-day diet the next morning. " I 
can never begin dieting at luncheon, my dear, 
can you? Let's start with breakfast." 

C.\L went to see Irene Rich in her one-act 
vaudeville playlet, "Ask Your Wife." 
Celluloidly speaking, Irene is on.^ of Cal's fa- 
voiite fcmtncs, but he wasn't surejusthowshe'd 
register across the footlights. He was pre- 
pared for the worst. 



Well, fans, if you like the lady on the screen 
at all, you're going to fall for her hard when 
you get an eyeful and an earful at one and the 
same time. She has one of those simply grand 
figures, slim and rounded; she's as graceful and 
feminine as the ladies of your dreams; her voice 
is fresh and sweet, although just a wee bit 
timid and scared. 

The timid voice is the reason for Irene's 
stage appearance. She's getting some training 
and experience for the talkies. She said so, 
when continued applause brought her out for a 
curtain speech. 

I don't know whether that speech was calcu- 
latedly naive and young-girlish, or spontane- 
ously so, but the effect was great, anyhow, and 
everybody loved it. Personally, I think the 
speech was the nicest part of her act. And the 
act was pretty nice, too. 

A T last William Boyd and Elinor Fair are 
-' '•celebrating their honeymoon and in Hono- 
lulu, at that. Yes, they have been married 
se%eral years but there has never been a time 
when they could get away until now. 

It's quite a fad in the film colony to cele- 
brate a honeymoon any time from twelve 
months to three years after the wedding. That's 
the reason so many never have a honeymoon. 
They don't stay married long enough. 

THE Constance Talmadge-Town- 
send Netcher wedding was sol- 
emnized with great formality. Only 
the family and intimate friends were 
present at the Buster Keaton home 
where the event occurred. 

It was a most solemn occasion. An 
organ boomed the wedding March. 
The party walked in, Constance lean- 
ing on Buster Keaton's arm. Not a 
word was spoken until one of the 
Keaton children said in a loud voice, 
"Say, who's dead?" 

A FUNNY incident occurred while Leo 
■''•McCarey was directing "The Sophomore." 
Leo needed a few hundred boys for a football 
scene, so he called upon the Fraternity house of 
U.S.C. and the boys were hired at SS. 50, each 
per day. 

After two or three days, work, one rather 
clever young player learned that two or three 
regular players were used in the same scenes 
and received §7.50 per day. So the bright boy 
incited much rebellion among the other stu- 
dents and finally persuaded most of them not 
to accept their checks, unless made out for 
S7.50, instead of $5.50. 




If ve don't vant him, they vant him. When Emil Jannings, accom- 
panied by Mrs. Jannings, returned to Berlin, the police were called 
out to keep Emil from being overwhelmed by a mob of his enthusi- 
astic admirers 



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99 



When advised of this, McCarey said to 
them: "Oliay, boys. You can have the $5.50 
if you want it. My terms were made ^^^th my 
Fraternity house and if you don't want the 
money, it goes to the house." And it did. 
Further rcsuhs were not disclosed. 

SIXCE a check of the Universal Film Com- 
pany's books disclosed the fact that "The 
Phantom of the Opera," which starred Lon 
Chaney several years ago, is the biggest money 
maker they have ever turned out, it's no won- 
der they want to repeat on it. For that reason, 
•they are going to make "The Return of the 
Phantom." 

Since Chaney cannot be borrowed for this, 
we would like to suggest Paul Muni, who looks 
like a youthful Chaney come to light. Perhaps 
Fo.\ might lend him. 

WHEN "Burlesque" makes its appearance 
on the screen, with Hal Skelly in the role 
he made famous during the long New York run 
of the stage play, it will have the prepossessing 
title of "The Dance of Life." 

There is a reason why Paramount changed 
the title. Outside of New York the play, 
"Burlesque," confused the natives. They ex- 
pected to see Irish and Hebrew comedians and 
a lot of snappy stouts in tights. 

In one town in which the play was presented 
a clubwoman saw the sign, "Burlesque," in 
front of a theater, and went in to view the show. 
She was horrified at the risque jokes and scant- 
ily clad dames. It was reported to the police. 
When the coppers viewed the play they found 
nothing WTong with it. A meeting was called 
and the prominent clubwoman discovered she 
had made a mistake in the theater and had 
actually seen a third-rate burlesque show in a 
down-at-the-heel playhouse. 

Paramount isn't taking any chances. 

SOMEBODY happened to speak of 
beauty shops on the set the other 
day. Karl Dane became interested. 
"I got a beauty shop," he said with a 
shrug of his shoulders. "Just put a 
couple grand in it. Somewhere, you 
know, to get a decent manicure." 

CLARENCE BROWN, ace Metro-Goldwyn- 
Mayer director, is prouder of his flying than 
he is of having made famous and rich the Cil- 
bert-Garbo film combination. 

Brown, an airman during the war, is now a 
transport pilot, that rating being the highest 
type of license obtainable in this country. He 
keeps a fleet little Waco plane at an airport 
near the studio, and spends in the air every 
minute he can spare away from the lot. 

The other day he gave old Cal a dizzy half 
hour. For some reason he thought Mr. York 
was a flying fiend, so Brown took him up in the 
Waco, and for an hour nose-dived, looped and 
tail spun. Then he dropped in at another air 
field, took up a new Stinson he had never seen 
before, and repeated the show with Cal more 
dead than alive. 

"More?" said Brown. 

"WeU," said old Cal, "let's talk about 
Greta Garbo for awhile." 

TT'EEP your eye peeled for young Frederic 
-'^March, whom you saw as the professor boy- 
friend in "The Wild Party" with Clara Bow. 

March didn't look so much in the Bow pic- 
ture, with his studious make-up and sappy 
role, but this is just to warn you girls that he 
is one of the handsomest men now in pictures, 
and a swell actor to boot. In old Cal's mind, 
March and Charlie Farrell run a pretty dead 
heat in the Hollywood "Handsomest Man" 
contest. 

March is working for Paramount, is married 
more than happily to Florence Eldridge, actress 
of stage and screen, has a pretty house in 
Beverly Hills and is one of filmland's most 
ardent tennis bugs. 

Fred, in a straight romantic part, will knock 
over many hearts. Don't you girls say I didn't 
warn you. 



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How to Make a Talking Picture 

[ CONTINUED FROM PAGE 53 ] 



a cigarette and then at the blonde. His 
moustache bristles through its wax. 

"Darling," he says, "our two hearrrts are 
beating togedder like one." 

"Cut," says Dr. Director Schertzinger. 

"Unsink," mutters the electrical doctor. 

A ND so another masterpiece of sight and 
■**-sound has been immortalized in celluloid. 

"Very good," murmurs the herr direktor. 

"Oh, get the Big H out of here, Hall," 
scream the shhh-men. 

We go into the play-back room and hear the 
voices played back. 

"Ah, that's fine!" said Dr. Schertzinger, as 
Dr. Menjou's voice came squeaking out of the 
thingamajig. 

" You know, we have great trouble with the 
playback. Only yesterday I did a scene with 
Dr. Menjou and when we played it back we 
were astonished to hear Miss Joan Crawford's 
voice come out. 

We did the scene again and this time, in the 



play-back, we found we had recorded Mr. Carl 
Laemmle. It is very confusing. 

"I think the trouble is in the mixing room. 
As you can see from the name, occasionally it 
mixes things all up. 

" In short, it is not a good mLxer. Am I right 
or wrong, boys?" 

"Yes, Dr. Schertzinger!" shouted the eighty 
electricians with a will. 

"Well," said the director, taking a kick at 
me, "you have seen a talking picture made. 
Now will you kindly get out of here, and stay 
out?" 

A ND with that cheery goodbye ringing in 
-'•■my ears, I picked myself up from the 
concrete. 

This is a brief exposition of how talking pic- 
tures are made. Any Photoplay readerwishing 
to ask questions concerning the care and feed- 
ing of the talking pictures may send me a 
stamped and self addressed envelope. I can 
always use stamps. 



Revolution in Hollywood 



[ CONTINUED FROM PACE 39 ] 



Name-. 



Addreis.. 



people through their paces like photoplay 
veterans. 

And the invasion continued, and for a time 
it was bloody war, with throats cut and artistic 
bodies left in alleys. 

The wise picture folk hurried to the stage for 
speaking experience, and the tremendous suc- 
cess of Bessie Lo\'e, Warner Baxter, Conrad 
Nagel and others shows that the real troupers 
had nothing to fear. 

The stupid photoplayers, afraid and hyster- 
ical, fell back on The Great Mystery they had 
made of the art-business of movie-making — 
they kept on trying to clothe the industry in 
garments that didn't fit. The bones of those 
foolish ones are bleaching on the hills over 
Hollywood today. 

The attack from the East pressed on. 

Fear and distrust on the side of the old 
guard, cockiness on the part of the Broadway 
shock troops — a panic of experiment seizing 
all hearts and changing a mighty entertain- 
ment force, built in twenty years, almost over 
night. Hollywood will never forget the first 
ghastly months after speech came to the quiet 
screen. 

Both sides dug in. There was no fraterniza- 
tion — only hate and genuine terror between the 
silent and the sound. Out of the confusion 
came nothing good — only enmity and mis- 
trust. 

A wise writer from the East stood up before 
the Academy of Motion Picture Arts and 
Sciences, in solemn conclave assembled. 

"T ADIES and gentlemen," he said, "I and 
.'-'dozens of my friends left our happy homes 
in the East and came three thousand miles, 
across plains filled mth bisons and Red Indians, 
because we thought we had something to give 
the pictures. 

"If we have, let us give it. If we haven't, 
we'll go back home without one squawk. 
Dozens of us have already left because we 
have had nothing to contribute. 

"You have persisted in making pictures a 
great, impenetrable mystery. Now we are 
sohing that mystery you have made. We are 
here to work as you are. You can't frighten 
us away. If we can offer something of value to 
motion pictures, we'll offer it. If we can't, 
we'll go back home, disappointed, but not 
heart-broken." 



As the great war entered its second year, 
HoUywooci began to understand. The revolu- 
tion went on, but it was no longer bloody. 
Benny of Broadway and Harold of Hollywood 
began speaking when they met on the street. 
Hollywood grew calmer, less panicky. Those 
who had gifts found their reward, those who 
hadn't quietly faded from the scene. 

The old line movie people came down off 
their high hobby horses and shook hands. The 
Easterners found fine friends and real people in 
the film colony, and they ceased to carry chips 
on their shoulders. 

Fine actor families from the legitimate stage 
trekked \\'est, staked out HollyAvood claims and 
became citizens of that weird, wonderful world 
of make-believe. 

People like James Gleason and his wife and 
son set up tepees — the Gleasons, for many 
years in and of the theater. 

" How does it feel to be an exile from Broad- 
way?" I asked him. 

"Exile? I'm no exile. This is home now!" 
said Jim. 

And the old guard of Hollywood? 

"LJAPPIER, too, but still a little dazed by the 
-'--•-speed of the revolution. 

"I used to know everyone on the boulevard," 
said one, a little wistfully. " Now- 1 see mostly 
strangers." 

But for the most part there is happiness in 
both armed camps — Broadway and Hollywood 
have joined hands and tomahawks and to- 
gether are revolutionizing the business of the 
films. 

Few realize — least of all the old Holly^vood- 
ians — the extent of that great change. 

Our favorite film stars study lines, when they 
used to lie in the sun. The other day Renee 
Adoree went to Arrow-head Springs — not to 
loaf, but to bone up on the dialogue of her next 
picture! 

The once quiet studios now hear our English 
tongue — not to mention the tooting of tenor 
saxophones, the bleat of barber shop tenors and 
the rattle of machine guns. 

The great invasion from the East goes on. 

A check of the studios shows at least 250 of 
the theater's best and finest laboring in the 
studios sacred to the feared photoplay. 

A hundred of these are players, and a half 
a hundred are playwTights. Song writers, 



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stage directors, stagers of dances swell the 
total. Directors of stage and screen work to- 
gether on pictures without once biting each 
other. Players of the theater and players of 
the sunlit stages not only work together in the 
same cast, but eat, laugh and live together in 
perfect concord. 

AND so the first phase of Hollywood's great- 
est revolution is over, though the tide of 
change rolls on. 

The first great advance has been made. The 
hosts of the stage and screen are gradually 
living down and fighting of! fear and distrust, 
and are laboring hand in hand to the greater 
glory of the photoplay. 

The truest and finest of the theater and the 
studio survive, as they always have and will, 
whatever their medium. The incompetents 
and drones are perisliing, as was inevitable. 
The great war has done more to shake out the 
wastrels and two-for-a-nickel reputations of 
the film world than anything in the history of 
Hollywood. 

Broadway and Hollywood BoiJevard meet 
and 'shake hands, grinning. They have joined 
forces, and fight under the same flag. 

For when bigger and finer talkies are made, 
Broadway and Hollywood, allies, and not 
enemies, will make them! 



How They Manage 
Their Homes 

[ CONTINUED FROM PAGE 84 ) 



famous Joan: A glass of fresh cold water and a 
cup of coffee at 6:30 A.M. A cold shower. Then 
the long business of professional make-up — and 
another cup of coffee. Arrives at the studio at 
8 A. M. Lays out all her changes required in 
scenes for the day — dresses, coats, hats, shoes, 
bags, jewelry, handkerchiefs, gloves, so that 
she can jump into them without aid. Fixes 
her hair. Arrives on the set at 8 :4.S promptly — 
and works till 12 :30 or 1 :00 P. M. 

Then that very light lunch — and a telephone 
visit with Doug Fairbanks, Jr. 

POSSIBLY a new make-up for the afternoon 
scenes. Work till 7 P. M. Sees the "rushes" 
of the day's work. Enjoys a slow, quiet drive 
home and tries to relax. Eats a leisurely 
dinner at about 8:15 P.M. "And I never over- 
eat," says Joan. 

After dinner she removes the studio make-up 
and gets into comfortable clothes. 

Joan never fails to make the day's entries in 
her diary. Joan has kept this diary since long 
before she was in pictures. "And I try to be 
really frank with myself," she says, "since it 
isn't for publication." 

Sometimes young Doug may have to work 
late — and Joan joins him for dinner, wherever 
he is. 

As a general rule she tries to go to bed at 
10 P. M., takinga warm bath first. No wonder 
she made so many towels! 

On Sunday her schedule is different. She 
rises a little later, and young Doug takes her 
to Pickfair. During the autumn and winter 
they spend nearly every Sunday with Doug 
and Mary at Pickfair. At twilight they all 
go down to the United Artists Studio and 
take steam baths in the private equipment on 
the lot, Joan with Mary in her bungalow, and 
young Doug with his dad. They return to 
Pickfair for dinner, see a picture run off in tlTe 
evening, and Joan goes home and to bed at 
10 P. M. 

In the summer, however, they go to the 
beach, but fifteen minutes away, and lie in 
the sun on the sand in their bathing suits. 

Incidentally, Joan calls Doug, Sr., her " Uncle 
Douglas" — but Mary is not "Aunt Mary." 

Joan confided how she came to buy her very 
first house two years ago. " You see, I support 



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Photoplay Magazine — Advertising Section 




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my mother and grandmotlier, and so hadn't 
saved a penny out of my first two years' salary. 
But I saw a wee house that I coveted at 
Beverly Hills, and I asked Mr. Mayer to lend 
me $6,000 for the down payment and take half 
my salary. He arranged it with a bank for me 
— and besides that half of my salary, I was 
paying S400 a month off the principal and S150 
a month interest. I almost went without 
proper clothes, I liad to be so stingy. But I 
adored the little place and made every stitch of 
drapery for it myself. Then I wanted a larger 
house, and a friend had built this one — so I 
exchanged my equity of 812,000 for the pay- 
ment down on this one, which cost $57,.'iOO. I 
expect to have it all paid for easily in four 
years — and then intend saving up every penny 
I earn on that last year of my contract. I paid 
cash for all the furniture — so the house is my 
only debt." Which means, of course, that the 
Cadillac limousine is all paid for, too. Joan 
often drives this car herself — but never when 
she is tired after a day's work. 

Before going upstairs, we must peep into the 
kitchen, which Joan says "is my pride and 
joy." It is a large one, with green linoleum, 
and green outlining the ivory paint. The cook 
stove is green and white and all the utensils are 
of matching green. Even the jolly looking 
colored cook wears a green dress. One large 
cupboard is full of pretty dishes and glassware 
— a housewife's delight. Drawers are full of 
lovely dish towels and every kind of superior 
equipment. 

\ huge electric ice box occupies a large wall 
in the pantry off the kitchen. In this pantry, 
too, lives Marmoset, the monkey — the pam- 
pered guest of the household, because he be- 
longs to young Doug. 

JO.-\N calls one's attention to a clever system 
for drawing all cooking odors out of the 
kitchen up through the ceiling. No aroma of 
boiled cabbage can ever pervade her house. 

There is also a downstairs bathroom and 
dressing room, carried out in the same green 
color scheme. The servants' quarters are aboxe 
the garage. 

Ascending the staircase, the walls are lined 
with seventeen charming original Crelade 
etchings, brought back by young Doug from 



Paris. In the upstairs hall hangs the first pen- 
and-ink sketch young Doug ever made — a 
hefty prize fighter and a snake. 

The guest room is all French 18th Century — 
twin beds, hand-painted wooden furniture; 
books — set off by an adorable Chinese rug. A 
huge closet is filled with Joan's clothes. The 
bathroom is in green, and every detaU is car- 
ried out exquisitely. 

' I HEN we come to a highly masculine room, 
•*■ rich, reeking of lordly comfort. A low double 
bed, with a velvet spread, bearing the Fair- 
banks crest in the center. A dressing table, 
with handsome masculine toilet articles spread 
upon it. Books — another pen-and-ink drawing 
by young Doug in the Dore manner, entitled 
" Chaos " — a lovely pastel in an inglenook, also 
done by Doug, entitled " Solitude." 

"Yes, I may as well admit I prepared this 
room for Doug," Joan says as she views it 
proudly. "It does look ricli and masculine, 
doesn't it?" 

Joan's own room is charming — another very 
low double bed, with a canopy effect at the 
head — and a regal lace coverlet which Joan 
made herself. Dozens of dainty, tiny pillows, 
many of their exquisite cases being Joan's own 
handiwork, too. 

The carpet is soft green, and two antique 
gold brocade chairs match the golden drapes 
at the windows. A fascinating dressing table 
with a valance — which, however, opens out 
cleverly and reveals every conceivable kind of 
drawer and receptacle beneath. Joan's toilet 
articles are silver. There is a hand-painted 
chest of drawers, too, and a low table with 
books, books, books — many of them themes 
which may be used for Joan's pictures. 

Closets in her own room, closets in the hall, 
closets in her bathroom, and the one in the 
guest room — all filled with Joan's clothes. Oh, 
the orderly precision of them ! All coats in this 
one — eleven super-creations, several of all-fur, 
including ermine. Day dresses, street clothes, 
evening clothes, all in separate closets and ar- 
ranged with meticulous order — forty dresses, 
thirty street hats, five dinner hats, and so on. 
And shoes — sixteen pairs of sports shoes, nine- 
teen pairs of street shoes, eighteen pairs of 
evening shoes — 




Al Jolson's "Mammy" troupe, assembled for his production of 
"Little Pal." The sweaters were Al's gift to his co-workers. In 
the center, of course, you recognize Jolson and Davy Lee. Marian 
Nixon is the girl in the picture and the others are Lloyd Bacon, 
director, Lee Garmes, cinematographer, George Gross, Vitaphone 
expert, and Frank Shaw, assistant director 



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Photoplay Magazine — Advertising Section 



103 



Brickbats & Bouquets 

I CONTINUED FROM PAGE 94 ] 

and therefore qualified to judge, but ha%'e 
never before done so. After seeing "The Desert 
Song" I can no longer remain silent. May I 
offer my appreciation to Warner Brothers for 
making such a magnificent production and for 
bringing real romance back to the screen? I 
hope it becomes the greatest hit of pictures. 
It certainly is perfect. I also have another 
bouquet to offer Mr. John Boles for his splen- 
did acting and singing. He has the most per- 
fect screen voice so far heard. And his singing 
would melt a stone. We have been looking 
for Rudy's successor for a long time. Me 
needn't look farther. We have him. Con- 
gratulations, Mr. Boles, for being the best 
sheik I have ever seen. I'm sure you could 
outshine any male star if given a few more 
pictures like this one. Here's hoping we see 
more of you. 

Evelyn M. Fess. 

Photoplay in the Class Room 

Syracuse, N". Y. 

Vou might be interested in the practical way 
I have been able to utilize the covers of your 
magazine. 

This is not a direct compliment to the ac- 
tresses, but rather to the artist who designed 
the covers for February, March, April and 
May, representing the four types of coloring 
and th; shades to be worn by each type. 

I have cut out the figures, mounted them on 
a large cardboard with a color chart, and am 
using them and part of the reading material in 
teaching lessons on costume design. The in- 
terest of the pupils is stimulated, due to their 
interest in and liking for the actresses. 

M.\Rio.N E. Gee. 

Bouquet for Talkie Comedies 

Berkeley, Calif. 

I'm for the new "look and listen" pictures. 
They're great! 

I've heard people say when the radio first 
came out — "Give me the good old phono- 
graph. Those radios will never amount to 
much." But as time went on they bought a 
nice radio and away went their old love, the 
phonograph. As there'll always be the 
good old phonograph there'll always be 
the good old silent pictures. 

Talkies may be bad for the deaf, but they're 
better for poor eyes. There's something for 
everyone and every condition, so no one ought 
to complain. 

My biggest kick comes out of these new- 
talking comedies. There isn't an ill person 
who needs a better tonic thana good, comical, 
"look and listen" comedy. 

H. GOEKLER. 

Movies as Educators 

Indianapolis, Ind. 

Some years ago two women who Uved in a 
sawmill town decided to start a circulating 
library for the benefit of employees and their 
families. A small house was donated and a 
start was made with fifty dollars for books. 
When the Ubrary outgrew its quarters, the 
women decided to raise money for an audi- 
torium, which would also house the 
library. 

With the cooperation of the lumber com- 
pany an artistic building was erected, but a 
botiiersome debt remained. A motion picture 
machine was bought and good pictures shown 
three nights each week. A small admission fee 
was charged. In a surprisingly short time the 
machine was paid for, the debt lifted from the 
building, and the whole atmosphere of the 
town changed. 

If anyone has doubts about the educational 



They set her down 
as an Indehcate Girl 



^^yi light dusting of Amolin 
would have kept her exquisite 




1 Always use Amolin under the arms ■ ^\| \ ' \' " =f^ 
when dressing for any social activity | 




The most fastidious women use Am- 
olin after the bath all over the body 




Sprinkled in the shoes or on the feet 
Amolin gives soothing comfort 



T'HERE is one offense against society for which 
no woman can forgive herself — the slightest 
vestige of personal odor. Neither great beauty nor 
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To be ever certain of your wholesomeness, always 
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body a feathery film of Amolin. 

For Amolin, to touch and to appearance a delightful 
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fense against the least trace of personal indeHcacy. 

Use Amolin freely— it does not retard the natural 
function of the pores to exhale impurities. And far 
from harming, it protects your silken underthings. 

Immaculate grooming suggests many uses of Amolin. 
And you can use it liberally. For it is refreshing, harm- 
less and inexpensive. Dust this delightfully smooth 
powder under your arms after bathing. Sprinkle it 
into the garments you wear near your skin, into your 
slippers. Amolin has a clear, cool fragrance while you 
are using it, yet is odorless on your body. For its 
purpose is not to substitute one odor for another, but 
to destroy every trace of personal odor. 

Be as active as you wish; shop, ride, play tennis, 
golf Or put in a strenuous day at the office. Amolin 
will safeguard your personal daintiness all day long. 




THE NORWICH TH.-^RMACAL CO., Dept. D-S9 



yV I • Norwich, N. Y, 

/ \ i'Y^ /^ I \ ♦^ °^ '^^ Spadina Ave.y Toronto 



Lin 

In tzvo iizes — 30il: and oO^ 



Enclosed is lOc. Please send me the generous test can 
of Amolin. 

Name 

Address 



When you write to advertisers please mention PHOTOPLAY MAGAZIXE. 



104 



Photoplay Magazine — Advertising Section 




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value of motion pictures, here is concrete 
proof: The poor and ignorant began to dress 
better, to take an interest in beautifying their 
homes, to read and study. Thanlvs to the 
movies, that lonely, remote settlement blos- 
somed into a charming Uttle city. 

Mrs. Lili.\n Hamilton. 

More Posies for Joan 

London, England. 
I also have a foolish ambition. It is the same 
as Mrs. H. E. Hanson's of Chicago; to meet 
Joan Crawford and tell her how beautiful she 
is; also to wish her every happiness, and the 
best of luck. 

CONST.^NXE TURNBUIL. 

Recipe for a Happy Marriage 

Rochester, N. Y. 

The movies are helping to keep my marriage 
a success. Our existence is a busy one. My 
husband's profession is exacting, and on my 
side, there is a house to manage, two children, 
and a part-time career. 

This is the waj' I reason. If a man enjoys 
watching attractive women, attractively 
gowned, in an agreeable setting, in the films, he 
will react to the same thing at home. So I try 
to recreate in our home, so far as possible, the 
atmosphere of beauty and charm that affects 
us so powerfully on the screen. 

I've heard women say that the beautiful 
mo\ie stars make the competition very stiff for 
wives. Not at all. When you go to a picture 
and see John GUbert appearing to get a thrill 
from Greta Garbo, go home and put a little of 
that allure in yourself. A pretty dress, shining 



hair becomingly done, a tew soft lights, a 
grate fire, a little loveUght in your eyes. Your 
own John Gilbert will play up and Romance 
win always be at home for you. 

No, I have nothing to blame the movies for, 
nor do I compete with them. I use them! 

M. W. C. 

Our Sentiments Exactly 

Butte, Mont. 

I have a suggestion to make to the folks 
who wTJte in about the "terrible pictures" 
offered to the public, and the number of new 
faces on the screen. 

Read "The Shadow Stage." You don't have 
to see any show you wouldn't like, because the 
criticisms are fair and true. And the cast of 
characters is presented for every release, so 
you can see whether your favorites are in- 
cluded. There's no need for anyone to be 
disappointed or disgusted with a production, 
with Photopl.^y around. 

Ruth Curdy. 

Attention, Directors 

Rome, N. Y. 
In all-talking pictures I have noticed that 
when a particularly mirth-provoking line has 
been spoken by the actor on the screen, the 
words immediately following are drowned out 
by the laughs or hand-clapping of the audience. 
To me and to many it is distinctly annoying 
to have this happen, and since the audience 
cannot be prohibited from ex-pressing their 
amusement, it is up to the director to take 
notice. 

Mary Fuller. 



The Daring Days of Hollywood 

[ CONTINLTD FROM PAGE 33 j 



Nazimova made histrionic eyes at her hus- 
band, who turned out years later not to be her 
husband at all. Jladeline Traverse — where is 
she now? — steamed about in a billow of fox furs, 
like a happy dreadnought. Gloria Swanson 
danced merrily, untitled. Louise Glaum, Betty 
Blythe, JIabel Xormand, -\hce Lake. Dorothy 
Dalton, Mary Miles Minter, Elaine Harrmier- 
stein, Clara Kimball Young — dear names, 
where are you? Say nothing of such as the 
stealthy-footed Valentino, then a nobody, Bill 
Hart, Bill Desmond, Warren Kerrigan, Gene 
O'Brien, Earle Williams, the Farnum Brothers, 
Hayakawa — most charming of gentlemen — , 
Wally Reid, Charlie Ray, Fatty .\rbuckle, Con- 
way Tearle, Bill Russell, George Walsh, Carlyle 
Blackwell 

My, my, life is short — in HoUy^vood! Ten 
years and most of us are through. 

/^N my arrival in Hollywood I got off the 
^— ^car ten blocks too soon and staggered 
through a jungle of blackness until I sighted 
the lights of the hotel. Now the boulevarde is 
brighter than Broadway, with more colors than 
Joseph's coat. 

We used to lunch with Betty and Hatty at 
their Come-On-Inn, where heart secrets were 
heartily revealed (Confession is good for the 
soul): Mae Busch gaily offering her wedding 
ring for sale, being divorced; Teddy Sampson 
lamendng the seizure of her phonograph by 
the landlady because a guest of Teddy's had 
departed without paying for a long distance 
call; Betty Blythe sighing over a lettuce leaf 
because waitress Betty declared Blythe Betty 
was getting too fat; 'Texas Guinan entering, in 
her make-up of an evening gown, with a cry, 
"Look at me, dressed-up and the trunk 
empty — that's my role," and on espying Lew 
Cody, " Say, Betty, if you can get the business 
of all that bird's e.x-wives you'll die rich"; 
Mary Miles Minter so prirnly virginal that 



you'd never forecast her departure from pic- 
tures through \'icious scandal, being told to get 
out by Betty if she didn't think the tablecloth 

was clean enough But why go on, the 

sobs are wrenching me. 

nrOD.\Y HollyAvood is as unhappy as Tahiti 
*- The missionaries have come, Will Hays and 
the efficient experts. The happy children of 
the jungle have been made to take life seriously. 

In the old days acting was play. You went 
to work at nine and quit at five — regretfully, 
because all was quip and jest and wanton wile. 
Now you are checked in at the gate, and unless 
you've studied your lines the night before you 
are out of luck on the sound stage. 

WTule speaking freely with a most powerful 
star not long ago, I was told to be discreet 
" The walls have ears," said she apprehensively. 

Cowed, worried by optionsandmortgagesand 
what-the-public-thinks, few have the courage 
to be themselves, and so the dearth of indi- 
viduals. As an interviewer, I find the bread 
being taken from my mouth because an inter- 
viewer can't write about a person who is exactly 
like another. Our only salvation is in those 
fresh from other jungles: the Lupe Velezes, 
Stepin Fetchits, Lily Damitas, Mary Duncans 
• — those with a courage not yet beaten by the 
book of etiquette. 

Hollywood parties are so dull that one may 
choose death either in boredom or in drink 
Only on rare occasions does a free soiU arise to 
throw the goblets at the wall and shout her real 
opinions. 

In attempdng to emulate Long Island, 
Hollywood has been too conscientious. Man- 
sions are grander, manners more formal and 
the e.xpense beyond the means of millionaires. 

And so, worried by expenditures, everyone 
genuflects to the producer, just as the harried 
courtiers used to bend a knee to their lord in 
the medieval courts. Failure to please the 



Every advertisement In PHOTOPLAY >LSiGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



lO^ 



Jiiighty means that your option is not taken up, 
and then the whole world topples about you 
and the auctioneer comes like the devU. 

Anyone with "temperament" — individual 
eccentricity — either has to go to Europe or sue. 
And if you sue and win, God help you — you 
can never be temperamental again. The all- 
powerful sultans, in their swollen grandeur, in- 
sist upon decorous veils. Mutiny quickly is 
stamped out. The motion picture is a business, 
they say sotio voce, but to the world they cry, 
'•An art!" 

Hollywood, as an individual, has vanished 
along with Tahiti and Timbuctoo 



Hollywood's New 
Slayer 

[ CONTINT-TED FROM P.4GE 43 ] 



Mary's parents spent part of each year in 
their Washington residence while Mary and 
her younger brother remained with tenants on 
one of the Virginia farms — plantations, they 
used to call them. 

Being spirited. Mary devised games for self 
and brother. In one of her prankish Indian 
dramas she bashed buddy with an a.\e and he, 
in turn, cut off a portion of her left thumb. 

Then a game in which the tabloids would 
describe her as an "ape woman." Detecting a 
toupee on a gentleman caller at the farm, she 
took to the trees and hung suspended for days 
over the gate. Opportunity finally came. She 
snatched the gentleman's scalp and went 
scampering through the branches with hilarious 
jabberings. 

MARY'S father had reason for feeling she 
should study law. She'd need it sooner or 
later. At the proper age she was packed off to 
Cornell to study ways of evading justice. There 
she joined Chi Omega sorority and a dramatic 
class, and ne\er did study how to achieve heart 
balm. 

Mary ne\-er, ne\er will need heart balm; 
others may. 

In her sophomore year she responded to im- 
pulse, characteristically, and ran off to New 
York, with the determination of being an 
actress. Being cut off from the Virginia base 
of supplies, she sold herself to the Schrafft 
candy stores as a dietician. Every day she 
made a sniffing tour of the kitchens, muttering 
"O. K." She was born an actress. 

Yvette Guilbert was as much impressed as 
the Schrafft executives by her histrionic ability 
and chose her from applying thousands for an 
e.xclusive dramatic class. Eleanora Duse, in 
turn, accepted her as a pupil for a school which 
that incomparable Italian projected before her 
death. Mary Garden declares she is the only 
one of the younger actresses with a flame. 
Garden graphically said //. Duncan is flam- 
boyant and buoyant and wholly reckless. In 
this she is also true to tj-pe. 

SCREEN sirens, including Mary, have been 
presented as ver>- designing operatives. Life 
sirens rarely are. Or rather, their designs are so 
sub-conscious that they are free to give all 
their power to charming and being charmed. 
By sireny I do not mean the go-gatting ladies 
who get headlines about their diamonds, their 
alimony and other loot. That's not witchery, 
that's burglary. 

It is time that the bunk about IT is ex- 
ploded. Everyone has sex but everyone hasn't 
the courage to be herself, and that's what per- 
sonality demands. The individual is reckless, 
instinctive and without design. He is so con- 
fident that it never occurs to him to pose or 
plot. 

Mary doesn't play a game. Most women do; 
charming women never. Mary is direct. She 
will hail you as marvelous, with out-flung arms, 
or she \vill forget you exist the moment after 




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Proof that 

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hanqsin ijour 
own Closet 

Most women have read about Mum, 
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introduction. The fact you are marvelous 
doesn't mean that you can bank on the future, 
because in another moment the out-flung 
gesture may be accorded another. The true 
siren lives for the moment with perfect con- 
fidence of the future. If you brought up the 
problem of sex she'd explode with laughter, for, 
as I've said, all great charmers have a natural 
sense of humor. 

WHEN it was decided that Mary should go 
to London to appear in "The Nervous 
Wreck," following her dramatic success in New 
York, she wired her sister to join her. 

'"You have nothing to worry about, dear," 
said Mary. "I have plenty of money. All you 
need to do is go draw it out and spend it." 

Sister went to the bank and discovered 
exactly seven dollars. 

It was during "The Shanghai Gesture" that 
Broadway was bowled over by Mary's light- 
ning. She played a well-bred young lady who 
went violently man-mad. To get the role to a 
nicety she inveigled one of her society friends 



to give a party to which the debutantes and 
their genTmun friends were invited. One of 
the debs, after several cocktails, became the 
unconscious model for Mary's role. 

TN pictures Mary has been criticized for an 
-'■obvious vamping. Thedabarish, was the 
opinion of some. Her directors have been 
blamed, and not without justice, because a 
director, in his effort to put over an ultra- 
charming personality, is liable to fall into 
stereotj'ped lines. 

But I suspect much of the fault has been 
with Mary. Her exuberance, the fascination 
of her confidence and her natural effervescence 
have bedeviled directors into letting her do her 
stuff. Not knowing the camera and its hyper- 
bole, she has overemphasized. Stage tech- 
nique becomes oratorical in pictures. 

Mary, however, has too much wit and obser- 
vation to continue long in error. She'll get 
herself on to the screen very soon and fling her 
axe into box office records. And then, gentle- 
men, hang on to your toupees! 



Eat and Be Merry 



I CONTINUED PROM PACE 72 1 



ment makes necessary the restriction of the 
bulky foods from the diet. 

Agar-agar, a gelatinous substance made from 
Japanese seaweed, is an effective substitute for 
roughage in such cases. 

Agar-agar absorbs water in the gastro- 
intestinal tract and increases enormously in 
bulk. It suppHes a mass of the proper size and 
consistency when mixed \\-ith the other in- 
testinal debris. Each person will need a differ- 
ent size dose of agar, from one to three table- 
spoonfuls, daily, usually proN-ing sufficient. It 
can be taken "as is" with the aid of a drink of 
water, or it can be mLxed with a breakfast food. 

npHERE are many mineral oil and agar prep- 
-'- arations on the market. .Some have cathar 
tics added. I think we should look askance at 
such shot-gun prescriptions. One person may 
need a tablespoonf ul of agar a day while another 
may need a half-dozen. \ third may need 
some medicine to stimulate the intestinal muscle, 
but why should all three receive the medicine 
which only the one may need? Constipation 
and its correction will be discussed in a sub- 
sequent article. 

■\\'hile it is true that agar-agar and mineral 
oil oftentimes correct constipation, neverthe- 
less, there is a good objection to their routine 
employment. Mineral oil may be fine for 
seu-ing machines but it does interfere with the 
proper absorption of food from the small bowel. 
Agar, because it soaks up water like a sponge, 
causes an excessive amount of fluid to be 
secreted into the intestinal tract, absorbing at 
the same time a certain amount of the soluble 
elements of the food which have been digested, 
depriving the body of them. 

THE person who needs agar-agar to insure 
proper elimination must eat a litde more 
protein than the one whose elimination is nor- 
mal. It must be remembered that agar is not a 
food. 

You will supply the necessary amount of 
roughage in your diet, if you will eat a dish of 
bran at breakfast, a liberal salad, two good 
servings of any of the green vegetables and a 
dish of fruit at the other meals. Such a pro- 
cedure will not only give you plenty of bulk, 
insuring proper intestinal activity, but it will 
also give you the necessary vitamins to supply 
your needs. 

Your food must not only supply sufficient 
bulk but your meals, like the weU-known 
cigarette, must satisfy. The filling power of a 
foodstuff is known as its satiety value. A low 
satiety value in the diet produces a hungrj', 
grumpy devotee who soon abandons the dietetic 



regimen which fails to satisfy. One likes to feel 
full after a meal. 

The foods which remain longest in the 
stomach and the small intestine are the most 
satisfying. The length of time food remains in 
the stomach and the amount of gastric juice 
stimulated by its presence there measures the 
satiety value of a foodstuff. Meat, therefore, J 
has a high satiety or satisfaction value. It ^ 
stimulates the secretion of gastric juice and 
remains proportionately longer in the stomach 
than do vegetables. The need for meat as fuel 
has been pointed out, and its great satiety 
value gives a sense of satisfaction to a meal of 
which the vegetarians knoweth nothing. 

Milk stands next to meat and the richer the 
milk the greater its satiety value. Contrary to 
popular belief, cooked eggs are better than raw 
eggs because they are more easily digested and 
because their satiety value is higher, since raw 
eggs leave the stomach much more quickly j 
than do soft-boiled eggs. Hard-boiled eggs I 
remain longest in the stomach and occasion the ■ 
greatest secretion of gastric juice. 

/^YSTERS have a low satiety value, as does 
^~^fish, except the fishes rich in fat. Bread has 
a relatively low satiety value which diminishes 
with toasting. Buttering bread increases the 
satiety value because the added fat content pro- 
longs its sojourn in the stomach. 

The green vegetables have a low satiety 
value. The fats, such as butter and oUve oil, 
make the meal more satisfying because they 
delay the emptying of the stomach. This ex- 
plains why a salad is more enjoyed when an oil 
dressing is used upon it. 

The addition of a sweet substance to a meal 
increases its satiety value because ex-periments 
have proven that the addition of sugar retards 
the emptying of the stomach. 

The coarse foods that supply the valuable 
roughage remain in the stomach but a short 
time and have Uttle satiety value. From the 
foregoing, it can be seen that the typical 
American meal is not entirely an accident. 
The typical American is prone to get what he 
wants when he wants it. I am not encouraging 
my readers to gluttony but I do believe that at 
least one meal a day should be satisfying. 

THUS the big meal should come after the 
day's work is done and several hours before 
you intend to go to sleep. The best kind of din- 
ner, in my opinion, starts out with a soup to 
stimulate the secretion of gastric juice, next 
there should be meat with potatoes and at least 
two other starchy vegetables and bread and 
butter. Then a Uberal salad of the green, leafy 



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Photoplay Magazine — Advertising Section 



vegetables, served with an oil dressing, and 
linally a dessert. Even a small black coffee if 
3-ou like it. 

Such a meal remains a long time in the upper 
gastro-intestinal tract, calling forth the 
greatest amount of secretory activity upon the 
glands which play an acti\'e part in the proc- 
esses of digestion. Such a meal gives the 
greatest degree of personal satisfaction. 

Your meals can be made to satisfy you even 
though you are trying to reduce, without resort- 
ing to any such violent measures as one young 
star confided to me she practiced recently. 

T NOTICED that she was losing weight 
-'- rapidl}' and asked her what trick diet she 

was following. 

She smiled and said, "I am a Roman." 

Not understanding, I pressed her for further 
information. 

"Oh," she said, "all of us girls are doing it 
now. We eat whatever we want and after the 
meal is over, we get rid of it by simply sticking 
a finger down the throat." 

This young miss had her history, as well as 
her digestive apparatus slightly messed up. 
The Roman epicure regurgitated after a 
bancjuet so that he could eat more. The movie 
maid "snaps her cookies" so she can eat less. 

It is hardly necessary for me to condemn 
such a repulsi\-e practice. It merely shows to 
what lengths girls will go to get the figures that 
the hard-hearted producers seem to favor be- 
cause the camera lies, at least in so far as the 
matter of curves goes. 



107 




The trailing evening costume 
conies back in style. Barbara 
Stanwyck, a recruit from the New 
York stage, wears an orchid satin 
wrap, with a circular flounce for a 
skirt and a flounce cape effect. 
The dress is of crepe in a lighter 
shade of orchid and also has a 
circular flounce skirt that touches 
the floor in the back 




but 

§ave 
your skin 



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Pat this cool-feeling, fragrant lotion on face 
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The Girl Who Played Greta Garbo 



[ CONTINXIED FROM PAGE 29 ] 



that assistant directors stand up when she 
passes by. And Geraldine has so reconstructed 
her mind that she fancies they stand up when 
she walks on the set. In reality they do not 
even find her a comfortable chair. 

r^ ERALDINE sits close by the star all day 
^^-'long on the set. She watches her every 
move. When interviewers arrive and Garbo re- 
fuses to see them, Geraldine fancies that they 
have sought her and she imagines what she 
would have said to them. What magnificent 
interviews she could give. Would that she 
were Garbo! 

In her simple room with its meagre furnish- 
ings at the Studio Club, her life is really lived. 
The little, plain bed becomes a canopied couch, 
\nth solid gold cupids to hold back the silken 
drapes. Her ordinary white bathtub becomes 
a sunken pool of black marble and gold. The 
ivory comb and brush set is genuine Lalique 
studded in diamonds. She wears the figurative 
crown of the queen, while Garbo, herself, 
chooses the staid, quiet atmosphere of the 
Beverly Hills Hotel. 

It is Geraldine's delight to be mistaken for 
the star and it is a common enough mistake for 
Garbo's awkward slouch and dowdy clothes 
to allow her to pass unnoticed in the crowd. 
Geraldine has the grace and is to the manner of 
stardom born. An out-of-town visitor told a 
friend of his great news. 

"Where does anyone get the idea that Garbo 
never goes out?" he said. "Why, I saw her at 
Plantation the other night with a bunch of 
people. She was the gayest of the gay. She 
was dressed in a gorgeous gown and was the 
center of an admiring group. And she was 
svveet enough to smile graciously at everybody." 

Upon that particular evening Greta Garbo, 
the actress, was in her room at the hotel read- 
ing a script. 

Her private life had been at Plantation. 

The rumor spread in Hollywood that Garbo 
had come back from Europe several weeks be- 
fore scheduled time. One of the newspaper re- 



porters had a friend who said that Garbo was 
seen in a smart shop bujdng a pair of grey suede 
gloves. Her double had needed gloves. 

In order to supplement her meagre income 
Geraldine is one of the regular models at Mont- 
martre on Wednesday. As she arrives and 
leaves the sight-seers mistake her for Garbo. 

Geraldine De Vorak was born to Hollywood 
stardom, as Garbo was not. Garbo acts for the 
camera. Geraldine pleases the public. 

The other extra girls complain that the 
double is haughty. What woman who wears 
the royal raiment would not be? It is her right 
to live up to what she has made herself. 

There is little in common between star and 
double. Garbo sits in ^\^de-eyed wonder at the 
striking likeness between herself and her stand- 
in girl. Geraldine dismisses Garbo with a ges- 
ture. She is Garbo. 

"DUT the Frankenstein that she has built 
■'-'mtbin herself has become her undoing. She 
copied the master too closely. She made her- 
self too nearly in the image of Garbo. 

Garbo arrives on the set at her own leisure. 

Geraldine arrives on the set at her ov/n 
leisure. 

Garbo, the great actress, may conduct her- 
self thus. 

Geraldine, an e.xtra girl acting as double to a 
star, may not. 

Geraldine's slight contract was broken. She 
returned to the e.xtra ranks. 

Garbo's new double does not look so much 
like her, but her hair is more nearly the same 
color. It is better for the lights. 

Will the new double play the Garbo role? 

Or has Geraldine floated so long upon the 
Lethean waters of stardom that her life uiU 
always be colored by the amazing interlude 
when she played at being Garbo? Has she so 
definitely become a star that the long discour- 
aging hours of e.xtra work will be only a cross 
that every star must bear? Surely her imag- 
ination will override time and place and dis- 
comfort! 



Excess Baggage 



I CONTINUED FROiM PAGE 41 \ 



the happy, ordinary couple from Portland. 
Harry hopes for a reconciliation. But it won't 
work. It doesn't ever. Only the play had a 
happy ending. 

Helen and Clarke Twelvetrees were recon- 
ciled when there was talk of a divorce. But 
how long ttill that last? How long can it last? 

IN New York, Clarke, as an actor, was better 
known than his actress mfe. Even that name, 
that splendid, unforgettable, box office name 
belongs to him. He had played leads on 
Broadway. "An American Tragedy," "Elmer 
Gantry" and others. Perhaps he had con- 
tributed a meed of beauty to the pattern of 
existence, while she had done only secondary 
roles. But during the beginning of the hectic 
talkie era one of the Fox officials saw Helen on 
the stage, noted her amazing resemblance 
to Lillian Gish and sent her to Hollywood 
\\ith a nice, fat contract bulging from her 
hand bag. 

Clarke came along, too. They always do. 
It's the last gesture of husbandry. 

Helen achieved immediate notice. She was 
made a Wampas baby star and given good 
parts. Clarke was left in the background, 
unable to cope with his wife's fame. He was a 
good actor, but he didn't have a photographic 
face. So he is trying to write and while Helen 



is at the studio, growing more and more 
famous and more and more popular, he stays 
at home and struggles with dialogue and manu- 
script. 

Clarke Twelvetrees thinks he can write. 

So did Jaimie del Rio when he found that 
Dolores was leaving him behind. 

Shrouded in mystery is the marriage and 
annulment which occurred a few days after 
Christmas of Jean Arthur and Julian Ancker. 
The papers carried the story that their honey- 
moon was cut short by Jean's discovery of a 
clause in her Paramount contract that pro- 
hibited her marrying. She immediately 
packed up her trousseau and went back to the 
studio. According to Ancker efforts on his 
part to persuade her to recognize her mar- 
riage contract failed. He received the annul- 
ment. 

W.\S this another case of excess baggage? I 
wondered. But when Jean was questioned 
she fell into a violent case of weeping, left the 
studio before I got there, with instructions to 
one of the office boys to hand me the following 
note, "Jly career had nothing to do with the 
annulment. It was an extremely unhappy 
e\ent which I wish to forget as quickly as 
possible." 

But it was another case of excess baggage 



Every ndrerllsemenl in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



when Evelyn Ledercr Kecfer (Sue Carol) left 
her husband and came to California. She 
found a spot in pictures and didn't go back to 
Chicago. Allan was forgotten and she becaire 
engaged, after her divorce, to Nick Stuart, an 
actor. This gives them an even chance for 
happiness. 

They are in the same business, with the 
same hopes 'and ideals, the same knowledge <'l 
the requirements of the motion picture pro- 
fession. Hundreds of professional marriago 
have succeeded. The mixed ones fail. And 
the wise gals are those who, when they fall in 
love and prepare to marry a man outside the 
business, give up their own screen work. 

■\^.\Y ALLISON gave it up when she mar- 
•'■'-'■ried the editor of Photoplay and has be- 
come a regular contributor to Cosmopolitan 
Magazine. Marguerite Clark did it and i- 
happy. Phyllis Haver has left the screen forc\ir 
to become ^Irs. William Seaman. The other 
day, when she refused to talk about her hus- 
band or her plans, she made a pertinent remark : 
"William doesn't understand the business. He 
doesn't know that we tell everything for publi- 
cation. He would never understand why I 
should be discussing him and our affairs pub 
licly. And I know that he would never be able 
to realize what our lives on the screen require. 
I have found a man I love. I have found some- 
one who satisfies me completely and I'm not 
taking any chances on readjustments. I'm not 
going to try to teach him what the necessary 
gestures of a fdm star are. I'm just leaving the 
screen so that I can be happy with a non- 
professional husband." 

Marian Ni.xon fell in love with a prize 
fighter, Joe Benjamin. Unlike Jack Dempsey, 
he had no patience with the film folk or their 
ways. Divorce was inevitable. 

A lengthy blurb in the newspapers recently 
told that Jacqueline Logan's love for Larry 
Winston, from whom she has been separated 
for over a year, is to undergo a super-test. 
He is to spend the summer in Europe, while she 
is to stay here. If they still love each other 
upon his return they are to be re-married. 
They may be married; they won't be happy. 
For Winston is the scion of the historic Brad- 
bury family. 

John Regan ^^■as also a scion of a wealthy 
family, but Helene Costello found him excess 
baggage and they were divorced after a few 
months together. Regan had been a childhood 
chum of Helene. There is nothing that brings 
on incompatibility more quickly. Helene 
finally grew tired of watching him sitting 
around the house all day, while she worked 
from eight to eighteen hours out of the twenty- 
four. But it was not possible for him to take a 
position that might lower her professional 
prestige. 

/^OMSTANCE BENNETT divorced her 
^—'multi-millionaire husband, Phil Plant, not 
long ago. She is coming back to go into 
pictures. 

Constance Talmadge recently married Town- 
send Netcher and will give up the screen. 
Netcher is a wealthy Chicago boy. 

Janet Gaynor has been reported engaged 
to Lydell Peck, a lawyer. Shouldn't she 
pause to consider the example of Renee 
Adoree, who found that nothing but trouble 
followed after her marriage to William Gill, a 
business man? 

Madge Bellamy's marriage to Logan Met- 
calf, a broker, was a failure. Ethlyne Clair 
soon got a divorce from Dale Hanshaw, a non- 
professional. And Josephine Dunn who, by 
the way, played the leading role in the screen 
version of "Excess Baggage," learned, to her 
sorrow, what it meant to have a non-pro- 
fessional husband and a career. 

Those in the profession, WTiters, actors, di- 
rectors, executives, editors, publicity men, 
understand. 

The rest, the brokers, the shoe men, the 
salesmen, the millionaires, can only bring 
unhappiness to their wives. 

They will always be excess baggage. 




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The Shadow Stage 



i CONTINUED FROM PACE 57 ] 



THE CONSTANT NYMPH^ 
Gainsborough 

A N English production of Margaret Ken- 
-' *-nedy's novel of the mad Sanger family — 
and particularly the tragic story of Tessa, 
daughter of the eccentric musical genius, 
George Sanger. Done \A-ith taste and intelli- 
gence but terribly photographed. Mabel 
Poulton is excellent as Tessa and Ivor Novello 
admirable as Lewis Dodd. This may not have 
general release, but it is worth viewing if you 
have the opportunity. Silent. 



FATHER AND SON— Columbia 

r^LORIFYING the American father. What 
^-'happens when dad marries a blonde adven- 
turess from Paris — and somebody kills the bad 
gal. Papa takes the blame to save sonny boy 
and sonny boy to sa\'e papa. But a record 
made by a toy record-o-phone reveals the real 
murderer. Jack Holt and Httle Jlickey McBan 
deserve better by the movie gods. Dorothy 
Revier is the bad blonde from the boulevards. 
Pari TalL-ic. 



THE SOPHOMORE— Pathe 

"|\T0 necking, no drinking, and yet the first 
■*- 'all-talking college picture is a riot! Leo 
INIcCarey has carried forward all his sure-fire 
comedy touches, and Bill Conselman has ap- 
plied his very best "Dressed To Kill" tech- 



nique. The burlesque radio announcer is a 
scream. A college prom, a riotous class play, 
and a football game with the hero carried off 
the field on his first play! That's new. Eddie 
Qmllan is the star and his stock -ndll soar after 
this picture. Dandy entertainment. All 
Talkie. 



COLLEGE LOVE— Universal 

TTIIS post-graduate edirion of "The Colle- 
■*- gians" is one of the first two all-talking col- 
legiate pictures to be made. Different college, 
different names, but they cut all the cute Cal- 
ford capers. Fickle frat pins jump from one 
sweater to another — there's football, its sub- 
sequent flag-waving, croony jazz, and moon- 
light necking. Dorothy GiUliver is the college 
yell. The regular series stuff, much elaborated 
on and well directed and synchronized. You'll 
like it. All Talkie. 



THE TIP-OFF— Universal 

TvjrO matter what they do with him, they 
■'- ^ can't wear Bill Cody out. He moves about 
the screen at high speed and at the fade-out 
he's not even out of breath. This time — aw, 
guess! Crooks! You know. The film fad 
that's djing the hardest death of any that ever 
hit Hollywood. We can talk crook. Listen. 
"One guy steals another guy's dame, so the 
first guy squeals to th' bulls." It's quite easy. 
Silent. 




Overhead expenses on the sound stages are terrific and so Herbert 
Brenon has worked out a plan that saves time and money. Re- 
hearsals are held on skeleton sets before the permanent sets are 
built. In this way a company is ready to work without a hitch once 
the production actually gets under way. Here is a rehearsal for 
"Lummox" and on the set are (left to right) Karl Struss, camera- 
man, Fannie Hurst, author, Herbert Brenon, director, and Winifred 
Westover, who plays the title role 



Every advertisement in PHOTOPLAY MAGAI?rNE is guaranteed. 



Photoplay Magazine — Advertising Section 



1 1 1 



PROTECTION— Fox 



"DENJAMIN STOLOFF'S direction of 
■'-'"Speakeasy" was pood preparation for the 
present production, "I'rotection," for there is 
much the same atmosphere. Story of a battle 
between a newspaper man, who stands for re- 
form, and the leader of a bootlcKginp; gang. 
Francis McDonald is the bootlegger and Robert 
Elliott the newspaper man. Paul Page is the 
aggressive reporter and Dorothy Burgess the 
paper's sob sister. What more natural than 
they should fall in love? The picture has its 
exciting moments. Sound. 

ALOHA HAWAII— All-Star 

CO consistent has been the production of 
'-'South Sea pictures these last few months 
that it almost looks as though the frenzied 
crime wave is lapping langourously at the 
bosom of the Islands. " Going native " is infi- 
nitely more imaginative than "going straight." 
This is a charming fantasy, based on ancient 
legend, of the jealousy of Pele, Goddess of Fire. 
She directs her malefactions against two native 
lovers, with amazing results. Native cast in 
Hawaiian setting. Silent. 

TWO SISTERS— Rayart 

A CUTE story. Twin sisters give a nice boy 
•^ *■ the run-around because his fiancee tries to 
protect her crook sister. Imagine his embar- 
rassment when he takes her home to mama and 
she starts walking off with the wall-safe, in 
person. Never fear, my children. It's the bad 
egg, who locked her pretty twin in a stufly hall 
bedroom and then looted her future family-in- 
law's home. Viola Dana is clever in the dual 
role. Silent. 

THE SAP— Warners 

TF all the pictures had as many laughs in them 
-'•as "The Sap," there would be no worry about 
the talking picture. Eddie Horton is at his best 
as the dreamer, "the sap," who always 
has a big idea, but never does anything 
with it, until it becomes necessary to save the 
relatives from jail. Then he arises to the 
emergency. Alan Hale, Patsy Ruth Miller, 
Franklin Pangborn and Edna Murphy render 
able support. All Talkie. 

THE FLYING FOOL—Pathe 

"DILL BOYD and Marie Prevost hit the sky 
■'-'in this comedy drama of a high-flyer with 
planes and janes. Bill's a self-styled tough 
egg who "finds 'em, fools 'em, and forgets 'em." 
Marie is one he almost didn't find, didn't fool, 
and couldn't forget. So — high drama, roar- 
ing planes, then — -well, see it! And the way 
Marie croons "If I Had My Way"! It's no 
down-payment voice, either. It's all hers. 
All Talkie. 

THE CLEAN-UP— Excellent 

TJERE we have one of those fine, serious 
■*• -'■young fellows we all like to meet — and who 
hasn't — the youthful city editor whom destiny 
has appointed to clean up the world before the 
first edition's on the street. He has curly hair, 
long points on his collar, and a special hate on 
bootleggers. Before he gets through, he has 
points in his hair, a curly collar, and a yen to 
remove himself as far as possible from the 
vicinity of bootleggers. Not bad. Silent. 

THE IDLE RICH—M.-G.-M. 

•yniS is the stage play, "White Collars," 
•'■ taken word for word and put on the screen 
in an uninspired fashion. William de Mille, 
Cecil's brother, has not lived up to his work 
in "The Doctor's Secret." The acting is capa- 
ble enough, with Bessie Love, as usual, walk- 
ing away with the honors, but the play is old- 
fashioned, even though it was only four or five 
years ago that it made its footlight run. All 
Talkie. 




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Photoplay Magazine — Advertising Section 



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UNTAMED JUSTICE— Biltmore 

"pOR a minor picture promising litde, this one 
•'- is quite good. Based on a fairly original 
crook plot, the action takes an unexpected 
trend and keeps you guessing. With several 
good actors, a smart dog, horse, and rabbit, to 
say nothing of the air maU, thrown in, the film 
is a veritable three-ring circus. David Tor- 
rence, Virginia Browne Fair, and Plulo McCol- 
lough head the cast. Pardon. We nearly for- 
got the horse and dog. Silent. 

CAMPUS KNIGHTS— Chesterfield 

A CELLULOID disaster which even INIarie 
Quillan, sister to Eddie and flower of the 
Quillan flock, could not avert. The picture is 
so unimportant that you forget it is a weak 
carbon copy of "The Wild Party." It is in- 



tended to portray fashionable boarding school 
life, but the most trifling details are so glar- 
ingly misrepresented that the director-WTiter 
could never have possibly been any nearer a 
girl's seminary than a school catalogue. Save 
the shekels. Silcnl. 

HIGH VOLTAGE— Pathe 

A STUPID, morbid movie that's suspiciously 
-'•■like "The Sin Sister" — and nowhere near 
as good. Three blondes, a banker, a truck 
dri\-er, and a dick are snowed in for a week in a 
country church. It's intended to scale the 
heights of human drama, but due to clumsy 
direction, it is utterly vague and ridiculous. 
The usual charming William Boyd smile is 
hidden behind a week-old beard, and, anyway, 
Bill's losing his girlish figure, or so it seems. 
All Talkie. 



Ten Years Ago in Photoplay 



THIS month of .August, 1919, is a great 
period in the history of the infant motion 
picture — truly the golden age of the silent 
drama, now thunderous with sound. 

The learned Julian Johnson, with his usual 
discernment, goes into a loud chant over a cer- 
tain D. W. Grifiith picture called "Broken 
Blossoms" — wherein the wistful Gish and a 
boy named Barthelmess perform wonders of 
beauty and pathos. "The very finest expres- 
sion of the screen so far," says Julian. 

Mary Pickford hits the top of her cute-kid 
stride with "Daddy-Long-Legs," new this 
month. Fairbanks is crashing through "A 
Knickerbocker Buckaroo." Chaplin thunders 
out with "Sunnyside." Dorothy Gish delights 
with a new comedy called "I'll Get Him Yet." 
ilighty days, the blistering dog days of '19. 

WE wipe our brows and bow to the hot spell 
by running no less than four pages of 
stunning bathing girls, snapped on the comedy 
lots with the thermometer 105 and no shade. 

lane Starr, Dorothy Terr>', Josephine Hill, 
Mildred Kurd, Peggy ba\is, X'irginia Warvvick 
—all unfamiliar names in 1929. No doubt to- 
day they are all happy wives and mothers — 
only stealing away to the attic now and then 
to shed one little tear over the mothy bathing 
suits of their golden days. 

AH.\XDSOjME picture of Wally Reid and 
son, Bill— just a shaver. . . . Wes Barry, 
when he was cute. . . . .\n article exposing 
the fact that .\nna Q. Xilsson's middle name is 
Querentia, though I still can't see why. ._ . . 
Mickey Neilan becoming an actor again in a 
Pickford film. . . . E\-elyn Gosnell and Mollie 
King in the roto section. . . . Gloria Swanson 
with very long hair — and very uncomfortable, 
she tells Delight Evans. . . . Tom Mix adopts 
a bear — at least his press agent says he does, 
which means about the same thing. 

nrWO little girls are in the spotlight. 

.i "Two Strange Women," our story calls 

them. 

One was named Carol Dempster, the other 
Clarine Sej-mour. 

Both were chosen for great things by D. W. 
Griffith. 

Now? Well, little Dempster is evidently m 
retirement. She never worked for anybody but 
the old master. 

And Clarine? Many of us remember how, 
at the very door-sill of her way to fame in 
Griffith films, she contracted pneumonia and 
died, taking from the photoplay one of its most 
promising and glamorous girls. 

WE publish a picture of Bill Hart eating an 
ice-cream soda, no doubt causing the sud- 
den deaths of thousands of small boys. ... 
Viola Dana has a new leading man and his 
name is Kenneth Harlan. . . . TomJIeighan, 




Remember Clarine Seymour? 

Death took her just as she was 

growing famous in D. W. Griffith 

pictures 



"The Miracle Man" safely in the bag, is now 
a real star, with his first pictu