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PersoTvaEv conducted by Herbert H owe 


"ELECTRICAL EXPERTS" Earn $12 to $30 a Day 

What's YOUR Future? 

Today you are earning $20 to $30 a week. In the same six Then why remain in the "small pay" game — in a line of work 
days as an Electrical Expert, you can make from $70 to $200, that offers — No Big promotion — No Big income — No Big future, 
and make it easier — not work half so hard. Fit yourself for a Bossing Job. 


Today even the ordinary electrician — the "screw driver" tricity — the "Electrical Expert" — who is picked out to 
kind — is making money — big money. But it's the trained man "boss" ordinary electricians— to boss the big jobs — the jobs 
— the man who knows the whys and wherefores of Elec- that pay. 

$3,500 TO $10,000 A YEAR 

Get in line for one of these "Big Jobs" by en- 
rolling now for my easily-learned, quickly-grasped, right-up- 

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L. L. 

Chief Eng., Chicago 
Engineering Work 

Dept. 443 
1918 Sunnyside Ave., Chicago 

Dear Sir: Send at once 
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Book, and full particulars o. 
your Free Outfit and Home Study 
Course— all fully prepaid, without 
obligation on my part. 

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do it NOW— TODAY— before it is too late. 




Electricity Means Opportunities 

Advertising Section 


A finer typewriter at a fair price 

Over 900,000 

Our amazing free trial offer 

Try the Oliver free_ before you buy. Send no money. 
Make no deposit. Mail only the coupon to get the Oliver 
for free trial. 

Use the Oliver for five days as if it were your own. 
Put it to every test, to every comparison. Satisfy yourself 
that if any typewriter is worth $100 it is this superb Oliver 
with all its modern improvements. 

If for any reason you decide that you don't want to 
keep the Oliver, just send it back at our expense (express 
collect). We even refund the outgoing transportation 
charges. So 3 r ou can't lose a cent on the free trial. If you 
agree that it is the finest typewriter regardless of price, 
and want to keep it, take over a year to pay at the easy 
rate of only $4 a month. 

Before the War You save $36 

Newest and finest Oliver 

This is not a rebuilt or second-hand machine we offer. It 
is a new Oliver, latest model, and absolutely the finest prod- 
uct of our factory. It is the famous Oliver Xo. 9, the model 
that sold for S100 before the war. And you have the guaran- 
tee of a $2,000,000 company that it is the identical typewriter. 

The Oliver is noted for its simplified and sturdy construc- 
tion — for its freedom from trouble — for its year-in-andwear- 
out service and durability. It is distinguished for its hand- 
some appearance, being richly furnished in nickel and olive 
green enamel. 

Easy payments 

Over a year to pay — Only $4 a month 

iver after free trial, pay us at the easy 

You save $36 because you 
buy direct from the factory 

A new Oliver nine, our latest and finest model, now 
only $64. The identical typewriter that sold for $100 
before the war. Only our selling plan has changed, 
not the Oliver. 

We now sell direct from factory to you. A sensible 
method, an economical method. We inaugurated this 
plan during the war, when economy was urged upon 
all of us as a patriotic duty. And we were glad to 
break away from the old system of selling type- 
writers. It was too complicated, too costly, too 
wasteful. It made the price too high. 

We no longer have over 50 branch houses and sub- 
offices throughout the country. We save for you 
money that was going for high rents, employes' 
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whose salaries, commissions and road expenses had 
to be paid for in the price of the typewriter. Our new 
plan dispenses with these superfluous sales methods. 
The saving is $36, and it goes to you. 

If you decide to keep the 01 
rate of $4 a month. 

This gives you over a year 


Ith tlx 

e war= 

What great concerns 
think of the Oliver 

National Suit & Cloak Co., New 
York: *'In our business, typewriters 
are kept busy eight hours of every day. 
lc is necessary that we use machines 
that are not alone speedy, but those that 
Will s and up under such conditions. It 
was for these reasons that we installed 
the Oliver, and are now using overSOO of 
tnese machines, having standardized in 

Nan, Busk & Sevearingen Co.. 
■„ Cleveland: " Our typing is cf greet 
importance in our work as public ac- 
juntants. It is highly necessary that 
we get clean-cut ngures, a perfect regis- 
ter, and the be^t possible copies. That's 
why we use Oliver Typewriters. The 
Olivers are 'onthe go' constantly in our 
ofnee. The operators have no trouble 
with them and find them very simple to 

Tropica! Paint & Oil Co., Cleve- 
land: "We find that the Oliver Ma- 
chines stand up for years — and during 
their life they give us complete satisfac- 
tion. The downward striking type-bar — 
a distinctive feature of the Oliver — in- 
sures perfect alignment, which is alwavs 
a great advantage with a typewriter/' 

Among other prominent users 1 of the 
Oliver are: Morris & Co.; New York 
C entral Lines; Boston Elevated Raiiv-av; 
Hart, Schaffner & Marx ; U. S. Steel 
Corporation, and others of great ranis. 

to pay, and you have the use of the 
typewriter while paying for it. 

Think of it — payments so small 
as to average only about 13c a day! 
Our liberal payment plan makes it 
easy practically for everybody to 
own the Oliver typewriter. 

Don't think of renting or buying 
a second-hand machine of doubtful 
quality when it is so easy for j~ou 
to own the superb Oliver! 


The coupon brings you an Oliver for 
free trial. Mail it today. 

If you wish further information before 
ordering, mark the coupon for our cata- 
log and copy of our amazing booklet, 
"The High Cost of Typewriters — the Rea- 
son and the Remedy." 

Avoid disappointment — order new to se- 
cure immediate delivery. 

Canadian Price, $82 


Other prices went up 
Oliver came down 

Note how other commodities 
have soared in price since the 
first days of the war. Nearly 
everything has doubled or 
trebled in price. But the Oli- 
ver sells for $36 less than be- 
fore the war! That shows the 
economy of our maker-to-user 

Let others think that costly 
sales methods are necessary. 
As for us we are very well 
pleased with the Oliver plan. 
Our business has increased 

ourfold in the past three years. 
And today we are again adding 

o our manufacturing facilities. 


1253 Cliv3r Typewriter Bids., Chicago, HI. 

□ Ship me a new Oliver Nine for fire days free inspection. If 
I keep it, I will pay S64 at the rate of Si per n-o»-'.h. Tha 
title to remain in yoa until fully paid for. 

My shipping point is 

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

□ Do not send a machine until I order it. Mail me vonr book 
—"The High Cost of Typewriters — Thr- Reason cad the 
Eeraedy," your de luxe catalog and further information. 


Typewriter (pmpafij! 

1253 Oliver Typewriter Bldg., Chicago, UL 


Compared with year o 


Breads tuffs- 

Increased ..... 



Increased . .. 



Increased ...... 






Oliver Typewriter— 




Street Address 

City ...State- 


tiDrt or business. 

Vol. XIV 


MARCH, 1921 

Hints for Scenario Writers 

Information and advice for the amateur writer. 

William Lord Wright 8 
. 13 
. 17 

What the Fans Think .... ... 

A department in which our readers are heard from. 

A Trip Through Europe's Filmland . Herbert Howe 

Introducing plays and players that soon will be known to the American screen. 

Adventures in Emotion .... Emma-Lindsay Squier 22 

Pauline Frederick says that emotional acting is a matter of feeling. 

What Makes the Men Love Constance So P Helen Klumph . 24 

The younger Miss Talmadge is shown in a quick change of moods. 

De Mille's Magic Spectacles . Gordon Gassaway . 27 

They make some yellows white, and some black, and they constantly seek beautiful 
effects for the screen. 

The Observer ...... , . . 29 

Editorial comment on timely topics concerning the screen. 

Making Hay-akawa While the Sun Shines H. C. Witwer . . 31 

A famous humorist tells what happened when West and East met. 

The Screen Mother Comes Into Her Own Barbara Little . 32 

What led up to the significant achievements of Vera Gordon and Mary Carr. 

The Devil Arrives on the Silver Sheet . John Addison Elliott 33 

A great actor immortalizes a brilliant characterization. 

The Movie Almanac .... Charles Gatchell . 34 

A modern adaptation of Benjamin Franklin. 

Favorite Picture Players ... . . . 35 

Portraits of prominent stars in rotogravure. 

Romances of Famous Film Folk . . Harriette Underhill . 43 

The love story of Alice Brady and James Crane. 

A Billion- Dollar Cast .... Marjorie C. Driscoll 44 

Stroheim could not get the extras he wanted in the ordinary way, so he tried a 
new one. 

A Girl's Adventures in Movieland. Part II Ethel Sands . . 46 

What a fan saw and heard on a trip through Movieland. 

After Exposure — What? . . . Charles Carter . 50 

The processes which every film goes through before you see it on the screen. 

Over the Teacups The Bystander . 52 

To Fanny the Fan a cup of tea is inspiration for all sorts of gossip. 

Continued on the Second Page Following 

Monthly publication issued by Street & Smith Corporation, 79-S9 Seventh Avenue, New York City. Ormond G. Smith. President; George C. Smith. Treasurer; George C. Smith. Jr.. 
Secretary. Copyright, 1921 by Street 4- Smith Corporation . New York. Copyright. 1921. bv Street & Smith Corporation, Great Britain. All Rights Reserved. Publishers 
everywhere are cautioned Against using any of the contents of this magazine either wholly or in part. Entered as Second-class Matter. March 6. 1916. at the Post 
Office at New York, N. Y., under Act of Congress of March 3. 1879. Canadian subscription. S2.3G. Foreign, $2.72. 
WARNING — Do not subscribe through agents unknown to you. Complaints are daily made by persons who have been thus victimized. 
IMPORTANT— Authors, agents, and publishers are requested to note that this firm does not hold itself responsible for loss of unsolicited manuscripts while at this office or 
in transit; and that it cannot undertake to hold uncalled-for manuscripts for a longer period than six months. If the return of manuscript is expected, postage should be inclosed. 



Advertising Section 

What 1921 and Paramount Pictures 
have in store for you 

1 QOI is going to be a banner year in 
Will the motion picture industry. 

The extraordinary Paramount Pictures to be 
released will alone make it such. 

AU through the past year, and all over the 
world, the immense plans of Paramount have 
been in preparation for your 1921 entertainment. 

1921 and Paramount will give you a flaming 
new idea, a totally new and magnificent con- 
ception of what the screen can mean to you! 

Ideals plus immense organization— basis 
of Paramount Supremacy 

The basis of Paramount^ supremacy will 
continue to be one of immense organization 
both in production and distribution of motion 
pictures, and unlimited resource of talent, 
money, physical equipment and imagination. 

Paramount has enough studios and produc- 
ing plants to equip forty ordinary motion pic- 
ture companies. The chief of these studios are 
in California, New York, and London, England. 

The whole world-wide producing organization 
of Paramount Pictures proceeds on a basis of 
assured success for the photoplays produced. 
That is, thousands of theatres in fifteen civilized 
countries are waiting and eager to show them, 
and their audiences to see them. 

Only Paramount organization can 
give Paramount quality 

Neither time nor money, neither endless trou- 
ble nor terrible hazards of physical danger and 
difficulty, are spared to achieve striking results. 

In some Paramount Pictures in 1921 you will 
see The Alps, for example, as mere items of 
the staging of a single scene. If the tropics 
are required, or the arctic zone, the tropics and 
the arctic zone you will get. 

In other 1921 Paramount Pictures you will 
see whole groups of great stars in the same 

One instance of many: in the cast of "The 
Affairs of Anatol," the play by the great Vien- 
nese dramatist, Arthur Schnitzler, directed by 
Cecil B. DeMille, there are no fewer than eight 
stars: Wallace Reid, Gloria Swanson, Elliott 
Dexter, Wanda Hawley, Bebe Daniels, Agnes 
Ayres, Theodore Roberts and Theodore Kosloff. 
All this galaxy of talent in one Paramount Pic- 
ture, and there will be 104 of them in 1921 for 

1921 will carry on the great national success 
of Paramount as represented by the high water- 
mark it touched during the National Para- 
mount Week in September, 1920, when more 
than six thousand American theatres showed 
nothing but Paramount Pictures, and sixty-seven 
cents of every dollar that was paid to enter 
motion picture theatres was paid to enter those 
theatres which were foresighted enough to have 

Foresighted is right, because there was not 
a single print of any Paramount Picture, not 
a single, solitary reel, that was not working. 

The people were out for Paramount then as 
they will be throughout 1921. 

Greatest authors of Europe and America 
writing for Paramount Pictures 

In addition to the most successful American 
directors, dramatists and novelists, who are 
naturally attracted by the sheer artistic suprem- 
acy afforded their work by the Paramount equip- 
ment, it is now history that the greatest drama- 
tists of Europe, men of immortal fame, are 
working and devising subtle new plots for Para- 
mount. Some of them have already arrived over 
three thousand miles of ocean to collaborate 
more closely with the Paramount producing or- 
ganization for your delight. 

Paramount is the name which has enrolled 
Sir James M. Barrie, Henry Arthur Jones. Ed- 
ward Knoblock, Sir Gilbert Parker, Avery Hop- 
wood, Elinor Glyn, Sir Arthur Wing Pinero, 
Joseph Conrad, Cosmo Hamilton, Arnold Ben- 

Paramount is the name of the organization 
which affords the greatest scope for the great- 
est directors, men of the stamp of Cecil B. 
DeMille, William DeMille, George Fitzmaurice, 
George Melford, William D. Taylor, Hugh 
Ford and Charles Maigne. 

Distinguished artists and connoisseurs of 
stage design, such as Penrhyn Stanlaws and 
Paul Iribe (the great Parisian designer), con- 
tribute their special talent to Paramount. In 
short, it is a fact that Paramount utilizes the serv- 
ices of all sorts of skill and craftsmanship 
whose function ordinary picture producers are 
not even aware of. 

Paramount spends more on the perfect titling 
of great feature pictures than some producers 
spend on the whole job. 

Paramount has a special Fashion Atelier in 
Paris so that the women in the audience of 
your theatre shall get le dernier cri in gowns 
and hats with every Paramount Picture. See 
Paramount Pictures and you see the new Paris 
styles first. 

Paramount has first call on the greatest 
American stories in the greatest American maga- 
zines when the stories are suitable for the films. 

Every form of printed or spoken drama that 
might be suitable for Paramount Pictures is 
examined. Everything useful published in Ital- 
ian, Spanish, German or French is steadily 
translated. Synopses are made of every stage 
play produced in America, Paris, Berlin, 
Vienna, London and Rome. 

No one else can give the exhibitor or mo- 
tion picture enthusiast half as much. 

It all comes down to immense organization, 
and Paramount has it. 

Every 20th person you meet in the street to- 
day will see a Paramount Picture today! 

The simple way to tell a good theatre 

Not a good theatre anywhere but books as 
many Paramount Pictures as its patrons can 
throng to see! 

Counting foreign theatres, over one hundred 
million people paid to see Paramount Pictures 
in 1920. 

Your cue is — find the words "A Paramount 
Picture" in the newspaper advertisements of 
your theatre, or in the lobbies or on billboards. 

Find them, before you go in, for that ahvays 
means a great show and a crowded house! 

(paramount (pictures 


Some of the coming 



Roscoe ("Fatty") Arbuckle In 
"Brewster's Millions" 

Dorothy Glsh in 
"The Ghost in the Garret" 

Cecil B. DeMille's Production 
"Forbidden Fruit" 

Douglas MacLean in "Chickens" 
A Thomas H. Ince Production 

A Cosmopolitan Production 
"The Passionate Pilgrim"; 
with Matt Moore 

Charles Malgne's Production 
"Th8 Kentuckians," by John Fox, Jr.; 
with Monte Blue 

Ethel Clayton in 
"The Price of Possession" 
A Hugh Ford Production 

Dorothy Dalton in "The Teaser" 

Thomas Meighan In "The Easy Road" 

A George Melford Production 
"The Faith Healer" 
William Vaughan Moody's famous play: 
with Milton Sills and Ann Forrest 

A Cosmopolitan Production 
"Buried Treasure"; with Marion Davles 

Roscoe ("Fatty") Arbuckle In 
"The Traveling Salesman" 

A Robert Z. Leonard Production 
Mae Murray in "The Gilded Lily" 

Sir James M. Barrie's 
"Sentimental Tommy" 
A John Robertson Production 

Sir James M. Barrie's 
"What Every Woman Knows" 
A William DeMille Production 

Wallace Reid in Frank Spearman's Story 
"The Daughter of a Magnate" 

Sydney Chaplin in 
"King, Queen and Joker" 
A Sydney Chaplin Production 

A Hugh Ford Production 
"The Great Day" 
The Famous Drury Lane Melodrama 
A Famous-Lasky British Production 

A Famous-Lasky British Production 
"The Mystery Road"; with David Powell 
By E. Phillips Oppenheim 

Thomas Meighan in "The Quarry" 

A Cosmopolitan Production 
"The Manifestations of Henry Ort": 
with Matt Moore 

A George Melford Production 
"You Can't Fool Your Wife" 
By Hector Turnbull 

A George Loane Tucker Production 
"Ladies Must Live" 
By Alice Duer Miller 

A Hugh Ford Production 
"The Call of Youth" 
By Henry Arthur Jones 
A Famous-Lasky British Production 

A Cecil B. DeMille Production 
"The Affairs of Anatol" 
By Arthur Schnitzler 

Roscoe ("Fatty") Arbuckle in 
"The Dollar a Year Man" 

A Famous-Lasky British Production 
"Appearances," by Edward Knoblock 

A Cosmopolitan Production, "Love Piker" 

Douglas MacLean in "One a Minute" 
A Thomas H. Ince Production 

A William D. Taylor Production 
"The Witching Hour"; with Elliott Dexter 
By Augustus Thomas 

Wallace Reid in "Free Air" 
By Sinclair Lewis 

Elsie Ferguson in 
"Sacred and Profane Love" 
By Arnold Bennett 

Wallace Reid in "Watch My Smoke" 

Gloria Swanson in "Everything For Sale" 

A William DeMille Production 
of an original script by Edward Knoblock 

Gloria Swanson in a new story by 
Elinor Glyn 

A George Melford Production 
Dorothy Dalton in "The Money Master" 
By Sir Gilbert Parker 

A Cecil B. DeMille Production 
of an original story by Avery Hopwood 
Author of "The Gold Diggers" 

Contents — Continued 

Shopping for Human Beings .... 

Ralph Ince tells how a director selects his casts. 

Directed by Friend Husband .... 

A glimpse of Eileen Percy at home. 

The Agate Girl ...... 

Helen Jerome Eddy promises you a new type on the screen. 

The Screen in Review ..... 

You can find here what you want to see, and what you don't. 

Right Off the Grill 

Unrestrained comment on pictures, picture players, and correspondents. 

The Kentuckians 

A story of the mountain folk of Kentucky. 

News Notes from the Studios .... 

Brief bits of information about plays and players. 

Sometimes They Tell the Truth 

And the truth about Colleen Moore is well worth reading. 

Straight from the Shoulder .... 

House Peters frankly and freely speaks his mind. 

Concerning Coiffures . . . . 

A beauty expert shows you what you can learn about hairdressing from the stars. 

A Self-made Westerner J. B. Waye 

A close-up of Harry Carey at home. 

Snapped Without Warning 

When the "motion" picture camera isn't looking, a "still" one is, making possible these 
unconventional glimpses of famous stars. 

Flashes from European Films 

A pictorial preview of bits from some of the foreign features. 

When Good Fellows Get Together . . . . J. B. Waye 

Harold Lloyd and Douglas MacLean were almost the death of each other. 

The Picture Oracle . . . 

Answers to letters from our readers. 

Susie Sexton 

. 56 

Celia Brynn 

. 58 

Helen Ogden 

. 59 

Agnes Smith 

. 61 

Herbert Howe 


. 64 

C. L. Edson 

. 66 

• • • • 

. 69 

Celia Brynn 

. 70 

Malcolm H. Oettinger 
Mary Stuart 



Y/Ml Do ' You I Iky 

you Tiumi you know, but t; 

Like nearly every one, you probably think that 
you go to motion pictures to see something new, 
but producers, directors, authors, every one in 
the motion-picture business, in fact, knows that 
there are certain old things you always like. 
What they are, and why you like them, will be 
told by Helen Klumph in the next issue of Pic- 
ture-Play Magazine. You'll find it one of the 
most interesting and instructive articles you have 
ever read about motion pictures. 


Herbert Howe has been asked that question 
about motion-picture people hundreds of times. 
He is going to answer it — frankly and fearlessly, 
in his inimitable way. If you have any pet illu- 
sions, prepare to shed them. 

About tits Movios? 


who is just beginning her screen career, will both 
appear in next month's Picture-Play. 


What would you do if you were a motion-pic- 
ture director and you wanted a terrific storm at 
sea? You would send for John Wilder, of course. 
Marjorie Charles Driscoll will tell you all about 
him and the profession of storm, fire, and ship- 
wreck expert. 


Emma-Lindsay Squier went out to the Fox lot 
where they were making "A Connecticut Yankee 
at King Arthur's Court," and found herself in the 
sixth century. She liked it — and you will, too. 



Marguerite Clark, who is returning to the 
screen, and Justine Johnstone, a famous beauty 

Advertising Section 



— New Way Makes It Easy 

Either Playing or Singing — Every 
Step Made Simple as A B C by 
Print-and-Picture Lessons That 
You Can't Go Wrong On. 

Entire Cost Only a Few Cents a Lesson — and 
Nothing Whatever to Pay Unless You Are 

How often have you wished that you knew how to play the 
violin or piano — or whatever your favorite instrument may 
be — or that 3-ou could take part in singing? 

How many an evening's pleasure has been utterly spoiled 
and ruined by the admission "I can't sing," or "No, I am sorry, 
but I can't play." 

At all social gatherings some one is sooner or later sure to 
suggest music. When the others gather around for the fun 
the one who can take no part feels hopelessly out of it — a wall 
flower — a mere listener and looker on ! 

Or those long and lonesome evenings at 
home, when minutes seem like hours — 
how quickly the time would pass if you 
could spend it at the piano or organ — or 
in making a violin "talk," or in enjo3 - ing 
some other instrument. 

And now — at last — this pleasure and 
satisfaction that 3-ou have so often wished 
for can easily be added to your daily life. 

No need to join a class or pin yourself 
down to certain hours for lessons or prac- 
tice. No need to pay a dollar or more per 
lesson to a private teacher. Neither the 
question of time nor expense is any longer 
a bar — every one of the obstacles that 
have been confining your enjoyment to mere listening have now 
been removed. 

My method of teaching music — in your spare time at home, 
with no strangers around to embarrass you — makes it amaz- 
ingly easy to learn to sing by note' or to play any instrument. 

You don't need to know the first thing about music to begin — 
don't need to know one note from another. My method takes 
out all the hard part— overcomes all the difficulties— makes 
your progress easy, rapid and sure. 

Y\ hether for an advanced pupil or a beginner, my method is a 
revolutionary improvement over the old methods used by pri- 
vate teachers. The lessons I send you explain every point and 
show every step in simple Print-and-Picture form that you 
can't go wrong on— every step is made as clear as A B C. My 
method makes each step so easy to understand and practice that 
even children only 7 to 10 years old have quickly become ac- 
complished players or singers under my direction by mail. Also 
thousands of men and women 50 to 70 
years old — including many who had never 
before tried to play any instrument or taken 
a lesson of an3^ kind — have found my 
method equally easy. My method is as 
thorough as it is easy. I teach you the 
only right way — teach you to play or sing 
■11 by note. No "trick" music, no "numbers," 
U' ■V|mI!!:I!! : .I no makeshifts of any kind. 

My files con- 






Harmony and 




Sight Singing 

Drum and Traps 




Tenor Banjo 



Steel Guitar 









I call my method "new" — simply be- 
cause it is so radically different from the 
old and hard-to-undcrstand ways of teach- 
ing music. But my method is thoroughly 
time tried and proven. Over 250,000 suc- 
cessful pupils — in all parts of the world, 
and including all ages from boys and girls 
of 7 to 8 to men and women of 70 — are 
the proof. Read the enthusiastic letters 
from some of them, which you will find 
printed at the right — samples of the kind of 
letters I am receiving in practical^- every mail 
tain thousands of such letters. Largely through the recom- 
mendations of satisfied pupils, I have built up the largest school 
of music in the world. 

But I don't ask you to judge my methods by what others 
say or by what I myself say. You can take any course on trial 
— singing or any instrument you prefer — and judge entirely by 
your own progress. If for any reason you are not satisfied with 
the course or with what you learn from it, then it won't cost you 
a single penny. I guarantee satisfaction. 
On the other hand, if you are pleased 
with the course, the total cost amounts to 
only a few cents a lesson, with your mu- 
sic and everything also included. 

When learning to play or sing is so 
easy, why continue to confine your enjoy- 
ment of music to mere listening? Why 
not at least let me send you my free book 
that tells }"ou all about my methods? I 
know 3'ou will find 
this book absorb- 
ingly interesting, 
simply because it 
shows you how eas3 _ 
it is to turn 3 r our 
wish to pla3* or sing 
into an actual fact. Just now I am making 
a special short-time offer that cuts the 
cost per lesson in two — send your name 
now, before this special ■ offer is with- 
drawn. No obligation — simply use the 
coupon or send 3 r our name and address 
in a letter or on a postcard. 

Instruments supplied when needed, cash 
or credit. 


"Since I've been 
taking your lessons 
I've made over S200 
with my violin. Your 
lessons surely are 
fine." — Melvin Free- 
land. Macopin. N. J. 

"When I started 
with you I knew 
nothing about the 
Cornet or music, but 
now I can play al- 
most any piece of 
music." — Kasson 
Swan. Denmark. Col. 
Co.. Nova Scotia. 

"I want to extend 
the heartiest ap- 
proval of your Piano 
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By William 

Lord Wright 

About the 

What of the trend of the market hy 
this time? The market is getting bet- 
ter. When this was written, in late 
November, all signs pointed to a revival 
of the original story, with the demand 
firm. Presidential year cut a figure in the movie-story 
market just as it always does in every line of industry. 
In a period of retrenchment and tight money the 
amusement business is first to suffer. The automobile 
manufacturers claim they suffer primarily, but not so. 
When money is tight the amusement business, deemed 
a luxury — though really a neces- 
sity if we are to have any pleas- 
ure on this old mundane sphere 
— is lambasted first. So for a 
time the producer has been a bit 
chary in stocking up. With the 
election over, things are looking 
up again. 

The story market is a peculiar 
thing. It is the weather-vane of 
motion-picture land. If there is 
a storm brewing the first re- 
trenchment is ordered in the 
scenario department. When 
conditions become easier, then 
the movies reach out for plot 
material. New York and Los 
Angeles are the two great buying 
centers for motion-picture sto- 
ries. In fact, the other day I 
read a lengthy discussion tend- 
ing to prove that Los Angeles was now the literary 
center of the world, both for screen and fiction. We'll 
let that pass. But I do know that when the brokers 
become unusually active across the continent, that ac- 
tivity is reflected in Los Angeles, and vice versa. It 
is certain proof that the manufacturer is casting around 
for material. As this is written, there isn't a good 
piece of fiction appearing in any of the weekly or 
monthly magazines, having real screen possibilities, that 
is not grabbed off by wire before the ink gets cold. 
One weekly publication the other day ran a short story 
by Calvin Johnston. It had the "makings" of a movie. 
The story was sold before one producer even got an 
opportunity to read and consider it. He read it, wired 
to New York to buy it, and was informed in reply that 
the story had been sold two weeks before ! 

This does not mean that the film maker will buy 
anything that comes along. Far from it! It does 
mean, however, that the man or woman who can come 
across with material, basic material for filmland, ought 
to have a better chance to sell his or her stuff. And 
I think it will interest my readers to know that, hav- 
, ing received several challenges from "Doubting 
Thomases" of late, I am going to devote a large part 
of this department next month to citing individual in- 

QUESTIONS concerning scenario 
writing, addressed to this depart- 
ment, will be gladly answered, when ac- 
companied by a stamped and addressed 
return envelope. Beginners, however, 
are advised first to procure our "Guide- 
posts for Scenario Writers," a booklet 
covering all the points on which begin- 
ners usually wish to be informed, which 
will be sent for ten cents. Those who 
wish the names and addresses of the 
principal producers, with statements of 
the kinds of stories they want, may 
procure our Market Booklet for six 
cents. Please note that we cannot read 
or criticize scripts. 

stances — giving the names and full details — of per ; 
sons, outside the industry, who recently have sold 
original stories for screen production. 

Lender the title, "Why I Write for 
Is It An Motion Pictures," James A. Scherer, 
former college president, recently wrote 
•Art? an ar ticle for the Los Angeles Express 

which I quote in part: 

For a man whose pet avocation has long been imaginative 
writing, but whose experience in educational work has brought 
the desire that such writing do more 
than amuse, the field of photo play 
offers a definite challenge. In my 
opinion, motion pictures give the 
teacher a great opportunity, not to 
indulge in propaganda, indeed, for 
the first aim of the photo play must 
be to entertain. It should be possi- 
ble, however, to build an entertain- 
ingly dramatic story with a back- 
ground, an undercurrent of whole- 
someness and importance of theme 
that the audience will unconsciously 
absorb. It was with such an idea 
in mind that I joined the staff of 
writers at the Lasky studio when 
physicians advised a radical change 
in my work. I was glad of the un- 
expected opportunity to adopt the 
vocation of writing, for it meant the 
fulfillment of a lifelong desire. 
Heretofore writing has perforce 
been a mere avocation. 

Frank Woods, supervising direc- 
tor of the Famous Players-Lasky 
Corporation, said to me one day 
when we were in discussion: "The best motion picture is 
the one that tries to help along while arousing." 

Isn't that a challenge to the writer? For where can he find 
a voiume of reaedrs that compares with the photo-play audi- 
ence? A book that sells ten thousand copies is doing well; 
but put your message in successful film form and forty mil- 
lion people receive it all over the world. 

They are calling the motion picture the "new art," and 
rightly so. The photo play challenges a writer's attention be- 
cause it is so essentially democratic. It speaks a universal 
language reaching more of the real, homespun folk than any 
other medium of expression. 

Perhaps I shall be charged with 
All-Star ^ ese ma j est y> but, like The Observer, 
I see the waning of the screen star. 
Casts This assertion may be greeted with 

loud and raucous cries, and acrimoni- 
ous debate. It is true that the statement has been made 
before, annually, in fact. It is equally true that I never 
made it before, but I do make it now. And the waning 
of the screen star will have an important bearing on 
the screen story. Mind you, I do not mean to convey 
the impression that there will be no future stars. There 
is only one Mary Pickford, and there is only one Chap- 
lin. What I do mean to state is this : Before the year 

Advertising Section <9 


I Would You Have j 

| the "Nerve" | 

| to advertise for rent a house that | 

| existed only in your imagination? | 

1 Terry Burns did and it changed § 

1 the course of his life. I 


"The House with the Twisted Chimneys" 

Complete Novelette 


In the April Issue of 



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Advertising Section 

has passed there must be a show- 
down. There will be a few promi- 
nent stars always powerful, with a 
world-wide following, but the 
smaller constellations will not be 
twinkling so brightly. There will 
be fewer photo plays catering to the 
few talents of some leading star, 
sacrificing the plot and atmosphere 
for flattery, twisting and deforming 
powerful situations so that some 
egotistical player can "hog" the scene, 
thus doing the great public out of 
thirty-three-and-one-third per cent 
strength of play and cast. 

Stories are beginning to be writ- 
ten with justice to the story. A few 
producers are doing this now, and 
profiting thereby. Other producers, 
seeing that the water is fine, are 
ready to leap in. In many cases 
minor stars will be played up in one 
big stock company, each player cast 
for the role he or she is best fitted 
to enact. 

It certainly has been a halcj-on 
period for the movie star. I have 
seen ten-thousand-dollar stories 
ruined so that some star might not 
have his or her feelings ruffled. I 
have seen strong and logical "busi- 
ness," rightfully belonging to some 
ether member of the cast, entirely 
cut out of the scenario, and if pho- 
tographed, eliminated from the film, 
because some egotistical leading man 
or woman thought another more 
capable player was getting a little 
too much footage. I have seen good 
actors compelled to play a big scene 
with their backs to the camera be- 
cause the star was afraid of the 
other fellow's acting and wanted all 
the glory for himself. 

I assert here and now, fearless of 
successful contradiction, that the 
"rut" into which movie stories have 
become caught has not been due so 
much to the story, nor the director, 
nor the scenario writer— though all 
have been blamed — as to some star 
who has demanded the warping of a 
good play that he might have more 
close-ups, more entrances, more foot- 
age, that he might hog some big 
scene contrary to the meaning of the 

So long as a star's contract per- 
mits him to get away with such stuff, 
just so long will the plot value of the 
story suffer. Few indeed are the 
stars that will permit "fat parts" to 
members of the cast. 

But the public is in rebellion. 
They are paying and want to pay 
to see fine productions. 

And to my readers, I would urge 
this: Study the plays in which the 
play's the thing, not the star. One 
of these fine days they will all be 
doing this sort of production, and 
well-balanced stories will be in de- 

mand — stories not written around 
some star, but a story written around 
itself. Just stick a pin in this pre- 
diction ! 

As to 

In my mail I note 
that many writers 
for the screen seem 
troubled regarding 
film subtitles, cap- 
tions, or leaders. Any name will do. 
The writing of film titles is an art 
in itself. In my opinion it is sec- 
ondary only to the art of writing the 
story, and sometimes I think it about 
on an equal plane. I have seen sev- 
eral doubtful films absolutely saved 
commercially and artistically by sub- 
titles. Several former newspaper 
men and women, paragraph writers, 
those who have learned the art of 
boiling down, are successful in the 
film title-writing game. There is a 
tendency on the part of certain pro- 
ducers to present highly flown, col- 
orful film titles. It is always well to 
remember that the photo play is made 
to appeal to the masses. The best 
writers, Dickens, Stevenson, Poe, 
and the like, were users of the short, 
simple, and expressive adjective. Let 
us have them more in filmland. 

The film title-writer who can get 
underneath the plot, bring ot?t at- 
mosphere and plot not carried in ac- 
tion, is the one who will succeed. 
The good old standbys, "That 
Night," "And Then ' 


Next Day," et cetera, have fallen 
into disuse, and fun is poked at them 
in the majority of studios. Yet it 
is doubtful if the same expressions 
camouflaged as "Then Night Falls," 
"Dawn," et cetera, are any better. 

Another good sign of a good title- 
writer is short titles. It is better to 
"break" a title than to carry a wordy 
paragraph. The shorter or more ex- 
pressive a title, the quicker it is ab- 
sorbed bv the spectator and the bet- 
ter does the action carry on. 

Art titles, so called, have been 
overdone. Much of the art, be it 
silhouette, or black and white, predi- 
cates the action of what is to follow. 
In other words a scene in art titles 
can ruin five hundred feet of costly 
continuity, for it hints at what is to 
come. A plain letter on a plain card, 
sooner or later will come into its 
own. That, at least, is my personal 

I have given this dissertation on 
film title-writing for a purpose. I 
suggest that those ambitious to write 
movie plots, forget the titles. Of 
course, if you have a strong scene, 
and a title comes to you, put it in 
your manuscript. Try to write your 
synopsis, however, so that titles, dia- 
logue, et cetera, are not essential. 

Advertising Section 



In "The Wonder Book for Writers," which we will send to you ABSOLUTELY FREE, these famous Movie 
Stars point out the easiest way to turn your ideas into stories and photoplays and become a successful writer. 

Millions of People Can Write 
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Dorit Know It/ 

THIS is the startling assertion re- 
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there are countless thousands of people 
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DON. Atlantic Cm. N.J. 

sewing machines, or doing housework. Yes — 
you may laugh — but these are The Writers of 

For writing isn't only for geniuses as most people 
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writing faculty just as He did the greatest writer? 
Only maybe you are simply "bluffed" by the 
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They never try again. Yet if, by some lucky 
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BUT two things are essential in order to become 
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The principles of writing are no more complex than 
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Thousands of people imagine they need a fine 
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Life — even in your own home, at work or play, are 
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Fugitive Flashes 

By A. Split Reel 

Movie mysteries : Hats with bows- 

Sometimes life seems to be just 
one iris out after another ! 

Listen to this : 
Twinkle, twinkle movie star, 
Age or sickness is no bar — 
When upon the screen we see^ 
Damsels well past sixty-three ! 

Osmun Lile Potee's personal ap- 
pearance at a chain of movie theaters 
has been canceled. Audiences 
spotted the mole on his chin. 

Wrong-font plug hats, crepe-paper 
beards, and wood sets should be 
tossed into the movie discard. 

own movie fashion hints : 
Leather coats and goggles are now 

considered au fait. 

Never drive to the studio in a 


Sport shirts and speckled shoes are 
popular for morning wear. 

A movie star is known by the com- 
pany that keeps him. 

There's always a negative and a 
positive side to every motion picture. 

Come to think of it, there should 
be scratches on every wild-animal 

Sometimes we are certain sure 
that if all the world's a stage, then 
all the people are movie-scenario 
writers ! 

Percy Ramsbottom, well known as 
the cake of ice in "Uncle Tom's 
Cabin," has a pressing part in the 
five reeler, "Hard Cider." 

Through some misundertanding, 
not yet threshed out, Sylvanus 
Smucker played a cornet solo, "My 
Wife's Gone to the Country, Hooray, 
Hooray !" during the death-bed scene 
in reel four. 

Six months after the Idle Hour 
Movie Theater became popular in 
Wainut Hills, the council ordered 
wooden awnings, roller towels, and 
board sidewalks to come down. 

Lem Holtsapple, who played the 
mob in reel three, and doubled as 
Napoleon in the fifth reel, now wears 
a Windsor tie. 

"Ten Nights In a Barroom," with 
a high-noon street parade, a baggage 
car of real bar fixtures, four hor- 
rible examples, and two floats, played 
to S. R. O. at the Odd Fellows' hall. 
A special musical program of songs 
of long ago, including, "Hail, Hail, 
the Gang's All Here," was rendered. 
There wasn't a dry throat in the 
house after the fourth reel, but many 
scenes were more than the audience 
could swallow. 

Mother Goose, up-to-date : 

Little Jack Horner sat in a corner 

eating a Christmas pie, 
He said: Here's no fun, and started 

to run to a movie play showing 

close by. 

Steps are being taken to curtail all 
dance scenes in motion pictures. Too 
much footasre. 

The Ladies' Art Embroidery Club 
held its regular meeting at the home 
of Mrs. Marshmellow M. Mavtee. 
Mrs. Fern Bunn read a paper en- 
titled, "Why Rubber Collars Are a 
Greater Menace to the Movie Than 
Leather Coats." Pieces of film were 
distributed as souvenirs. 

Our happy thought : 

Many a film is more to be pitied 
than censored ! 

Honorable Oscar O. Pusey, past 
president of Hodcarriers' Association 
No. 4331, has accepted the office of 
State censor of moving pictures. 
Mr. Pusey is peculiarly fitted for the 
office. For several years he has read 
all the movie magazines, is a gradu- 
ate of three mail-order courses in 
scenario writing, and his collection 
of autographed photos of movie stars 
is among the best. "I believe pic- 
tures are only in their infancy," 
stated Mr. Pusey at his home. He 
blew on his saucer to cool the coffee 
and then continued : "I shall do my 
best to overcome the menace of tenor 
drums and artificial flowers and shall 
demand that principals in banquet 
scenes eat pie with their knives in the 
good, old-fashioned way taught by 
our fathers. I shall pay particular 
attention to film stories, having a 
complete file of Deadlee Dim Library 
and Old Cap Collier." At the next 
meeting of the Priscilla Sewing Cir- 
cle Mr. Pusey will continue his up- 
lift work, speaking on the engrossing 
subject, "Parlor Ma°-ic, a Means to 
Combat Frivolous Fillums." 


What the Fans Think 

An open forum of discussion by our readers, which you are invited to join 

7f £ 


In Defense of Pretty Clothes. 

To the Editor of Picture-Play Magazine. 

Will you let another wife answer the plaint of J. R. C, who 
wishes Bebe Daniels' pictures suppressed because seeing one 
of them hypnotized his wife into going out the next day and 
paying eighteen dollars for a new hat? 

I infer that his wife isn't generally extravagant, or this 
one purchase wouldn't have ex- 
cited him so much. He is prob- 
ably the sort of man who wants 
his wife to keep on looking just 
as she did the day they were mar- 
ried, and thinks that the way to 
do it is to wear her wedding 
finery everlastingly, whereas it 
would really take the combined 
genius of Fannie Ward and Mar- 
guerite Clark, with the wardrobe 
of Norma Talmadge thrown in. 

Whether a hat at eighteen dol- 
lars is an extravagance, anyway, 
depends on the family budget. 
But granted that for J. R. C.'s 
wife it is, I still think that his 
complaint is unfair. Any woman 
is entitled to an occasional ex- 
travagance. Is he in any posi- 
tion to east stones ? Doesn't he 
smoke? Doesn't he occasionally 
play what you call Kelly pool or 
poker with his old crowd? 
Doesn't he insist on dessert after 
dinner? If his wife's hat is an 
extravagance, so are all these 
other things, even including going to Bill Hart pictures. The 
difference is merely that she has been trained to regard his 
pet extravagances sympatheticalh- or stoically. I'll wager 
that that wife could give Lillian Gish pointers on endurance. 

The average man has no conception of the force which 
drives the average woman into buying clothes. Sometimes, 
of course, it is innate extravagance and vanity. But the fact 
that this one extravagance of Mrs. J. R. C. created such a 
furor proves, I think, that it was unusual on her part. There 
is a far more subtle reason. Let any man recall his feelings 
the first time he realized that he would never inspire the 
"Ohs" and "Ahs" that greet every appearance of Wallace 
Reid, or the time that a new doctor or lawyer arrived in 
town and took away one of his best clients, or the first time 
that he heard his son referred to as "Young Mr. Brown" 
and knew that he himself was "the old man." 

That is the way his wife feels when she realizes that she 
is not so young as Mae Murray — when she finds crowfeet 
creeping around her eyes or realizes that dancing makes her 
puff. So she goes out and buys herself a new hat. Heaven 
alone understands the connection. The average woman could 
no more analyze the vague groping toward beauty, the des- 
perate clinging to vanishing girlhood that goads her into a 
purchase, than a baby could tell why he yells when he is 
hungry. And motion pictures have sharpened this instinct 
by putting beautiful women before us every day. 

Probably the Bebe Daniels pictures do stir up longings for 
beautiful things in the heart of any woman, but so do the 
De Mille pictures and any others that show smart, pretty 
women. And I maintain that it is a wholesome influence. 
Carried farther than the hat-buying stage, it is the same 
influence that makes her read worth-while books in order to 
keep her mind as fit as her body. 

The extravagant hat is just one flash of a great power which 
is keeping the modern woman slim and healthy and keen, as 
young at forty as her mother was at thirty and her grand- 
mother at twenty.. More power to the Gloria Swansons, the 
Elsie Fergusons, the Irene Castles, and the Viola Danas ! 

Another Wife — Kansas City, Mo. 

From a Farmer Fan. 

To the Editor of Picture-Play Magazine. 

Have just finished reading the January issue of your very 
excellent magazine. All I can murmur is that it was "some 

What a Chinese Fan Thinks 

I *.* i a t *- & £ f * t % e4 f 1 

translation of which will be found on the 
following page. 

liT book!" I enjoy the letters from the "fans" very much, 
and always read them first. This is my first contribution to 
that department, and I hope it won't bore you too awfully 
much. "Way Down East," which has not yet reached here, 
I am longing to see. I don't think I shall be disappointed as 
E. Sidney Rawson was. It will probably be many months 
before it reaches this town. And when I do see it, it will 

be in a plain, ordinary theater, 
without any special lighting ef- 
fects or special music. The "pi- 
aniste" will probably play "Slow 
and Easy" or "Whatcha Gonna 
Do When There Ain't no Jazz?" 
throughout the picture, but I'll 
enjoy it just as much as if I saw 
it in the Capitol or the Rialto 
or any of the other picture pal- 
aces on Broadway. I'm especially 
anxious to see "Way Down 
East" because I want to see how 
Griffith represents farmers on the 
screen. You see, I'm a farmer 
myself, and I don't like the way 
farmers are usually represented 
in the movies. We aren't so ter- 
rible looking as they try to make 

I don't agree with Herbert 
Howe in placing Chaplin at the 
head of the list for 1921. He has 
done nothing in the past year, and 
if he keeps on this way, Harold 
Lloyd will step into his shoes. 
"High and Dizzy," "An Eastern 
Westerner," and "Get Out and Get Under" are, to my way 
of thinking, much better than any of Chaplin's pictures. 

I don't care for Nazimova. I saw her recently in "Madame 
Peacock," and— well — "punk" is the way to express it. As 
Jane Goring, she overacts and is not the least bit human. 
But, anyhow, Nazimova must have had a good time making 
this film. 

Norma Talmadge is my idea of an actress. She's got the 
"class" and the "looks," and she can and does act, and is 
to-day the most popular actress on the screen. She hasn't 
had a good story in many months, but she holds her place 
just the same. Dorothy Gish also is badly in need of better 
stories. She is capable of better things than the slapstick 
affairs they've been giving her lately. However, I did enjoy 
"Remodeling Her Husband ;" but I hope she'll be a "Little 
Disturber" again some time, and I'd like to see her with- 
out the black wig once in a while. 

I quite agree with John Barrymore in regard to Lillian 
Gish. Haven't seen her on the screen since "Broken Blos- 
soms." As Lucy, the girl, she was most wonderful indeed. 
I think she deserves stardom if any one does. She has cer- 
tainly worked long and hard for it. Like roses at twilight 
or the first snowfall or the music of violins she seems to 
me, and now that she's to be starred, perhaps we'll see her 

With best wishes, sincerely, 

J. E. Finnegan — Frazee, Minn. 

British Girls Have Crushes, Too! 

To the Editor of Picture-Play Magazine. 

In the November number of your magazine I read with 
great interest a letter from "Dorothy W.," Mount Vernon, 
New York. If I had written it myself, I couldn't have ex- 
pressed my thought better. She even has crushes on exactly 
the same movie stars as I do myself. 

In the days of my youth I simply worshiped Maurice Cos- 
tello and Clara Kimball Young, just as she did. When that 
spasm passed I fell for Wallace Reid. Then, in turn, I would 
have left my home for Owen Moore, Eugene O'Brien, and 
Harrison Ford; but my present passion for Richard Barthel- 
mess caps the lot. I am sure Dorothy W.'s can be nothing 
to it. It has lasted nearly two years — my others only about 
two months each — and although Tom Moore and Ralph Graves 


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come a good second and third, they don't, 
and I'm sure nobody ever will, .give me 
the same sort of thrill that Richard does. 

Of course, if 1 lived in New York, I 
should simply haunt Griffith's studio 
morning, noon, and night in the hopes 
of seeing him, and also Dorothy Gish, 
for whom I have a very soft spot in- 

I must say that I certainly enjoy my 
crushes on movie stars a thousand times 
better than those I have on real persons. 

Anyway, I never get disillusioned. So 
here's to Dick Barthelmess, and may he 
visit these shores one day ! 

I'll do my best to see him. 

Mary A. — London, England. 

This Ought to Please Tommy. 

To the Editor of Picture- Play Magazine. 

Some time ago I read in a magazine 
that the popularity of a star is decided 
by the number of the star's fan letters. 

This seems very strange, for surely it 
would never occur to the majority of 
persons to write to the stars. 

For instance, there are eight of us, 
devoted admirers of Mr. Thomas 
Meighan. Our group includes two doc- 
tors, one school-teacher, one lawyer, one 
nurse, and three married women, whose 
husbands are admirers of Mr. Meighan 

Now, not one of us would think of 
writing a letter to Mr. Meighan, but, just 
the same, none of us would miss one of 
Mr. Meighan's pictures. 

It costs eighty-five cents for a ticket 
at the Sunday matinee at the Rivoli, Ri- 
alto, Criterion, or any other first-class 
New York theater where his pictures are 
shown, but we consider it well-spent 
money, and our married friends' hus- 
bands never mind taking their children 
when it is a Tommy Meighan picture. 
A Group of Devoted Admirers — 
New York City. 

What a Chinese Fan Thinks. 

Hongkong, China, 
7th day of June. 
Miss Rubey de Remer, 
New York, U. S. A. 
Honorable Miss: Your honorable 
pardon I ask. Your reproduction on the 
kinama sheet I have witnessed at times 
numerable, and your honorable likeness 
I have admired from afar, as you say, 
with interest extraordinary. We in China 
have for artistic demonstration portrayed 
such as you admiration. If pardon you 
will grant for me saying your beauty is 
like an elixir to us of the Far East. More 
of you we hope to witness. Will you do 
me the favor of gratification and to me 
post a photo study of your esteemed self? 
I a most honorable wife and family have, 
and your photo we wish to hang as a 
symbol of beauty in our most humble 

A hundred years from now I wish ,ycu 
that your beauty will last, and all China 
will bow to your shrine. 

A Humble Chinese Admtrer — 

(Translation by Woo Kee.) 

A Plea for Better Pictures for 

To the Editor of Picture- Play Magazine. 

I like to think of your Observer as 
the doctor who looks after the moral 
health of the movie people. Recently he 
placed his finger on the pulse of the par- 
ents. I have no way of knowing whether 
the response was strong or weak, except 
by turning to the "What the Fans Think" 
department. Apparently the fathers 
and mothers have not yet been heard 

from. When he said, "What about the 
children ?" he opened up a very big sub- 
ject and one which to me, as a parent, 
is of personal and vital interest. 

When he said, "The motion picture no 
longer caters to children," he spoke truly. 
I know because I have reviewed many 
pictures within the past year and I do 
not recall having seen one, except "Alice 
in Wonderland," that was arranged ex- 
pressly for children, and it was only on 
account of its being presented for the 
benefit of the Bryn Mawr endowment 
fund that we had that. Of course, Mary- 
Pick ford's plays usually interest children, 
especially her last four, and "Huckle- 
berry Finn" was a universal favorite with 
old and young alike. Then there have 
been many pictures in which children 
and animals figured more or less promi- 
nently, like D. W. Griffith's "Let Katy 
Do It" and "Through Eyes of Men," 
featuring little Ben Alexander and a cir- 
cus in winter quarters ; but your state- 
ment still holds good. 

During the past four years I do not 
recall that any manager has ever catered 
directly to children in our city except 
once, and then it would have been infi- 
nitely better if he had not. He had a 
very good educational film showing the 
marble industry from the quarry to the 
carved and polished product. Of course, 
the children came, my boy among them. 
Oh, horrors! the most dreadful things 
were flashed before their sensitive young 
eyes before the program was over, in- 
cluding a highly sensational serial. Have 
the managers no souls? 

A word as to the pernicious influence 
of some of the serials. I live on the out- 
skirts of a great spindle city; its people 
are industrious by day and pleasure seek- 
ing by night. They flock to the motion- 
picture theaters, and there are ten of 
them, also another with a stock com- 
pany advertising "The latest Broadway 
releases," which runs photoplays Sundays 
and between seasons. Often father and 
mother both work in the mill, and the 
children, if small, are boarded out, or if 
old enough to get their own dinners, are 
left to shift for themselves. Of course, 
they go to the movies after school to 
see the heroine extricated from the dan- 
ger which was threatening her life in 
the last episode of the serial. Special 
seats are reserved for them in the gal- 
lery and they point out "the good guy" 
and "the bad guy" in audible tones. They 
go home to dream about what they have 
seen, and next day they reenact the same 
scenes in their play with alarming real- 
ism. At one time we had as many as 
six serials running here simultaneously. 
One mother told me she had forbidden 
her boy to attend a certain serial because 
it had taken such a hold on him that his 
highest aspiration was to become a gen- 
tleman crook when he grew up. 

Then there is the menace to the child's 
health through impure air and exposure 
to colds and other diseases. The best 
motion-picture houses are comfortable, 
roomy, and well ventilated, but how many 
of them can do a flourishing business 
with fresh air at a premium and get by 
the board of health inspectors is beyond 
me. Many wise mothers do not allow 
their children to attend the movies at 
all because they neither wish to expose 
them to germs nor open their eyes pre- 
maturely to unlovely and shocking things. 
Yet if these same mothers could be as- 
sured that some enterprising manager 
would open a children's theater in their 
city, or at least present a Saturday-morn- 
ing program which would be wholesome 
and within their understanding, they 
would be only too glad to patronize it. 

Advertising Section 


The American boy who haunts the movies 
unsupervised is likely to become an old 
man before he is a young one. 

In our city we are not Retting as many 
educational films and travelogues as we 
had at one time. For instance, we really 
know very little about our sister conti- 
nent, South America, and we 'would wel- 
come glimpses of monkeys in their native 
jungles, the Andes Mountains, people at 
work on the coffee plantations, et cetera, 
et cetera. It is a pity that the schools 
are so slow in introducing educational 
films. Certainly there is no better or 
more delightful way to teach geography, 
history, architecture, or the natural sci- 
ences. I understand that the New York 
schools are ahead of Massachusetts in 
this respect. I hope to see the day when 
even the Sunday-school lessons will be 
illustrated in this way. 

Yours in the hope of more suitable 
movies for children, 
Mrs. Gertrude Churchill Whitney — 
Lawrence, Mass. 

In Praise of "Way Down East." 

To the Editor of Picture-Play Magazine. 

I have just finished reading a letter 
in the last number of your magazine 
from one of your readers on the sub- 
ject of D. W. Griffith's "Way Down 
East." I was very much interested, as I 
have just returned from New York, 
where I saw this play not once, but three 
times! To me, "Way Down East" is a 
most impressive picture, and think it will 
probably be the most popular motion pic- 
ture in seme time. 

It is not, as a whole, a very great mas- 
terpiece, but is one which will be more 
universally popular than the screen mas- 

terpiece, "Broken Blossoms,' 

uch it 

does not equal. "Way Down East" is 
thrilling — very. The climax reached in 
the ice break-up is the greatest I have 
seen. In the letter I referred to the 
writer says that this tremendous climax 
takes the attention from the true point 
of the play. This is true to some ex- 
tent. On first leaving the theater you 
do think of the ice scenes and the miracu- 
lous rescue, and you do rather forget 
the rest ; but soon, in several weeks, the 
thrill of the climax wears off, while the 
story of Anna Moore is simply unfor- 
gettable. You appreciate this part more 
and more. It, you might say, is the kind 
that "just grows on you." I venture to 
say that no one who sees the picture will 
ever forget Anna Moore. Miss Gish 
gives a most remarkable performance — 
simply astounding. 
Esther S. Flemtnc — Nashville, Tenn. 

You'll Find This Answered by the 

To the Editor of Picture-Play Magazine. 
_ As I have been a reader of your maga- 
zine, I should like to write you a short 

I enjoy most of all "Over the Tea- 
cups," and, lately, "Romances of Film 

I am a great admirer of Ethel Clay- 
ton and Anita Stewart, and, in fact, spent 
one whole day making a swell box of 
candy for Ethel. About that time I got 
a 1 etter from my friend in Chicago say- 
in? that he thought Ethel Clayton was 
stuck up, for he saw her in person, and 
I did not want her to throw the candy 
away and make fun of it, so T ate it my- 
self. Do you think that she or Miss 
Stewart is "stuck up?" 

Mtss Dot Barnett — 
Pawhuska, Oklahoma. 

I Teach Piano a Funny Way 

So people Told Me When I First 
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H@» 3. 

A Trip Through Europe's Filmland 

A personally conducted tour, introducing to you all of the leading European players and describing the great pro- 
ductions now being made abroad, some of which you will see in the near future on the American screen. 

Bv Herbert Howe 

EUROPE is invading America. 
She's returning the compliment we paid her 
a while back. Only her mission is cinematic 
instead of militaristic. And 
she doesn't say anything about 
saving the world for the mo- 
tion picture. 

Oddly it is Germany who 
makes the first offering. 

Says The Observer in the 
last issue of Picture-Play : 

"If the American people 
are going to accept 'Passion' 
with the same enthusiasm that 
they would show for an 
American production of the 
same class, xAmerican pro- 
ducers can well fear a Ger- 
man invasion." 

Well, the American people 
have, and the producers may 
cower. If Germany, arising 
from her knees, can fling such 
an artistic gesture across the 

seas as to strike terror to the hearts of our prosperous 
magnates, we say let 'em suffer. It is a reflection 
upon our initiative if we, who have had the benefit 
of uninterrupted prosperity, are defeated in art bv a 

A Few Things You Should Know 

You should know something; about Pola Negri, 
whose work in ' Passion" has created such a 
sensation in America. 

Mr. Howe tells you about her, about her 
"Carmen," "Manon Leseaut" and her creation 
in "Sumurun." 

He describes other European film sensations, 
which you will see here later on, such as "Theo- 
dora," an Italian production of gorgeous in- 
vestiture, a scene from which is shown above, 
in which Rita Jolivet. a French actress, well- 
known in American films, is the star. 

He also introduces to you "the Talmadges 
of Europe," "the Continental Mary Pickford," 
and the American girl who has become so pop- 
ular as a star of German pictures that she is 
called "another Pearl White." 

Here's your opportunity for a flying trip to 
Europe's filmland, with gay entertainment 

nation which has been defeated in war, crushed with 
debt, and burdened with world hatred. Personally, I 
do not see why anv American producer, not so greedy 

as to desire world monopoly, 
should fear. Germany has 
sent us "Passion," which, in 
my opinion, is equal to any- 
thing America has ever pro- 
duced. She has sent us many 
other pictures which weren't 
worth showing. Surely one 
masterpiece is not sufficient to 
incite the hysteria of terror- 

As for Germany carrying 
"German thought" through- 
out the world through motion 
pictures, we found the thought 
projected from "Passion" 
quite as exalting as any ex- 
uded from a De Mille bath 
brochure or a Griffith prodigy. 
The Observer is quite right 
in saying that some people 
will conjure up reason for fear. Children must have 
their bugbears. If they're not fearing the Germans, 
they're fearing the Japanese ; if not the Japanese, then 
the British or the Russians or the Mexicans. Form- 


A Trip Through Europe's Filmland 

_ . „ — — "■ — 

Here is the director who created "Passion." His name is Ernst Lubitsch; 
he is called "the Griffith of Europe." 


enough im- 

Le guerre 
the subject. 

nately most of us are blessed 
agination to fear the landlord. 

est fini! Anyway all this jingo is beside 
Art has no nationality. Fancy barring the 
works of Wells, Shaw or Walpole because our writers 
feared competition or invasion of "thought." Would 
any sympathy be extended to Robert W. Chambers or 
Harold MacGrath if they protested because Mr. Lasky 
invited the invasion of such English writers as Henry 
Arthur Jones or Sir Gilbert Parker — or even such a 
formidable competitor as Elinor Glyn? 

Patriotism is shoddy stuff when it is used to cloak 
inferior goods against the competition of superior. It 
does our national ego a bit of good to get a jolt now 
and then. We go along imagining we are the only 
people who know anything about the manufacture or 
exhibition of motion pictures, until we see a German 
picture or hear about the Chinese method of running 
a theater. 

Over in the kimono kingdom they have an amphi- 
theater with five screens showing pictures simultane- 
ously. I must say I like their policy as to admissions. 
A Chinaman refuses to pay for anything he hasn't seen. 
He doesn't wait in line at any ticket window. He 
wags his queue right into the theater, and the manager 
has to run off a few hundred feet of film before there's 
any talk about admission fee. If the Cheng Huans 
don't like the sample they get up and go out. If they 
approve they drop a couple of yens into a contribution 
plate that's passed. This certainly appeal to me when 
I think of the fortune I would have saved. 

Another delightful innovation is practiced in Chinese 

theaters. The managers allow time out for 
towels and tea. No Chinaman will sit through 
a hot evening without being refreshed by a 
damp towel swiped over his brow and a 
flagon of oolong to revive him between reels. 
So the picture is shut off while ushers toss 
the mops and rush the pots. 

No wonder the young Buddhist of "Broken 
Blossoms" thought we heathens needed some 


Perhaps the invading hordes from Europe 
wouldn't have found victory so easy if they 
hadn't been headed by Pola Negri, who. in- 
cidentally, is a Polish countess. I have yet 
to meet the man who wouldn't lay down his 
arms at her command, just as did Armand. 
the Spanish ambassador, and Louis, King of 
France. When one encounters such a cardiac 
thriller he doesn't ask from whence she came 
or to what church she belongs. He casts fear 
to the winds and tries to stall the jane. Yea, 
verily, though I knew Pola's address to be the 
Rue Tres Chaud in Hades, I wouldn't stop 
to put on an asbestos overcoat. 

Since "Passion" is only one of the conti- 
nental pictures which will shake our morale 
this year, it may be interesting to take a flyer 
overseas and get a preview of foreign films 
and favorites. 

Europeans as well as Americans agree that 
the continental productions are inferior to ours 
in technique. Max Linder, the French co- 
median now working in this country, has an 
article on Le Cinema Americain in a recent 
issue of Le Film. With the fairness and ap- 
preciation characteristic of the Frenchman, 
M. Linder says : 

"The French producer who has studied the 
methods employed by Americans must be struck by the 
departments into which the work is divided and by the 
specialization of each collaborator." 

This division of labor with a specialist in charge of 
each sector constitutes American superiority, says M. 
Linder. Through organization we have evolved the best 
mechanics of the craft. 

"But," says Linder, "the point of weakness is appar- 
ent in the eyes of the most ardent American. The 
weakness js the scenarios." 

With clear perspective he points out that the Ameri- 
can public, particularly of the larger cities, is growing 
weary of seeing "toujours les memes histoires" — al- 
ways-the same stories. 

"That is why," he continues, "they seek the aid of 
the novelists and dramatists of old Europe." 

In conclusion we detect a wisp of ironic humor, de- 
livered with more delicacy than we use in flaying our 
own work. He reminds the European author that for 
cinematic concoctions, as well as for champagne, there 
is the American taste to consider. Our lack of dis- 
crimination in the subtleties of wine, and our reverence 
for the champagne label because it signifies expense, is 
known full well by all Europeans. 

This keen and jolly Linder seems to sum up our 
entire cinematic weakness in those final lines. We 
know how to bottle, but we have a lot to learn about 
distilling. We haven't yet acquired the discrimination 
for subtlety and bouquet which is possessed by the 
Europeans. Therefore we should welcome their prod- 
ucts for the qualities of vigor and beauty which ours 
may lack. In the development of our motion picture, 

A Trip Through Europe's Filmland 


as well as for all phases of commercial 
advance, we need the collaboration of 
our friends overseas. The sooner we 
forget our we- won- the- war jingoism, 
counterfeited "Americanism," the sooner 
we will achieve the highest standard and 
discover "the great American photo 

Most European pictures have nothing 
to teach us. They wouldn't even enter- 

"But don't forget," says our friend 
from Vienna, "that most of your American 
pictures wouldn't be received in Europe, 
any more than ours would succeed here. 
Once it was every one in Austria was 
crazy about your Western pictures. Now 
they are tired of them. Always the 
same, they say. True, you are experts 
technically. You make the most of your 
stories, but your stories — they are so 
terrible ! 

" 'Way Down East,' 'Over the Hill' — 
yes, of course, we want them. But such 
stories as 'Madame Peacock' or 'Danger- 
ous Business' our people would not stand 
for. You Americans will stand a lot be- 
cause of your stars. At least you en- 
dure very bad pictures in order to see 

The Europeans seem to have struck a 
better balance between their forces of 
production. The picture in totality is 
the thing. "Passion," or "Du Barry" as 
it was known abroad, is not exploited as 
an Ernst Lubitsch production or a Pola 
Negri production. Each is given credit, 
yet the picture itself is the attraction. 
The Germans and Austrians have their 
stars, but they don't let them dictate as 
to the number of close-ups or the amount 
of "sympathy" which must be thrown 
their way regardless of realism. 

The principal studio zones of the con- 
tinent in the order of their interest to 
us are : Germany, Italy, Sweden, Austria, 
and France. The main sources of our 
foreign supply for the next year or two 
be Germany and Italy. And only their 

Pola Negri, a Polish actress, captivated the American public in her 
deliniation of Du Barry in "Passion," First National's importation 
from the German studios. 

at least will 
greatest pic- 
ures will meet with any marked attention here. 


During the year 1919-20 there were something like 
one thousand pictures produced in Germany. This 
surpasses the number of pictures released during the 
same time in the United States, but probably does not 
equal the number produced. For the storage ware- 
houses of New York do a flourishing business in films. 

Germany comes out of the war in a healthier film 
condition than the other countries of Europe, because 
she had to depend upon her own studios for pictorial 
supply during the imbroglio. The rest of Europe re- 
lied chiefly upon America. The Film Express, pub- 
lished in Berlin, reviews the German situation : 

"The economical crisis which started with the war 
paralyzed the German film industry. But with a won- 
derful energy the German film manufacturers under- 
took to keep their works running even when restricted. 

"In 1912 the German film industry had eleven film 
manufacturing firms, which was doubled by 1914. As. 
the war came to an end Germany had over one hun- 
dred and thirty manufacturing companies." 

The principal companies are the Ufa. Decla-Bioscope, 
and the May Film. The small film has disappeared 
almost entirely. The middle line is held by five-part 
productions, while the large firms are occupied ex- 
clusively with the manufacture of "superproductions" 
running to ten and twelve reels. All the companies of 
Germany and Austria have united in a combine gov- 
erned by the Ufa organization, which alone controls 
five studios in various parts of central Europe. 

"Passion" is the first production of consequence to 
reach us from the German "lot." It is the work of 
the leading director of the continent. Ernst Lubitsch. 
"Passion" also introduced one of the finest actresses, 
Miss Pola Negri. Immediately critics sought to title 
her. She was described variously as another Nazimova, 
and a cross between Theda Bara and Norma Talmadge. 
All of which amuses, and indicates that Miss Negri is 
incomparable. Most people doubtless have concluded 
that she is Europe's greatest actress. She certainly 
compares favorably with America's greatest. And in 
the final judgment she may prove to be our favorite 
of continental charmers. However, she is not considered 
the supreme artiste over there. Asta Nielsen is given 
first place by German and Austrian producers with 
whom I've talked. Thev add, however, that she would 


A Trip Through Europe's Filmland 

Fern Andra, an American girl, is the star in "Genuine," one of the new "expressionistic" 
pictures now being made in Germany. 

not catch on over here, because she has crossed the 
flapper line beyond which there is no referendum in 
America. Miss Nielsen is Danish, but produces in 
Germany. We may see her this year in her production 
of "Hamlet," in which she plays the role of the Dane. 
This is not adapted from Shakespeare's "Hamlet," but 
adapted from the legend of Hamlet which Shakespeare 
adapted. Shakespeare had the making of a great sce- 
narioist. Had he lived he might have been signed by 
Sam Goldwyn and become very famous. 

The stars of German films who rank highest in 
European popularity are Asta Nielsen. Henny Porten, 
Pola Negri, and Fern Andra. Only one of the quartet 
is a German. 

Fern Andra, who might be described as the Pearl 
White of the fatherland, is an American. She ap- 
peared here in vaudeville and in the early paleolithic 
films. Asta Nielsen, as already indicated, is a Dane. 
Pola Negri is a countess from the Poland made famous 
by Premier Paderewski. Henny ' Porten owns to the 
land of the pretzel, Wagner, and other things artistic. 

The May Film Company is the German counterpart 
of our Talmadge family firm. Mia May, the most fa- 
mous of the family, is another popular star. Her sister 
Eva is coming to the close-up, while the part played by 
Joseph Schenck in the Talmadge triune is interpreted 
by Joseph May in the May famille. 

Mia May's most spectacular work is "The Mistress 
of the World," recently presented in London. It is a 
serial of forty-eight reels of six episodes each. Each 
episode of six reels has its locale in a different part of 
the world. The serial divertissement holds great lure 
for Europeans. That is one reason for the prominence 
in Europe of Pearl White, Antonio Moreno, William 
Duncan, and Eddy Polo. 

Production in Austria is 
closely woven with that of 
Germany. The Sascha com- 
pany is the principal producer 
and is affiliated with the Ufa 
combine. Its star is Lucy 
Doraine. Perhaps by the time 
this article appears she will be 
circulating America. Two of 
her pictures, known abroad as 
"The Stars of Damascus" and 
"The Lady of the Sunflower," 
are now in this country. The 
director of these productions, 
Kertesz, is ranked close to 
Lubitsch. Count Alexander 
Kolowrat. the president of 
Sascha, was in the United States 
recently to arrange for the 
marketing of his products. One 
of the capitalists of Vienna, he 
has experimented in films for 
the past fifteen years. At first 
he considered them as a hobby, 
and used to develop them in the 
bathtub at home. Now he 
controls several studios and is 
erecting an immense theater in 

The Germans and Austrians 
are producing historical and 
classic spectacles for the most 
part. This is a shrewd policy 
so far as their foreign develop- 
ment is concerned, for stories 
of German life would never ex- 
ert international appeal any 
more than pictures dealing with problems and locale 
exclusively American will obtain maximum results 
abroad. Those who have seen recent German produc- 
tions state that "Passion" is not the only one of great 
merit. "Sumurun" has been filmed by Lubitsch and 
will be exhibited here shortly. "Anne Boleyn." drafted 
from English history, recently was completed. It is 
said to be of greater proportions than "Passion." The 
old London edifices, including Westminster Abbey, 
were constructed under the supervision of Richter, the 
architect who designed the settings for the "Du Barry" 
classic. Henny Porten has the title role in this Lubitsch 
spectacle. The Sascha Austrian company has completed 
"Cherchez la Fcmme," with Lucy Doraine and Alfonse 
Fryland as the stars. The action transpires in five 
quarters of the globe. Other productions based on his- 
torical and classic tales are : "Johann Baptiste Lingg." 
taken from the life of Napoleon ; "Manon Lescaut," 
with Pola Negri as star; "The Conspiracy of Genoa," 
based on sixteenth-century life in Genoa ; Richard Os- 
wald's film of "Dismal Tales," developed from stories 
by Edgar Allan Poe ; Zola's "La Bete Humaine," with 
Lotte Neumann ; "Figaro's Wedding," from the Beau- 
marchais story, starring Hella Moja ; "Carmen," with 
Pola Negri ; and Henny Porten in "The Doll's House." 
"Augustus the Strong," and "The Tarantula," under the 
direction of Lubitsch. 

Having discovered the Talmadges of Europe, the 
Griffith of the old world, and the Pearl White of Ger- 
many, the proclaiming of another Man- Pickford was 
inevitable. Ha Loth of the Saturn films has the resem- 
blance, according to The Film Express. It says : 

"Ha Loth bears a remarkable resemblance to Mary 
Pickford, the celebrated American star, and many have 
found her even more lovely to look upon. Bevond a 

A Trip Through Europe's Filmland 21 

doubt she is superior to her American colleague in 
mimic ability, amply proved by the several Saturn films 
in which she plays the leading part." 

Well, Ila will have to show us ! Certainly The Film 
Express is nothing if not modest in its appraisal of 
the lady. Having gazed upon Ila's photographic like- 
ness I must say I am not one of the many who have 
found her more lovely than her American colleague. 
But it behooves us to hold our peace in view of the 
run which Pola Negri is giving our stellar dames. All 
we can say in reply to The Film Express is that we 
have a State called Missouri. 

Among the other Saturn luminaries who are vaunted 
quite as highly as the Pickfordian Ila are Marie Widal, 
Camilla Hollav, Sandy Iglav, and the incomparable 

"But where are the Wally Reids of Europe, the 
Charlie Rays, the Tony Morenos, and Gene O'Briens?" 
complains Fanny, the teacup tattler, impatiently. Dear 
Fanny : I regret to communicate that Ruddy Kipling 
was speaking of Europe when he said the petticoat was 
more persuasive than the pants. Lesley Mason, editor 
of The Exhibitors' Trade Review, who made a pilgrim- 
age to Europe to view film conditions for the benefit 
of the American trade, brought home the somber re- 
port that there were no male beauties of fame in the 
old country. The foreign fans don't fall for the male. At 
least, not for their own males. Yet Fairbanks, Moreno, 
Polo, Reid, Chaplin, and other valiant and beautiful 
American boys are the subjects for crushes over there 
quite as much as at home. Thus the attitude of the 
European toward the home-grown gargon is inexpli- 
cable. I predict that our suffragists will discover their 
Apollos for them. The lady whose admission I paid 
to "Passion," at the Capitol Theater in New York, 
nearly drowned the ninety-piece orchestra with her 
rhapsodic solos over the German gents. She denounced 
me as -a punk authority on films when I couldn't reel 
off the name of the Herr who played Armand. As for 
Louis XV, she swore that Hollywood had not his equal. 
One wink from his gorgeous lids and a high sign from 
his scepter, and she would have been hisn, so she as- 
severated. I testily accused her of running counter 
fire to my volleys for Pola. Bitter words followed, and 
for the first time, Fm ashamed to admit, I showed signs 
of lunacy by hurling the epithet "pro-German." I sud- 
denly became as one hundred per cent as The Observer. 

But let the ladies adore the seidel hoisters, for the 
vamps are coming! the vamps are coming! — "Over 
There" with sides reversed. 


Inasmuch as Pola Negri is our current screen guest 
and probably will come to this country to make pictures 
in the near future, it is interesting to know that her crea- 
tion of Du Barry is no sporadic flare. Her more recent 
portraitures in "Sumurun" and "Manon Lescaut" are 
perhaps richer in shade. As for her Carmen, I'll bet 
she shakes a wicked castanet. Having had a couple 
of hand-organ renditions of the classic gyp on our 
-creens, we would like to see what Pola would deliver. 
And J. D. Williams of First National assures us we 

The comparison between La Negri and La Bara al- 
leady has been cited. Both did Du Barry. For the 
sake of onr national pride let no more be said. The 
most ardent flag-waving fan will have to give Poland 
the odds as against Cincinnati. 

Let preparedness be our watchword once again. We 
may as well prepare to be totally ravished by the 
European vamp. She is equipped with the beauty and 
the brimstone to reduce us to flames. While our screens 

are overrun with the ingenues of invincible chastity, 
the continental canvas is the stamping ground for the 
Rag, Bone, Hank of Hair, Inc. I fear for our jitney 
virgins when these high-powered vivandieres turn their 
caravans westward, ho. 

While gazing upon the angelic blondness of Lucy 
Doraine, Austrian fils de cinema, I inquired of Count 
Alowrat if at last I had met an ingenue. 

"Oh, no, no," he protested, horrified. "She's a wam- 
pire !" 

Europe is a veritable incubator for le poulet terrible. 
"With venom in her heart that belied her smiling lips," 
is the way one is described. 

Theda Bara is a pious soul compared to Fern Andrai 
Evan Theda's worst pranks were no more than tag 
and the ringing of doorbells compared to Fern's. In 
"Genuine," for example, Fern plays a lady who has 
been raffled off at a slave market to an eccentric old 
geezer. The rapscallion takes her home and puts her 
in the basement, where he rigs up a private rathskeller 
as pretentious as any De Mille bath. The only nourish- 
ment which agrees with the gentle maiden is warm 
blood. And the hotter the better. I forget the number 
of buckets required per diem to slake her thirst. At 
any rate, a whole mob of men get lost on the lower 

Continued on page 84 

In her pictures Pauline Frederick 
rarely smiles; in real life she 
rarely does anything else. 

Photo by Melbourne Spurr 

/"~|^HE play was "Madame X." 

I was watching it at a 
big theater — one in which 
the large symphony orchestra, the lights, and all of 
the stage hangings combined to lull the senses and to 
carry you away to suffer or be happy with the heroine. 

Distracted for a moment by a remark made by my 
companion, I happened to look around ; and never have 
I seen an audience more spellbound. They were what 
you might call pye-eyed. Or, if you prefer, hypnotized. 
Almost every one in the great auditorium was sitting 
absolutely motionless ; every eye was riveted to the 
screen; handkerchiefs were quite in evidence. 

A whisper from behind me pierced the silence. 

"Those ain't real tears — they're glycerin. I know. 
They're " 

At a whispered "s-h-h-h-h" the comment subsided. 
But it set me thinking. I began to recall other com- 
ments I had heard about Miss Frederick which I hap- 
pened to know were quite as untrue. "They say she 
starves herself till she's in a perfect frenzy," was one 
of them. "Before she makes a scene where she's sup- 
posed to look crestfallen they tell her that her last pic- 
ture was a failure," was another. 

I wondered if a great many of Miss Frederick's ad- 
mirers in that audience — and thousands of other audi- 
ences — wouldn't be interested in knowing just what she 
does do that enables her to reach out from the silent 
screen and send such waves of feeling over the breath- 
less crowds. 

In one way, though, I rather dreaded the job. You 
— who have suffered and wept with her, but never in- 


There is no more skillful emotional screen 
tells how she feels when enact 

By Emma-Lind 


terviewed her — may think that to get the fair 
Pauline to talk about the technique of emotion 
would be an easy matter. I happened to know 

If you go to interview Pauline Frederick, 
expecting to find her the stately, poised, and 
almost tragic figure that she is on the screen, 
you will be disappointed — or maybe you will 
be elated. In her pictures she rarely smiles : 
in real life she rarely does anything else. At 
the studio they call her "Polly." And she 
doesn't particularly care about indulging in 
soul-searching sentiments. 

I once stood by as an innocent spectator when 
a dyed-in-the-wool interviewer approached her 
and asked what she thought of the advancement 
of the silent drama. 

"For Heaven's sake," she whirled on him, 
"I don't think anything about it ! Ask me 
something sensible, such as, do I answer my 
fan mail myself, and we'll talk!" 

So I leave it to you, how was I going to ask 
her point-blank about how she achieved her 
emotional effects? I didn't want her Heaven- 
saking me, but I knew that's what would hap- 
pen if I didn't proceed with caution. 

I finally found out what I wanted to know 
while seated beside her at the lunch counter at 
"Fay's place," across the street from the Holly- 
wood studios. But I flatter myself that 
she didn't know what was happening. I 
approached the subject tactfully through 
the medium of tomato salad, cheese 
sandwiches, and raisin pie. 

"You should have been here yesterday," she told 
me. "I was sobbing out my heart from ten in the 
morning until five in the afternoon with only an as- 
paragus salad at noon to break the monotony. We are 
making 'The Mistress of Shenstone,' and I ruined two 
handkerchiefs weeping make-up on them." 

Weeping! There was the subject of the interview 
right in my hand. I wanted to come out in the open 
and ask her what she thought of the psychology of emo- 
tion, but instead I artlessly complimented the tomato 
salad and followed it up by inquiring nonchalantly 
whether or not she had used music to start the flow of 


"Yes, I've been using music a lot lately," she an- 
swered all unsuspectingly. "I remember I told you 
when you interviewed me out at Goldwyn's that I 
didn't think music was necessary or artistic ; but I've 
asserted my womanly prerogative and have changed 
my mind since then, and I find that with certain pieces 
I can get very definite results. Yesterday I had the 
orchestra playing 'Jest a Wearyin' for You,' 'Waiting 
for Ships that Never Come In,' and 'The Rosary' all 
day long. When one of those three pieces is played 
I can understudy Niobe herself." 

The conversation, skillfully manipulated, switched to 
"Madame X," the role in which Pauline Frederick so 
recently surpassed herself. 

"Talk about weeping," she said — although we had 

in Emotion 

actress than Pauline Frederick: in this interview she 
ing the tense moments in her plays. 

say Squier 

really been talking about lemon pie, its cause and ef- 
fects — "at the end of that picture I was a wreck, but 
it was wonderful ! I loved it better than any picture 
I have ever made. It took us only five weeks to do it. 
and one reason for its success I believe was because 
it was rushed along at top speed with ever}' one work- 
ing on high tension. That to my mind is one secret 
of emotional acting. The heavy scenes should be made 
as quickly as possible without all this wretched wait- 
ing around for electricians to get the lights in order 
and carpenters to finish up the set. The lights and 
the sets should be in order so that when 5'ou have an 
emotional scene to do and are in the mood to do it 
even-thing is in readiness for you. 7 ' 

Well, anyway, that was one secret, and if the pie 
held out long enough I had hopes of getting some of 
the others. At the risk of being Heaven-saked I re- 
marked on her wonderful make-up as the dope fiend. 

''Make-up," she said, turning on me quickly. "I 
didn't have any on." 

I stared at her in amazement. And if you will 
remember those scenes in which the unfortunate 
woman drinks absinth and ether, if you recall 
her haggard face and sunken eyes you will un- 
derstand my astonishment at her declaration. 

"That is to say," she qualified, "I had no 
make-up on other than that which you see on 
my face to-day." The make-up to which she 
called my attention was of the most or di nan- 
sort, with pink "fleshing" and an outer 
coating of powder, black above 
her eyes, penciled eyebrows, and 
reddened lips. My surprise made 
me almost skeptical. 

"But the lines that were in your 
face," I insisted. "And your eyes 
— they were absolutely blank." 
She shrugged her shoulders in a 
way characteristic of her. 

"I felt the part, that's all," she 
said. "More than that, I lived it. 
If you can make your part get in- 
side of you until it becomes you — 
you don't need make-up. Your 
face will portray the role you are 
playing. That is what is 
wrong with so many of 
the pictures you see on 
the screen to-day. The 
actors rely on make-up 
instead of thought to get 
their part over. On the 
stage, you see, it's differ- 
ent. If you aren't feel- 
ing quite up to your role, 
you can make your voice 
cover a multitude of dis- 
crepancies. You can even 
think of 
other things At the studio 
and get away thev all call 
with it. But her Polly. 

before the camera, your voice isn't there to back you 
up. You are relying solely upon your acting. Act- 
ing " She broke off suddenly. "I hate that word, 

there, should be no such thing as acting a part. You 
should feel it, live it, be it." 
She paused for a moment. 

"Does anybody know where I can find a dope fiend?" 
she suddenly demanded. Outside of a few giggles, no 
one answered. 

"I mean it," she turned to me. "In my next picture 
there are some scenes in which I have to play a dual 
role, and one of the characters is a dope fiend, and 
1 want to find one somewhere to make a study of. 
I'm told that in real life the drug addicts don't twitch 
and sniff and go through all the horrible contortions 
which we see on the screen. They may do that when 
they are alone, but othenvise they "are uncannily clever 
in concealing their affliction — and I want to know." 

It seems to me that that is another secret of Pauline 
Frederick's art, her desire to portray life not as it 
might be or seems to be, or as novelists have painted 
it, but as it is. And yet she is full of contradictions. 
For when I asked her how, if she had never seer, a 

Continued on 
page 92 

Constance listens to you intently until 
you try to make her your confidante. 

IN the middle of the great barren studio 
a dainty, flower-bedecked breakfast room 
had been built that needed only a rainbow-col- 
ored chiffon negligee and the season's first strawberries 
to make it irresistible. But in sharp contrast to its 
brilliance was the slender girl in a light-gray uniform 
of a parlor maid who leaned — or crumpled up, rather 
■ — against the wall, her head drooping and utter weari- 
ness in every line. 

"Can't any one do something for you?" a motherly 
looking woman asked, peering around the end of great 
racks of lights. One thought immedrately of hot milk, 
and smelling salts, of foot baths, and eau de Cologne 
patted on her head. 

"Yes," answered the little maid, as she slowly raised 
her head, and revealed the radiant beauty of Constance 
Talmadge. "Bring me some make-up. I've laughed so 
hard at these people," pointing to the rest of the cast, 
"that I've begun to cry. It's made my make-up all 
messy ; my favorite eye has just melted and rolled down 
to my chin, and I've acquired dimples all over my face." 

She pointed dramatically at Kenneth Harlan, her 
new leading man, and volunteered by way of explana- 
tion, "He's signed a contract to play in pictures with 
Norma and me for a year, and when I try to kiss him 
he jerks away. Look at him — I'll show you." 

They crossed the set and started rehears- 
ing a scene. She was Constance as every- 
one knows her now, keenly alive, efferves- 

What Makes the Men 

According to the nursery rhyme the answer 
you know, but Constance never does any- 
scopic picture of her various 

By Helen 

cent, and fairly dancing with every step. She was 
tantalizing, as she moved about, always just out of 
his reach, and mocked at him. His reluctance when 
she tiptoed behind him and kissed him on the cheek- 
was not apparent. In fact, he seemed only too will- 
ing to turn the other one. And when she had gone 
off the scene long after the camera stopped grinding, 
he sat looking after her dreamily. 

This brought back other scenes. There was the 
afternoon that a handsome youth came running out 
of a studio on West Fifty-sixth Street. "Somebody 
said you're on your way to see Constance," he called 
breathlessly, as the driver jangled the gears into a 
flying start. "Tell her I still love her; always will." 
And he stood there looking for all the world like the 
little boy who w^as being left at home for punishment 
when all his friends had gone off to the circus. 

Other times — other men, but always the same story. 
At the tennis tournament at Miami where she rushes 
every few w-eeks to make exterior scenes during the 
winter ; at the hockey matches at Cornell, at the Al- 
gonquin at lunch time, or at a fashionable dance club 
toward morning, there is always the full quota of 

interesting young men 

Many a dramatic scene is 
enacted in the studio 
when the director isn't 
on the job. 

who declare that they 
dearly love Constance. 
"Is it true that you 
are engaged to her?" 
some one is always asking. 
No, but I w-ish I were," is 
the inevitable reply. 
And at the studio even the elec- 
tricians and carpenters hang over 
the top of her sets, out of range 
of the camera, and watch her ad- 

If you ask what it is that makes her 
so attractive, men look at you as much 
as to say, "Analyze Connie? About as 
sensible as analyzing sunshine — or 
perhaps if it were in preprohibition 
days they would say champagne." 
But analyzing her is interesting, 
nevertheless. People are immedi- 
ately attracted to her because she 
is so thoroughly alive, and after 
that — well she is a never-failing 
source of surprise. She never 
seems to be waiting for something 
to happen ; she's making it happen. 
And w-hen she is with you she acts 
as though you were the one person 
of importance in the whole world. 
It is the same way when she is 
getting instructions from her di- 
rectors. She doesn't hear what 
any one else is saying. Constance 
never lives in the past or in the 
future ; she's always too busy liven- 
ing up the present. 

"But don't you ever get 
tired?" I asked her. "And 
don't you lose interest." 

Love Constance So? 

should be "Because she loves the men, 
thing according to plan, as this kaleido- 
moods will show you. 



"Tired!" she exclaimed. "I am half dead now. 
You know I finished a picture in a little over 
four weeks when I first got home from abroad. 
That was 'Dangerous Business.' Then we 
started right in on 'The Man From Toronto.' 
Had to go to Miami for the exterior scenes for 
that, and now we'll be going back to Miami on 
another one pretty soon. 

"But I never lose interest," she added em- 
phatically. "It's because I enjoy what I am do- 
ing. But that's a silly thing to say, isn't it ? Its 
obvious that if I didn't enjoy myself at this, I'd 
be doing something else. \\'e have loads of fun 
making my pictures. I couldn't lose interest in 
them because they keep me doing the same sort 
of things I'd be doing if I weren't in pictures. 
I get into scrapes and out of them, get prettv 
clothes and occasions for wearing them, and no 
matter how awful things look for a while thev 
always come out all right. 

"I don't ever want to settle down. I wish 
there were a thousand new places to go dis- 
covered every year. The most seductive music 
I know of is the sound of a steamboat or a train 
whistle. I can't resist them." 

But the director called her then, interrupting 

Winter in Miami is one of the joys Constance 
finds in her work. 

There's plenty of time after work to go out for some dancing. 

the longest speech I have ever heard her make. 
Usually she just looks at you with her eyes twinkling 
while you start to pour out your very soul to her. 
But — and this is a suggestion to all those calculating 
young women who have been told that popularity lies 
in being a good listener — Constance always saves you 
from making an utter fool of yourself. She starts 
something. It may be an imitation of some one in 
the studio — it may be a funny story — but whatever it 
is, it is so irresistibly funny that you forget what you 
were saying. And her fun-making never hurts. She 
travesties onlv the pompous, the dignified, the con- 
ceited traits in people — never the unfortunate — and. 
of course, each of us thinks that she is making fun 
of some one else. There is a shrewd but happy-go- 
lucky head underneath that beautiful, bobbed, golden 

"I'm serious about those train whistles," she con- 
tinued, as though the conversation hadn't been inter- 
rupted. "Not only when I am the one who is going 
away, either!" she added, attacking her peculiarities 
with the same impersonal zest that she would have 
devoted to another. "I like the rush and noise and 
hurry so much that I go to see people off even if 
they are only going to Philadelphia. I suppose I 
would see people off to Podunk if I knew any one 


What Makes the Men Love Constance So? 

Photo by Puffer 

No living in the past or the future for her; she's too 
livening up the present. 

who went there. No brass band was ever more fond 
of being part of the 'Farewell, but not good-by' and 
'Welcome home' chorus than I am." 

And there you have Constance. If you favor adopt- 
ing slogans by which to trade-mark your favorites, you 
might be tempted to choose for her, "Always on the 
go." But not after you had seen her relaxed. Of 
course, not many people have ever seen Constance in 
a lazy mood — she's that way so rarely — but if you had, 
you would think her the most drowsily luxurious per- 
son in the world. There is nothing furtive about Con- 
stance's yawns. Once she makes up her mind that she 
must rest, she does it as completely as a Persian cat 
would. And as becomingly. She can stretch out on 
a chaise longue, and relax so completely that she re- 
minds one of the great classic: 

"I wish I was a rock 
A'settin' on a hill. 
I'd never do another thing. 
But just keep settin' still." 

For the moment she makes restfulness seem the most 
desirable of attributes. The Constance of sparkling 
gayety is forgotten. Therein lies the secret of her 
charm. She not only forgets everything but what she 
is doing at the moment, she makes you do the same. 

You may consider that something of an achievement 
under the most ideal conditions, but if you want to be 
just like Constance try it with telephone bells ringing, 
and people interrupting you all the time. 

"Is it a 'have to?'" she asked a little 
petulantly for her of the young boy who 
followed us about and persistently inter- 
rupted her. 

"No it's a 'would like,' " he answered, 
apparently accustomed to her simplified 

"All right then." She turned and 
beamed at him radiantly. "Whatever it 
is, say that I'll do it." 

"That must be my miniature," she ex- 
plained thoughtfully. "I don't know 
what to do about it. The poor artist who 
is trying to do it is frantic, but he's so 
polite he just says that 'He'd like' to sec 
me. It has to be finished by a certain 
date, and I'm so busy I never can sit for 
it. I suggested that he make it from a 
photograph, but he didn't seem to think 
that black and white did justice to my 
eyes and hair. He might go ahead and 
paint me in ideal colors, and then I could 
make myself over to match. I'll have to 
suggest that." 

And then a woman who represented a 
New York newspaper came in. "You are 
second only to your sister in our popu- 
larity contest," she said with what was 
probably great vivacity for her. (Beside 
Constance any one else's enthusiasm seems 

"Oh, am I?" Constance asked intently, 
"Well, never mind. Other people's friends 
will rally around the last day, and I will 
come out near the bottom." 

Of course, she didn't, but I really be- 
lieve that Constance thought she would. 

Somewhere a clock was striking seven; 
a group of carpenters were perched on a 
high table just off the set, eating sand- 
wiches and milk with the hearty appetites 
of boys just in from the football field; all 
over New York people were sitting down 
at glistening tables under shaded lamps, and deciding, 
perhaps, what show to go to after dinner. 

But Constance was just working over a scene for 
about the eighty-ninth time, with unflagging spirits. 

"Keep up with Miss Constance, everybodv," the di- 
rector bellowed. "Don't let the action drop." 

"Say," he said, dropping his voice so she couldn't 
hear, "you'd think she'd do it just like the well-known 
wooden Indian out in front of a cigar store. And 
she's fresh and radiant as — as" — he groped about for 
a simile — "as herself. She hasn't sat down to-day. and 
she's been here since nine o'clock." 

"Better change this story, mister," she called to him. 
"And make me a cripple. My back is killing me from 
standing all day. I'll have to use a crutch." 

But the last thing I saw as I looked from the door 
was Constance dancing around the table threatening to 
throw cream on Kenneth Harlan's shoes. At ten o'clock 
that night when most likelv the lights and the actors in 
the other parts were getting through the scene without 
a hitch, Constance probably told her maid to lay out 
her ermine wrap and some evening things, for as she 
had said earlier in the afternoon, "No ; we never work 
late. Almost always through by nine or ten, and that 
leaves plenty of time to go on for a roof show and some 

The next time you feel a little lanquid. or tired, or 
you notice that people aren't paying much attention to 
you — you might remember Constance. 


DeMille's Magic 

Figuratively speaking, you put 
them on when you read this 
article. For it will help you to 
understand why the De Mille 
pictures appeal so to your 
sense of sight — totally apart 
from the story they tell. 

By Gordon Gassaway 

THE first thing I noticed 
was the tablecloths in 
an otherwise every- 
day cafe scene. 

"Why the green cloths ?" I 
asked William De Mille, who 
was using that set in "Con- 
rad in Quest of His Youth," 
which he was making with 
Thomas Meighan. 

"Just because, when you 
see a picture of people sitting 
at tables in a cafe, the first 
thing you notice on the screen 
is the white tablecloths. Isn't 
that so ? The very whiteness 
of them distracts your atten- 
tion from the actors. They 
glare at you. Now, when 
those pale-green cloths are 
reproduced by the camera 
they won't glare ; their tone 
will be soft, like an incon- 
spicuous gray. That is the 
art of proper coloring, which 
we are trying to attain; col- 
oring that will center the at- 
tention of the audience on the 
actors, not on the sets." 

And then the magic spec- 
tacles made their appearance. 

I'd been wondering how De 
Mille could tell what a color 
would look like when the 
camera had shot it, when he 
answered my question before 
I could ask it by producing 
them. They're made of a 

special grade of blue glass, and neither William De 
Mille nor his brother Cecil is ever without them. He 
got them out that day to look at Kathlyn Williams, 
who came on the set wearing a gown of light-blue silk 
covered with gorgeous pearl embroidery. 

William squinted at her carefully through his spec- 
tacles and then announced that she'd do. 

"You see," he explained to me, "Miss Williams is a 
striking blonde, and the effect I wished to convey to 
the screen was one of shimmering white." 

"But how about the blue silk — why that?" 

"Pale-blue silk, such as she was wearing, will pho- 
tograph white, but at the same time it will 'show up' 
the pearl embroidery to remarkable advantage," he an- 
swered. "If the gown itself had been of white silk, 
then the white pearl embroidery would have had no 
'background,' and it would have been indistinguishable. 

Photo by Donald Biddle Keyes 

William De Mille reduces 

all colors to the degree of black and white with his magic 
spectacles, as he is doing here. 

The final effect of the whole creation, however, will be 
"of perfect white !" 

This led to a free-and-easy discussion of the impor- 
tance in proper coloring. 

"We paint with colors and lights on the screen just 
as a portrait artist would use oils or water colors, but 
the final effect is not the same," he explained. "Al- 
though we use actual colors in motion pictures, the 
final effect we are after is that of a beautiful etching. 
That, in fact, is what I consider as the real future of 
the motion picture — the more artistic the production 
the more nearly it will approach the effect of a good 

"It should always be remembered in using colors for 
the screen that it is not the colors themselves which 
reproduce, but their relation to each other. 

De Mille's Magic Spectacles 

The soft tone of the green tablecloth lets the eye travel first to 
Thomas Meighan's face. 

"We can tell what this relationship will be by the 
use of the blue spectacles. They reduce everything to 
the degree of black and white. 

"A red rose in the buttonhole of a black coat lapel 
might just as well not be there so far as the camera is 
concerned. We once had a girl pin a red carnation 
on the dark coat of a young man, and when that 
scene appeared upon the screen it was as though she 
had staged a great vanishing act, like Herrmann the 
Great. The red carnation simply disappeared !" 

Yellow is the trickiest color there is to use on the 
screen. Pale yellow, or lemon-yellow, will "turn out" 
to be white when the camera has winked at it. But 
an orange-yellow, or a very reddish yellow will de- 
velop as very dark or black, according to the amount 
of red there is in the tone. 

In a William De Mille set, every color is considered 
with great caution. A bouquet of flowers must be 
blended with the background to produce the correct 
effect. The carpets, the walls, the molding, and even 
the cords on the window shades are given a careful 
scrutiny with the magic spectacles. 

"Backgrounds are as important in picture making as 
the foregrounds. And the effect of a background is 
largely determined by the colors which are employed 
in its construction," De Mille told me. "It is the Old 
Master idea — a direct descendant of Rembrandt. He 
was the first one we studied for the lighting of motion 
pictures, and the correct lighting of a picture goes 
hand-in-hand with the correct coloring idea. Light 
modulations and color modulations are twins. Both can 
consciously be used to make the audience look at the 
thing or person they are supposed to look at. 

"A gaudy background, cluttered up with knick- 

knacks, each of which claims for a 
moment the attention of the audience, is 
as disturbing as a series of inharmonious 
notes in music. If we do not carefully 
consider every color which goes to make 
up those backgrounds, then a jarring note 
may creep in unawares, and we find the 
audience looking at a bouquet of flowers 
against the rear wall instead of at the 
face of the actor who is doing the scene ! 
The attention of the audience must be 
focused at all times upon the players in 
the picture — unless there is some impor- 
tant 'prop' or angle of a room which is 
included in the story and which for that 
reason must be emphasized." 

In the present development of motion 
pictures, it turns out that this is a very 
important phase of the question indeed. 

William De Mille says that as motion 
pictures develop the less motion they 
have. In other words there is more pic- 
ture and less motion. At first it was all 
motion — and less picture ! 

"We would not have dared, five years 
ago, to use one hundred and fifty feet of 
film with only mental movement in it," he 
told me. 

"Only now are we beginning to photo- 
graph psychology, because it is only now 
that we are getting the correct tools to 
work with — and the greatest tools of all 
are color and light. They are the material 
aids which will figure largely in the ad- 
vance of the motion picture. 

"The development in pictures from now 
on, as I see it. will be measured to a 
large extent by the degree to which we can photograph 

Consider any De Mille production — whether "C. B." 
or William — and you will recall the thought processes 
which they delight to catch with the camera net and 
transfer to the screen. They do not photograph a blush 
transfusing the fair face of ye heroine, but they do 
catch that which goes on in her eyes as she thinks of 
this or that. They also catch the exchange of thought 
between two or more characters. You probably can re- 
call examples of this from "Conrad" or that much-dis- 
cussed later De Mille opus, "Midsummer Madness." 

What about the future of color work in the movies? 
That was something I wanted to get an expert opinion 
upon. What about "natural colors" on the screen? 
One hears so much about the wonderful inventions that 
this person and that person is working on — inventions 
that are going to revolutionize the picture industry by 
new color processes. Would such pictures be more 
popular than the present projection of black and 
white ? 

"Colored motion pictures are not the pictures which 
will be popular in the future," answered Mr. De Mille. 

"It is possible now," he said, "to put pictures on 
the screen in natural colors, dyeing them by hand, but 
the compensation is not sufficient for the effort and 
money necessarv in the work. For one thing, they are 
too hard on the eyes. Colored pictures will often be 
used, of course, in special scenes, such as used by my 
brother in 'Male and Female' for the Babylonian epi- 
sode. But I am inclined to think that colored pictures 
will never be the most popular ones. No — I think, as 
I said before, that the ideal for us to strive toward is 
not the painter's canvas, but the print of the etcher." 

Look Out Some years ago clothing manufac- 

for Mis- turers found that it was a short-sighted 

/ //' cr policy to label cotton mixtures as alt- 
teaaing wool ^ or tQ ;nsist that the sheerest s ^ 

lilies would wear like iron. 

They discovered that there were persons who actu- 
ally prefered cotton mixtures, and who shopped where 
they could find goods so labeled. 

They also discovered that when a woman is handling 
a delicate piece of silk, the evanescent, perishable qual- 
ity is the very thing that makes the appeal, and she 
doesn't want to be told that it will wear like iron. 

Some day the motion-picture producers are going to 
learn to label their goods plainly. 

That day will come when the public becomes utterly 
tired of titles that bear no relation to the picture, and 
which are simply chosen at random from among the 
large number of possible combinations of a small group 
of words that seem to indicate that the picture is some- 
what lurid. 

The first rumblings of this protest are beginning to 
be heard. They are showing up in our letters from the 

But until this far-distant day of plain labels for pic- 
tures arrives it behooves the intelligent fan not to be 
guided entirely by titles. Such plays as "Sex," "Male 
and Female," and "Passion" may be taken as an illus- 
tration. By their titles one might think them about 
alike ; as a matter of fact they are not, as the readers 
of this magazine know. 

The fact that plays so named are attracting tremen- 
dous crowds must be placed to the credit of the show- 
manship of the men who choose the names. 

It would be interesting to know, however, whether 
their names of these plays have kept other persons 

An official of one of the largest pro- 
Color ducing companies told The Observer 

, ' 9 t ' ie ot her day that at least ten thousand 
When. persons in America are experimenting 
with colored motion pictures in the 
hope of inventing a method of producing colored mo- 
tion pictures at a reasonable cost. 

Several persons have almost perfected the idea, but 
always there is a flaw somewhere that makes the plan 
commercially impossible. Special cameras, special neg- 
ative and positive film, special projecting machines, spe- 
cial lighting equipment — all expensive to a prohibitory 
degree — are necessary in all the inventions. In most 
of them the actors must move slowly, for fast motion 
smears, leaving a ghost of color trailing the figure of 
the person moving. 

When an inventor completes a colored film it can be 
shown only in those theaters equipped with special ma- 
chines, and the special machines can be used only 

when a special film is available. This, of course, does 
not apply to hand-colored film, which is a process too 
tedious and too expensive for anything but short sub- 

Some day somebody is going to hit upon a process 
for coloring film that can be shown on the ordinary 
projecting machine. And that man will make more 
money in the following five years than any other man 
ever made in an entire lifetime. 

But watch out ! It's such a great idea that the stock 
jobbers are already using it for fake schemes to get 
your money. The men who actually are close to the 
secret of colored motion pictures are keeping all the 
stock themselves. Beware the others ! 


As this is being written there is a 
heap of a hullabaloo about hard times 
Times? in the motion-picture industry. A 

Not Much l "timber of producers and theater man- 
agers are becoming panic-stricken. 
A bit of a slump in business in general has fright- 
ened the unreasoning, and a lot of ' frantic folks are 
going to do things that may more or less affect you 
and me. 

As a whole, the motion-picture business will not be 
hurt any more than a motor truck loaded with bricks 
going over a bump. Some of the weaker and smaller 
bricks may be damaged, but the load as a whole will 
be settled, and the truck will go booming right along. 

In Akron. Ohio, in Detroit, and in certain towns in 
New^England where factories have closed and have 
thrown labor out of work the theaters will suffer for 
a short time. But in general the motion-picture the- 
aters will continue to draw the crowds so long as the 
shows are good. 

All through the war, France and England found that 
motion-picture business increased in the face of the 
upheaval. The motion picture is a necessity, a staple 
like potatoes and bread. 

Money is hard to get to finance motion-picture pro- 
duction and for theater building, and here's what that 
means : 

The producer who is short of money and who has 
a number of pictures on his hands will rush them into 
the market in order to get money to continue to pro- 
duce more pictures. This means a plentiful supply of 
good pictures. 

The theater manager who owes money at the bank 
and finds it difficult to get his loans renewed will do 
one of two things. If he is a smart showman he will 
give you a better show than ever before, in order to 
get more of your money. If he is a short-sighted fel- 
low he will give you cheaper shows, in the hope of 
making more profit by cutting the quality of the goods 
he is selling you. This, of course, will send him at 
once on the road to ruin, for in these davs you are look- 


The Observer 

ing for your money's worth in motion-picture theaters 
as well as in clothing stores, and you're not going to 
patronize the theater that tries to bunko you. 

With producers eager to get money, the keen theater 
manager has an opportunity to select better pictures 
than ever before. As a result, in the best theaters in 
your town, you ought to get a steady run of first-class 

There will be no cut in admission prices. And no 
advance. The best theaters now have reached a basis 
of admission charge that allows them to pay good 
prices for their pictures, which in turn encourages the 
producer to make more expensive and better pictures. 
If admission prices were cut, the loss would fall upon 
the producer, and in order to continue to exist he 
would have to make cheaper pictures. 

If you have a good theater and a foresighted manager 
in your town the prospect is fine for the best motion- 
picture season yet. 

The search for authors by Para- 

Allthors in mount an d Goldwyn has at last met 
. with success. These two companies 

Profusion now actually have some real live au- 
thors actually on the lot, walking 
around among the actors and directors and cooperat- 
ing on the productions. 

A recent news story from Los Angeles told of Elinor 
Glyn, Sir Gilbert Parker, Edward Knoblock, Avery 
Hopwood all at work at the Famous Players' studio. 
Goldwyn had Leroy Scott, Rupert Hughes, Gertrude 
Atherton, and Gouverneur Morris together at one time. 

At the Authors' League meetings these days they 
don't discuss anything much but motion pictures and 
"How to Get Monev for Scenarios." 

It's a mighty healthy turn for the business to take. 

Some fiend for figures has doped out 

The Big tne information that 453 of the pic- 
. tures released in 1920 were adapted 

ISame from a play, a book, or a magazine 

story. That leaves about 150 scenarios 
that were written directly for the screen. No informa- 
tion is handy as to how many of the 150 were concocted 
by staff writers and how many were bought from vol- 
unteer scenario writers. 

The authors who were most sought after were Harold 
MacGrath, Robert W. Chambers, Sir Arthur Wing 
Pinero, Robert Louis Stevenson, Augustus Thomas, 
Louis Joseph Vance, Gouverneur Morris, Rupert 
Hughes, Edgar Franklin, William Gillette, Jack Lon- 
don, James Oliver Curwood, and Rex Beach. 

How many pictures can you remember by these au- 
thors ? 

The New 

Grantland Rice once wrote a poem, 
'To Champions," in which he warned 
Champ Is them, "Your conqueror is on the way." 
Coming Every champion falls some day. Pop- 
ularity contests conducted by New 
York and Chicago newspapers would indicate that 
Mary Pickford and Douglas Fairbanks no longer are 

champions in motion pictures. Their places seem to 
have been filled by Norma Talmadge and Wallace Reid. 

Who'll be the next champions? Who'll take the 
places of D. W. Griffith and Cecil B. De Mille as the 
champion directors? Who'll displace Harold Lloyd? 

They go up fast and come down fast. No star ever 
made a swifter ascent than did Nazimova. Nor has 
any star suffered a more sudden slump in popularity 
than she has on account of the mediocrity of her re- 
cent pictures, due, we understand, to her tireless in- 
sistence on personally superintending every detail of 
her own productions. How they come and go ! It was 
only a short time ago that Francis X. Bushman was 
winning all the contests as the most popular male star, 
when Ford Sterling was the funniest man on the screen 
and when — let's see, who was the greatest girl of them 
all in those days ? Mary Pickford ! To Mary goes 
the sweepstakes medal. It took a mightv long while 
for her conqueror to arrive. 

tt A few years ago motion pictures 

■"■OW were used as a "chaser" in vaudeville 

Times Do houses, that is they were put on the bifl 

Change! *° ma ' <e P ar ^ °^ tne audience go home 
so that the waiting crowd could be 
accommodated. Now their mission is quite different, in 
one town, at least. In Bloomsburg, Pennsylvania, a 
motion-picture version of "Othello" was recently shown, 
one reel a night, in connection with revival meetings, to 
bring the crowds in. 

7-. When John Armstrong Chaloner's 

farm hands quit work, leaving him 

Take with a four-hundred-acre farm down 

Notice near Cobham. Virginia, idle, he set out 

to find the answer to the popular-song 
query, "How you gonna keep 'em down on the farm?" 

He decided that motion pictures would do it, so he 
equipped a cow shed fifty by thirty-five feet with wood- 
burning heaters, put in rows of seats, and with elec- 
tricity provided from a storage battery, started in to 
give regular shows. 

The first night was a great success ; there were twen- 
ty-one automobiles in front of the door, two hundred 
and fifty people in attendance at the show. Any theater 
owner would be proud of such a record in a district 
that claims only one thousand inhabitants to ten square 

But Mr. Chaloner is not content with this one experi- 
ment. This winter he will advocate government furds 
to provide motion-picture equipment in every school- 
house more than five miles from a town. The equip- 
ment costs but two thousand dollars, and with small 
admission fees could soon be paid for. 

"The city's luxury merely tantalizes," Mr. Chaloner 
is quoted as saying by the New York Tribune. "There 
is more and better food in the country, so that hone-tly 
I believe that it is the soothing, romantic merging of 
pictures and music in the movie that draws the farmer 
to town." 

If this is the case, wouldn't it be profitable for the 
big farmers of a district to get together and provide 
shows? It looks that way. 

Making Hay--akawa While the Sun Shines 


By H. C. Witwer 

Author of 'Trom Baseball to Bosches," the "Eel Harmon" s:ories. etc. 

To the Generally Public : 

Dear Madam : Well; this interviewin" movie constel- 
lations is certainly a delightfully job. and as Mons. 
Bertholon, the comin' D. W. Griffith, says. "We don't 
get much money, but we can laugh out loud !" I can- 
not for the life of me understand why all the bovs 
and girls writes to the genial and comely editor of 
this publication savin' that thus far they have found 
the moyies a close corporation and cannot bust in and 
take their rightful places as stars, even though they 
haye got their sheepskins from several correspondence 
universities. I have only been a inmate of Califilmia 
a scant pair of months and with no experience what 
the so ever, except that I voted the right way when 
prohibition come up. I have already played opposite 
such knockouts as Dustin Farnum. Sessue Hayakawa, 
Alan Dwan. Harold Lloyd. Vera Stedman — well, you 
don't expect me to interview nothin' but men, I hope ! 
— Mildred Davis, and the best known of 'em all, Et 

For the benefit of my admirer, the picture I appeared 
in is called '"Stills," and sensational scenes from it will 
startle the eye from time to time in this magazine ex- 
clusively. I am the debonair devil-may-care whose 
nose seems bigger than even-body else's in the scene 
put together, regardless of how many's in it. 

I was all set to go swimmin' with Phyliss Haver to- 

day, when my handler? informed me that I had been 
previously matched to interview Sessue Hayakawa, and 
rhat the crowd was already becomin' impatient. So 
we all jumped into a passin' limousine and was whisked 
to the Haworth studio. I was greeted enthusiastically 
by Colin Campbell, Sessue's director, that is he nodded 
at me. and fin'ly I was told to wait — by even-body on 
the set — till Sessue had finished a intensely dramatic 
scene he was then playin'. 

Whilst waitin* for them to get through with the Bell- 
Howells, I devoted my time to a close-up study of 
Sessue Hayakawa at work, and I must say it was the 
most interestin' experience I have had in the past sev- 
enty-nine years. As a rule. I'm actor proof, but I got 
a real thrill watchin' the remarkable play of expres- 
sions on Hayakawa's strikin' features, expressions 
which told the action of the picture better than a dozen 
books. Fear, pain, hatred, rage, joy, grief, surprise, 
amusement, and the et cetera, all flashed across his 
face in — eh — alphabetical order. Don't let anybody 
ever tell you, boys and girls, that all you have to be 
is a good looker in order to become a movin'-picture 
star. Xothin,' outside of "Robinson Crusoe," couldst be 
further from the truth. When Sessue Hayakawa, a 
member of a alien race, was able to battleax his way 
through the traditional prejudice and the mob of our 
own good-lookin' and popular actors to a place at the 

iVJaking Hay— akawa While the Sun Shines 


top of one of the toughest games in the world, he 
must of had somethin' and that's that! There's a big 
story in Hay akawa — bigger perhaps than any he acts 
on the screen. 

Well, fin'ly the picture went democratic, that is, got 
all finished and Colin Campbell, considerable director 
and a study in himself, dragged me over to Sessue. 
The latter had evidently wagered heavily on Cox in 
the recent walkover, as he was in bed with a wet 
towel around his head and a dejectedly look on his 
face. Meetin' me cheered him up practically immedi- 
ately, however, and after he had caparisoned himself 
in citizen's clothes he took me outside and introduced 
me to nothin' less than Max Linder, which has just 
made a picture called "Seven Years' Hard Luck!" 
if it had of been one year more they could of made 
overtures to Pres. Wilson to appear in it, hey? 

Whilst standin' about and gettin' in everybody's 
way, it occurred to me that now wouldst be a wonder- 
ful chance to give Sessue the surprise I had planned 
for him from the time I first signed articles for the 
interview. One of my two friends had gave me a 
book called "Jewish Jitsu," and as I had mastered a 
half dozen holds, I made up my mind I wouldst try 
'em out on Hayakawa. So suddenly I reached out 
and grabbed his hand, givin' him the hasuntoru, which 
is a grip somethin' like that of the Masons, Elks, Odd 
Fellows, and Daughters of the Revolution combined. 

Allowin' a well-modulated shriek of pain to escape 
him, Sessue got loose by jabbin' a shapely elbow into 
my equally attractive ribs, at the same time seizin' 
me by the wrist with two of his hands. The next 
instant he twisted my dumfounded arm half ways up 
my back, until I couldst of wrote my name on the 
Continued on page 95 

llllllllllllldlllllllllllllllllli IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIU llllllllllllllllllilllllllllllllllllllllllllllllllllM 

Vera Gordon's triumph came in "Humoresque" after many years of hard 
and bitter struggle. 

The Screen 

By Bar 

MOTION-PICTURE producers, like 
every one else, have always known 
that the most important thing in all 
the world is mothers, but until this year the 
screen hasn't blazoned forth that fact. There 
have been mothers in almost every screen 
play, true enough, but they were just actresses 
playing the parts of mothers. They were all 
right in their way, but they didn't tug at your 
hearts, and make you smile through tears the 
way the thought of your own mother would 
have done. 

Strangely enough, there were plenty of 
babies on the screen who made every mother 
in the audience want to stretch out her arms 
and take him ; there were plenty of babies 
whose every action reminded mothers of lit- 
tle John, even though John had long since 
grown up to be a man. But screen mothers 
were a different matter. There wasn't one 
of them who so exemplified the whole-souled 
devotion and sacrifice of mothers everywhere 
that every one in the audience was reminded 
of his own mother. That is, until recently, for 
now there are two. 

Vera Gordon, who played the mother m 
"Humoresque," and Mary Carr, who was the 


The Devil Arrives on 
the Silver Sheet 

By John Addison Elliott 

IF you follow the metropolitan stage, yon are ac- 
quainted with George Arliss. If not. you will 
want to be, for he is about to appear on the screen 
in his most sensational play, "The Devil." 

Arliss is an English actor who first attracted atten- 
tion on our stage some years ago bv his unusual por- 
trayal of the saturnine character Lord Sieync. in Mrs. 
Fiske's "Becky Sharp." and who has since been identi- 
fied as a portrayer of historical characters, such as 
Disraeli and Alexander Hamilton and Paganini. 

But for his screen debut was chosen the plav that 
preceded this historical series, the plav in which he 
first carried stellar honors. And what a play it was ! 

Produced first in Budapest, it swept over Europe, 
and a year later burst forth on Broadway in two the- 
aters at once, being put on by two different producers. 
Brilliant and cynical, it made even Xew York gasp. 

Like Otis Skinner, who has just 
made his screen bow in "Kismet," 
Arliss approached screen work some- 
what reluctantly, and after long hesi- 
tation, having seen some of the other 
veteran stage stars make lamentable 
failures in the new medium. 

But if Arliss succeeds as well in "The Devil" as 
Skinner did in "Kismet," another notable figure will 
be added to the large gallery of notable motion-picture 

'HWIIIIIlilkilaillllll'l i: ' 

Arliss, as he appears 
on the screen in ' ' The 
Devil" a production 
which, according to 
all promises, is to 
be an elaborate one. 

Mother Comes 
Her Own 

bara Little 

mother in "Over the Hill," may not look of 
act at all like your mother, but there is some 
intangible, universal charatceristic in mothers 
— and they have brought it to the screen. 

Fame has not found these women overnight ; 
their struggles have been long and hard. Per- 
haps that is one reason why they play mother 
parts so convincinglv. 

A era Gordon's mother died when she was 
but a little girl, leaving her to look after a 
number of . younger children. "While she 
worked and struggled to keep the little family 
together, she dreamed of going on the stage, 
but her chance seemed slight, as she lived "in 
Russia, and being Jewish, had little chance 
of public appearance under the czarist regime. 
But at seventeen she appeared in an amateur 
production in an obscure village in Russia with 
the man who is now her husband, and played 
so well that her friends urged her to go on 
despite all difficulties. 

It was several years before she could come 
to America to try- her fortunes, and here she 
found not the land of promise, but a land 
where Jewish actors had a union with almost 
insurmountable barriers for a beginner. She 
Continued on page 94 

Mary Carr achieved fame, after twenty years of retirement, as the mother 
in "Over the Hill." 



MARCH 1921 
Edited and Illustrated bv Charles Gatchell 

The boy stood on the burning deck, 
Whence all but him had fled; 

"Get ready for the close-up now!" 
The brisk director said. 

1 — Tu. — J. Stuart Blackton and Albert E. Smith, who later founded Vitagraph, 

quit their jobs and put all their savings in their first motion-picture 
., projection machine, 1897. 

2 — W. — Mae Murray made her screen debut in "To Have and To Hold," 1916. 

3 — Th. — The Bystander made the acquaintance of Fanny the Fan, at a tea given for 

Pauline Frederick at the Alexandria, in Los Angeles. 

4 — Fr.— Charles Spencer Chaplin signed with Mutual for what was then the record 

salary of $670,000 a year, 1916. 

5 — Sa. — William S. Hart, as a screen bad man, suddenly reformed completely on 

gazing into the eyes of an innocent heroine, 1914, I9 r 5, I9 I 6, 19 1 ". I0I 8, 
1919, 1920, 1921. 

6 — Su. — Estimates are compiled and published to the e'ffect that in the preceding 

year 129,000 photographs of Norma and Constance Talmadge were mailed 
free to admirers requesting them, at a total cost of nearly $18,000, 1920. 

7 — M. — Mary Pickford signed with First National to make a series of pictures for 

$200,000 each, 1918. 

8 — Tu. — Lois Weber, now famous as a director and discoverer of talent, made her 

first appearance on the screen as the star of "Sunshine Molly," a Lasky 
production, 1915. 

9 — W. — Flarry Carey discovered the emotional effect of rubbing his chin with two 

fingers, 1913. 

10 — Th. — 'Crane Wilbur took out a patent on expressing all emotions with the same 

movement on the eyebrows, 19 12. 

11 — Fr. — Richard Barthelmess became a leading man for Famous Players-Lasky, 1919. 

12 — Sa. — Professional reformers discover that motion pictures are rapidly increasing 

juvenile delinquency, 1905 to ? inclusive. 

13 — Su. — Twelve new companies organized, announcing that they would completely 

revolutionize the motion-picture business, 1917, 1918, 1919, 1920. 

14 — M. — One year later no one even remembers the names of the companies. 

15 — -Tu. — Theda Bara hurls her famous line, "I want to be so bad that I shall be 

remembered," across the footlights for the first time, at the opening of 
her stage play, "The Blue Flame," 1920. 

16 — W. — The Edison Company started to build the first studio ever constructed for 

making motion pictures. It was a small tar-paper-covered shed. 1895. 

17 — Th. — William A. Brady, father of Alice, started a five-cent "store show" in New 

York City, 1898. 

18 — Fr. — Wallace Reid begins his first automobile play, 1919. 

19 — Sa. — The first picture ever released unheralded as "The greatest picture ever 

made" first shown, 1987. 

20 — Su. — John Bunny played Bottom in Annie Russell's production of "A Midsum- 

mer-Night's Dream," 1906. 

21 — M. — Pearl White's first serial, "The Perils of Pauline," released, 1914. 

22 — Tu. — Thomas A. Edison's Kinetoscope, a penny-in-thc-slot machine, put on ex- 

hibition for the first time, 1893. 

23 — W. — Hobart Bosworth made his first appearance in a motion picture at Selig's, 

Los Angeles, 1909. 

24 — Th. — Mack Sennett began work as the principal character in his first Biograph 

comedy, "The Curtain Pole," 1909. 

25 — Fr. — Fox Film Corporation organized, 1914. 

26 — Sa. — C. Francis Jenkins exhibited the first motion picture shown in the United 

States, a fifty-foot film of a dancer, 1894. 

27 — Su. — Teddy, the Mack Sennett dog, born, 1914. 

28 — M. — Douglas Fairbanks and Mary Pickford married, 1920. 

29 — Tu. — 178,906 applications for jobs are mailed to producers, pleading that the ap- 

plicants' "friends say they look just like Mary Pickford," 1914, 1915, 
1916, 1917, 1918, 1919, 1920. 

30 — W. — Derby hat manufacturers meet and draw up resolutions condemning Charlie 

Chaplin, 1915. 

31 — Th. — News-reel editors decide to abandon the showing of the unveiling of a 

monument in each news weekly, 1917. 


Perplexed Mother. — No, it is not quite 
de rigueur to have a barefoot dancer per- 
form on a mirror on the center of your 
table at your dinner party. I know that 
this feature is never omitted from screen 
dinners, but really, good usage does not 
absolutely demand it, at least in the sim- 
pler homes. 


Take one very stale marriage. Add one 
well-seasoned vampire. Bring to a slow 
boil, adding from time to time various 
bits of highly flavored gossip, misunder- 
standing, and jealousy. When well done, 
serve. This dish is usually accompanied 
with alimony tit-bits. 


A close study of screen modes will show 
the economical housekeeper ways of 
working over many household materials 
into new and serviceable things. If, for 
example, you will observe the screen 
beauties, you will see how you can work 
over your old lamp shade into your next 
summer's bathing suit. 

The conscientious housekeeper, who 
wants her home to be in good taste, must 
think about her bathroom. Has it marble 
steps leading down into a sunken tub? 
Has it luxurious hangings? "But can we 
afford these luxuries?" inquires the pru- 
dent housewife. "Ah!" exclaims the wise 
one (under the spell of Cecil De Mille). 
"Can we afford not to have them?" 

Don't use any more hairpins than are 
absolutely essential if you have pretty 
hair. Take a tip from the movies, and if 
a man so much as shakes your hand vig- 
orously, let it come tumbling around your 

Stuff cotton in your ears whenever you 
start to undress, so that if any one in- 
trudes you won't hear them. No screen 
heroine has ever been caught doing this, 
but it is obvious that she takes some such 

Over decollete gowns, scarfs are worn 
carelessly, if at all. 

Romances of Famous Film Folks 

How Alice Brady and James Crane ran away and got married — how the news got 

into the papers, and But this ought to be enough to whet your curiosity, and 

set you to reading about one of the most interesting romances of the screen. 

By Harriette Underhill 

MY favorite film," said Alice Brady, as she but- 
toned the eighteenth button on her pearl-gray 
spats, "my favorite film is, 'Why Change 
■Your Husband?' What's yours?" 

I "Mine is, 'The Perils of a Newspaper Woman!' 
What's yours?" we asked, turning to James Crane, 
\vho leaned against the door between Miss Brady's 
dressing room and her reception room. 
; We were in the dressing room talking to the star 
of "Anna Ascends," while she "got out of her stage 
make-up and into her street make-up." The expres- 
sion is not ours but Mr. Crane's, and, incidentally, he 
had a perfect right to be there and to participate in 
the interview, because he is Miss Brady's husband. 
That was what we had come to see 
them about — to make them own 
up — when, where, and why they 
had fallen in love. 

"I suppose my favorite film 
ought to be, 'Why Change Your 
Wife?' but it isn't," he replied. 
"It's 'His Bridal Night.' That was 
when I met my wife. I mean 
while I was making that picture." 

"Don't misunderstand him," in- 
terrupted Alice calmly. "I wasn't 
his wife then, nor had I any in- 
tention of being at that time. Not 
until at least twenty-four hours 
later. Oh, yes, Jimmie, I knew it 
before you did," she added. 

"Then it was love at first sight ?" 
we exclaimed, trying to think of 
that quotation by somebody, which 
says, "He has never loved at all 
who loved not at first sight," or something like that. 

"Yes," assented Mrs. Crane excitedly, "it was. And 
didn't it serve me just right ! I had gone on record 
the previous day in one of the magazines as saying that 
there was no such thing as love at first sight — that it 
was foolish to dignify it by the name 'love' — that it 
was only infatuation. Well, that shows how much 
I know about anything. The next day Cupid got 

! "And did you know Mr. Crane was in love with 
you right off like that?" we asked. 

j "Well," said the young wife modestly, "I wasn't 
Isure he was in love with me then, but I was sure he 
[was going to marry me. You didn't know that, did 
you, Jimmie?" 

• "No, I didn't," he replied. "And you took darned 
good care that I shouldn't know it. We weren't mar- 
ried until three months after we met, and Alice had 
me asking her every day for the last ten weeks of our 

\ "I didn't ask you to ask me, did I ?" she broke in. 
| "You see," he went on, "the first time I asked her 
; she said, 'Not to-day, Jimmie. I've got to have my 
hair shampooed; but I will some day.' So each day 
I thought maybe to-day's the day. If she was in the 
studio I asked her 'would she.' If she wasn't, I called 
up and asked, 'Will you marry me to-day ?' " 

"Now," Alice interrupted again, "to make that story 
perfect you should say that I replied, 'Sure, who is 
this talking?' But as a matter of fact I always said, 
'No.' " 

"Until the day you said, 'Yes,' " replied Jimmie. 

"Were you surprised?" we inquired, reveling in the 
narrative and mentally crying, "Hear, hear !" 

"Was I surprised? I dropped the receiver in my 
astonishment," said Jimmie. 

"And I heard the bang and thought he had shot 
himself," said Alice. 

"And she said she would meet me at the studio," 
said Jimmie. 

"You see, I wasn't going to give him a chance to 
get out of it. Right on his trail 
was I," said Alice. 

"And I wasn't taking any 
chances, either," chimed in her 
husband. " 'Stay where you are,' I 
said, 'and I'll call for you.' And 
I did." 

"And so: they were married," we 
said solemnly. .', 

"And so they weren't!" ex- 
claimed Mrs. Crane. "Not as easy 
as that. Listen to this." And 
while we listened we marveled. 
Such a perfectly lovely sense of 
humor has Alice Brady ! And 
wouldn't it have been just the luck 
of this world if she had gone and 
fallen in love with a man who 
hadn't a spark of it? But the best 
part of this story is that she didn't. 
Young Crane's humor is of the 
same brand as her own, and it is quite apparent that 
after the first year is over they still find each other 
fascinating and mysterious. 

For several weeks, at the beginning of this sea- 
son, they played at adjoining playhouses on Fortv- 
eighth Street — Miss Brady in her gloriously colorful 
interpretation of the Slav girl in "Anna Ascends," and 
Mr. Crane as the young financier in that Wall Street 
melodrama, "Opportunity." Their dressing rooms 
were right across the alley, and whoever got into" their 
"street make-up" first after the curtain went down 
called for the other. And, between the acts, husband 
Jimmie visited wife Alice to see how the shows were 
going and to compare notes. That, you see, explains 
why we found him there after the matinee when we 
went backstage to ask Miss Brady whether she had 
fallen in love with Mr. Crane on sight or graduallv. 

"Tell her she is too thin. She won't believe me," 
he whispered, as we came in, interrupting one of the 
discussions concerning avoirdupois in which the young 
Cranes frequently indulge. 

"I'm not too thin, am I? I reduced from one hun- 
dred and thirty-five pounds to one hundred pounds, and 
it's better for the pictures. If you wanted a large, fat 
wife why didn't you marry one?" 

"I did marry a fatter one than I have now. You 
Continued on page 98 


and three's a crowd under ordinary 
circumstances, but not when the 
two happen to be Alice Brady and 
James Crane. Then the third really 
doesn't matter, for they are much 
too busy keeping up with each 
other's conversation to notice any 
one else. You may be able to im- 
agine, or interviews may have told 
you, what Alice Brady talks about, 
and how she says it. But never be- 
fore has the real Alice Brady — the 
bantering, fanciful Alice Brady — 
been caught in cold type. Harriette 
Underhill was the third when this 
conversation took place — and to her 
goes the credit for giving us Alice as 
she really is. 

Stroheim built a replica of the Monte Carlo Casino on the California coast. 

A Billion- Dollar Cast 

Millionaire members of San Francisco society acquired a new insight into picture making when they 
acted for Stroheim and for charity — and perhaps their experiences will give the same to you. 

By Marjorie Charles Driscoll 

ERICH VON STROHEIM, clad in the bemedaled 
uniform of His Grace, Count Sergius Aprazin, 
and with the California sunshine bringing beads 
of uncountly perspiration to his brow, stood on a bench 
and waved a megaphone. 

"Move, please move!" he shouted. "Show a little 
life, can't you? You stand around like a — like a bunch 
of dead fish !" 

And many million dollars' worth of extra people, 
who had never in all their expensive lives been called 
fish, dead or otherwise, obediently quickened their steps 
and displayed the required life as they strolled up and 
down the promenade at Monte Carlo. 

It all happened on a certain warm afternoon at 
Point Lobos on the California Coast, and the "dead 
fish" were the top bubbles of the cream of San Fran- 
cisco society, three hundred of them, who had mo- 
tored down in their own limousines to provide the 
Monte Carlo crowds for the Universal feature, "Fool- 
ish Wives," and to receive from President Carl 
Laemmle of Universal a check for five thousand dol- 
lars for two San Francisco charities. Allured by the 
prospect of "getting into the movies," enjoying a 
unique week-end's entertainment, and garnering a 
goodly sum for the needs of the Children's Hospital 
and the Girls' Recreation League', society set aside 
other engagements, packed its most fashionable aft- 
ernoon garb, and provided Director Stroheim with 
almost an embarrassment of riches in the way of 

"Foolish Wives" is a story that takes place prin- 
cipally at Monte Carlo. Universal City furnished a 

sufficiently satisfactory location on which to erect the 
Plaza with the Hotel de Paris, the Casino, and the 
Cafe de Paris. But Universal City's resources in the 
matter of rocky coastline are limited, and Director 
Stroheim, stickler for detail that he is, demanded noth- 
ing less than a real ocean dashing against real cliffs 
along the Monte Carlo promenade. Fortunately it hap- 
pens that at Point Lobos, some hundred miles south of 
San Francisco and near the famous Bay of Monterey, 
nature has kindly provided an almost exact replica of 
the Monte Carlo coast, astonishingly exact, say travelers 
who have visited both places. 

The picture of Henry G. Sell, taken at the real Monte Carlo, while 
filming Pathe's "Empire of Diamonds," is printed 
by way of comparison. 

I'hoto b; Rawer Art Studios 

We know just how Charlie Ray feels. There's a letter to 
be answered — one that he's put off for weeks — now it's got 
to be done, and he doesn't know what to say, and — — But 
why go on? You'd have known what it was all about if we 
hadn't written a line! 

In the old days motion-picture directors liked novels scram- 
bled, but now they enlist the cooperation of their authors tn 
see that when made into pictures the novels come out right 
side up. Sir Gilbert Parker and his wife are among tht 
latest additions to the Famous Players-Lasky colony. 

Photo by Melbourne Spnrr 

Molly Malone didn't quite un- 
derstand what was meant when 
an inspired admirer said that 
she couldn't possibly rub any 
one the wrong way, so she tried 
it on the Goldwyn cat. 

Cecil De Mille has to lock his 
"Forbidden Fruit" up like this; 
but, of course, when they see a 
Lancelot riding by they can't 
help playing that they are all 

Pictures make Wanda Hawley 
lead a merry dance most of the 
time, so she's glad to see that 
Julia Fa ye has a program well 
filled with such notables as Mr. 
Camera, Mr. Klieg Lights, and 
that indefatigable cut-up — par- 
ticularly when around Lights — 
Mr. Make-up. 

Viola Dana believes that every 
dog should have its day, and the 
director believes that every the- 
ater should have its Viola Dana 
picture. You see, she and the 
dog win — for a while, at least. 

Ben Turpin is willing to bet 
his most crossed eye that he 
could shoot Marie Prevost's hat 
off if she'd stand fifty paces 
away, but Marie is on the fence 
and doesn't mind if she stays 
there — unoorivinced. 

Now, if a director would only 
come along. and see Walter Hiers 
disproving that "Nobody loves a 
fat man" and make him the hero 
in a Bebe Daniels picture, he'd 
gladly refuse a raise and chal- 
lenge Wally Reid to a beauty 

Flashes from 

We take pleasure in presenting the cinema royalty 
from their art, illustrative of "A Trip to Europe's 

in this 

Above is an opulent panel from "The Stars of Damascus.' 
the work of the Sascha company of Austria, which will be 
. exhibited on our screens this year. Lucy Doraine is the star 

To the left Pola Negri appears with E. V. Wjntersiein in 
a scene from a new German production. The glowing Negri 
is sweeping triumphantly over America in "Passion," the 
first Continental production of magnitude shown in this coun- 
try. It doubtlessly will be followed by "Sumurun" and 
''Manon Lescaut," with the same vivid star. 

European Films 

of Europe together with rich fragments 
Filmland" which Herbert Howe conducts 

The frieze at the top of the page is a segment 
from Gabrielle D'Annunzio's "The Sack of Rome," 
through which Ida Rubenstein whirls in melodic 
splendor. This picture is now being presented 
in London, where it is pronounced one of the most 
important of Italy's contributions to the interna- 
tional screen. 

^flle. Rubenstein is revealed in another posture 
from "The Sack of Rome" at the right. Famous 
in Paris as a dar.cer, the star has the further dis- 
tinction of being proclaimed world empress of 
beamy by D'Annunzio. 

The illustration above indicates the magnificence in space 
and color with which Victorien Sardou's "Theodora" has been 
endowed by the Italian picturization. The star is Rita Jolivet, 
who will be recalled for her work in American productions 
and by the fact that she conveyed Charles Frohman's last 
words from the sinking Lusitania. 

£rna Morena appeals in the panel to the left. She is an 
intriguing figure in a number of German-made pictures. 

Mia May, on the right, is registered in Germany's blue 
book of filmland along with such favorites as Pola Negri, 
Asia Nielsen, Henny Porten, and Fern Andra. Her moat 
notable production is "The Mistress of the World," a serial 
of forty-eight reels in six episodes of eight reels each. 

The scene from "Passion" depicted below illustrates the 
skill of Director Ernst Lubitsch in handling spectacles of 
vast numbers. He has been titled "The Griffith of Europe." 
"Sumurun" and "Anne Boleyn," two of his latest productions 
which may be shown here, are said to surpass "Passion" in 
beauty and proportions. 


Betty Blythe, patrician of the silver cloth, holds sceptered 
sway not only as Queen of Sheba in the Fox spectacle, but 
as a singer, dancer, and beauty. During the holidays she 
appeared as Herod'as in Marion Morgan's dance fantasy on 
the stage of the Hollywood Community Theater — and we now 
await the sun dance of her creation as Sheba's queen. 

A Billion-Dollar Cast 


So at a cost of about one hundred thousand 
dollars — not press-agent figures — Universal 
proceeded to complete the job. Along the 
cliffs was constructed the Monte Carlo prom- 
enade, three hundred and five feet long and 
sixty feet wide. Above this were the terraces 
and the Casino ; below, the white-walled villa 
perched on a rocky point. Like its original, 
the Casino turned its back on the sea. You 
might stroll through the back door, but if 
you insisted on coming out at the front, it 
meant a journey of some five hundred miles, 
for the other half of the Casino, showing the 
front view, was built at Universal City, far 
away in southern California. 

A double battery of cameras, perched on 
lofty platforms beyond the end of the prom- 
enade, surveyed the scene for the purposes 
of "long shots." Between the camera plat- 
forms and a strategic point in the center of 
the set was a telephone connection. Director 
Stroheim, from the vantage point of the plat- 
forms, transmitted his orders to a regiment of 
assistants, who spread the crowd over the set, 
broke up too-thick clusters, kept the strollers 
moving, and generally pervaded the scene. A 
few score professional extras in the uniform 
of a dozen different armies, the demure garb 
of nursemaids, the picturesque rags of a 
flower seller, or the uniform of Red Cross 
nurses, helped fill in. 

The_ first thing that society learned about 
"working in the movies" was that it meant 
getting up early. In the lobby of the Hotel 
Del Monte, where the extras assembled the 
night before the big day, stood a businesslike 
call-board. "Leave hotel at eight-thirty. Be 
on lot and made up at nine," it said. 

Despite the late hours of a dinner dance 
the night before, society heroically got up at 
sunrise, yawned a little over breakfast, and 
embarked on the half hour's drive to the loca- 
tion. So did all Monterey, Carmel, Del 
Monte, and way stations. To accommodate 
the many business men and women of many 

The real test of the "Society extras" came when close-ups were made. 

social engagements who took part, the scene was taken 
on Sunday. All the country for miles around decided 
to take advantage of the holiday to brush off the fam- 
ily Detroit and go to the party. When the first brigade 
of extras reached Point Lobos at nine o'clock, the hills 
behind the set were thickly dotted with automobiles, 
and the set itself swarmed with visitors. By the time 
the most belated extra had arrived, the motor display 
outside the gates made the ordinary automobile show 
look like the motor transport division of a two-reel 
comedy. Nobody took the time to count the cars, but 
the mildest guess was at least a thousand. Curious 
crowds investigated every corner of the set, tried to 
get into the villa where a determined assistant director 
stood guard over the precious black-and-white checker- 
board floor until sheer weight of numbers overcame 
him, climbed over the balustrade of the promenade, 
clambered into the band stand, where a military band 
from the Presidio of Monterey was stationed, roamed 
over the Casino steps, and took snapshots of itself 
everywhere. It took the posse of Universal assistants 
a solid and strenuous hour to sort out the throng, herd 
spectators outside the rope, and chase the last sight- 
seer out of the one place where he should not be. 

Some lucky extras won assignments to the tea-table 
brigade and sat comfortably at the terrace tables where 
correctly garbed waiters served them with real soft 

drinks and received real tips. The California sun had 
come out in midsummer brilliancy to help things along, 
and the fortunate ones who might sit down were the 
envied of those whose lot it was to stroll from one end 
of the promenade to the other and back again. 

"All right," telephoned Stroheim from the camera 
platform. "All ready !" shouted the assistants. "Walk 
— keep on walking — don't all go one way — look out, 
don't get in a bunch !" 

Then came the first real test. Close-up shots of the 
same scene were wanted, and it became necessary for 
the crowd to hold the pose while cameras were hastily 
moved down from the platforms. They did it like 
veterans, these first-time people. When hands that had 
been raised to hats when the whistle blew were cau- 
tiously lowered to relieve weary muscles the owners 
of the hands besought their neighbors to help them 
remember which hand had been up. At the tables, 
extras sat clutching their glasses and sipped not one 
forbidden sip. Out of the corners of their eyes they 
watched the fascinating and mysterious process of set- 
ting up cameras, placing reflectors, and getting ready for 
the next scene, but they obeyed orders and kept still. 

For eight good hours the work went on, stopping- 
only for a brief luncheon interval at noon when the 
basket lunches sent from the hotel vanished in short 
Continued on page 96 

ONCE, a year or so ago, Corinne Griffith made a 
personal appearance at one of the movie the- 
aters in our town. My chum and I hardly ate 
any supper that night, we were so excited about it. 
and we got to the theater as early as we possibly could, 
but even so we had to sit clear at the back, and way 
over at one side. We couldn't see very well, but we 
did get enough of a look at Miss Griffith to know that 
she was even prettier off the screen than on, and I 
remember how that night — my chum stayed all night 
with me — we lay awake for hours talking about how 
wonderful it must be to really know people like Co- 
rinne Griffith. 

"I simply can't imagine it !" my chum said. 
"But it's perfectly possible; 
even the biggest stars must have 
personal friends," I argued. 

That wasn't so awfully long 
ago, but as I thought about it 
the day I went out to the Vita- 
graph studio, in Brooklyn, it 
seemed millions of years. For 
there I was on my way to have 
luncheon with Corinne Griffith — 
the almost impossible had come 

The Vitagraph studio is a 
great big stone building that 
stretches all around the block, 
and has a big court in the mid- 
dle. There is a concrete tank 
there which they use for water 
scenes ; it's used as a sunken 

bath in Miss Griffith's picture, "The Broadway Bubble." 

The outer office was filled with girls hoping to be 
in a picture that was being cast. I looked at them very 
thoughtfully; many times I had wished that I might 
get into one of the studios and apply for a place as an 
extra, but now I know what a small chance the average 
girl has of getting anywhere even after the casting di- 
rector has her name on file. 

The thing that's hard to realize is that there are so 


"I was like the old lady in the Mother 
Goose rhyme — I couldn't believe it was I! 
The person on the screen seemed familiar, 
and yet a stranger. 

"Then my heart began to sink. Why 
had I grinned in that strange way? If I 
could only do it over again, how differ- 
ently I would act." 

That was the writer's impression on 
first seeing herself on the screen. You'll 
find, as she did, many surprises in this 
trip through Movieland. 

A Girl's Ad 


The writer, a fan who knew the 
and through attending the thea 
Plainfield, New Jersey, was se 
persons who have written letters 
of her intense enthusiasm for 
observation — to make a trip 
and to write her impressions for 
began in tb.e pre 

many people, in every town, 
who are crazy to get into the 
movies — so many of them 
coming to New York all 
the time — so many more 
than there are jobs. 
You realize it, 
though, when 
you go to 
a studio. 

We had 
to wait a 
few min- 
utes in the 
outer office 
for Miss 

Griffith ; that's how I happened to have such a good 
look at the girls who were waiting there. She arrived 
in her car soon, however, and, as she jumped out of 
it, and her little Pomeranian, Billy, hopped out after 
her, I wished some one would pinch me. 

I can't really describe her to you. She didn't have 
on any make-up at all, and she is smaller than you ex- 
pect her to be, and has such a charming way about her. 
Her hair is brown — she particularly asked me to say 
that, because she so often wears a blond wig that peo- 
ple think- she is light — and she wears it bobbed. Her 
eyes are grayish blue. And she seems so very young 
and girlish; really, shs could be just a junior in high 
school, from the way she looks. 

She had on a dark suit, with 
one of those short, straight coats, 
edged with fur, and a small blue 
hat, turned up all around, and 
trimmed with stiff feathers. She 
looked as if everything she had 
on had been bought to go with 
the other things she wore. 

"We'll go straight to my dress- 
ing room," she said. "And we 
can talk while I'm dressing." 

So we did. It was the dearest 
place, all done in pink, and so 
neat that I resolved to go straight 
home and clean my room. There 
were two big wicker chairs, and 
one of those tall lamps, with a 
pink shade. And her dressing 
table was in perfect order; you'd 
think an actress would have all sorts of powder and 
rouge and things around, but all Miss Griffith had on 
her table was a box of cream-colored powder with a 
puff in it, and a picture of Anita Stewart. 

There was a chaise longue by the window, and I 
wish you could have seen the mail on it — hundreds and 
hundreds of letters, all of recent date, and from all over 
the world. Miss Griffith opened some of them and let 
me read them, and told me about a little girl in Canada, 

ventures in 

movies only through reading 
ters in her home town of 
lected from among the many 
to this magazine — on account 
motion pictures and her keen 
through the Eastern studios, 
our readers. Her adventures 
ceding issue. 


who's been writing to her for 
several years now, and whose 
criticisms are some of the best 
she gets. She is awfully in- 
terested in all her maS. 

It was lunch time when we 
went out into the studio 
again, so we went down to the 
restaurant. A funny old dog. 
who's been with Vitagraph 
since the studio was built, 
was waiting outside the dress- 
ing-room door ; they say that 
he seems to know when Miss 
Griffith arrives at the studio, 
and follows her around every 
minute that she's there. Some 
people would have thought he 
was rather too smelly to pet the way she petted him, 
but when I spoke of that she just laughed and said: 
"Oh. he's an old dear, and I love him — if you love a 
dog you can make a lot of allowances for him !" 

I felt awfully thrilled when I saw, on the door of 
the room next Miss Griffith's, the name "Miss Joyce." 
But imagine how I felt when, just as we sat down to 
luncheon, Alice Joyce herself walked in ! She had run 
out to the studio to see some scenes of the picture she 
had just finished, "Cousin Kate." Miss Griffith in- 
troduced me to her at once. I can't tell you exactly 
how I felt, talking to these celebrities; it was like 
being in a dream, or meeting ghosts. Later, when I 
met Lillian Gish she told me that was the way she felt 
when she first met Mae Marsh. You feel perfectly 
certain that it isn't real, yet you know it is. You wish 
3'ou could say something awfully bright, so they'd re- 
member you, but you can't; you just look and look. 
Somehow. I wouldn't have been surprised to see Norma 
Talmadge and Clara Kimball Young and all the other 
stars who got their start with Vitagraph come in, or, 
if Antonio Moreno had suddenly burst through the 
wall or dropped down from the ceiling with a villain 
after him, the way he does in a serial. I don't think I 
would have been startled — anything seemed possible. It 
was like being in a dream — or a fain- story. So when 
Mrs. Sidney Drew, who had directed Alice Joyce in 
"Cousin Kate," came in, and litle Gladys Leslie, who 
lives not far from the studio, appeared, it just seemed 
perfectly natural. 

Luncheon was wonderful. Only I couldn't eat; my 
throat just wouldn't swallow — but listening to those 
people talking was better than eating. 

They weren't quite ready for Miss Griffith after 
luncheon, so we went up to the projection room and 
saw "The Broadway Bubble," in which she plays two 
roles. Imagine sitting there beside Corinne Griffith and 
seeing two of her on the screen ! And she told me all 
about how the double-exposure part was done. That's 
one of the loveliest things about her — her friendliness. 

Think of my having my own private record of having appeared with Corinne Griffith! 

She made me feel as if I'd always known her, and as 
if she was really interested in what I had to say, which 
I think was pretty nice of her. Really, she is lovely. 

After that, we went through the studio to the set 
where she was to work. There was a surprise in store 
for me when we got to the set; as soon as Miss Grif- 
fith finished her scenes they suddenly told me they were 
going to make a little motion picture of me with her. 
Imagine that ! All the time they were working I just 
sat there and shuddered — with stage fright, I suppose. 
Miss Sally Crute, who played Corinne Griffith's mother, 
was supposed to be dying, and Miss Griffith was say- 
ing good-by to her — and each time the director would 
say. "Now we'll try it again," I'd take a long breath 
and hope something would go wrong. Maybe you think 
that was queer, but I simply couldn't help it. 

Finalh- they were ready for me. 

"You take this hand bag and stand outside the bed- 
room door," the director told me. "Then when I say 
'Ready' Miss Griffith will open the door and you come 
in. Walk across the room in front of her, look all 
around, and then shake hands with Miss Griffith and 
talk to her. And don't look into the camera !" 

Well, you can't imagine how hard it was for me to 
keep that in my head. It sounds simple enough, but 
with the crowd of electricians and carpenters, and 
the camera man and director looking on I felt so self- 
conscious that I could hardly move. I felt all wrong, 
somehow, and my hands and feet just got in my way 
and didn't seem to be useful at all. If I'd been working 
in a picture that was to be shown on the screen to the 
public, so that people who knew me could see it, I 
would just simply have died right there, I know! 

Somehow I got through it. I don't know how. All 
the time I was acting I kept feeling that I really could 
do better than that, if I could just stop and get hold 
cf myself, but, of course, the camera went right on 
grinding. I guess real actors feel that way sometimes, 
too. And after that experience I'll never again envy 
the girls I read about who have been "discovered" and 


A Girl's Adventures in Movieland 

The Vitagraph studio is a great stone building that stretches all around the block, with a big court in the middle. 

thrust into the movies — I don't care how self-possessed 
they are, they're in for a hard time of it at first ! 

"That's a common experience," Miss Griffith told 
me. "Many a time I've seen a picture of my own and 
wanted so much to do parts of it over again, but 
couldn't. Of course, we see bits of the picture as we 
go along, but unless there's some really glaring fault 
we don't go back and take them over again — and I 
really long to explain to the fans that I see my mis- 
takes just as clearly as they do, and that I'm trying 
to remedy them." 

Well, after that picture-making experience of mine 
I'll never again criticize a new player by saying, "He 
just walked through the part!" I'll know that, if the 
sound of the camera's clicking made his knees shake 
as mine did, and his throat go dry, and his hands get 
in his way, he was doing well to be able to walk at all ! 

It was late afternoon by the time we were through, 
and Miss Griffith said she would love to have me drive 
back te> .own with her. I was so pleased. It was an 
hour's ride back, but Miss Griffith's limousine was so 
comfortable, and she was so interesting, that it seemed 
like about ten minutes. It was lots of fun to see peo- 
ple stare into the car when we had to stop at street 
crossings, and often they would recognize Miss Griffith 
and point her out to other people. She didn't seem to 
notice it ; I suppose a person wouldn't after being a 
public personage for so long. 

She let me hold her little dog, and told me about 
how he was in a picture of hers a while ago. In it a 
man was making a speech, during which they took a 
close-up of the little dog yawning. 

"He was very funny," Miss Griffith said. "But when 
I saw him on the screen I got so excited ; mothers whose 
children act must feel like that, only much more so." 

She told me a lot about her clothes for the screen. 

"I had twenty-two changes of costume in my last 
picture," she said. "And in this one there are nineteen, 
so you see, I have to think of clothes all the. time. My 
idea of perfect bliss' is to be able to ride up Fifth Av- 
enue and not look in a single window that has hats or 
gowns in it !" 

I thought of all the girls I've known who considered 
buying their trousseaus a lot of work, and wondered 
what they'd think if they had to buy as many clothes 

as Miss Griffith does, and act in pictures at the same 
time. I began to see that acting in pictures isn't all 
the fun that I used to suppose it was. 

I hated to say good-by to Corrine Griffith; she had 
been so nice to me that I wanted to keep in touch with 
her always. She assured me that we would see each 
other again, and I do hope we will. But whether we 
do or not, there's one thing sure — I'll never miss see- 
ing her on the screen. 

The next afternoon I saw myself on the screen. 
They had developed and printed the little piece that 
we took, and were to run it off for me in the com- 
pany's projection room. 

The projection room is just a big room, adjoining 
the company's offices, and used for nothing but the 
showing of pictures. In some ways it's much nicer 
than a good many of the regular theaters, for there was 
a thick, red carpet on the floor and there were huge 
armchairs to sit in. 

I had begun to feel queer as soon as I reached the 
offices, for I'd read of how often the stars themselves 
were disappointed on seeing their own pictures. And 
when everything was ready I was so nervous I could 
hardly sit still. 

Suddenly the picture was flashed on the screen ! 

Corinne Griffith appeared at first, stepped to the door 
and opened it. 

Then — slowly — in I came. 

But I had no idea that I had moved s-o s-l-o-w-l-y ! It 
seemed as though I would never get through the door. 
I kept saying to myself, "Hurry, hurry! Move faster!" 

Well, finally I did get into the room, and — gracious, 
I was like the old lady in the Mother Goose rhyme — 
I couldn't believe it was I ! I began to feel like one 
of those persons with dual personalities. The person 
on the screen seemed "familiar, and yet a stranger. 

Then my heart began to sink. Oh, why had I 
grinned so much, I asked myself, and why did I bob 
my head in that queer way when I talked? If I could 
only do it over again, how differently I would act ! 

I'm convinced that there's nothing like seeing your- 
self on the screen for finding out your faults. You 
can see a dozen the very first time which vou never 
knew you had. The mirror doesn't show them be- 

A Girl's Adventures in Movieland 


cause you strike a pose when you look into it. The 
screen shows you up as you are, and what a revela- 
tion it is ! 

But I can understand, too, why the experienced stars 
are so perfect in every move and gesture. Having seen 
themselves for years they can correct or eliminate every 
fault. Your shadow self-teaches you what not to do 
better than anything else ever could. 

When the picture was over I appreciated what a 
wonderful chance it had been to see myself like that. 
Then, to cap the climax, the publicity manager gave 
me the roll of film. To have had a piece of film with 
my own test on it would have been quite a wonderful 
enough souvenir, but to think of having my own pri- 
vate record of having appeared with Corinne Griffith 
— that was almost too much. 

They showed, "Dead Men Tell No Tales," for me, 
too. It seemed so funny with just an audience of two 
when down the street at the Broadway Theater crowds 
were being turned away. 

That afternoon I had another quite different and 
wonderfully pleasant experience. I had tea at the 

I had read many times, of course, of having lunch 
or tea at the Claridge — so many stars seem to be inter- 
viewed there. But what made this doubly exciting 
was the fact that I was to meet Lillian Gish. 

It was beginning to get dark as we went up Broad- 
way toward Times Square, which is tine center <©f mo- 
tion-picture life in New York City. Crowds of holiday 
people were pouring out of the theaters— for it was 
matinee day. The famous electric signs were just be- 
ginning to glow through the twilight, high in the air 
above us. Everything seemed so exciting and wonder- 
ful — I felt sort of prickly all over. 

Times Square, the center of motion-picture activities in New York 
City. The tall building at the right of the Criterion Theater is 
the Hotel Claridge, where the writer had tea with Lillian Gish. 

We went up to the offices of the company which is 
starring her, and in the elevator with us there were 
two girls who were on their way to the same offices, 
to see about applying for a part in some picture. They 
powdered their noses before the mirror and rouged 
their lips, and talked about this picture they'd been in 
and that one — just extras, evidently. And I could see 
that they felt awfully superior to me. But — you should 
have seen them when, while they sat on the bench just 
inside the office door and waited for some assistant 
to somebody to talk to them, Lillian Gish came out of 
an inside office and right over to us, and was as sweet 
and charming as if we'd been her oldest and dearest 
friends! Their eyes nearly dropped out of their heads. 

We started out for the Claridge then — quite a party 
of us, for Jerome Storm, the director who helped make 
Charlie Ray famous, and Herbert Howe, who writes 
for Picture-Play, went with us. What seemed queer 
to me was that, as we walked along the street, hardly 
any one recognized Miss Gish. I had supposed that a 
star as well known as she is couldn't stir a step with- 
out having people crowd around her — judging by the 
mobs I've been part of when stars made personal ap- 
pearances at theaters back home, I'd expected that the 
police would have to be called out to keep order. And 
I must confess that I was rather sorry that people 
didn't know her; I was so proud of being with her 
that I'd have liked to have all New York know about it. 

Probably her halt was largely responsible for people 
not recognizing her. It was a small black satin one, 
with a lace veil that reached to her nose, quite con- 
cealing her eyes. As a matter of fact, she wasn't 
dressed at all as I'd supposed an actress would be 
for the street. The coat of her suit was sort of a 
French blue, with a border of gray fur, and buttoned 
right up to her throat, and her skirt was black. She 
wore black slippers with straps — not those very exagger- 
ated French ones that so many girls wear now. She 
looked awfully well dressed, but nothing startling — I 
Continued on page 83 


After Exposure — What? 

A brief account of what processes every film goes through afier it 
has been exposed, and before it can be shown in any theater. 

By Charles Carter 

Photographs taken in the Realart Laboratories 

THE process of developing films is not a mystery to 
the great part of the public who indulge in ama- 
teur photography, for even the pocket edition 
kodak enthusiast has sometimes experimented with 
basins of developer, and fixing bath. The method of 
developing motion-picture film is thereby robbed of its 
glamour for a great many people. But of the procedure 
that follows — the making of the positive from the nega- 
tive, developing, examining, cutting, and assembling the 
print — little is known outside of the laboratories where 
the work is done. 

Before the actttal process of developing begins, the neg- 
ative is sent to an examiner, one of whom is shown at 
work at the bottom of this page. This man is determin- 

A light expert ex- 
amines the films. 

ing the various densities of light which should 
-be ttsed in printing each scene. He must be 
ail expert, for there is a wide, range of differ- 
ence in the lights used in printing, and he must 
be able to determine at a glance just which one 
of the twenty-two degrees of density will get 
the best results from the film. 

The man who examines the negative 
notes on a board the number of the lights 
to be used in printing each scene, and this 
notation is reproduced on a card. This 
card accompanies the negative when it is 
printed, and automatically operates the 
lights used. 

The positive print is made from the neg- 
ative in lengths of one hundred and fifty to 
two hundred feet, on a machine such as the 

Films are dried on constantly moving 

one shown at the top of the page. The mechanism 
of this specially built motor-generator set is as deli- 
cate as the finest watch, having a meter that registers 
the slightest fluctuation of current. The greatest 
care has to be taken to insure reliable current, for 
the slightest variation from the light density deter- 
mined upon by the examiner will impair the film. 

After Exposure— What? 


After the positive film has been run through this 
machine, it is wound on flat, square reels and is sent 
to the developing room, where it is immersed in the 
developer, washed, and then put in a fixing bath. The 
tanks which are used for this purpose are shown in 
an accompanying illustration. If the film is to be tinted 
it is placed for a short time in a similar tank containing 
the color — red, sepia, blue, or green, as may be desired. 

The film is then sent to the drying room, where it 
is taken of! the reel and wound on one of the large 
cylindrical drying drums, such as is shown on the 
preceding page. These drums are continually in mo- 
tion to prevent settling of water on the film which 
would afterward show up in the form of spots. It 
takes about twenty minutes to dry a film. 

Throughout the plant where the raw stock is handled 

and in the drying room 
the temperature is al- 
ways kept at the same 
degree by an air-condi- 
tioning plant situated 
on the roof of the 
building and oper- 
ating through the 
floors, which are 
hollow. The air 
is drawn in 
through an aper- 
ture by a fan, 
passing through a 
spray which 
washes it, then 
over pipes 
w h i c h may 

In these tanks the 
jilms are developed, 
washed, and fixed. 

A polishing machine removes all imperfections. 

inches of film can be cut from a motion picture with- 
out making a noticeable change in the picture when it 
is projected on the screen. 

After the film has been thoroughly inspected, and 
pieced together, with the titles inserted in their proper 
places, it is wound on reels, ready at last for shipment. 
All of this work is done, not on one print of each film 
- — but on every print ; and since there are usually one 
hundred prints made of each picture, five hundred thou- 
sand feet of film must pass through all of these 
processes for every separate picture play. 

Each week three million 
feet of film are used in the 
Famous Players-Lasky East- 
ern laboratory alone. This 
is, of course, the largest lab- 
oratory in the East — but the 
figure suggests the tremen- 
dous amount of film used. 

A fter the final inspection, the 
film is pieced together, ready 
for shipment. 

contain steam or ice water, and through an aperture 
which may contain ice, all according to the original 
temperature of the air, whether it is necessary to lower 
or raise it. This same fan propels the air through the 
hollow floor into the room where it circulates and is 
withdrawn by another fan providing a suction. The 
temperature is regulated automatically by a thermo- 
stadt and placed in even- room, and is connected to a 
bell. Should any change occur this thermostadt auto- 
matically rings the bell. 

When the film has been thoroughly dried, it is re- 
moved from the drum in big baskets and sent to the 
cutting room, where it is assembled. Each reel is put 
through a polishing machine which removes all im- 
perfections, and then it is sent to the inspection room. 
There it is shown in miniature, bv means of specially 
built projection machines. These machines throw a 
picture about a foot square on the wall, and are so 
constructed that if an imperfection is noticed as the 
reel progresses, the operator can stop the machine 
immediately and remove that part of the film. Six 

Years are precious to Elaine Hammerstein; she won't give up a single birthday candle! 

WHERE have you come from?" I demanded, as 
Fanny rushed into the Turkish bath, coiled 
her sheet around her, and subsided into a 
steamer chair. 

The hot room was so crowded that it seemed almost 
as though the entire feminine population of Hollywood, 
Los Angeles, and points east had gathered there to 
grow thin or grow beautiful, whichever their pet theory 
about Turkish baths happened to be. 

"Elaine Hammerstein's. of course," she retorted, 
raising her eyebrows in an obvious 
attempt to look like Bebe Daniels. 
"You know, Eve never missed one 
of her birthdav parties — not for 

years and " 

"But it couldn't be manv vears. 


You didn't know her until the fall 
she made that bet that she could 
live in the woods, catch her own 
clothes, and make her own food, or 
the other way around, rather " 

"But that was four years ago ; 
don't you call that years and years? 
Well, to see Elaine now you would 
never suppose that she was able 
to rough it by herself four years 
ago. She looks about sixteen. 
Actually, when I saw twenty-three 
candles on her birthday cake I 
wanted to rush over and take a 
handful of them off, but Elaine in- 
sisted that she wanted every one." 

By that time the bath attendant was trying furiously 
to "hush" us, though every one in the place was simply 
hanging on the edge of their chairs trying to hear 
what Fanny said. 

"It's so hot in here," Fanny gasped. "Let's go into 

has just discovered a fashionable 
Turkish bath establishment where 
the feminine contingent of the 
Hollywood picture colony goes to 
grow thin or beautiful or both. 
Nearest to Fanny's heart comes not 
the opportunity to dress just . like 
the picture-players (a sheet, simply 
wound about one's person is the only 
accepted costume, you know), and 
not the spacious pool where she can 
emulate the Sennett beauties. The 
real charm of the Turkish bath lies 
— for Fanny — in the luxurious loung- 
ing room where she can sup a fra- 
grant cup of tea, and gossip to, 
and about, the prominent picture- 
ph yers. 

the lounge and have tea. I see Margarita Fisher out 
there now. Do you know that she has formed her 
own company? 

"Yes, and she's almost as secretive about the picture 
she's making as D. W. Griffith would be. And there's 
Lois Wilson. She's just recuperating from an attack 
of appendicitis, you know," I added, knowing that 
Fanny couldn't possibly have heard about it. It's a 
great advantage to have Fanny go away sometimes — 
otherwise there's nothing to tell her. 

"But what took you to New 
York?" I asked, as Fanny curled 
up in a big easy-chair and started 
reading a menu as intently as 
though it were a letter from Olga 
Petrova, telling that she plans to 
leave vaudeville and go back into 
pictures in the spring. 

"Clothes, mostly, and Katherine 
MacDonald. She was going East 
to get clothes to wear in 'My 
Lady's Latchke)^' and she is such 
good company I didn't see why I 
should put off my late winter shop- 
ping any longer. Besides, I wanted 
to know the secret of her wonder- 
ful complexion, and there's noth- 
ing like a train journey to bring 
out people's innermost secrets." 

"Unless it's a Turkish bath," I 
reminded Fanny, trying to nudge 
her as Sylvia Breamer went past, 
looking like a Greek goddess in her bath outfit. 

"But Katherine didn't have any startling beauty se- 
crets," Fanny went on despairingly. "I expected her 
to completely engulf the drawing-room — if not the 
whole train — with jars and bottles of Queer foreign 

Over the Teacups 


cosmetics. And all she had was a 
cake of soap ! She looked so fresh 
and beautiful at breakfast that every 
woman in the diner hated her. As 
for me, I took to wearing a heavy 
veil. You know the sort that Alice 
Joyce used to wear so that she could 
get through crowds without being rec- 
ognized. Maybe they thought I was 
Alice — well, life holds some compen- 
sations, doesn't it ? 

"Such mobs of people wanted to 
come to see Katherine, or to inter- 
view her for the papers while she was 
in New York, that she gave a tea at 
the Great Northern Hotel and asked 
them all to come. They did, and 
about a thousand more. I thought at 
four o'clock that they'd have to call 
out the police, and at five-thirty peo- 
ple were still coming. Through it all 
Katherine stood as gracious and un- 
riffled as a queen. Some cross old 
lady telephoned down to the hotel 
clerk to ask why neither bribery nor 
prayer would bring a waiter to her 
room, and the distracted clerk told her 
that all the waiters were busy with 
the refreshments at the motion-pic- 
ture party. 'What motion-picture 
party ?' the old lady demanded. But 
the clerk didn't want Katherine Mac- 
Donald to get all the 
blame for utterly disrupt- 
ing the hotel, because, of 
course, he'd fallen in 
love with her at first 
sight, just as every 
one does, so he told 
the old lady that 
Buster Keaton was 
marrying Blanche 

Alice Brady 
that her di 
feared she would 
break in 

Sweet, and that 
Bert Lytell and 
Pearl White were 
in the wedding 
party. Of course, 
he supposed that 
was so preposter- 
ous that no one 
would believe it, 
but that old lady 
did. She leaped 
into her best 
clothes, and 
rushed down- 
stairs to the re- 
ception room. 
The clerk saw 
her coming 
and hid under 

Fanny the Fan discovered Katherine MacDonald's beauty secret, which you may 

have, free of charge. 

the desk just as Harold Lloyd would have done in a picture. He 
thought she would be furious. But just inside the door she met Mil- 
dred Harris and, forgetting what she came down to see, proclaimed to 
the world that if she had had a daughter she would have wanted her 
to be just like Mildred. Poor little Mildred was so distracted that she 
rushed me away from the party with her, and insisted on going shop- 
ping to regain her composure. She didn't get it until she had bought 
three gowns, two hats, an ermine coat, and a gorgeous party bag 
made of ostrich feathers. It's a good thing she makes so much 
money ; it would take fourteen brothers in the restaurant business 
to support her otherwise." 

Fanny was obviously thinking of the tea check. After reck- 
lessly ordering chicken sandwiches, cheese muffins, and three kinds 
of pastry, she is always sure to start running down profiteers. So 
I tried to cheer her up by asking about weddings. Fanny has an 
incurable taste for romance, you know. 

"I didn't get to Jean Paige's. I'll never forgive her and Albert 
E. Smith for getting married in Paris, Illinois, even if it was her 
home town. But that was just like Jean, wasn't it? I'd bet my 
new open-work shoes, that are just like Rubye de Remer's, that 
she wore a real lace veil which had been her grandmother's, and had her former 
teammates in the church choir sing, T Love You Truly.' But speaking of 
weddings, have you heard about Louise Glaum?" 

"That she's gone and married her producer? They've been saying 
she would for months, but I didn't believe it." 

"No, she hasn't been married, but she's the victim of the funniest 


Over the Teacups 

and the most widespread rumor yet. Some people 
named George Inscor and Isabelle Swartz were mar- 
ried down in Tennessee, and they were so annoyed when 
a reporter asked them if those were their real names 
that they answered. 'No; we're really Cecil De Mille 
and Louise Glaum, but don't tell anybody.' Of course, 
they didn't think he'd take it seriously, but he did. 
He telegraphed it to news- 
papers all over the country. 
Mrs. Cecil De Mille was at 
the hairdresser's when she 
heard it, and she was so 
stunned that she rushed 
right home to see if Cecil 
had disappeared from Los 
Angeles by aeroplane. She 
knew that he'd been at 
their breakfast table as 
usual that morning, just as 
he has been for the past 
eighteen years. But the 
world moves so fast now- 
adays she didn't know what 
might have happened. 
However, there he was in 
the library, with his own 
children and the boy from 
next door trying to get him 
to make a fourth at bridge. 
When she told him that he 
had just married Louise 
Glaum in Knoxville, he said 
that as Mark Twain re- 
marked on the untimely an- 
nouncement of his death, 
he 1 thought the report 
greatly exaggerated." 

Helene Chadwick, just 
a few feet away, set her 
glass of lemon juice down, 
glared at the creamy con- 
coctions on Fanny's plate 
and started off toward the 
pool. But she paused long 
enough to remark, "I hate 
you both ; I haven't tasted 
sugar or cream for a 

Fanny looked at her 
commiseratingly. as she beckoned the waitress with the 
tray of French pastry to come back to her. 

"Of course, the very first day I was in New York 
I went to see Norma Talmadge," said Fanny, settling 
down to the important business of eating eclairs. 
"What's the use of tramping through the shops to find 
out what's in style when one look at her wardrobe 
wili tell you ? And besides I was dying to see her, 
anyway. The minute I went in the studio I knew 
that something terrible had happened. Everybody was 
running around looking so worried, and even Con- 
stance was poring over some papers and frowning. 

"'What on earth is it?' I asked Norma, when I 
finally located her in her gorgeous new French-ivory 
dressing room. 'It's Susie,' she answered despairingly, 
tucking the ermine-edged train of her gold-colored 
Georgette negligee around her feet. 'She's the best 
maid I ever had, and she's gone and entered a guess- 
ing contest. One of the newspapers here prints pic- 
tures of motion-picture actors and actresses every day, 
with part of their features blacked out, and the person 
who guesses most of them correctly gets five thousand 
dollars. Susie has her heart set on winning, so every 

day that she can't guess them she calls up here, and 
the studio is completely disrupted until some one finds 
out who the pictures are. It's four o'clock now, and 
we've been studying to-day's pictures since eleven. 
Connie couldn't eat any lunch, and Harrison Ford is 
as distracted as though his mother were lost in the 
'Way Down East' snowstorm. 

"But I couldn't be in- 
terested in Susie after I 
caught a glimpse of 
Norma's clothes. If her 
studio ever catches on fire 
I am going to be the 
brave, brave fireman who 
rescues her frocks. She'll 
never see them again. 

"But speaking of frocks, 
every time I went into a 
shop in New York I'd 
run into Barbara Castle- 
ton or Mollie King or 
Doris Kenyon or all of 
them. Mollie King is 
making 'Her Majesty,' 
with Creighton Kale as 
her leading man. Barbara 
Castleton and Montagu 
Love are making a picture 
that had no name when 
I saw her, and Doris Ken- 
yon told me that she is 
going to act in a series 
of pictures directed by 
Leonce Perret. They all 
looked prettier than ever 
and were buying the most 
gorgeous clothes. And 
they all declared that they 
liked making pictures bet- 
ter than being on the 
stage. I miss their thrill- 
ing voices, though " 

"Oh, I see," I inter- 
rupted hastily. "They go 
in pictures in spite of 
their voices while Follies 
chorus girls go in because 
of them." 

"Well, all right, if you 
must be catty," Fanny replied icily. "But I can't im- 
agine who you are referring to. The newest recruits 
from the Follies ranks are Jacqueline Logan playing 
in Alan Dwan's 'The Perfect Crime,' and Betty Fran- 
cisco in Irvin Willat's productions. They both have 
lovely voices. They weren't in the Follies long enough 
to get the Broadway twang. 

"But speaking of voices, every flapper in New York 
seems to be imitating either Justine Johnstone's or 
Anna O. Nilsson's. Justine's is very deep and husky, 
and Anna's is clear as a bell and with the cunningest 
French and Swedish accent. But their imitators are 
terrible! Why can't people be original?" 

That from Fanny, in whose life no day is complete 
unless she copies Anita Stewart's sports clothes and 
Gloria Swanson's coiffure, quite regardless of the com- 
bined effect. I'll never forget how jubilantly Fanny 
came out of the theater after seeing "The Truth About 
Husbands." She had been worrying for weeks over 
how to make her eyes look dark and sparkling like 
Priscilla Dean's. And then she saw May McAvo}' and 
found out that gray eyes could be the most enchanting 
things in the world — or in a picture at least. 

Vivian Martin blames Robert W. Chambers for keeping her so 
young. She is playing one of his effervescent heroines. 

Over the Teacups 


"There's Mary Alden !'' For one terrible moment 
I thought Fanny was going to play an old-fashioned 
slapstick-corned}* scene trying to attract her attention 
with an eclair, but she saw us and came over. 

"Don't mention food to me." she begged dramatically, 
"I hate it. Directors always make me cook in pictures. 
Lately I've cooked for Will Rogers, Thomas Meighan, 
Robert Edeson, and Owen Moore. I might as well 
run a boarding house as act in pictures under those 
conditions. If there are any cooking scenes in 'Snow 
Blindness,' I'll probably lie down in the snow and die. 
We are going as far north as we can get for that 
picture, you know. I thought I'd like the 
warm memory of a Turkish bath to take 
with me." 

" 'Snow Blindness' doesn't sound like 
a cooking picture," Fanny began, as 
Mar>- Alden left us " 

"But you never can tell." I 
continued for her. "In 'Should 
a Woman Tell?' 'Shore Acres,' 
and 'Mother Love,' Alice Lake 
simply had to live on the 
water. Now the company 
has come out and frankly 
given her a picture called 
'Uncharted Seas.' They say 
she is so used to water bv 
this time that she shouldn't 
mind. That one is going to 
be taken up north, too, so 
Alice Lake is busy shopping 
for some fur-lined stockings.' 1 

*'You haven't asked me a 
thing about the most important 
person of all. and I can hardly 
wait to tell you about her," Fanny 
lamented. "Lillian Gish, of course." 
1 guessed, if such a certainty can be a 
guess. "Where did you see her?" 

"At the Pen and Brush Club in New 
York. She had been invited to make a 
speech to the women writers there, and be 
guest of honor at dinner afterward. She 
looked so darling that it wouldn't have mat- 
tered to me what she said. She had on a 
tailored suit of blue corduroy — almost 
cornflower color, a soft velour hat that just 
matched it. and her feet looked tinier than ever in 
heavy walking shoes. 

"And you should have heard her talk! I don't be- 
lieA'e that any one would have suspected that she could 
make such a wonderful speech. She looked so fragile 
in that room full of older women, and she was so 
clever. I had all I could do to keep from standing up 
on the side lines and leading a cheer. Louise Williams 
was there with her ; she thought Lillian ought to get 
away for a few minutes' quiet before the ordeal of the 
dinner party, so in between tea and dinner we all rushed 
over to James Rennie's apartment next door. He was 
Dorothy's leading man in 'Remodeling Her Husband.' 
and he is in 'World Shadows/ with Lillian, you know. 
It was the most gorgeous place, all old Italian em- 
broideries and antiques and a roaring big fireplace ; an 
ideal apartment for a young bachelor. Ever since he 
acted in his first picture with Dorothy, people have 
insisted on announcing his engagement to her. And 
there isn't a word of truth in it. 

"James Rennie showed us some furniture he had 
just bought, remarking. 'Ycu know Jack says that there 
are department-store antiques and old antiques. I 
hope these are old ones.' I just gasped and sank into 

a big overstuffed davenport when I realized that by 
'Jack,' he meant John Barrymore. After dinner at the 
club Lillian went into the kitchen and shook hands 
with the cook. She explained that some of the people 
in the drawing-rooms might not know her. but the 
cooks were always her old friends. I'll bet that cook 
demanded a raise the next day, because of the boost. 

"I saw Vivian Martin, too. She had just finished 
making a picture at the Goldwyn studio on Long Island 
and had come in town to celebrate. She nearly bought 
out a toy store for her little girl. She looks as 
though she stopped playing with toys only yester- 
day herself, and claims that it is the Robert 
W. Chambers influence — he makes his 
heroines so young. His story that she 
had just finished was tentatively called 
'Polly,' but Vivian said there was no 
telling what it would be called when 
it came out." 

I saw the waitress looking dis- 
tracted as Fanny finished the last 
eclair — I know that their supply 
had run out — but then Fanny 
doesn't go to a Turkish bath to 
reduce. She likes the cozy at- 
mosphere, every one sitting 
around in sheets and lounging 
in big easy-chairs. 
"And Alice Brad)* is thinner 
than ever ! She did a dance in 
her last picture, and actually her 
director thought she would break- 
in half. She hasn't grown a bit up- 
stage because the New York dra- 
matic critics all hailed her as a great 
dramatic actress. She still sits and 
* sings at the top of her lungs — and 
chats with every one from the other 
sets in the studio — whenever the camera 

Dorothy Dalton's great- 
est achievement, accord- 
ing to Fanny, is this 
remarkable hair orna- 

isn't actuallv grinding." 

"Come on, let's go." I urged, wondering what 
part of China it would take to grow enough tea 
for Fanny. "Let's get dressed and go over to the 
hotel to see if Dorothy Dalton is registered 
yet? She's been expected for days." 

The resourceful Fanny, decrying that finger 
bowls had gone out of fashion, tripped over 
to the edge of the swimming pool and dipped 
her fingers in the water. "Awfully convenient, isn't it ? 
You can't tell me anything about Dorothy Dalton. She's 
going to make a picture written especially for her by 
Sir Gilbert Parker, and directed by George Melford. 
But that isn't important. The real news about Dorothy 
is that she's invented a headdress of fruit and flowers 
that is simply alluring. It isn't bizarre, it's just star- 
tling when she wears it with a plain evening gown." 

"But hurry," I pleaded, as Fanny turned to watch 
the newcomers. "I know where Lois W T eber takes her 
young stars to shop. You can get stockings there that 
are almost as heavy as cobwebs." 

"Cobwebs," she retorted contemptuously, as though 
she never tried to outdare Mae Murray. "I'm more 
interested in snowshoes. Have to hurry to catch the 
train to Truckee. Anita Stewart's company is up there." 

"You can go away if you want to, but I'll stay here. 
I've subscribed to that New York paper Norma Tal- 
madge's Susie takes, and I'm having an awful time 
guessing who the players are. This picture could be 

either Wallie Reid or Antonio Moreno " 

"I'd swear that was Herbert Howe," Fanny squealed 
delightedly. "But he hasn't gone into pictures. He's 
writing for Picture-Play. But, oh, he's so handsome." 

Shopping for 

Afier diligently searching 
duction, Ralph Ince has 
silk is not half as hard 
acteristics, or 

By Susie 

The director must have as keen 
an eye for details as a house- 
wife has for bargains. 

RALPH INCE tossed a page 
from his notebook into my 
lap, touched a match to a 
cigarette, and sank contentedly into 

the capacious depths of an armchair. On the slip of 
yellow paper were these penciled notes : 

One leading woman, distinctly clinging vine, accustomed to 
good clothes and knowing how to wear them. 

One leading man, educated, athletic, well-bred, drawing- 
room type. 

One villain, not of conventional order, all-round good fellow 
of small town, who ran put over evil characteristics and yet 
create suspense with hero's wife. 

_ One infant, retrousse nose, disposition to smile under all 
circumstances, even before the camera. 

One character man for small part; excellent characterization 

"My shopping list for our next production," he volun- 
teered, puffing energetically at his cigarette. "Buying 
humanity carefully, you know, is even more important 
than getting the correct settings for a production. 

"Fashions in heroes and heroines change as inevitably 
as the latitude of a skirt hem in these modern times," 
he went on. "Some of the screen idols of 1915 would 
be as out of place before the camera to-day as the bon- 
net of five years ago on this season's debutante." 
_ And after a thoughtful pause, he went on: "A short 
time ago the leading man was likely to have a dis- 
tinctly middle-class appeal — to put it mildly." 

"The modern idea is different. To-day the popular 
conception of a hero is an intellectual man. He is es- 
sentially a gentleman ; his chief qualifications are breed- 
ing and education — which give him a certain poise that 
substitutes for the handsome but vapid features of an 

"This change in the style and cut of the leading 
man's pattern is undoubtedly due to a change in audi- 
ences. With more intelligent audiences coming to mo- 
tion-picture theaters, productions have to be made more 
intelligently. The best audiences won't tolerate a man 
ignorant of all polite usage, in a society part. 

"The director who starts out to shop for a cast to- 
day is not likely to find a 1920-model hero the first 

time he looks over his card 
index. His man must dress 
well, have a college education 
or its equivalent, and be an 
artist in the bargain. Many 
actors will possess two, or 
perhaps three, of the neces- 
sary qualifiacations, but to 
discover the man who has all 
of them, the director must 
shop as indefatigably as a 
woman haunts a bargain 

"The English actor, for in- 
stance, specializes in clothes. 
In this respect he surpasses 
the American, who is likely 
. to place the emphasis on ath- 
letics. The director's search must aim for 
the man who has both the English and 
American characteristics and a few others." 
"But what about new styles in heroines?" 
I asked, fearing that he would stop without giving am- 
bitious girls a hint. 

"Must be the drawing-room type like the hero. It 
takes diligent shopping to find her, too, for she must 
have all the physical characteristics that are associated 
in the mind with the supposed weakness of the woman." 

"The modern woman who runs for congress or sec- 
retary of state is not likely to become the heroine of 
many romances on the screen — at. least for the pres- 
ent," he explained. "The man's woman, the appealing 
type, is still in the ascendancy and is likely to remain 
there. Poor Annie cannot starve to death convincingly 
on the screen if she appears thoroughly capable of 
taking care of herself. Nobody would believe her sad 

"On the stage, of course, the self-reliant-looking 
woman might use a sympathetic voice to convince the 
public that her plight was pitiable, but on the screen 
her physical appearance is all she has to gain her point. 
So she must cling and look frail and dependent." 

And if that doesn't surprise you, perhaps his next 

"It is very difficult to find a woman who knows how 
to wear good clothes before the camera. There they 
are, with fortunes to spend, with the shops of the 
world and the most exclusive dressmakers at their call, 
and yet how many of them still look as though they 
were dressed in hand-me-downs. This can be attributed 
to the fact that they are not accustomed to wearing 
such exquisite creations as the picture productions call 
for. That is why the director is constantly looking for 
an actress who comes from a family whose women 
have always worn beautiful clothes. She will wear 
them with distinction." 

"And how about villains?" I asked. "Is it hard to 
find just the right kind of dyed-in-the-wool, blown-in- 
the-bottle villain?" 


Human Beings 

for exact types for his pro- 
decided that a bit of faded 
to match as human char- 
mental outlook. 


"Just like the others," Mr. 
Ince said despairingly. "A 
conscientious director exerts 
every effort to find just the 
types the public wants to see. 
It may be that the particular 
actor he needs for a certain 
part is out of work and liv- 
ing in an obscure part of the 
world waiting to be called 
back to his land of make-be- 
lieve. He may be filling an 
engagement in a distant city 
on the legitimate or vaude- 
ville stage. Or it may be 
that among the unknown but 
ambitious aspirants to screen 
honors one will come into 
prominence because of a special suitabil 
ity for a part." 

Mr. Ince is one of those encouraging di 
rectors who believe that there may be 
planets of Pickford or Fairbanks magnitude among the 
9,527,656 uninitiated fans who are constantly begging 
for a try-out. 

"Just to illustrate my point," he continued, "I had 
to do a lot of screen shopping among actor villains 
past and present before I finally decided on Harry 
Tighe to play the heavy in our productions, 'Red Foam.' 
This was the unusual type which always necessitates 
a search. The man in the story to all outward appear- 
ances was not a regular villain. He was somewhat of 
i Jekyll-Hyde villain at heart, but outwardly the man 
you have known back in your own home town, hale 
fellow well met, fat, good-natured, always with the 
latest story on the tip of his tongue. Just at that time 
the local market in villains was very discouraging. 
None of the actors available really fitted into the part. 
I had searched for days and days, and then some one 
reminded me of Harry Tighe, who was playing in 
vaudeville out on the road. He was just the man I 
wanted. I had an equally strenuous hunt for a juvenile 
for that picture. Most juveniles know little of make- 
up, and the one who does is a rare find. 

"The director casting a picture is much like a house- 
wife on a shopping expedition. She makes her- pur- 
chases with an eye to moderate price and wearing qual- 
ities, because she knows these will prove the wisest 
investment in the long run. He looks for breeding 
and education when he picks a cast for the same rea- 
son. An actor with years of experience, but without 
education, may not do nearly as well as the man with 
a good education and natural talent but little experience 
on the screen. 

"One of the most striking instances of this sort of 
thing came to my notice at the studio a few months 
ago. A marine just out of service secured a job sweep- 
ing out the studio. He did his work so well that he 
was promoted from one position of responsibility to 

Ralph Ince, who played the part of Lincoln in 
the Lincoln series spent many weeks selecting 
the actors for the famous cabinet. 

another until he finally be- 
came my assistant. 

"In time we discovered 
that he was a college grad- 
uate, and that before the war had swept away his 
business he had owned a chain of ten restaurants and 
had an income of twenty thousand dollars a year. One 
day I had to cast the part of a colonel in a production. 
An actor who had the ease of manner and bearing 
necessary for the role was not at hand, so my assistant 
undertook the part. He not only played that one well, 
but has done several others since very creditably and 
has recently been offered a position as director himself. 
A year ago he had never been inside a studio, but to- 
day he promises to become one of the leading men in 
motion pictures. He never would have been able to 
do any of these things without the education and breed- 
ing which made him perfectly at home wherever he 
was placed." 

After leaving Mr. Ince I discovered that he is not 
the only director who shops diligently and in many dif- 
ferent markets for his casts. Sometimes a director on 
this side of the Atlantic has been called upon to dupli- 
cate in New York or Los Angeles a character photo- 
graphed in London, England, or elsewhere. Character 
duplication of this sort naturally must be accomplished 
with the same fastidious care a woman exercises in 
matching the shade of an evening gown when she has 
not bought quite enough material in the first place. 

Not long ago a big producer had his camera man 
shoot some scenes of a railway station near London. 
They showed a side-whiskered, knobby-nosed old man 
alighting from a tram. Just at this point the producer 
decided the remainder of this particular scene must be 
finished in Brooklyn. He cabled to this effect, and it 
was up to the Brooklyn director to find as soon as 
possible the double of that particular old man. Not 
an easy task. But it was accomplished. After a thor- 
ough search of all the professional humanity available 
the director's eye lighted on the studio cabinetmaker, 
Continued on page 92 

There is no pretense about Eileen; she just 
will smoke and won't pose as a highbrow. 

I HAD no idea that Eileen Percy 
was a Mrs. Of course, most of 
the movie stars are married, off 
and on, but I just hadn't visualized 
the dainty blond Fox star with a hus- 
band in the offing. So it was a dis- - 
tinct shock to hear her say when she 
opened the door of her handsome Wil- 
shire residence for me one evening, 
"Do come in, I want you to meet my 
husband, Mr. Bush." 

And you know I liked that about her. Most 
feminine stars keep Friend Husband very much 
in the background at an interview, and the}' gen- 
erally tell you not to mention him in 
your story. The dear public, they ex- 
plain, would much rather think their 
screen idols unattached than tied up 

for life— more or less 

Sometimes they present husband to 
you as "Big Brother'' or as "Cousin," 
and once a diminutive ingenue intro- 
duced her bald-headed life partner to me 
as "Father." 

But it wasn't that way with Eileen Percy. 
"There is so much talk about unhappy 
marriages," said she, "that I think the pub- 
lic would like to know about the ones 
that are a success." 

"1 am sure they would," I ^^^Mmm 
agreed heartily. "And how _ 

Directed by 

Not in pictures, but everywhere 
else, and Eileen Percy likes it. 

By Celia Brynn 

many years have you been 

Eileen and Friend Husband 
looked at each other rather 
sheepishly. "A year and four 
months," said Eileen. 

"Four months — and three 
days," supplemented her hus- 

"Well," I said dubiously, 
"a year and four months isn't 
terribly long." 

"But it's long enough to 
make us perfectly sure that 
we're going to stick together 
for the rest of our lives," as- 
serted Mrs. Bush, nee Percy. 

The senior member of the 
firm of Eileen & Company is 
good-looking enough to be a 
leading man or an assistant di- 
rector — but he isn't. He's just 
a plain business man and thinks 
that one professional in the 
family is enough. So does 
Eileen. If you've admired 
Eileen Percy on the 
screen, you'd ad- 
mire her still more 
in her home. It is 
a very lovely home, 
with a big fire- 
place, rose-colored 
reading lamps, a 
big yellow Angora 
cat, and sleek bull 
terrier who an- 
swers to the name 
of "Peppy." 
Eileen wears 
simple gowns 
of Georgette 
crepe with 
round necks and 
short sleeves 
that set off per- 
fectly her light- 
gold hair, gray 
eyes and perfect 

Directed by Friend Husband 


Is her hair naturally that shade and is her com- 
plexion her own ? Ask me something easy. I do not 
pretend to be a wizard on beauty secrets. I only know 
that the effect is all that it should be. Why ask more? 

There is no pretense about Eileen. She doesn't gush 
over you. and she isn't upstage. I don't think she 
has any philosophy of life, and I'm positive that she 
hasn't read Turgenef's latest horror. She doesn't play 
the piano, and it's quite uncertain 
that she could discuss the Little 
Theater Movement in America. Her 
voice has a throaty, slightly husky 
quality, she smokes cigarettes, and 
she won't be outraged because I am 
telling about it. 

"Why not?" she'd sav. "It's the 
truth, isn't it?" 

She has never spent a dollar for 
personal publicity. 

"That's piffle." she said, flicking 
the ash from her cigarette. "If vour 
work on the screen doesn't speak 
for you. then you aren't worth pub- 

Eileen was born in Belfast. Ireland. ''Percy" is — 
or was — her real name, and she came to America in 
pursuit of a theatrical career. 

"I had thought some of going back to Ireland for 
a visit this summer." she interrupted herself, ''.but I 
guess they have enough trouble there without me being 
there to stir things up." 

"Oh, then, you're a Sinn Feiner?" I asked. 

Eileen stole a glance at Friend Husband. "Well, 
I'm not quite sure," she said evasivelv. 


that cost $25,000! It sounds like 
the latest bedroom farce, or the 
reckless excursion of a De Mille 
costumer, but it really is the simple 
story of Tsuru Aoki's visit to Japan 
after an absence of twenty years. 
We poor benighted Americans 
who think that a kimono at the 
breakfast table is a kimono, and 
nothing more, have a great deal 
to learn. Tsuru Aoki tells Emma- 
Lindsay Squier, and she will tell 
you, in the next number. 

But I've a hunch that if we had been by ourselves, 
her answer would have been quite different. 

Without much trouble she landed in the Follies, and 
if you'll look at her picture, it won't be hard to un- 
derstand why. Then one night Douglas Fairbanks saw 
her from a box seat and went around the next day 
to offer her the lead in the picture he was about to 
make, "Wild and W oolly." So she came West three 
and a half years ago and has played 
with Bill Russell. Lew Cody, Frank 
Mayo, and recently signed a contract 
with Fox to be starred in comedy 

"They engaged me at Fox to take 
the place of Madlaine Traverse, who 
had broken her contract in the mid- 
dle of the picture," she told me, "so 
I made 'Her Honor, the Mayor.' 
which was to have been her next 
feature. I was perfectly rotten in 
it," she said frankly. "It wasn't 'my 
type of picture at all. It needed 
some one like Miss Traverse, who has 
a statuesque physique and a dominating personality. 
The critics were very kind and said that my work was 
good, but pooh ! I know better." 

Her latest pictures with Fox have pleased Eileen 
more. They are "Beware of the Bride - ' and "The Land 
of Jazz." 

"Still," she said, "I'm not so crazy about comedies, 
I'd rather do dramas with heart-interest themes." This 
with another stolen glance at Friend Husband. 
Continued on page 91 

The Agate Girl 

Helen Jerome Eddy is that and more, but 
what she wants to be is a hyphen-woman. 

By Helen Ogden 

THE nicest compliment I ever received." said 
Helen Eddy, "was when a man wrote me in a 
fan letter that I always reminded him of the 
'girl around the corner' in his home town." 

And curiously enough I found 
by looking over her fan mai 
that she is thus regarded by 
her admirers — a sort of 
home-town girl — the girl 
you used to go skating A 
with, the girl who helped Jj 
you with your Latin de- M 
clensions, the girl who JH 
-lapped your face when Mm 
you kissed her at the M&j 
Sunday-school picnic. ^ Wfl 

But my impression 
of Helen Eddy was 
distinctly not "home- 

At first glance I 
summed her up in 
one word, "cold." A 
little later I changed 
the cold to "reserved," 
and still later to 

The woman who is 
home and children, 
husband's sweetheart 

devoted to 
but is still 
is her ideal 



The Agate Girl 

And now I'm not so sure. Even after a whole after- 
noon — and a delightful one at that — I cannot put Helen 
Eddy into a mental pigeonhole or catalogue her in 
any way. 

When 1 think of her now she typifies an agate slab 
in the midst of a thousand pretty little pebbles. The 
brightness of the pebbles catch your eye, you run them 
through your fingers, admiring them briefly — and drop 
them. But here is a brown stone, vaguely grateful to 
the touch because of its coolness, but otherwise drab ; 
then the sunlight catches it in just the right way — and 
instantly the eye is enraptured by the translucent beauty 
beneath its polished surface. There is not the brazen 
brilliancy of the diamond or the impish flickering 
of the opal, but there are dim tones of soft- 
ness, there is a promise of steadfast 
beauty, a hint of mystery. That is the ^jff 
agate; and that to me is Helen Edd} 

There were three of us at lunch- 
eon — Helen Eddy, Carol Kla- 
peau, a scenario writer at 
Lasky's, and myself. Carol 
was outspokenly thrilled at 
the prospect of being "in" 
on an interview of her 
chum, and ever and anon 
I detected in Helen's 
gray eyes a hint of 
worry because I hadn't 
asked her what her fa- 
vorite sport was and 
what she thought of 
the future of the 

It must have been 
a relief when I ran 
true enough to form 
to ask her what type 
of picture she liked 
best and whether she 
had any idea of special- 
izing on one particular 

"I like the simple hu- 
man type of picture best 
and I have in mind a very 
definite type of picture 
which I wish to do," she 
said, answering both que< 
tions at once. 

"I want to be" — she leaned 
forward to fix on me her steady 
gaze which might be altogether 
earnest or entirely humorous — one 
is never quite sure — "I want to be 
hyphen- woman !" 

Friend Carol speared an olive with a tri- 
umphant thrust. If that wasn't stuff to make 
an interviewer dizzy 

"A hyphen-woman!" I groped. 

But Helen is not the kind to be needlessly 
sensational. She came to my rescue almost at once. 

"I want to be the sweetheart-mother of the screen," 
she explained. "You know, the woman who is de- 
voted to her home and her children, but who is still 
her husband's sweetheart and comrade. The mother 
idea is the biggest thing in pictures to-day. 

"Sex stuff has had a tremendous vogue, but it has 
passed. To my mind it was but leading up to the 
mother motif, and I believe that the public will be in- 
terested in it for a long, long time. The big pictures 
of to-day are not the spectacles or lurid melodramas. 

She likes to remind 
people of the ''Girl 
Around the Corner" 
in their home town. 

They are the pictures of human interest in which the 
element of unselfish love and self-sacrifice are the 
dominant notes. Mother love was the theme that made 
'Humoresque' the success that it was, and mother love 
in all its varying phases is what I want to portray on 
the screen. I have a big plan just ahead," she went 
on, "and if it materializes, Carol will write my stories 
for me. Then I'll know that they're good." 

And Carol Klapeau, accepting the compliment with 
a bow, returned the bouquet with a statement that 
Helen's acting would make any story good. 

Helen was enthusiastic about her last picture with 
Alan Dwan, "The Forbidden Thing," principally be- 
cause it is a mother picture. 

In my first half hour with her, I 
would have scoffed — to myself, of 
course — at the idea of Helen Eddy's 
becoming the Madonna of the cin- 

She looked entirely too un- 
maternal, too much like a col- 
lege girl at an antimarriage 
meeting. But when she 
showed me some stills of 
"The Forbidden Thing," 
it was again like sun- 
light on the agate. 

In the face of the 
young mother pictured 
before me was the 
brooding tenderness, 
the quiet happiness 
of the woman who 
has fulfilled her des- 
tiny. It is my hon- 
est belief that in time 
Helen Eddy's char- 
acterizations of 
young motherhood 
will be placed in the 
same category as are 
Charles Ray's imper- 
sonations of the small- 
town boy or Mary 
Pickford's delineations 
of ideal girlhood. 
Helen Eddy is almost a 
native daughter of Cali- 
fornia. She was born in 
New York, but came West 
at an early age and went 
through grammar school and 
high school in Los Angeles. She 
made her start in pictures almost at 
the same time that Carmel Myers made 
hers. Both she and Carmel were identified 
with high-school theatricals and were in plays 

Her entrance into pictures was a mistake. 
What I mean is it was an accident. She was 
studying Greek mythology in high school and, 
having become saturated with Olympic atmosphere, 
wrote a scenario in which goddesses flitted hither and 
yon, mingled with mortals ad lib, and had a gorgeous 
time generally. She took the "masterpiece" to old 
Captain Melville, in charge of the Lubin studio in Los 

"He said it was a rotten story," related Helen, "but 
that I looked as if I might be a good actress. He asked 
me if I'd like to go into pictures, and I said I would 
not. I explained loftily that I had been 'studying for 
Continued on page 91 

The Screen in Review 

Wherein you will find, for your guidance, a frank and fair comment upon recent films. 

By Agnes Smith 

ONE of the greatest joys of being associated with 
the motion-picture industry is that of knowing 
that the business is always in a critical con- 
dition. It is always on the brink of ruin or on the 
threshold of greatness. It is always in a state of in- 
tense excitement and tremendous upheaval. It is never 

After two months in the moving-picture business, 
the average individual is ruined for ordinary careers. 
The only vocations that compare with it are those of 
the human fly, the stunt aviator, and the motor-cycle 

The motion-picture business is now going through the 
usual crisis. From now on, according to announce- 
ments, no one is going to make anything but super- 
extra-de-luxe specials ! There aren't going to be any 
more unimportant pictures. All the movies are going 
to have all-star casts, and every director is map- 
ping himself out a working program like D. 
W. Griffith's. 

This is all very exciting to the on- 
looker. But it must be twice as ex- 
citing to the director who is really 
not equipped to make superspecials, 
and to the plain, ordinary actor or 
actress who has no de-luxe qua" 
ities. However, take it from the movie mag- 
nates, in future all pictures are going to run 
as long as "Humoresque" and have casts as 
bright and shining as the one in "Way 
Down East." Twenty-five great authors 
are going to collaborate on one scenario, 
and each picture will be two years in the 
making. In other words, the screen is go- 
ing in for Big Things, and you must not 
refer to the results as "movies." When 
all this comes to pass, the critic will 
not be obliged to criticize ; he need 
only murmur: "Oh!" and "Ah!" 

This promise of splendor is 
very nice for the big producers, 
and it is very nice for the the- 
ater managers in the large cities, 
where a picture can be run for 
several months and given the 
benefit of artistic stage settings 
and good music. But which is 
best for the small town, the small 
house, and the neighborhood 
theater ; the superextra-de-luxe 
special, or the short, snappy, and 
entertaining movie ? 

Marcus Loew, who controls 
nearly two hundred theaters, 
once told me that he wished he 
could make up his programs of 
short subjects — the type of two 
and three-reel pictures that were 
produced when Biograph. 
Kalem, Imp, and Yitagraph 
were the leading film trade- 
marks. Some of his patrons, he 
said, only care to drop into the 

theater for a few minutes and can't wait for the un- 
winding of a six-reel drama. But the stars refuse to 
appear in short pictures, and the producers .cannot 
afford to make them. 

Just to be contrary, I should like, for the moment, 
to go against the popu'ar trend. I believe that I could 
get a good deal of support for the statement that most 
pictures are too long — that their stories are told before 
the reels are unwound — and that the average subject 
is overestimated, instead of underestimated. So I am 
going to start a trend of my own against the super 
special and for the shorter and lighter picture. 


Example number one is "Polly With a Past." Metro 
purchased the rights to the Belasco comedy and engaged 
Ina Claire to re-create her stage role for 
the screen. The production was launched 
with great ceremony, because, very likely, 
the company was dazzled by the amount 
of money the play had made in New York. 
The film had a sensational debut. It was 
shown to the Metro officials, and Polly's past 
set fire to the projection machine and burned up 
the Metro offices. And the story of the fire was 
printed in all the newspapers. 

However, this is off the path of legitimate 
criticism. The real fault of "Polly With a 
Past" is that it is too long. The story is a 
light, vivacious, and frothy tale of a minister's 
daughter who masquerades as a French vam- 
pire in order to help out the love affair of a 
deserving young man. This merry story is told 
in six reels. And you can't be vivacious in six 
reels any more than you can be vivacious if you 
are six feet tall. The picture is an excellent 
version of the stage play, but it would have 
been twice as funny if it had been shorter 
by half an hour. 

As for Ina Claire, who was engaged 
especially to repeat her stage success, 
almost any screen ingenue could 
have done as well. Ina Claire's gifts 
make her a personable stage figure. 
On the screen she is a good actress, 
but she hasn't that strange, elusive 
charm that makes the celluloid shine. 


Example number two is, "Oh, 
Lady, Lady," also adapted from a 
stage play, this time a musical comedy by Guy 
Bolton and P. G. Wodehouse. Bebe Daniels 
plays the part of the innocent vampire artfully 
because she used to be a slapstick comedv queen 
and a bathing beauty, and therefore she knows 
her business. 

But why, oh, why. was "Oh, Lady, Lady" 
made in feature length? As a three-reel com- 
edy it would have been a joy. As it exists now, 
it_ is pretty and amusing, but it lacks snap and 

Example number three is "Flying Pat." It is 


The Screen in Review 

Having; been a former bathing beauty, Bebe Daniels is 
well fitted to play the part of a "baby vampire" in 
"Oh, Lady, Lady." 

the airiest sort of Dorothy Gish story, written by 
Virginia Withey, but it consumes almost as much 
footage as the adaptation of a long novel. Con- 
sequently, you enjoy just about half of it. You 
enjoy Miss Gish's equilibrium test and other bits 
of her tomfoolery, but you realize too often that 
the picture has no story to guide it. The reviewer 
confesses a preference to the art of Dorothy Gish 
to the art of Margaret Anglin, because Miss Gish 
knows how to do more things with her face, but 

even a clever comedian can't be spontaneous for more than 
an hour at a stretch. Miss Gish's leading man is James 
Rennie, who, as you doubtless know, the other day led Miss 
Gish to the altar and signed up the little lady for a perma- 
nent costarring engagement with him in private life at 
the same time that Constance Talmadge became the wife 
of John Tialaglo.* As for Mr. Rennie, I presume that 
you will begin to hear a great deal about him. More 1 
hesitate to say, not only out of deference to Fanny the 
Fan, but for fear that Mr. Rennie might rush out, form 
his own company, and start starring in seven-reel super- 

What I have said about "Polly With a Past," Dorothy 
Gish, and Bebe Daniels, goes also for the recent comedies 
of Wanda Hawley, Viola Dana, Shirley Mason, Edith Rob- 
erts, Carmel Myers, and a dozen other entertaining young 
persons who ought not to be too proud to do what Charles 
Chaplin, Harold Lloyd, and Buster Keaton do — make a 
few good, short comedies a year. Instead of appearing 
in vapid features or melodramas that are worn out before 
they are finished, Buck Jones, William Russell, Harry 
Carey, Lyons and Moran, and Owen Moore ought to try 
their hands at making three-reel comedy dramas. What 
we need is more entertainment and less celluloid. 


Still in a controversial mood, I will take up the case of 
"Midsummer Madness." Some of my best friends say that 
it is the greatest picture of the year. Others of my best 
friends declare that they would not pay a two-cent stamp 
to see it. To settle several bets of gloves and handkerchiefs, 
I went to see it and emerged sobbing. 

Oh, William De Mille, why did you do it? After I have 
proclaimed you my favorite director, you turn around and 
break my heart. Why did you film Cosmo Hamilton's 
book, "His Friend and His Wife?" Why didn't you leave 
sex problems to brother Cecil? Why did you forsake your 
charming and sentimental bohemia and go into society, where 
you will find nothing but arrant vulgarians? Come back 
to the sweet love story and the whimsical romance, William, 
and all will be forgiven. 

However, I will control my emotions. "Midsummer 
Madness" is beautifully produced. The two ridiculous and 
vulgar couples who flirt with each other, as idle persons 
always will, really seem like human beings. Except for 
one or two glaring bits of bad taste, the scenes are deft 
and artistic. Lila Lee, formerly a star, now an actress, 
does some beautiful work, and so do Lois Wilson, Jack- 
Holt, and Conrad Nagel. 

"Midsummer Madness" is a Famous Players-Lasky spe- 
cial, and it should make a lot of money, to speak in the 
common parlance of the trade. Go to see it and find out 
what you think about it yourself. 


The career of Lewis J. Selznick has always inspired me 
with mingled emotions. For the most part, he seems sat- 
isfied just to turn out films. Certainly, in the days of the 
World Film Corporation, he managed to strike an appalling 
average of mediocrity. But every once in a white he spon- 
sored a production that proved he longed for higher and 
better things. I think his soul is in the right place, but 
that he lacks the courage of his convictions. 

The present Selznick organization has produced noth- 
ing up-to-date that has made me want to hang laurels on 
the brows of Lewis J. and his son, Myron, but we will now 
dust off the beautiful badge of merit we have been saving 
for them and present it with great ceremony. Mr. Selz- 
nick has made a high-minded, a beautiful, and an inspir- 
ing picture. "The Sin That Was His" may not be the 

* An account of thi* double wedding: will be found on page 101. 

The Screen in Review 


most popular or the most talked-of picture of the year, 
but it ranks with the most honorable. It is honorable 
because it refuses to make the slightest concession to 
sex appeal; it is honorable because it treats religion in 
a dignified and worthy manner; and it is honorable 
because it was made without one eye on the box office. 

The story was written by Frank L. Packard, who 
wrote "The Miracle Man." It is a better story, al- 
though it hasn't so many elements of popular success. 
It tells of a gambler, a man who had deserted the 
priesthood in his youth, who, to save himself from a 
murder charge, is obliged to pose as a priest. The 
picture traces the progress of his redemption. The 
moral is that one cannot touch holy things without 
feeling their power. 

Hobart Henley directed the picture without resort- 
ing to what I will call for want of a better term, 
"stained-glass-window attitudes." The picture does 
preach, and it doesn't pose. It lives before your eyes. 
William Faversham gives a performance that for re- 
straint, power, and feeling, is one of the finest I have 
ever seen. 


The obvious joke about "The Truth About Husbands" 
is that the full story cannot be told in six reels. Some 
women have given their life to telling it. The picture 
was made by Whitman Bennett, and the story was 
based on Sir Arthur Wing Pinero's play, "The Profli- 
gate." Pinero was an important dramatist a few years 
ago. But somehow, nowadays, all his stories seem out 
of date. The unhappiness of the heroine in "The 
Truth About Husbands" arises from the fact that her 
husband has had a past, and this past crops up at an 
inopportune moment. I do not condone husbands with 
pasts, and I admit that the lady of the film had a right 
to be upset. But all the situations seemed to be "drama 
for drama's sake." 

The picture is lightened by some fine acting, with 
May McAvoy giving a really distinguished perform- 
ance of the idealistic young wife. You are going to 
hear a lot more about Miss McAvoy. Anna Lehr and 
H. E. Herbert are others who deserve praise. 

"Broadway and Home," with Eugene O'Brien tells it's 
own story in the title. 


Here we 
have it ! Sir 
Stoll s first 
tion for the 
A m u r r i - 
can trade. It 
is called 
" S q u a n - 
dered Lives." 
What native 
could think 
up a cuter 
title? Sir Os- 
wald is a 
high-up per- 
son in the 
English cin- 
ema world, 
whom you 
must not get 
confused with 
Captain Stoll, 
t h e gentle- 
man who has 
been so kind- 
ly allowing 

the dear public on this side of the Atlantic to pur- 
chase stock in his productions. Sir Oswald acted as 
British distributor for Goldwyn until he and the in- 
trepid Mr. Goldwyn had a falling out. Thereupon Sir 
Oswald decided to produce his own pictures and market 
them both in America and England. Sir Oswald cor- 
ralled a bunch of eminent authors and set himself up 
in a studio. 

The English complain because our American films 
are built so much from the national angle. After look- 
ing at "Squandered Lives," we may return the compli- 
ment. The story, written by Cosmo Hamilton, is a 
plea for the younger son. The problem of the younger 
son in Britain's nobility means no more in our lives 
Continued on page 103 

Claire Windsor has an appealing part in the Lois 
Weber production, "To Please One Woman." 

isht Off the Grill 

The man who said that a prophet was without honor in his own country 
must have foreseen the tremendous volume of objections to our recent 
film forecast for 1921. Answers to some of these objections are served 
hot, together with some timely personal observations about this and that, 
and him and her, in motion pictures. 

By Herbert Howe 

THE editor of this smart journal du beau monde 
referred in the last issue to my "biting pen" in 
a caption beneath the spreading grin of Miss 
Juanita Hansen. He stated that Miss Hansen was 
thus displaying her beautiful smile not because of en- 
joying the snow, in which she skied, but because she 
had escaped my omnivorous nonleak. Now I have lost 
as many fountain spurters as any normal boob, and 
I've wielded all sorts of scratchers, including a pea- 
cock quill from one of my host of feminine admirers, 
as a star would put it, but not even on Christmas has 
any one handed me a "biting" one. However, I admit 
that I often have prayed passionately for an invisible 
brick. My prayer has been answered with this; I'm 
endowed with a cootie-pointed self-feeder. I shall pre- 
pare to use it on the birds that bit chunks out of my 

I received numerous retorts courteous 
and otherwise to my inspired ut- 
terance as to Who'll Be Who in 
1921. Well have I learned the 
error of my ways. To the courte- 
ous first, by all means : 

Mr. Robert A. Jordan, president 
of the Fan Club of Boston, re- 
marks the omission from "the book 
of fame" of names belonging to Mr. 
Thomas Holding and Mr. Albert Ros- 
coe. I make the correction at once 
with — the peacock quill. 

My friend, Miss Mahnke, of Chicago, 
reminds me of Mr. Darrell Foss' worthi- 
ness. Mr. Foss, of "Red Lantern" ac- 
tivity, certainly belongs among the leading 
leading men. We all envy him — he has 
kissed Nazimova. 

Miss Lola K., of New York, points out 
my astigmatism in foreseeing Mary Pick- 
ford as leader of the stellar femmes. 
Miss Norma Talmadge, I'm informed, 
won the popularity contest conducted by 
a New York paper. In reply would say: 

1. That contests are not criteria, be- 
cause every one does not vote. A larger percentage 
of Miss Talmadge's admirers might have cast bal- 
lots than of Miss Pickford's or Miss Louise Fa- 

2. I protected myself by stating cautiously that it 
was beyond my vision to foresee the favorite fair in 
the exact order of their popularity. I named Miss 
Talmadge among the big ten. 

Another person hurls whole books of scripture at 
me in his denunciation of a popular star. He signed 
himself, "A father and a decent man," otherwise I 
gladly would have forwarded the letter to the lady's 

Mr. George Tucker declares Mr. Wallace Reid leads 
in popularity over Mr. Charles Ray and Mr. Charles 
Chaplin. He delicately accuses me of being bribed. 
Far be it from me to say I wouldn't take a bribe of 
the proper amount. But how Mr. Tucker does mis- 
judge Mr. Chaplin ! As for personal preferences, I 


assure you I longed to place Mr. Joseph Martin at the 
head of the list. Mr. Tucker is correct in one state- 
ment : Candidate Reid, I believe, would win the majority 
of popularity contests fairly conducted at the present 
time. But as I said 

Popularity Contests. 

There is a very large class of people which never 
indulges in popularity bouts. This class might poll an 
overwhelming majority for Mr. John Barrymore, Mr. 
Hobart Bosworth, Miss Lillian Gish, Madame Nazi- 
mova, or Miss Norma Talmadge. There is no way of 
determining popular favor except by a vote of all the 

I speak of fairly conducted contests. 
Then there is the common variety, properly con- 
ducted perhaps, but with ballot boxes stuffed never- 
theless. Some years ago there was such a contest in 
A certain male star, now defunct, was pur- 
chasing truckloads of the newspapers con- 
taining the voting blanks. Another male 
player, still popular, was giving him a close 
- <- run and was not buying votes. On the last 
day of the tourney, this nonpurchasing star 
informed the other by telephone to lay off 
or be exposed. Although Mr. X. Y. Z. was 
eager, and able, to buy enough to carry him 
to victory, he quietly requested the 
paper to give first place to his rival. 
The amusing sequel was that the star 
who withdrew subsequently received 
enough unsolicited and unpurchased 
votes to have won the contest, had 
he not been forced to withdraw. 

A more recent contest conducted, 
I believe, in the same city ran along 
with apparent sanity, when sud- 
denly right over the heads of 
Nazimova, the Talmadges, Bar- 
, thelmess, and Reid flew two 
performers scarcely known 
even in the film colony, to 
say nothing of the world at 
large, the explanation being 
that the young man in ques- 
tion was the son of a local 
police captain, and the lady 
his w r ife. To the credit of 
the paper conducting the con- 
test, the editor, seeing the absurdity of giving this couple 
a higher popular rating than that of some of the most 
famous stars, removed them from the contest, and 
listed them and their votes separately, as "local fa- 

Address Your Congressman! 

Instead of banning foreign-made pictures we sug- 
gest that congress ban American films committing the 
following offenses : 

1. Showing courtrooms where people arise as a man 
and cheer. As a substitute, we suggest that they sing: 
"On Wisconsin" or "Boola Boola." 

Critics may pompously 
take their pens in hand, 
but Zena Keefe can make 
them all look silly with 
her caricaturing pencil. 

Right Off the Grill 


2. The incessant handshaking and shoulder-grasping 
by males. Let this be confined to the beginning and 
the end, as at prize fights. 

3. Blaming absurd miracles to "the hand of God." 
Let the scenario writer take the blame ; he's paid for it. 

4. Making such remarks as that of the damsel in 
"The Jucklins" — "I come to you with a love as broad 
as God's smile when the earth's in bloom." Charac- 
ters should not be permitted to use such language un- 
less intoxicated. 

Enough Madness. 
William De Mille announces he wants only original 
stories from now on. He must have seen "Midsummer 
Madness," adapted from Cosmo Hamilton's "His 
Friend and His Wife." 

Stop the Epidemic. 
The Grill offers a prize of one diamond-dyed purple 
cow, guaranteed to give six quarts of violet cologne 
per diem, to any one discovering a cure for the great 
screen plague — heart trouble. More than a thousand 
villains met their death from this dread disease last 
year. At this rate there won't be enough left in a few 
years to carry on the dirty work, without which the 
photo drama will become a lost art. 

Why You Should See "Passion." 

1. Because the heroine does not say, "Take back vour 
pearls, you dachshund, they cannot buy my honor." 

2. Because the lover does not register passion by 
biting her shoulder blade. He kisses her foot. 

3. Because Pola Negri does not need to remove so 
much as a shoulder strap to register seduction. 

4. Because there's no Hollywood scenery. 

He Must Be a Genius. 
Arthur S. Kane says Charles Ray is a genius. Once 
I said it, too, and was accused of being the gentleman's 
press agent. To save Mr. Kane from similar indignity, 
let it be known that he is only Mr. Ray's manager. 

New Type of Director. 

By the way, Charles Ray is now bawling- through a 
megaphone, bounding on his hat and slicing the air 
just as Jerome Storm used to do for him. Which is 
to say that he has become a director of Charles Ray 
productions, and Jerome Storm, who used to serve in 
that capacity, says I'm safe in predicting that Charles 
will be a Great one. But I've predicted too much al- 
ready about stars, so when I get a chance to ballyhoo 
a quondam confrere I'm going to open all stops on 
the old calliope and leap on the keys. Al Ray, who 
once wrote pieces for this magazine, is assisting the 
stellar Ray in direction. The last time I saw the dis- 
tinguished Alfred wearing civilian clothes he was at 
a Vernon fight. Not once did he shriek, throw a bot- 
tle, or crash the guy next to him. Therefore I have 
every reason to believe he'll make an unusual director 
— even if he wears puts. 

Pola, You Must Come Over. 

On behalf of the interviewers' union of America 
I'm requested to invite Pola Negri to come over. In 
the words of Bert Savoy. "Pola. you must come over!" 
Fred Smith, who also gets lunches by doing interviews, 
said he'd bet the new suspenders he got for Christmas 
that he'd interview Pola before she got down the gang- 
plank. Of course, if he loses he will be unable to inter- 
view her with any degree of dienity. As I have a 
hydroplane in readiness I'm advising him herewith to 
take some safety pins along. 

Nothing for Mickey. 

The Los Angeles Times says that 
those who have had a peep at 
Marshall Neilan's "Bob Hampton 
f Placer" 
declare that 1 
nothing like ' 
it has been 
done since 
"The Birth of 
a Nation.' 
Nothing like ^ 
"Dinty" was ever done. 

The Lure of Europe. 

The Germans are after our 
young men and women. Betty Blythe 
is said to have received an offer from 
the same company that stars La Negri. 
Male players are particularly needed, 
we hear. George Stewart was sought 
by a European concern. George 
agreed to go over providing they would 
give him Fiume, the Potsdam Palace, 
half of Poland, and six seidels per 
diem. And George says he wont come 
down a single seidel. 

Sensations Supreme. 

A dear little cowslip writes to say 
she thinks I must be an awfully un- 
nice old cynic because I don't enjoy 
simple things. 'Tain't true. I always 
have enjoyed Marie Prevost's cos- 
tumes. But the greatest sensations are 
not always to be obtained from seeing 
pictures. The recent sensations su- 
preme have been quaffed from: 

The rendition of Tschaikowsky's "March Slav," by 
Mr. Rothapfel's orchestra in the Capitol Theater, in 
New York. 

Ditto "La Marseillaise.." 

Grapefruit fantasie at the Claridge. 

F. Scott Fitzgerald's "This Side of Paradise." 

Harriette Underbill's reviews in the New York Trib- 

Betty Blythe dancing in batik draperies. 

Miss Underhill Will Oblige. • 

We take pleasure in presenting this month, Miss Har- 
riette Underhill, who will oblige with sophisticated se- 
lections. Miss Underhill once said that I was the best- 
writer in New York, next to her. Since then I have 
always called Miss Lnderhill the cleverest woman in 
New York. For instance, her recent line, "I'd rather 
be wrong than be president." It seems she gave Wil- 
liam De Mille's "Midsummer Madness" a trouncing. 
Mr. De Mille objected and asked her to give construc- 
tive criticism. The cleverest woman did. Mr. De Mil*e 
objected to each of her points. Hence her flinging epi- 
gram, "I'd rather be wrong than be president." 

Marv Miles Minter has been working continuously 
since September, man}' Sundays being included because 
of weather conditions. Mr. Kiesling won't tell what 
Mary does on nice Sundays. 

Ray Leek, author of Metro's weekly press bulletin 
in twelve volumes, says : 

For those who have seen Miss Dana in dashing 
roles of chorus girls, a reformed crook, a Japanese 
Continued an page 97 

lack Condon, 
Universal' s 
youngest come- 
dian, bawls out 
his director, and 
takes over the 
megaphone him- 

The Ken 

Most stories of mountaineers and their 
different, for the real struggle was not the 
the story — but the struggle between the 
region. You'll like both of 

By C. L. 

GOOD-BY, Boone, be a good boy. When you get 
down to the settlemints you'll see your brother 
Jeff. Tell him his old mammy is honing for 
tc see him ag'in." 

Those words, spoken more than a year before, lin- 
gered in the mind of Boone Stallard, as he sat at his 
desk in the Statehouse and heard his opponent de- 
nouncing him upon the floor. 

The mountain people were an inferior strain, his 
opponent was arguing to the legislators. They were 
half barbaric. They could not keep a contract, for 
they were like children. They murdered each other in 
their anger, they filled the penitentiaries, and they felt 
no shame. 

"A people like that is incapable of self-government!" 
the speaker hotly contended. "And there will never 
be peace in Kentucky until these mountain counties are 
dissolved, and we of the Blue Grass counties give them 
a protective government, just as Uncle Sam governs 
and protects the backward peoples of his island pos- 

Boone Stallard listened with a stiffened spine and 
burning ears. He was leaning forward 'in his seat, his 
hand upon his pistol pocket. "Incapable of self-gov- 
ernment !" If he shot down his opponent, he would 
only prove that his opponent spoke the truth. He re- 
membered his mammy's face when she told him to "be 
a good boy." His mother was an ignorant and simple 
woman. From the mountain shack in which she lived, 

her son had set out for the legislature. What 
it was all about she little knew. He was 
going down the river on a miserable raft 
with his Sunday clothes in a gunny sack, 
carrying a hamper of pones and "fried 
hawg" to eat upon the journey. And his 
mother's last words were a message of 
greeting he should bear to his brother who 
had preceded him there. She felt no pride 
for Boone that she did not feel for Jeff, 
although one went as a lawmaker and the 
other as a law defier. Was it true, after 
all, as this Blue Grass legislator charged, 
that the mountain people had no moral 
sense and were therefore unfit to have a 
civil government ? 

"If the gentleman from Roland doubts 
what I say," continued the vitriolic speaker, 
pointing his finger defiantly at the big 
mountaineer, "let him consult his own rel- 
atives. He will not have to go home to 
find them. The penitentiary in this town 
is full of them !" 

Men shifted nervously in their seats and 
looked at Stallard. These were fighting 
words, and they expected to hear bullets 
hum. But the mountaineer removed his 
hand from his pistol and signaled for the 
recognition of the chair. A hush. fell upon 
the house, and Stallard arose trembling, but 
steadied himself and began in a voice ring- 
ing with ill-conquered passion. 

"The gentleman from Frankfort," he be- 
gan — previously he had always called him Mister Mar- 
shall — "has done tolt you-all that a heap o' my kin- 
folks has been penitencharized. I allow that's so. I 
allow they belong in jail, and I want to make the p'int 
that I he'ped put 'em thar. I done stood by the State 
o' Kaintuck and he'ped the orficers of law and order 
to jail my own kin. An' if I hadn't done it, I'm here 
to tell you that they wouldn't none of 'em be behind 
the bars to-day. 

"They ain't enough men in the Blue Grass country 
to go up into them hills and fotch back a Stallard — 
no, ner a Keaton, either. Right thar is the main rea- 
son why this bill to disrupt the mountain counties ain't 
no good. You can lead a hoss to water, the Bible says, 
but you can't make him drink. You can pass this bill 
to give the Blue Grass the right to go and govern the 
feud country. But when your men come up thar, they 
won't be enough level ground to bury 'em on, and we- 
all will have to bury them on the sidling. It takes a . 
man with hair on his chest and corns on his knuckles 
to handle mountain folks, and you Blue Grassers is 
too soft for the job. We was all one people — you-uns 
and we-uns, long time ago when our daddies came over 
the mountings from Virginny and Caroline. And it 
war jest dum luck that some on us stopped in the hills 
and the rest went on to the valley. 

"My old grandpap has tolt me afore now how his 
old pap came to Roland. With his wife and children, 
his goods and his gears, he war heading for the Blue 

t u c 


i a n s 

feuds have but the mountain setting. This one is 
battle in the little town — though that, too, comes into 
mountaineer and the aristocrat of the Blue Grass 
them, for each was a thoroughbred. 



Grass country. He done lost a linchpin and the 
wheel drapped offen his wagon. So he couldn't go no 
furder, and my folks has been livin' thar ever sence. 
If the linchpin hadn't got lorsted, my people would 
have reached the Blue Grass. They'd have had easy 
picking like you-all had, and I'd 'a' been a rich and 
eddicated feller like Mister Marshall settin' over there. 
But I ain't complaining about the hard life I've had. 
The older the coon, the tougher the hide, and the 
harder the sleddin', the better the hoss. 

"Turn a hoss out on grass and he soon gets too soft 
fer heavy going. You Blue Grass fellers have got soft. 
That's my p'int. Easy livin' has made you tame as a 
pet rabbit with his hind legs broke. That's why you- 
all don't have no feuds and no killin's. But its hunger, 
friends, hunger and hard going that has kept my people 
wiry and tough and as full o' fight as a wild razorback. 
In the name of God let me he'p my people. They need 
corn and meat. You have grabbed all the level land, 
and you are fat. And because my peo- 
ple are horngry you claim that they're 
a wild and different race." 

The mountaineer went on to heights 
of impassioned eloquence as he pleaded 
his people's cause. When he had 
done, the galleries were riotous 
with applause. The cheering was 
led by the governor's daughter 
Anne, who had been fascinated by 
the mountaineer's rugged honesty, i 
and whose eyes were blinded with j 
tears of sympathy as she 
patted her gloved hands to- 
gether regardless of what sur- 
mise her friends might make. 

As the House adjourned 
after this unusual demonstra- 
tion, it was plain to every one 
that the Randolph Marshall 
bill to disrupt the mountain 
counties was dead. As Mar- 
shall emerged from the State- 
house he saw Anne and her 
friends not far away. As he 
started toward his fiancee, a 
hand on his shoulder detained 
him. It was Boone Stallard. 
The mountaineer drew his op- 
ponent to the other side of 
the colonnade and indicated 

that they should take the back path to the rear of 
the capitol grounds. 

"Have you got a gun on you ?" asked the moun- 
taineer, as soon as they were away from the ladies. 

Marshall nodded, and seemed eager enough for the 
wager of battle. 

"I allowed you was ready to fight," Stallard said 
darkly. "And I would have loved to fitten you right 
then. But you-all claim that me and my people cain't 
govern ourselves. I showed you that we kin. I've 
learnt a heap since I bin down hyar. I've learnt it 
from vou and from the governor's daughter. You 

"The Kentuckians" 

Adapted from the Famous Players-Lasky picture 
which was based on the novel by John Fox, Jr., 
and played by the following cast: 

Boone Stallard Monte Blue 

Randolph Marshall Wilfred Lytell 

Anne Bruce Diana Allan 

Mace Keaton Frank Joyner 

The Governor J. H. Gilmour 

Colton John Miltern 

Blue Grassers don't alius say what you mean, like us 
hill folks, ner shoot at the first mad. You-all bides 
your time. That's why I didn't shoot you when you 
was a-making of that speech." 

"You are smarter than I thought you were," said 
Marshall, "and maybe you can understand some things 
if I tell them to you. You have won the heart of Anne 
— she intimated as much to me yesterday. After your 
speech to-day, it is plain to me that if you want her, 
you can have her." 

The mountaineer gazed at his rival incredulously. 
"But I don't mean to say that you are fit to be her 
husband," Marshall continued coldly. "She has been 
dazzled by your crude eloquence and by a sense of 
sympathy for your people. She has been using on me 
the same arguments that you made — that I have been 
sdftened by easy living, that my moral fiber has de- 
generated. You are both damnably wrong there. 
That's why I decided to shoot it out with you, to chal- 
lenge your fighting blood on the floor of the chamber, 
and let you have first shot — and then shoot you dead 
— with her in the gallery watching it." 

"Fair enough," said Stallard, his brows dark with 
the look of murder. "But I'm proud to say I didn't 
take no advantage. I'm goin' to kill you fair." 

The men separated a dozen paces, each watching the 
other like a fox. Each nodded at the same moment, 
aimed their pistols, and began firing. The 
mountaineer was not handy with a pistol, the 
rifle being his weapon, whereas the city 
man was a fair shot But his nerves be- 
ing overwrought, his first bullet went 
over Stallard's left ear. the second 
bullet was low to the right and 
ripped the coat pocket. Stallard's 
first two shots were even 
wilder, and on the third pull 
of the trigger his pistol 
clicked. It was empty. He 
recalled that he had put in 
only two cartridges. Moun- 
taineers are poor, and it 
makes them frugal with their 
ammunition. He dropped his 
arms to his side and waited 
for the Blue Grass man to 
shoot him through the heart. 

A lost linchpin, a missing 
cartridge — such accidents as 
these had doomed him to de- 
feat and given the fatness of 
the land to the luckier fellow. 

But Marshall did not shoot 
him down. With the racial 
quickness of the old Ken- 
tuckians his eye told him that 
his rival's cartridges were 
gone. The aristocrat with- 

held his trigger finger. Slowly 

he lowered his weapon, then 
with a look of magnanimity he flung his pistol away. 
The two men slowly advanced, and, though each was 
bitter at heart, they shook hands. 

As Marshall let 'go of Stallard's rough, red hand 
he said : 

"You almost make me believe your theory that all 
Kentuckians are of the same breed. You are a man, 
Stallard, but the trouble is, there are no others like 
you in the hills. Your folks didn't belong there, they 
stayed there by the accident of the lost wheel. You 
really belong in the Blue Grass. But the rest of the 
tribe staved in the bushes because thev are bushmen. 


The Kentuckians 

"I'd love him all the wore for it," she whispered, laying a hand on his arm. 

They didn't dare to come out in the open, and they're 
there yet. If there were a hundred men like you up 
there, Stallard, you could govern them. But there is 
only one of you — and it can't be done." 

"I ain't the only one," protested Stallard. "They're 
keeping the peace up there as I made 'em promise to. 
7'hey ain't been no killings since I come to the legis- 

Marshall smiled sardonically. 

"You haven't yet got the latest advices from your 
neck of the woods," he said coldly. "You'll find sad 
news when you reach your hotel." 

That night Randolph Marshall called on the gov- 
ernor's daughter. Anne had heard about the exchange 
of shots between the two men. Her sympathies seemed 
all with Stallard, and Marshall was not blind to the 

"Can't you see that he is winning?" Anne asked, with 
that puzzling indefiniteness of manner that makes 
woman the eternal enigma. 

"Yes, I can see that he is winning the legislature," 
Marshall answered, looking deep into the girl's un- 
fathomable eyes. "Yes, he has beaten my bill. This 
weakens my chance to be the next senator. He is 
winning some of my following away." 

"But I mean in the mountains," said Anne. "Isn't 
he winning " 

"No," interrupted Marshall almost fiercely. "His 
law-and-order plans have all gone to smash. The moun- 
tains are reeking with murder. The truce that he 
patched up to prove that the hill Billies could govern 
themselves has turned out as I said it would. It has 
proved that they can't govern themselves. They are 
shooting and stabbing and clubbing each other to death 
like a pack of locoed wolves that have turned and are 
eating each other." 

"I can't believe it," said Anne. "Did the Stallards 
break the truce?" 

"If you don't believe me, what is the use of my 
answering your questions ?" said Marshall rudely. "But 
I tell you the truth. The Stallards didn't break the 
truce. It was the Keatons. And the first man they 
killed was Boone Stallard's cousin, Jake, the boy that 
takes care of Boone's old mother. This shows how 
little they are afraid of Boone. The killing has spread 
like sneezes from a pepper shaker. Thirty dead bodies 
was the latest count, and most of them Stallards, shot 
from ambush. The Keatons have now gathered in the 
open, an army of them, and they have seized Stallard- 
ville and have asked the governor to send them a can- 
non. You can ask your father about it. There are 
two kinds of law and order in the mountains, and both 
kinds are bloody murder." 

"Where is Boone — Mr. Stallard?" faltered the girl. 
Continued on page 101 

'llllllllllliM Jiill!llllllllll!!li!l!lllll!l!llllllllll!llllllllli!!IIH 

News Notes From the Studios 

m Bits of information about new productions and items of interest about the stars. 


May Allison will appear in "Kissed," which Arthur 
Somers Roche, well-known vendor of popular fiction, 
was inspired to write when he first met her. 

Custer's last fight is one of the thrilling events of 
frontier times, reproduced in Marshall Neilan's mam- 
moth production of "Bob Hampton of Placer," in which 
Wesley Barry, Marjorie Daw, James Kirkwood,. and 
Pat O'Malley appear. 

Elsie Ferguson wears the most exquisite gowns of 
her screen career thus far in "Sacred and Profane 
Love," the Arnold Bennett play in which she appeared 
on Broadway last season, and which is being made 
into a picture play. 

When Bebe Daniels finished the last 
scene of "Ducks and Drakes," a Real- 
art production, she went to Dallas, 
Texas, for a two-weeks' vacation before 
starting work with the all-star cast of 
"The Affairs of Anatol." 

Viola Dana will appear as a home- 
town girl in "Home Stuff," a story writ- 
ten especially for her. Advance notices 
do not explain whether or not the par- 
ticular small tow 7 n where this story is laid was accus- 
tomed to one-piece bathing suits. 

Nazimova bought the screen rights to "Aphrodite," 
which Dorothy Dalton played on the stage, but before 
she could get her production under way; "Aphrodites" 
almost without number threatened to rush on the screen. 
Morris Gest, who made the production on the stage, 
said that he would produce a screen version, the May- 
flower companv rented three studios and started to rush 
the massive scenes of their "Aphrodite" to completion, 
and meanwhile a canny gentleman skipped over to 
Europe and bought a film version of "Aphrodite" played 
by Georgette le Blanc, the former wife of Maurice 
Maeterlinck. Each of these producers claims to own 
the copyright of the name "Aphrodite," but since the 
lady was the heroine of a well-known legend, it is 
doubtful if any of their claims will hold. If all of 
these are released, they will certainly bolster up Grace 
Kingsley's predictions of a nude new year. 

Stars may weep that they cannot have Wallace Reid 
or Antonio Moreno or Richard Barthelmess for a lead- 
ing man, but it was another male star who haunted 
Katherine MacDonald's dreams. She couldn't be happy 
until he abandoned his starring contract long enough 
to appear in one of her pictures. Sounds romantic, 
doesn't it? The .gentleman's name is Wesley Barry, 
well known as the freckle champion. 

After his appearance as "The Devil" in motion pic- 
tures, George Arliss will present "Disraeli," another of 
his famous stage characterizations. 

A comprehensive research department has been in- 
stalled at the Famous Players-Lasky studio at Long 
Island City, to supply directors with information about 
customs and scenes in foreign countries, or in ancient 
times. There, a director can find out. on hardly a 
moment's notice, in which country his star can appear 
most undressed without being unconventional, and less 
significant details such as the outline of a Scotch rail- 
road station, or an Australian ranchman's hut. It is 
to be hoped that there is no law requiring Cecil De 

Mille to consult with this department. Why should 
Gloria Swanson be guided by history in selecting her 
costumes or coiffures? 

Sylvia Breamer has decided to settle in Los Angeles 
and make all of her pictures there. 

Edward Kimball, whose daughter — Clara Kimball 
Young — is still more famous than he is, plays Judge 
Priest in Irvin Cobb's famous story, "Boys Will Be 
Boys." Will Rogers is the star. 

Robert Z. Leonard, who is Mae Murray's director, 
as well as her husband, has an ingenious way of mak- 
ing the jobs of star and wife overlap. In "The Gilded 
Lily," Mae Murray had some scenes 
which were supposed to be very do- 
mestic. Director Leonard suggested 
darning socks as a convincing bit of 
realism. So the next day, all unsus- 
pectingly, and the next, and several 
more, Mae Murray arrived with a bun- 
dle of her husband's socks and devot- 
edly darned them all through the scenes. 

Marguerite Clark's first starring ve- 
hicle to be produced by her own com- 
pany is "Scrambled Wives," a Broadway success of the 
past season. 

Jackie Coogan, the lovable little player discovered by 
Charlie Chaplin and featured with him in "The Kid." 
fractured his skull in an automobile accident recently. 
Work on "Peck's Bad Boy" ceased until word came 
from the hospital that Jackie was all sewed up and 
as good as ever. His director is willing to bet that 
he's even better, for while resting he thought of a lot 
of new stunts to do before the camera. 

Three studios in the East were used during the film- 
ing of "Idols," as R. A. Walsh, the director, kept con- 
triving bigger, and yet bigger, sets. Some of the scenes 
depict European sites of historical interest. The cast 
includes Miriam Cooper, Comvay Tearle. Anna O. Nils- 
son, and Henry Clive. 

Leatrice Joy, who played in "Bunty Pulls the 
Strings," keeps every one in the Goldwyn studio scur- 
rying to and fro to get out of her way since she took 
to roller skating from her dressing room to the set 
where she is working. Her next picture will be "The 
Water Lily." 

Priscilla Dean's next Universal jewel production after 
"Outside the Law" will be "False Colors." 

King Vidor is going to direct a picture called "Moth- 
ercraft," for the Federation of Women's Clubs of 
America. Before he has a chance to select some one 
else, we should like to nominate Helene Chadwick of 
the Goldwyn Companv for the leading part. In "Mr. 
and Miserable Jones," a comedy by Rupert Hughes, 
she has three children — one of whom is the tiniest 
baby ever used in a motion picture. The baby was but 
ten days old at the beginning of her screen career. 
Helene Chadwick has had intensive training in the 
care of children throughout the filming- of this picture. 

Eva Novak is appearing in "It's Never Too Late 
to Mend," by Helen Christine Bennett for Universal. 

An organization of officers who led combat units in 
the Battle of the Marne in the Great War have started 
Continued on page 100 

Sometimes They 
Tell the Truth 

Colleen Moore does most of the time 
— but on one subject she allows her- 
self just a little latitude. 

By Celia Brynn 

Her eyes, which don't match, give tier countenance a piquancy that's most captivating 

lEA with a motion-picture queen and not a thrill 
out of it! 

I suppose I should have been disappointed, 
but I wasn't. A thrill-less interview is like a swim in 
a placid sun-kissed lake after having been buffeted 
about by roaring surf and mountainous waves. You 
enjoy the buffeting of surflike temperament, the shock 
of tempestuous ideas, and the impact of egotism which 
you encounter when plunging into a cinema celebrity's 
ocean of philosophy, but you feel supremely grateful 
for the quiet simplicity of a mind undisturbed by fame 
and riches; it is, after all, in the sun-kissed lake that 
you wish to loiter. 

f knew, of course, before Colleen Moore invited me 
to tea that it wasn't to be a "jazz" party. I knew that 
she wouldn't consume a cigarette in a few greedy in- 
halations, or puff daintily at one — An fact, I knew that 
she didn't smoke or drink — or even swear naively. 

So, as I have said before, there was nothing thrilling 
about the interview. It was just a nice, comfy three- 
cornered chat, the third corner of the conversation 
being supplied by Elizabeth, Colleen's debutante cousin 
from New Orleans. 

You know how girls are when they get together. 

There w r ere questions about a diamond 
ring that Colleen wore and which she 
swore was a birthday gift from her 
father. Questions of the same sort 
about a ring which I wore and which 
I averred my mother had given me; 
and more pertinent queries about a 
frat pin that Elizabeth displayed con- 
spicuously just below the deep collar 
of her linen frock. 

Not much of an interview, you're 
thinking. Well, it really wasn't ; al- 
though I did find out some things 
about this diminutive person that I 
hadn't known before. 

I discovered her real name, for in- 
stance. It had never occurred to me 
that she hadn't been born with the 
name she has carried to screen suc- 
cess, but "Kathleen Morrison" is the 
way she was set down on the chris- 
tening records just nineteen years ago. 

"My grandmother, who is as Irish 
as a field of shamrocks, has always 
called me 'Colleen,' and every one else 
did, too, so it seemed more like me 
than the other. Mr. Griffith changed 
my name from 'Morrison' to 'Moore,' 
and the combination seemed to work- 
so well that I have used it ever since." 

Colleen thinks that her face is typ- 
icallv Irish — and maybe it would be 
if both of her eyes were blue to con- 
trast with the glossy black of her hair. 
One eye started out to be a pure Irish 
blue, but the other one staged a Sinn 
Fein revolution and came out brown. The two photo- 
graph alike, so no harm is done, and it gives to Col- 
leen's countenance a piquancy entirely original and quite 

"I played Irish girl parts for so long that I got to 
thinking I couldn't do anything else," she told me over 
chocolate and fruit salad. Elizabeth, by the way; was 
the only one who was having tea. She could not afford 
to gain an extra pound, she declared, but as Colleen and 
I were trying to get fat, we ordered chocolate with 
great gobs of whipped cream. 

"But not so very long ago Sessue Hayakawa wanted 
me to do a Hindu girl in 'The Devil's Claim.' I got 
away with it all right, and a couple of weeks ago 
Marshall Neilan said to me — you know he is going 
to star me under his direction — 'if you can do a Hindu 
part with that Irish mick face of yours, you can do 
a Chinese girl !' — and I'm going to do it !" she finished 

"You won't bob your hair?" pleaded Elizabeth, 
plainly fearful of the length to which Colleen's artistic 
ideas might carry her. 

"Oh, no," Colleen assured her. "I'm to wear a 
Continued on page 93 

Straight from the 

House Peters says his say without any 
hemming or hawing, and what he says is 
well worth while. 

By Malcolm H. Oettinger 

SOME one said he was making- a pic- 
ture for Colonel Selig, the same 
Selig who columbused the modern 
serial by unfolding the famed adventures 
of Kathlyn Williams in the Edendale jun- 
gles. You remember, even if you are not 
very old. Well, at the Selig film foundry 
they said Mr. Peters had just finished the 
retakes on "Isabel," and was probably over 
at the Tourneur works, whither he had 
been called to do "The Great Redeemer," 
with little Marjorie Daw, loaned for the 
occasion by Marshall Neilan. At Uni- 
versal City, where the Gaelic Maurice is 
leasing space for the nonce, I found the 
elusive Peters was "on location," than 
which there could be nothing more vague. 
So for a few weeks I gave up my house 
hunting, and let the story ride. 

The other day I learned that he was do- 
ing the male lead in Stewart Edward 
White's "Leopard Woman" opposite 
Louise Glaum. Hopping a trolley for the 
rather remote regions known as Culver 
City — three studios and a drug store ! — 
I knocked at the gates of the Ince studios, 
and had House Peters paged. An hour 
later found me on an African desert set, 
watching the object of my search pre- 
pare for a Sahara snooze, so to speak. 
Finally the Nubian slave extinguished the 
candle lighting his tent interior, the baby Photo by Hartsook 
spotlight threw a fitful moonbeam on the 
Peters face, his eyes closed in sleep, and the director 
yelled, "Cut!" Then I met House himself. 

Take one of the original Stuyvesants or Van der 
Poels of old New York, add the modern touch of tai- 
loring, and more than a touch of that which makes men 
say, "He is a virile-looking chap," and women mur- 
mur, "Isn't he handsome !" and you will have House 
Peters fairly well in mind. He was born in Australia. 
His speech gives one a faint suggestion of England : 
not the drawling, handkerchief-up-the-sleeve sort of 
Englishman that is so common to Hollywood, but rather 
the poised, reticent Briton. Overcasting this sugges- 
tion, .however, there is a distinct American manner — 
brusque, plain-spoken, straightforward, with an occa- 
sional touch of sardonic humor. 

His ambition at this particular moment is to have 
his own company, producing "good stories with good 
casts." He is dead set against the modern way of a 
manager with a maid — if the maid happens to be a star. 

"The danger lying in the star system," he said, "is 
this : many stars are drawing cards with personality 
and a winsome smile, but they are not artists. Conse- 
quently it would be disastrous to surround them with 
capable actors. The result : poor pictures. Y\ "hen I 
have my own company, if I have my own company," 
here he grinned broadly, "I'll let no one but real actors 
and actresses play with me. If they're good enough 

to 'take .a scene away from me,' let them, and more 
power to 'em ! 

"Another thing my company will have is a young, 
modest director, not one of these highly bill-boarded 
wonder workers, who attempts to play every role in 
the picture for each actor. After all, does it seem 
plausible to have a man who is getting five hundred 
a week explain to one who is getting a thousand how 
he should play a part? I can't see how. That's why 
I'm supposed to be so hard to direct — so difficult to 
'get along with.' It's because I will not heave the old 
chest and light another cigarette to show how perturbed 
I am ! Nothing stirring." He waved his hands in dis- 
gust. "The sooner your director will subordinate him- 
self to the business of technicalities, the sooner this 
art of picture-making will move forward. Henry 
Miller would make an ideal director. He realizes that 
the actor has brains occasionally. He won't engage 
them if they haven't. And he gets his results. Look 
at 'The Famous Mrs. Fair' and the rest of his suc- 
cesses. As an actor he best appreciates the actor's 
viewpoint when he is directing the production of a 

"Outside of Cecil De Mille and Griffith, what active 
directors are there whose work really counts with the 
audience? What director draws people into the theater 
Continued on page 90 


There's a lot to be learned from the screen, for every star 
expert explains, in this article, some of the most interesting 

By Mary 

DOROTHY GISH tripped along behind the hairdresser, 
past rows of white-curtained booths, peeking into all 
of them whose curtains were even slightly apart. At 
the end one she paused and looked intently at the woman in- 
side on whose head rose hundreds of little white tubes, like a 
gigantic octopus. The woman looked like the victim of some 
heathen torture, except that she seemed to be submitting gladly 

Photo by Lewis Smith 

For the patrician type of beauty, 
Elsie Ferguson's coiffure is ideal. 

A plain dark frame around 
her face is all that Alma 
Rubens wants her hair to be. 

Photo by Hoov 

May Allison's fluffy coiffure is effective as 
the simple blue serge that suits all occasions. 

Photo by Witzel 

to the trim young woman who was winding even more of 
the little white tubes into the few wisps of hair that remained 

"She's getting a permanent wave," Dorothy whispered in 
a horrified undertone. "And I'm scared to death that she's 
getting the wrong kind for her. Her face is so slender and 
delicately modeled — oh, do you suppose I could stop and ask 
her if she's getting nice, deep waves that will fall over her 
ears gracefully? She may be having it done in little fluffy 
curls. That would be awful." 

"Come on, Miss Dorothy, and have your shampoo," the at- 
tendant pleaded. "If she doesn't know enough to look her 
best, I guess you can't help her." 

"But I can," Dorothy insisted. "If that woman did her 
hair right she'd be a beauty. But with hair all fluffed out — 
ugh !" But she yielded to the persuasive tug at her arm and 
disappeared into one of the booths. 


has made a thorough study of the subject; and a beauty 
points, which you can bear in mind, for your own guidance. 


I strongly suspect that later on Dorothy persuaded her at- 
tendant to go in and tell the woman how she ought to do her 
hair. And if it had been almost any of the other prominent 
motion-picture stars, and you had been the girl who was get- 
ting her hair waved, they would have been tempted to the 
same kindly act. For if there is anything more essential to 
your looks than the way you do your hair — well, none of the 
big stars have found it out. And a woman who might be 

Photo by Campbell Studios 

Anita Stewart's glowing hair looks 
just like she does — unpremeditated. 

Dag mar Godowski 
uses her hair to call 
attention to her eyes. 

Photo by Freulich 

■ : 

No one with a nose less perfect than Agnes Avres 
would dare this dip in the center of her forehead. 

beautiful if she only knew how appeals to them somewhat as 
the unassembled parts of an automobile appeal to a good 
mechanic. They want you to make the most of your beauty, 
just as they do. And although they may not have a chance to 
tell you individually how to do it, they are telling you every 
day on the screen. 

Take Elsie Ferguson, for instance. You have noticed, haven't 
you. that she doesn't change the way she dresses her hair with 
every passing fashion? She knows what is right for her and 
she sticks to it. If you have small, patrician features, there 
is no better way to accentuate them than to copy this simple 
graceful coiffure. 

Such regular features as hers are rare, though, and the girl 
who has even one feature as perfect as any of hers can count 
herself favored of the gods. Bv dressing her hair so as to 
emphasize her best feature, defects in the rest will not be no- 
ticeable. Continued on page 90 

Photo by Freulich 

A Self-made Westerner 

By J. B. Waye 

"I could ride to Universal City from there, too — Pete, my big chest- 
nut hunter, and I used to make the trip together. But I sold that 
place and came to the San Francisquito Canon; this is my real home, 
for good and all." 

But as we rode over the broad acres I couldn't help remembering 
Harry Carey who wasn't a cowboy; a chap who didn't care for 
studying law and living up to his position as son of a judge of 
New York State's supreme court, and who took to writing plays 
and putting them on himself," when nobody else would do it. 
"Montana" was one of those early productions, a successful 
one, too. 

After that the pictures called him, and he went to Biograph, 
becoming the screen's first gentleman villain. And for 
the last four years he's been riding the range for 
Universal, a self-made Westerner, if there 
ever was one. 

"So you've got everything you want?" I 
asked, as we went back to the ranch house. 
"Just about." he said, with a grin. 

ARRY CAREY dropped an arm- 
ful of dogs and pointed toward 
the far horizon. 
"My land runs all the way over there — 
and if you've got time I'll show you the 
herd of cattle I've got grazing on some 
of it — just the kind of herd I've always 
wanted. In fact, this whole place just 
suits me." 

"But you took to ranching some time 
ago," I reminded him. 

"Oh, yes, at Newhall. That was a great 
place ; as soon as I'd finished a picture I'd 
hike for home, get a bunch of cowboys 
together, and go off on a hunting trip in 
the San Bernardinos and the Sierra Ne- 
vada range. Mountain lion, deer, scores of 
quail — it was good hunting, all right. 

A Girl's Adventures in Movieland 


Continued from page 49 
know lots " 'of girls whose mothers 
would be perfectly happy if their 
daughters would dress as simply and 
sensibly as Lillian Gish did. 

It was just a few minutes walk to 
the Claridge. which is the hotel 
where theatrical people congregate. 
I didn't wonder that the)- like to stay 
there. Really, it is sumptuous. 
Thick, soft carpets, glittering chan- 
deliers, an atmosphere that is quiet 
and luxurious, in spite of the fact 
that so many people are sauntering 
about. There were so many beauti- 
ful women, so many men, who might 
have fitted into a picture, that I al- 
most expected to hear a camera 
clicking. It is a grand, pretentious 
sort of place, yet Mr. Storm, who 
lives there when he is in New York, 
said to the head waiter, "I want that 
little corner," and immediately we 
were installed in such a cozy spot 
that I felt perfectly at home. Just 
outside the windows Broadway 
roared- — the clang of street cars, the 
honking of automobile horns, the 
shouting of newsboys, with the traf- 
fic policeman's shrill whistle pierc- 
ing them all, makes a sound that you 
can never forget. 

Cushioned seats are built in 
around the sides of the dining room, 
which at first seems like sort of a 
funny thing — I mean, to be at a table 
and not have to sit up straight in a 
chair. I wish that they built dining 
rooms in homes that way — it is much 
more comfortable than stiff chairs. 
I felt just as if I were in a play — 
sort of lounging there in that great 
black-and-gold room, with music 
floating down from a balcony, and 
lovely Lillian Gish sitting there be- 
side me. 

And she is lovely. That word was 
made for her. Her skin is very 
white, her eyes are a wonderful, deep 
blue, and her hair the same pure 
blond that you'd imagine it to be. 
She looks very fragile and delicate 
— almost too good to be true. Yet 
when she shakes hands with you 
she takes hold of your hand so 
firmly, and she speaks rather briskly, 
definitely, as if she knew exactly 
what she wanted to say and why she 
wanted to say it. There's nothing 
hazy or dreamlike about her, though 
she's so ethereal on the screen. 

I wish you could have heard her 
talk with Mr. Storm. He is direct- 
ing her first starring picture, "World 
Shadows," you know. He looks just 
like a successful business man ; I 
mean, not the way the fans usually 
think movie people do. He is aw- 
fully interesting, and I imagine is 
lots of fun to know. Mr. Howe 
called him "Jerry," but Miss Gish 

3 P P 

called him "Mr. Storm," and she 
spoke of "Mr. Griffith" and "Mr. 
Fairbanks" — no familiarity at all 
with people you'd expect her to talk 
about the way the fans do, who've 
never seen them. To hear her say 
"Mary and Mr. Fairbanks" sounded 
so funny. 

Then she and Mr. Storm started 
talking about directing pictures, and 
he gave her lots of advice that would 
help her if she ever directed an- 
other. My, the way they carelessly 
mentioned thousands for this and 
thousands for that just made my 
head spin. 

Even though the conversation was 
so interesting, I found time to watch 
two girls who sat at a neighboring 
table. They looked just as you'd 
expect the girls in a big metropoli- 
tan hotel to — very smartlv dressed, 


She watched the carpenters build- 
ing the biggest set she had ever 
seen; she met Bert Lytell, her 
home town's favorite screen hero, 
and found him all that she had 
dreamed — and more. And then 
Maxwell Karger, Metro's director 
general who looked more as she 
had imagined a director would look 
than any of the others she had met, 
told her that she was to act in the 
picture! She was sure it was all 
a dream. But it wasn't. The time 
came for her to go in the scene — 
and she had to go. It was the 
most thrilling experience Ethel 
Sands had ever had — and she will 
tell you all about it in the next 
number of PICTURE-PLAY. 

with lots of make-up on, and smok- 
ing cigarettes with such a blase, 
sophisticated air. I'd always im- 
agined that motion-picture stars were 
like that, but, judging by those I've 
met, I've changed my mind. 

Miss Gish had with her a little 
round basket with a cover and a 
handle, which, she explained, was 
for all the papers and things she has 
to carry about with her. 

"Dorothy brought me this beauti- 
ful thing from Paris," she said, 
showing me the prettiest bead purse 
I ever saw, "but it's so small that 
it would never hold all these things." 
And she showed me the important- 
looking documents that were in her 

Now, what impressed me was this : 
She could have bought a beautiful 
big leather case for those papers, or, 
if she wanted a basket, she could 
have had the prettiest one in New 

York. Instead of that, she had a 
basket that any one could have had; 
nothing at all pretentious or expen- 
sive. That's exactly like her, it 
seems to me — just to do the natural 
thing in the very simplest way, in- 
stead of spending a lot of money and 
trying to have everything she does 

Lillian Gish simply worships Dor- 
othy ; to hear her talk you'd think 
she herself didn't amount to anything 
much, and Dorothy was the most 
wonderful person in the world. 

"She's just gone back home to 
Ohio, to the town where we were 
brought up — Massillon," she said. 
"Can't you imagine her in all her 
Paris clothes in a town of less than 
twenty thousand inhabitants? Oh, 
but it's such fun to go back there, 
where you know every one you meet 
on the street !" 

"I see by the papers that Dor- 
othy's engaged," laughed Mr. Storm. 

"Oh, wasn't that terrible? I don't 
see who circulates those rumors. 
Dorothy called me up awfully early 
this morning, simply wild, to know 
if I'd seen the report. 'It's in the 
morning papers, and it sounds so 
official — they'll have me married by 
the time they get out the evening 
editions,' " she said, and she was just 
about crying. Lillian paused to 
laugh about it, too. "She seemed to 
think that if the papers said it, it 
would be true." 

I asked her about "Way Down 
East," especially the rescue scene on 
the ice, and she laughed. 

"I still get excited about that." she 
said. "I often go to the theater, to 
see how the audiences take my work, 
but when it comes to that part I find 
that I forget all about the audience 
and just watch the screen." 

"Afraid that some time Dick Bar- 
thelmess won't get there in time and 
rescue you?" asked Mr. Storm, 

"Just about," she answered. "And 
oh, you should have seen my mother 
the first time she saw that part of 
the picture — she hadn't known it was 
so exciting, and — well, next time I 
go on location she'll probably insist 
on going right along !" 

Well, I certainly didn't blame her 
mother for feeling that way. 

It was getting late by that time, and 
she had to go back to the office with 
Mr. Storm to see about some busi- 
ness matters, so we went out to the 
sidewalk and then said good-by. I 
felt like Cinderella leaving the ball. 
And yet, somehow, Lillian Gish had 
been so friendly that I felt that al- 
ways, after this, when I see her on 
the screen I'll feel as if we had had 
a visit together. 

To be Continued. 


A Trip Through Europe's Filmland 

Continued from page 21 
level. After a few shipments to the 
morgue and the local Matteawan, the 
cops raid the joint, showing that 
there is a limit to police protection 
over there. 

After remarking this merry pic- 
ture, I observed to my Austrian 
friend : 

"Why send two million soldiers to 
Europe when a few Pennsylvania 
censors could have spoiled all 
your fun!" 

"You forget," said he, "that 
the censors, and not the film, 
might have been demolished." 

But I couldn't see where we 
would have lost, anyhow. 


While my sketch of "Genu- 
ine," a German film, sounds 
like "Buckets of Blood or the 
Janitress' Revenge," it really 
is depicted in the congealed 
beauty of Poe. It is one of 
the new "expressionistic" films 
which are gathering great 
vogue in central Europe. The 
manner of treatment is of the 
Futuristic or Impressionistic 
school. While the effects in 
"Genuine" and "The Cabinet 
of Dr. Caligari" are bizarre, if 
not weird, they are not Valeska- 
surratish. There is a wealth 
of imagination which comes as 
a relief from the uniformity of 
custom-tailored products. For 
all their criticism of our mo- 
notonous stories, the foreign- 
ers have little enough of va- 
riety at home. The expres- 
sionistic films are rapidly in- 
creasing in number because of 
their popularity as an innovation. 

The opportunity for greatest 
screen advance, as indicated in our 
year's Forecast, is in the path of 
the pictorial rather than the dra- 
matic. The German artists have 
seen this and have proceeded in that 
direction. The expressionistic pic- 
ture has endeavored to express 
moods by environment as well as by 
the characters moving therein. The 
artists have succeeded in conveying 
the feeling of depth, color, and lim- 
itless space, by supplementing real 
form with painted artifice. As 
Urban on the stage has obtained 
false perspective by the use of paint 
and light, so these artists have suc- 
ceeded remarkably in adding depth 
and rotundity to the flat surface of 
the screen. Norbert Lusk in the last 
issue of Picture-Play presented 
some fragments from the screen art 
which Urban is now developing for 
us. An Austrian by birth, Urban 
had much to do with the artistic 
trend of the picture in Germany. 

The expressionists are much more 
radical than Urban. Yet they do not 
scramble with the Cubists. Particu- 
larly effective is the manner in which 
they project perspective. Not only 
does their perspective extend into 
the background, evolving by massed 
shadows and splotches of light a 
vista flowing away from the eye, but 
it projects from the screen in such a 
way as virtually to incorporate the 

Francesca Bertini is considered the greatest 
actress of Italy and one of the greatest on 
the continent. 

spectator. This illusion is created in 
one instance by tilting a foreground 
wall in such a way that it appears to 
continue indefinitely outward. 

The expressionistic film is yet in 
the experimental phases. It has de- 
veloped only a few products ; hence 
it can be judged only by its poten- 
tialities, which seem vast. The sto- 
ries thus far treated have been fan- 
tastic, permitting the expressional 
atmosphere to dominate over action 
and character. There is no reason, 
however, for restricting this method 
of investiture to phantasmagoria. 
With modifications its utility can be 
diversified. As it stands it is excel- 
lent for picturing the fanciful and 


Ranking next to Germany in pro- 
ductions of significance to America 
is Italy. Her finest celluloids at pres- 
ent are "The Power of the Borgias ;" 
"The Sack of Rome," from a story 
by D'Annunzio ; and a film ed^ion 

of Sardou's "Theodora," with Rita 
Jolivet in the titular role. We al- 
ready are acquainted with Mile. Jo- 
livet, a French actress, through her 
work in American pictures of a few 
years ago and by her sensational 
rescue from the sinking Lusitania. 
from which she conveyed the final 
words of Charles Frohman. 

While these photo dramas are 
superb, spectacular, and endowed 
with good histrionism, they are 
rather burly of movement. With 
careful editing in the way of 
titles and cutting they no doubt 
will be successful here. 

If we fancy that all Europe 
is sedulously in attendance upon 
American favor because of our 
wealth, we have something to 
learn. Italian producers mani- 
fest the most amazing disdain 
for commercialism. They simply 
ignore the American dollar, even 
though it is worth a bucket of 
lires. Their indifference leaves 
the American flabbergasted. 

Richard Rowland, president of 
Metro, made an advance pay- 
ment on a contract for all Italian 
films starring Francesca Bertini. 
The Italians accepted the coin, 
but to date have ignored the in- 
cidental trifle pertaining to their 
part of the bargain — namely, the 
delivery of the films. Rather 
than tangle in litigation with 
persons of such peculiar com- 
mercial temperament, Mr. Row- 
land long ago ceased to consider 
his payment as anything more 
than a friendly donation. So 
heroically has he striven to de- 
lete the transaction from his 
memory that the very words "Ber- 
tini" and "Italian film" elicit a dep- 
recating groan. According to the 
terms of the Metro contract Signo- 
rina Bertini is due to arrive in this 
country next year to star in Metro 
pictures. If the lady will accept the 
obsequious offer of some fifty times 
what she is making in Italia, she 
probably will appear in a production 
of a D'Annunzio story. Arrange- 
ments also have been made for the 
appearance with her in the same pic- 
ture of the poet-aviator-warrior-dic- 
tator of Fiume. But I have a hunch 
that our prohibition of liquor is go- 
ing to act as a prohibition for a lot 
of European genius. 

Mr. Rowland is not the oniy gen- 
tleman who has been baffled by the 
insousiance of our Italian comrades. 
The Luporini brothers, themselves 
Italian of birth, but Americans of 
business methods, have been non- 
plused in their attempts to import 
"The Sack of Rome" and "Theo- 
dora." Recognized as the leading 

A Trip Through Europe's Filmland 


Italian exporters and importers 
established in New York, the Lu- 
porinis were sought for obtaining 
the American rights to these works 
of Italian filmcraft. Fifty thousand 
dollars was the price originally asked 
for "Theodora," I believe. This 
steadily mounted with each cable- 
gram from Italy until finally it hit 
three hundred thousand dollars. The 
Americans negotiating for the film 
agreed to the price, conditional to 
the acceptance of the print, and ca- 
bled the Italians to send over the 
film. The reply was to the effect, 
"If you want to see it come over 
and look at it." This knocked the 
wind out of the patient American 
capitalists. Nevertheless, the Lu- 
porini brothers doubtlessly will suc- 
ceed in gaining for our perusal these 
masterpieces, which fortunately deal 
with ancient times, else would be an- 
tedated by the time they reached us. 

In recounting with much amuse- 
ment this episode to a Frenchman, 
I happened on to an interesting im- 
pression of Americans as held by 
Europeans. And the national ego 
got another puncture. 

"I am not surprised," said my 
French friend, when I told him of 
the Italian ultimatum. "American 
business methods have not always 
been satisfactory to Europeans." 

I previously had inquired of the 
same gentleman as to how the 
French feel toward the Germans and 
German products. He said : 

"The French, I think, are indiffer- 
ent toward the Germans." 

"And toward the Americans, do 
they feel the same?" I queried, ex- 
pecting in reply a kiss on each of 
the nation's cheeks. 

"Oh, no," said he. "We distrust 
the Americans." 

He explained that representatives 
of American mercantile firms had 
in the past visited Paris with samples 
of excellent goods. Large orders 
were placed. When the goods ar- 
rived they were not at all the quality 
of the samples. 

"We may not like the Germans," 
he observed. "But they are to be 
trusted in business." 

I might have raised some objec- 
tion had I not suddenly recalled the 
parting words of the Moroccans as 
our A. E. F. transport shoved off 
from Tangiers on the way home 
from France. We khaki heroes had 
pilfered the baskets of the Morrocan 
peddlers, had put over cigar coupons 
marked "20" as twenty-dollar bills, 
and finally had turned the ship's hose 
upon their rowboats full of goods. 
In response to our departing shrieks 
of hilarity, the dripping, pilfered gen- 
tlemen, robbed of even their fezes, 

shook their fists and screamed, "You 
Americans dam thieves !" 

Thus honorable gentlemen of 
American business have to contend 
with the reputations strewn around 
by some of us renegades. But it seems 
to me that a foreign firm has no ex- 
cuse for temerity toward such a com- 
pany as Metro. At least they might 
satisfy themselves with a very little 

Signorina Bertini is considered the 
greatest actress of Italy, if not of 
Europe. Other Italian favorites are 
Pina Menichelli, Maria Jacobini, 
Maciste of "Cabiria" fame, and 
Itala Almirante Menzini. I hate to 
think what will happen to these il- 
lustrious names when the American 
distributors finish with them. Our 
exhibitors are too considerate of 
their electricians and billboard art- 
ists, as well as their patrons, to hand 
them anything like Itala Almirante 

Ida Rubenstein, who stars in "The 
Sack of Rome," is not counted a film 
regular. She was famous as a dancer 
in Paris when the versatile Gabriele 
D'Annunzio, running low on pub- 
licity copy, came along and dubbed 
her world empress of beauty. 
Whether that led to Ida's appearance 
in Gabriele's drama or whether her 
appearance in the drama led to the 
proclamation I do not know. Any- 
how she runs the choreographic scale 
with distinction on the screen and 
does very well, I'm told, with the 


Crossing the sapphire sea from 
Italy to France we find the lovely 
cote d'azwr quite free of camera 
traffic. I fail to understand the 
cinema's immaturity in a land where 
fine art comes to efflorescence in the 
more exquisite shades. 

Only a few yards from the Casino 
on the promenade at Monte Carlo 
I met Charlie Chaplin postered out 
in stick and derby. The French call 
him Chariot and regard him affec- 
tionately, as they do most of our 
stars. When some ten thousand of 
us struggled under packs and hel- 
mets up the streets of Brest, back in 
those martian days, one of the fel- 
lows yelled out, "Oh, pipe Louise !" 
There on the billboard Louise Glaum 
in flaming devil gown smiled wel- 
come. She was scheduled to appear 
that night in Brest in Le Loup 
Femme — her famous "Wolf 
Woman." When we arrived in 
Langres, behind whose walls and 
drawbridges Caesar used to hang out, 
we encountered Charles Ray and 
Pearl White. A lively mam'selle 
gave a delightful imitation of the 
Ray gaucheries while serving us le 

tin rouge at a little cafe. Our 
Charles certainly is in bon bon with 
the French. All whom I encoun- 
tered seemed quite frankly partial to 
the American cinema. And I won- 
der not. I was lured to a Langres 
theater by an old Vitagraph picture 
starring Antonio Moreno. The fea- 
ture was preluded by a French film 
of three reels all about the adven- 
tures of a little dog — a poodle who 
would have fared badly in histrionic 
competition with our Teddy Sennett, 
Bobby Moreno, or Whiskers Ray. 
Before his rambles finished I was 
hoping that the thing would turn out 
tragic, with the pup running into a 
sausage grinder. While the French 
seemed well entertained by the dog 
drama, they saved their real enthu- 
siasm for the dare-devil Tony. 

I still have faith in the French 
cinema. Heavily shadowed by war, 
bled white of manhood, the country- 
will be slow to catch up, however, 
with the more fortunate nations. 
Madam Dulac, a French producer, 
recently visited America to study 
our methods. She hoped to secure 
some male players, for the war has 
robbed France of cinema man 
power. A number of English com- 
panies have taken advantage of the 
rare scenic backgrounds about Paris 
and along the Riviera, and I believe 
Americans would be heartily wel- 
comed. Douglas Fairbanks plans to 
do "The Three Musketeers" in 
Paris, while Mary will do "Little 
Lord Fauntleroy" abroad. The 
Prince of Monaco extended an in- 
vitation to Katherine MacDonald 
and her company to film "Passion's 
Playground" in the actual locale of 
Monte Carlo. He offered to pay the 
expenses of the entire company from 
Paris to his principality and to en- 
tertain them while there. Miss Mac- 
Donald found it impossible to make 
the trip at that time, but she expects 
later to take advantage of the stand- 
ing invitation. 

Sweden is the only other country 
of the continent which is doing much 
production. Winifred Westover re- 
cently appeared in a Swedish picture, 
and Anna O. Nilsson, also of Swed- 
ish birth, has been invited to visit 
the" fatherland for a picture engage- 
ment. Lars Hansen, a star of the 
Swedish constellation, may be added 
to the European counterparts of 
American stars. Lesly Mason de- 
nominates him "the Charles Ray of 
Sweden," and considers him the best 
male bet of Europe so far as Ameri- 
can popularity is concerned. The 
most popular of the Swedish femi- 
nine stars, according to Mr. Mason, 
are Tora Teje and Karin Molander. 
Mary johnson, I've been told, is also 
Continued on page 95 

When Good Fellows 
Get Together 

By J. B. Waye 

I_| AROLD LLOYD thinks that Douglas MacLean is 
' so funny that he'd make a whale of a director for 
him if MacLean weren't busy with stuff of his own. 
And Douglas MacLean laughs himself sick at Rarold 
Lloyd's pictures, wishing meanwhile that he might have 
him for a director. So they tried it one day. and you 
don't know how near you came to never seeing either 
of them on the screen — or anywhere else — again. 

"Why not put a little pep into that scene by doing a 
fall and looking dazed?" asked Lloyd. ' You know — 
just flop. Like this." 

MacLean acted on the suggestion. Two friends 
picked him up, others ran for water, his wife, and the 
strongest home brew in the neighborhood. 

VI OW you cling to this ledge by your 
fingers," said MacLean to Lloyd, 
as they stood on the coping pictured 
above, "until the burglar appears at the 
window and says 'Hands up !' And 
then you put your hands up, and are 
dashed to death on the pavement hun- 
dreds of feet below. It will be a 

"Yes," Lloyd admitted thoughtfully, 
"my last." 

So their first venture directing each 
other was also their last. Here they 
are, safe and sound, and the best of 
friends, because they didn't follow each 
other's suggestions. 

But if any one ever consults either 
Lloyd or MacLean on new comedy 
tricks they'll just refer you to the other 

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\J. see, perseverance finally wins out. 
Here you are at the top of The Oracle 
department at last. Dorothy Dalton is 
not married. She was born in Chicago, 
Illinois, on September 22, 1893. Is that 
last threat a promise? I hope so. 

Dot Barnett. — So your friend said 
mean things about Ethel Clayton, did 
he? Well, confidentially, I think that 
he was jealous because you were going 
to send her a box of your good, home- 
made candy. Perhaps he thought you 
would send it to him instead. Ethel is 
really a sweet, charming girl — worthy of 
all the lovely things you thought about 

Helene R. M. — Thanks for your very 
enjoyable letter. But you forgot to ask 
any questions, so I can't give you any an- 
swers. Better luck next time. 

Elizabeth B. — You are hard on the 
married men I should say. Maybe they 
aren't so much to blame. Why don't you 
ask one of them ? Art Accord was born 
in Stillwater, Oklahoma, in 1890. 

Buddy F. A. O. H. — Seena Owen has 
been appearing recently in Fox produc- 
tions. She has just been signed up by 
Cosmopolitan to star in one or more of 
their productions. She is married to 
George Walsh, and they have one child. 
Her correct name is Signe Auen, but she 
changed the spelling of it so the fans 
could pronounce it. She was born in 
Spokane, Washington. She is a blonde. 
Olive Thomas died in Paris as the result 
of accidental poisoning. 

Fan of the Sweetest Girl in the 
World — Shirley Mason. — If your title 
had been any longer, we would not have 
been able to get all of it in The Oracle 
department. Your favorite first saw the 
light of day in Brooklyn, New York, in 
1901. She is five feet tall and weighs 
ninety-four pounds. She chums with her 
sister, Viola Dana. Leonie Flugrath is 
Shirley's correct name. She is the wife 
of Bernie Durning, the actor, who is now 
directing his first picture for Fox. Shir- 
ley is still being starred in Fox produc- 
tions. She lives in Hollywood, California. 
Her latest picture is called "Girl of My 
Heart." It was adapted from the novel 
"Joan of Rainbow Springs." Clara Kim- 
ball Young is to continue making features 
for her own company. I have no special 
favorites. Yes, I liked the "Walk-Offs" 
very much. Constance Talmadge's birth- 
day is April 19th. 

M. W. Admirer. — It is always best to 
inclose a quarter with your request. You 
are then sure of getting a photograph 
that is worth a nice frame. Marie Wal- 

camp and Kathleen O'Connor are not re- 
lated. Marie has deserted the screen for 
the time being and is playing the ingenue 
with Maude Fulton in her stage play, 
"The Humming Bird." Mary Pickford 
has released "Suds" and completed one 
picture since her trip abroad. 

Embee, Frisco. — Thelma Percy is a 
younger sister of Eileen Percy. She is 
still very much in her teens. 

THE ORACLE will answer in 
these columns as many ques- 
tions of general interest concern- 
ing the movies as space will allow. 
Personal replies to a limited 
number of questions — such as will 
not require unusually long answers 
— will be sent if the request is ac- 
companied by a stamped enve- 
lope, with return address. Inquiries 
should be addressed to The Picture 
Oracle, Picture-Play Magazine. 79 
Seventh Avenue, New York City. 
The Oracle cannot give advice about 
becoming a movie actor or actress, 
since the only possible way of ever 
getting such a job is by direct 
personal application at a studio. 
Questions concerning scenario 
writing miist be written on a 
separate sheet of paper. Those 
who wish the addresses of actors 
and actresses are urged to read 
the notice at the end of this 

Lucille K. — Elaine Hammerstein and 
Alice Lake are not related. Jane Novak 
is not William S. Hart's wife. Bill doesn't 
possess a better half. Jane Novak was 
married to Frank Newburgh. She has 
a little baby girl. Mary Miles Minter's 
correct name is Juliet Shelby. 

A Fan Called Fanny. — Pearl White 
is making features for Fox. "Tiger's 
Cub" is her latest release. Write to the 
editor of Picture-Play and inclose six 
cents in stamps for a copy of the Market 
Booklet, which contains the names and 
addresses of all the film companies with 
the type of stories they are in the market 
for. Dorothy Dalton and Lew Cody are 
divorced. Marguerite Cortot was born 
on August 29, 1897. George B. Seitz is 
producing serials for Pathe. He doesn't 
play in all of those he produces. His 
latest two are called "Pirate Gold" and 
"Velvet Fingers." "The Phantom Foe," 

with Juanita Hansen, was produced by 
his company. 

May P. — I can't help you to become a 
motion-picture actress. Fourteen is 
pretty young to make up your mind to 
leave school and become a star. You 
have to start at the bottom, you know — 
not at the top. I quite agree with your 
parents. Mary Pickford has been in mo- 
tion pictures since 1908, when she made 
her first appearance on the screen for 
the Biograph Company in a picture 
called "The New York Hat," produced 
by D. W. Griffith, with Mack Sennett 
playing Mary's husband in the film. New 
York and California have about ninety 
per cent of the companies. 

Francis X. — Tom Mix was about 
everything a cow-puncher can be before 
he went into pictures. He was a mem- 
ber of the Rough Riders during the 
Spanish-American War. That is his cor- 
rect name. "Tony" is the name of his 

Georges Carpentier Admirer. — "The 
Wonder Man" was the picture Georges 
made during his first visit to America. 
He has returned to France the second 
time now, but we will more than likely 
see his smiling face on these shores again 
in the near future. You might write and 
see. I think he won't be making any 
more pictures for a while at least. 

Brown Eves. — I just have to be jolly 
with all the nice letters I get. How can 
you blame me? Gloria Swanson's latest 
picture is called "Something to Think 
About." She has a baby daughter, Gloria, 
Jr., born the seventh of October, 1920. 
Yes, very. Norma Talmadge is the wife 
of Joseph Schenck, who produces her 
pictures for the First National, and also 
those of her sister, Constance. Katherine 
MacDonald's latest film is "Curtain." 

The Floridorian. — Douglas Fairbanks 
was born in Denver in 1883. Roscoe Ar- 
buckle was born in Kansas, 1887. Theda 
Bara was born in Cincinnati, Ohio, in 
1890. Louise Fazenda was born in Lafa- 
yette, Indiana, in 1895. Bessie Barriscale 
was born in New York. Tsuru Aoki was 
born in Tokyo, Japan, in 1892. Mary 
Pickford arrived on this earth at Toronto, 
Canada, in 1893. ZaSu Pitts appears on 
the birth records of Parsons, Kansas, 
with the date 1898. Terre Haute is 
Valeska Suratt's home town, while Rus- 
sia claims the birthplace of Nazimova. 
Valeska is not on the screen at the pres- 
ent time, but is confining her efforts to 
her vaudeville act. She made features 
for Fox several years ago, and then re- 
tired from the screen. No, Dorothv Dal- 
ton is no relation. Jack is twenty-six 
years young. (Continued on page 106) 

Advertising Section 89 

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Straight from the Shoulder 

Continued from page 71 

by virtue of his own name, unaided 
by stars ? I claim that the public 
wants to see Flossie Fewclothes or 
Bulwer Biffem, not how Morris 
Megaphone turned out the picture. 
Ask any fan what he or she goes to 
see, and list to the tale you will get. 
I appreciate the vast importance of 
good direction, but I maintain that 
the player remains the most impor- 
tant feature of the photo play. Of 
course, a good story is another essen- 
tial. But without an efficient cast, 
neither De Mille nor D. W. himself 
could turn out big drama." 

For the past year, House Peters 
has deserted the gelatinous drama to 
attend to his business interests back 
in Australia. Previous to that he 
performed, in a celluloid way, for 
Famous Players, Triangle, Lubin, 
Brentwood,, and Lasky. 

"The first thing I ever did for 
the pictures was with Mary Pick- 
ford. 'In the Bishop's Carriage' was 
the play," he said. "The best thing 
I have contributed was, 'The Great 
Divide,' with Ethel Clayton, in which 
I believe I established something' of 

a precedent by wearing a real beard. 
And what I would call my favorite 
role was the scrapping villain in 'Be- 
tween Men,' for Triangle. Don't 
mention this 'Great Redeemer' thing, 
though ! That was — well, don't see 

You will not find many actors ad- 
vising you to stay away from their 
current exhibits. It was rather typ- 
ical of the frankness and independ- 
ence of the Peters temperament, 
however. He has a wife and a son 
and an automobile and a hunting dog 
and an amiable disposition. And 
after the "Leopard Woman," he said, 
he has contracted to lend his screen 
appearance to a Thomas H. Ince 
special, from the Louis Joseph Vance 
novel, "The Bronze Bell." Recent 
pictures are "Isabel," the James 
Oliver Curwood story, in which he 
was supported notably by Jane 
Novak, and the already mentioned 
Tourneur opus, which, it is only fair 
to note, Maurice himself had no 
hand in directing. 

But it is when House Peters has 
his own company that the fur will 
begin to flv. 

Concerning Coiffure 

Continued from page 73 

If your nose is small and perfect, 
you should pull your hair down over 
your forehead so as to call attention 
to it. Agnes Ayres does it, though, 
of course, she doesn't have to, since 
she could as well emphasize the 
beauty of her eyes. And speaking 
of eyes, would you notice nearly so 
soon how long and languorous and 
almond-shaped Dagmar Godowsky's 
are, if she didn't wear her hair rip- 
pled down flat against her head, with 
two dips acting as exclamation points 
before and after them? 

It sounds absurdly simple, but 
this theory is like a serial, the far- 
ther you go into it, the more in- 
volved it gets. You can't stop when 
you have found that an angular face 
must have a soft and simple coif- 
fure and a fat face a precise one. 
That is just the ABC of it — and to 
really be successful you have to go 
all through the grammar of beauty 
until you have mastered mood and 
voice. You can't dress your hair 
just to fit your features; you'll have 
to do it to correspond with your men- 
tal type as well. 

There's the girl whose very dash 
and sparkle suggests constant activ- 
ity. She is like a rippling, caroling 
stream in the mountains. Can you 
imagine her with straight hair, 
brushed simply back and looped into 

a loose knot at her neck? Not if you 
have seen Anita Stewart ! Her hair 
sparkles and cascades. It twines into 
unexpected curls in the most be- 
wildering way, and looks just like 
Anita does — unpremeditated. It 
frames her face in piquant angles, 
where soft, flowing lines would have 
detracted from her unceasing vital- 
ity. It is no wonder that people 
yearn for more close-ups in her pic- 

But the passive type is interesting, 
too. Just listen to the crowds any 
time at an Alma Rubens picture. She 
has the rarest thing in motion pic- 
tures — straight hair, and yet it is as 
eloquent in its way as Anita Stew- 
art's. Alma Rubens' features are 
soft and indeterminate, and her ex- 
pression is mysterious. If she curled 
her hair, or pinned it primly into a 
net, she would look incongruous. In- 
stead she lets it fall simply and nat- 
urally about her face, providing a 
frame that is like the dark oval 
around a painting that is so fine in 
itself that nothing should be allowed 
to detract from it. 

But perhaps you can't find a type 
on the screen to be your guide. You 
may be decidedly pretty, but not un- 
usual looking. If you are, there's a 
coiffure for you that is as reliable as 
the simple blue serge that suits all 

occasions. May Allison illustrates 
it for you. Fluffy hair, allowed to 
puff out at the sides, and coiled 
simply in back, there is nothing 
prettier for the girl who has many 
good points, but no striking ones. 

As for Dorothy Gish, when she 
comes out of that white-curtained 
booth, her light-brown hair is softly 
outlining her features. But on the 
screen where she wants to accentu- 
ate the perfect regularity of her fea- 
tures and acquire an air of insou- 
ciance, she wears the bobbed wig 
that all fans know so well. 

Directed by Friend Husband 

Continued from page 59 

A horn was honking out in front, 
thus announcing that the studio car 
was at the door and that the inter- 
view was over. 

Eileen was going to tell me about 
some fan letters she had received 
from Sweden, where they imagine 
her on account of her blondness to 
be a Scandinavian, and she started 
to walk down the steps with me, 
but Friend Husband caught her 

"Don't stand outside in the cold, 
Eileen, dear," he reproved her. 

She said, "Yes, dear," like a model 
housewife, and they went inside and 
shut the door. 

Having seen all of which and hav- 
ing been duly impressed by it, I am 
sure that the fair Percy won't mind 
my calling this story "Directed by 
Friend Husband." 

The Agate Girl 

Continued from page 60 

the stage.' He looked at me with a 
twinkle in his eye and said perhaps 
even that wouldn't keep me from 
making a success in pictures, and of- 
fered me fifteen dollars a week to 
become a leading lady ! But really, 
it wasn't the idea of being leading 
lady as much as the fifteen dollars a 
week that made me accept. That 
was five years ago, and I've worked 
steadily ever since." 

It was more than time to go. 
Every one else had left Marcell's, 
and I suggested that if we stayed 
much longer they'd be charging us 
for rent. 

Helen looked at her watch and 
gave an exclamation of surprise. "I 
had no idea it was so late," she said. 
"I have a lot of shopping to do this 
afternoon, and then I have to hurry 
home and go to a taffy-pull party this 

A taffy-pull ! Maybe the man who 
wrote about "the girl around the 
corner" was right, after all. But 
just the same, Helen Eddy to me will 
always be "The Agate Girl." 

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Adventures in Emotion 

Continued from page 23 

drug addict, she had managed to 
play "Madame X" so convincingly, 
she laughed. 

"I don't know," she said frankly. 
"The day we made the scenes where 
I drank absinth and ether in the 
room at the inn, I came on the set in 
a sort of a daze. We had been work- 
ing all the night before, and I was 
utterly and completely exhausted. I 
remember that my director, Frank 
Lloyd, looked at me rather queerly 
when he asked if I was ready to 
make the scene and I heard my own 
voice as from a great distance say- 
ing, 'Yes, I guess so.' I don't think 
there was any rehearsal — at least I 
can't remember any. I sat down at 
the table, and to this day I can't tell 
you what I did. My one thought 
was, T mustn't make it repulsive.' 
But outside of that everything was 
a blank. And the huge joke of it 
was," she laid her hand on my arm 
and laughed at the remembrance, 
"the ether they had me drinking was 
lemon juice and sugar; and when I 
finished off that bottle, I was abso- 
lutely dopey ! Talk about the power 
of suggestion " 

Perhaps by the foregoing I may 
have given the impression that when 
Pauline Frederick is at work on such 
a morbid characterization as that of 
"Madame X" it affects her even 
when away from the camera ; but 
that is not the case. I saw some of 
the courtroom scenes in the making, 
and while the cameras were being 
put in position and the lights, ar- 
ranged Pauline was chaffing the di- 
rector, the carpenters, and the mu- 

"Ready for the legless drama," she 
called out when Director Lloyd was 
about to take a close-up of her. But 
when the lights flashed on the laugh- 

ter died instantly from her eyes, her 
face became a tragic mask, and she 
drooped like a creature stricken to 
death. The tension was so great 
that even the blase carpenters felt 
it, and I heard one of them behind 
me breathing heavily. 

"She's what I call an actress," he 

burst out. "She is by " And I 

hardly noticed that he ended with 
an oath, for the expletive was so 
plainly only a symbol of the inten- 
sity which he was striving to give to 
his tribute to Miss Frederick. 

Luncheon over we walked back to 
the studio together, and I asked what 
her plans were for the future. 

"When I finish my contract with 
Robertson-Cole I'm going to pro- 
duce pictures," she said. "Perhaps 
I'll act in them, too; and a lot of 
them are going to be costume pic- 
tures. I am going to stick a pin in 
the silly theory that costume features 
won't make money. To my mind the 
costume picture is one great aid to 
emotional acting. I am absolutely 
happy in a costume, whether it is 
rags or ermine. I want to do 'Dor- 
othy Vernon of Haddon Hall,' I 
want to play Rosalind and Portia — 
but they won't let me. I ask you," 
she turned on me with the directness' 
which is characteristic of her, "how 
do you suppose any one can express 
emotion in a gown that comes almost 
to the knee? It can't be done!" 

However, in Pauline Frederick's 
case, I am inclined to think it could 
be done. For she has that divine 
something, that much misused some- 
thing, called temperament. In her 
case, it is the genuine article because 
she herself is genuine. So, after all, 
perhaps that is the big secret of her 
success. And like most secrets it 
is worth a fortune to her — and not 
tuppence to any one else. 

opping for Human Beings 

Continued from page 57 
who was such a perfect double of the leading role. 

the Englishman that not one fan has 
yet suspected two different men ap- 
peared in the part. 

Every director does his shopping 
for casts in a different manner. It 
is conceded that the man who has 
whims has ideas, and he is given 
a clear field without interference. 

Some parts are so very unusual 
that the director must advertise his 
need very widely in order to get 
adequate results. One company 
which produced a Lincoln play was 
much concerned over the casting o ( 

A Sunday news- 
paper in New York carried an ad- 
vertisement for a man who could 
pose as Lincoln's double. By Mon- 
day noon the director found himself 
literally buried in three hundred ap- 
plications for the job from points as 
far West as Chicago and presented 
in person, by special delivery, and by 
telegraph. The part went, not to an 
actor of years' experience, but to a 
versatile waiter in a popular roof- 
garden, whose resemblance to the 
emancipator was so striking that a 
second glance was unnecessary. 

Advertising Section 


Sometimes They Tell the 

Continued from page 70 

bobbed wig and bangs. The working 
title is 'The Crimson Iris/ and I'm 
just crazy to start on it." 

"I should think you'd want a rest," 
sighed Elizabeth, "after the years 
you've been working without even a 
week's vacation." 

"What do you mean, 'years?'" I 
cut in skeptically. "You talk as if 
she were a hoary veteran." 

"Well, I am kind of one." de- 
fended Colleen., "I started in mo- 
tion pictures four years ago — and 
that's quite a while when you think 
of all the changes that have taken 
place in that time. I was going to 
school at a convent here in Los An- 
geles, but I was so anxious to make 
some money of my own that mother 
let me apply for work at the Griffith 
studio. I grot it almost the first daw 

o - 

and I Avorked there for over a year. 
I played my first part with Bobby 
Harron. Poor Bobby!" Her eyes 
filled suddenly with tears. "You 
can't imagine what a wonderful boy 
he was, so — so good! I don't believe 
he ever had a wrong thought in his 
life. Of course, I was just a young- 
ster with my hair down my back 
and wearing flat-heeled shoes, and 
then Mr. Griffith gave me a part as 
a young lady — that was with Bobby, 
too — and I wore high heels for the 
first time." 

"And she wabbled!" declared 
Elizabeth with cousinly frankness. 
"I'll never forget that picture. She'd 
wabble into a room on those ridicu- 
lous stilt heels, wabble out again, and 
once in a while look as if she was 
clutching something for support." 

Colleen giggled, a delicious subdeb 
giggle, and Elizabeth and I joined in. 
The waitress looked at us rather re- 
provingly. I think she had her ideas 
about the dignity of film stars. 

"And then," continued Colleen, 
starting in on a second cup of choco- 
late, "I made three comedies with 
Al Christie, 'Her Bridal Nightmare, 5 
"A Roman Scandal.' and 'So Long, 
Letty.' The comedy experience was 
invaluable," she assured me ear- 
nestly. "After I made those pictures, 
I was rented out. Yes, just like a 
horse or a typewriter. Of course, I 
didn't mind, it was wonderful ex- 
perience. I did some pictures for 
Selig, I played with Charlie Ray in 
'The Egg-crate Wallop' and worked 
in an all-star picture, 'When Dawn 
Came,' then I did 'Dinty,' for Mar- 
shall Neilan, with Wesley Barry as 
the leading man, and now" — she 
raised ecstatic eyes to the ceiling, 
"Mr. Neilan has given me a contract 
that's perfectly wonderful! I think 



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f | iIIIS is an opportunity for you, although you may 
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in any way before. . . 

The moving picture industry needs thousands of new 
scenariosfor production during 1921, 
and the present writers cannot 
supply so many, so there's a ready 
market for "new work." Pro- 
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The writing of photoplays and the 
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Head of Ince Studios 

A & b coun P ?!r r Send This 

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Department of Education, 
782 I. W. Hellman Building, 

Los Angeles, California. 
Please send me, without obligation, your new book, 
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Name _. 

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Advertising Section 

I'm the most fortunate girl in the 

The waitress presented a check, 
and the tip with which Colleen re- 
warded her restored, I am sure, her 
idea of what movie stars should be. 

"But you haven't asked me a 
thing," said Colleen, aghast, as she 
drove me homeward in her new 
coupe, upholstered in elfin blue. 

"You didn't give her a chance to 
ask anything," reminded Elizabeth. 

"Well, there is something I'd like 
to know," I remarked tentatively, as 
I stepped regretfully from the 

coupe's luxurious interior to the pro- 
saic cement pavement. "Where did 
you get that rig?" 

"Oh — father " Colleen com- 
menced. And I appealed to Eliza- 

"You see, they never tell you the 
truth when you do ask them ques- 
tions," I said aggrievedly. 

"Well, father did give it to me I" 
she maintained with an emphasis en- 
tirely unnecessary. 

And maybe he did, but as I said 
confidentially to Elizabeth, I have 
my own ideas about it. 

The Screen Mother Comes Into Her Own 

Continued from page 33 

persisted, however, and a few years 
later was playing in the same East 
Side theater in New York where 
Nazimova first played in America. 
Her big stage success came in 1918 
when she played in "The Gentile 
Wife." After that, she went into 
motion pictures, appearing in several 
Universal productions, but her tri- 
umph came in "Humoresque." The 
production had originally been in- 
tended as a star vehicle for Alma 
Rubens, but Vera Gordon's acting 
made all parts secondary to that of 
the mother. Her aspiration for her 
son, her sacrifices, were so real that 
she dominated the whole story — the 
depth of feeling changed it from a 
star vehicle to a glimpse of life. 
Since "Humoresque," she has ap- 
peared in "The North Wind's 
Malice," a Rex Beach story, filmed 
by Goldwyn, and she is at present 
starring in a vaudeville sketch called 

Mary Carr, the other truly great 
mother of the screen, gave up a 
promising career on the stage to take 
care of her baby. "Thousands of 
women can be actresses," she rea- 
soned, "but only one can be the 
mother of . Louella." And after 
Louella there were six other little 
Carrs, so Mary Carr had her hands 
full. She was cheerful, and con- 
tented, and patient with them, al- 
though it was hard sometimes when 
their childish troubles just seemed to 
engulf her. 

She used to go up to the attic 
sometimes and open her old theat- 
rical trunk, letting out memories of 
the amateur theater in Germantown 
where William Carr, who later be- 
came her husband, discovered what 
a talented actress she was. There 
were more brilliant memories 
of later days, days when she was a 
leading lady. But always a call of 
"Mother" would send her racing 
downstairs, the trunk and all of its 
memories forgotten. She wouldn't 
have exchanged one of the little 

Carrs for all the triumphs of the 

But fame claims her own sooner 
or later. In Mary Carr's case it was 
later — almost twenty years after she 
gave up her stage career to take care 
of her baby. Her husband's health 
failed, and it was necessary for her 
to do something to support the fam- 
ily. She wouldn't go back on the 
stage, for motion pictures had be- 
come of first importance in the 
hearts of the public, and it was im- 
portant for her to stay near her fam- 
ily. She was somewhat familiar with 
motion-picture work, as her husband 
had given up acting some years be- 
fore to become director general of 
the old Lubin company, so she 
started out, in middle age. to seek a 
career in pictures. 

For a few years she played char- 
acter parts, and then her big chance 
came. William Fox chose her to 
play the mother in "Over the Hill." 
a production he had long dreamed 
of making. And he insisted that 
four of her own children should play 
with her. 

Mrs. Carr didn't realize what a big 
part she was playing in the picture 
while it was being made. Those who 
worked around her did, though, for 
the simple homeliness of her every 
action moved the spectators at the 
studio almost as much as she moved 
those in her audience later. Mary 
Carr was one of the most loved 
women in New York — as she will be 
in the whole country — when her pic- 
ture was shown. 

From a Director's Dictionary- 
Curled Mustaches — Denoting a 

Wavey Hair — Denoting a Hero. 

Wide Eyes — Denoting a heroine. 

Black Eyes — Denoting a vamp. 

The Theater — A place always in- 
habited by stage-door Johnnies and 
gentlemen with villainous designs on 
the leading lady. 

Advertising Section 


Making Hay— akawa While 
the Sim Shines 

Continued from page 32 
rear of my own collar with ease. 
The crowd by this time was yellin' 
for a knockout, and my Bulgarian 
blood was up. I landed two light 
lefts on the air near his head, and 
workin' close he clutched me by the 
coat collar and the right arm. As 
this was more like one of the new 
dance holds I was perfectly at home 
and for the next few minutes we 
reeled all over the place whilst Max 
Linder shouted frantically advice to 
Sessue and the rest of the wildly 
excited mob was all hollerin' for 
me, that is for me to be knocked 
for a goal. Fin'ly ; just when it was 
beginnin' to look like the match 
wouldst result in a stymie, Hayak- 
awa locked his right leg in back 
of mine, give a shove, and I went 
down like the price of flivvers, the 
last thing I heard bein' the hoarse 
voice of a camera man sayin' to Colin 
Campbell, "Who's that dumb-bell?" 

Well, boys and girls, you can see 
from the above that interviewin' 
movie stars is a tough job, and by 
the time I get through out here they 
prob'ly won't be a whole bone in my 
body — unless it's my head. 

In my next issue, I will give you 
the fruits of a day with Harold 
Lloyd, the famous tragedian, but 
after that I am goin' to interview the 
bathin' beauties or expire in the at- 
tempt. A guy's got to get some fun 
out of this portfolio, hey? 

Yours and the like, 

H. C. Witwer. 

Loose Angeles, California. 

A Trip Through Europe's 

Continued from page 85 
among the first in rank. The Sven- 
ski Film Industri is the leading com- 
pany of Sweden. It has five studios, 
two of which are located in Den- 
mark. It's stars are Karin Molan- 
der, Tora Teje, Mary Johnson, Edith 
Erastoff, Richard Lund, Rene Bjor- 
ling, and Gustav Eckmann. Thus 
far no Swedish films have evoked 
attention in America, although it is 
possible we shall be interested in 
some this year. 

All European companies have been 
making the same mistake as we made 
earlier in our picture career. They 
have been trying to make film stars 
out of stage stars and in most in- 
stances have failed. They are now 
finding their real screen talent. Eng- 
land thus far has relied almost en- 
tirely upon the stage to furnish play- 
ers. A number of British films have 
been exhibited here. None of them 
has been on a par with our best. 


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Advertising Section 

We will have the opportunity this 
year of passing upon a great many 
British products, however, as the 
Stoll company plans to release two 
English-made pictures a week 
through our Pathe exchanges. This 
company, one of the most important 
in Britain, is featuring Ivy Duke 
and Guy Newal as the principal 
stars. They made their first appear- 
ance in this country, I believe, in 
"The Lure of Crooning Water." 
The Stoll company is now producing 
here as well as in England. 

Among the English stars leading 
in popularity are Alma Taylor, 
Chrissie White, and Violet Hopson. 
Peggy Hyland, an English actress 
who stared in Fox pictures, has re- 
turned to her native producers. She 
is making a tour of the world at 
present with an English company, 
filming in England, France, and 
Egypt. While England has not given 
us any great pictures she has con- 
tributed a number of great actors 
and directors and has given fine co- 
operation to Americans who wished 
to produce in England. Paramount 
has a London studio, from which 
we are awaiting a number of pro- 
ductions made by Hugh Ford and 
Donald Crisp. David Powell, at 
present writing, is working in a 
Paramount British production of 
Oppenheim's "The Mystery Road," 
scenes of which are to be filmed on 
the Riviera in France. Bryant 
Washburn made his "Road to Lon- 
don" in London, and Bessie Love 
expects to depict LittleNcll of Dick- 
ens' "The Old Curiosity Shop" in 
England some time this year. J. 
Stuart Blackton has opened studios 

in London and has . signed Lady 
Diana Manners as star. He will 
film in France and Italy as well as 
in England. Herbert Brenon was 
one of the first American directors 
to make a camera exploration of 
the Old World. With our Marie 
Doro as star he created several pic- 
tures in England and in Italy. Spain 
has done nothing for the industry 
except furnish some backgrounds 
for George Seitz's Pathe serial. But 
Don Antonio Moreno promises to 
visit his native land this year and 
bring back its romantic glories in a 
Vitagraph picture. 

Thus foreign sight-seeing is made 
easy. For two bits you can get a 
soft seat at the local Rivoli that en- 
titles you to a run along the Riviera, 
a glance at Piccadilly, a gondola joy- 
ride through the Grand Canal — not 
as constructed at Coney Island or 
Universal City, but actually as is. 
A lot of the nobility out of jobs will 
perform for the same two bits right 
on the steps of the grand imperial 
shebangs from which they were 
evicted. I can think of nothing that 
would tickle me more than to see a 
couple of crown princesses and arch- 
ducklets being sloughed with custard 
and gas pipe on their own front 
porches. Think of the laughs you'd 
get seeing a real king crowned ! 
Chaplin doing the crowning, of 
course. And what will the Sennett 
virgins do when cameras start shoot- 
ing up the Turkish harems? The 
possibilities are infinite. But I'll say 
no more. Having offered this free 
curtain raiser, the little ladies will 
retire, the band will strike up, and 
the show'll commence. 

A Billion-Dollar Cast 

Continued ft 

order under the onslaught, of the 
hungry crowds. Not until sunset, 
when the light began to fail, did 
Director Stroheim finally release his 
actors. And to their credit be it 
said, desertions from the ranks were 
so few as to be scarcely perceptible. 
Even those who formed the fringes 
of the crowd and watched others 
getting into the close-up scenes, that 
by no human possibility could ac- 
commodate everybody there, stayed 
faithfully until the end. 

Director Stroheim was every- 
where, apparently equipped with 
eyes all around his head and using 
all of them. Mounted on his bench, 
he caught sight of a fireman leaning 
on the balustrade a hundred yards 
away. The fireman had forgotten 
to put on his white gloves — dressy 
creatures, those Monte Carlo fire- 
men, with marvelous uniforms and 

om page 45 

helmets to make a cuirassier jealous 
and white gloves and everything. 

A wrathful shout penetrated the 
hum of the crowd. 

"You fireman there !" came the 
Stroheim voice. "Put on those 
gloves. What do you think you've 
got them for — to play with?" 

Three baby carriages, presumably 
inhabited by millionaire babies and 
chauffeured by gray-uniformed 
nursemaids, were part of the scene. 
Stroheim discovered a deserted out- 
fit in a secluded corner. Would he 
permit a baby carriage to loaf on the 
job, even though from the distance 
of the cameras it would be scarcely 
more than a spot among spots He 
would not. 

"Who's on this baby carriage?" 
arose a megaphone roar. "You are? 
Well, your job is to wheel that car- 
riage and keep on wheeling it until 

Advertising Section 


the baby dies of old age, if you 
have to." 

The principals of "Foolish Wives" 
were luxuriating in as near to a day 
off as is likely to happen to prin- 
cipals working tinder such a busy 
and energetic director as Stroheim. 
Claude George in the black draperies 
of the romantically mysterious 
Princess Olga Petchnikoff, Mar- 
guerite Armstrong, one of the "fool- 
ish wives," Mae Busch, Cesare Gra- 
vina, and the others were there, tak- 
ing part in scenes upon call, but leav- 
ing most of the work to the extras. 

Sunset saw the end of it, when 
for the last time Director Stroheim 
shouted, "Cut !" and the camera men 
packed up the precious reels. Long 
before then the audience had remem- 
bered that supper time was approach- 
ing and had started to drift away. 
For hours the narrow mountain road 
between Point Lobos and Del Monte 
was alive with an unbroken line of 
automobiles, bumper to tail light for 
the whole eleven miles. 

Last of all came Stroheim, tired 
but refusing to admit it. 

"A good day's work," he said. 
"They all did beautifully. Only I'm 
sorry we had to stop. I wanted to 
get such a lot more." 

Right Off the Grill 

Continued from page 65 

maid, and as a society miss, this may 
seem unbelievable. But Miss Dana 
is really a small-town girl. 

"Viola was born in Brooklyn " 

The Chicago Tribune complains 
that its picture critic was barred 
from attending the premiere of 
"Way Down East," because of the 
ten-dollar admission fee. I sympa- 
thize, but it could be worse. The 
critic knew the fee in advance, so 
might have gone without her lunches 
for a month and saved enough to get 
in. I went to see "Passion" at the 
Capitol Theater in New York, with 
the entire amount of the admission 
fee in the corner of my handker- 
chief. That was all right, but when 
I got inside I found I had to tip the 
usher if I wanted to get within two 
miles of the screen. Luckily I had 
robbed my savings bank just the 
night before, so I had two bits. And 
yet I praise the confounded show, 
which proves how noble I am. 
Nevertheless this method of doing 
business reminds me of the old cir- 
cus side show where you paid two 
bits to get in the big tent, where 
they told you that the girls put on 
the real humdinger show in the inner 
tent — for another two bits. 

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Romances of Famous Film 

Continued from page 43 

know unless some one stopped her 
she would sacrifice her life for the 
pictures. Look at her hair !" 

"Yes, look at it," she cried, snatch- 
ing off her black wig and revealing 
sporadic pigtails about three inches 
long. "I had to cut it off for a pic- 
ture when my bobbed wig, which I 
had ordered, didn't come." 

"Well, it wasn't like that the day 
I married you !" 

"No, it wasn't. And that reminds 
me of the day you did marry me, 
but nearly didn't. Would you be- 
lieve it, that after teasing me for 
two months, when I did say, 'Yes,' 
he hadn't a thing ready and could 
only say, 'Let's drive over to Ho- 
boken.' " 

"You see, I was still rather dazed 
from the shock of being accepted," 
Jimmie explained, "and I had some 
sort of idea that if we were mar- 
ried in Hoboken it wouldn't get into 
the papers. So we drove to Ho- 
boken and found that we would have 
to get a license and then wait three 
days before we could be married. 
Well, it wasn't very likely that I 
was going to wait three days, was it? 
Why, she could change her mind a 
dozen times in three days." 

"Yes," interrupted Alice once 
more, "and I realized that as well 
as you did, and I didn't want to 
change my mind, so I said, 'Quick, 
drive back to New York.' And when 
we arrived there the clock on the 
steeple said four-fifteen. But we 
went in and said, 'We want to get 

"And the ogre in the cage said, 
'No license after four o'clock.' 

"But not for nothing am I William 
A. Brady's daughter ; so I said, 
'Stand back,' and I marched in and 
tried all the doors, and one of them 
was open. I called Jimmie, and he 
repeated the formula, 'We want to 
get married.' 

"'No license after four o'clock,' 
was the answer again. 

" 'But I've run away from home,' 
I said, trying to look young and 
frightened, 'and I don't dare go back 

" 'How old are you ?' the man de- 
manded sternly. 

" 'Oh, I'm old enough, only fa- 
ther doesn't want me to get mar- 
ried.' Which was true, all right, 
only father was in England and 
didn't know anything about it, and 
the only person I had run away from 
at home was the maid. 

" 'Where did you come from?' the 
man growled. 

" 'From New Jersey,' I answered. 

Advertising Section 


And he looked at Jimmie as though 
he was an archvillain who inveigled 
a trusting girl from Little Falls into 
a runaway marriage with him. I 
guess he thought that he had better 
help me out or perhaps this chap, 
with his city ways, wouldn't marry 
me at all. So he gave us our license 
and directed us to the 'Little Church 
Round the Corner.' " 

"And so they were married," we 
said again. 

"Yes," answered husband Jimmie, 
"and so we were married and " 

"But tell about the man not know- 
ing us ! No, I'll tell it ; I can do it 

"Well, you know I'm not puffed 
up with my own importance and 
neither is Jimmie, are you, dear?" 

"I'm the husband of Alice 
Brady," said "dear" proudly. 

"Yes, but to the clerk that didn't 
mean a thing in the world. 'This 
won't get in the papers, will it?' I 
said anxiously, for I didn't want it 
announced until after dad had re- 
ceived the cable which we were go- 
ing to send. 

" 'Oh, no,' assured the clerk, 'the 
reporters ain't interested in folks 
unless they are somebody important.' 
And he read from the license, 'Alice 
Brady- — James Crane — William A. 
Brady — Doctor Frank Crane. Not 
a chance of that getting in the pa- 
pers.' " 

Now, I shall have to interrupt 
Alice's narrative just long enough to 
explain, for the benefit of those who 
may not know, that Miss Brady is 
the daughter of William A. Brady, 
one of the biggest theatrical and mo- 
tion-picture producers in New York, 
and that her husband is the son of 
Doctor Frank Crane, who is gen- 
erally considered the most widely 
read editorial writer in the country. 
But to let the story continue : 

"Then, as an afterthought, the 
clerk went on, 'Say, you ain't any re- 
lation to William Crane, the actor, 
are you?' Jimmie assured him that 
he was not, and away we went. And 
I wonder how he felt the next day 
when he saw it in all the papers." 

"He probably didn't read the pa- 
pers," we suggested, "or he would 
have known who you were before 
that. But how did it get in the pa- 
pers — who told?" 

"He did." said Miss Brad} - , point- 

ing an" accusing finger at her hus- 
band. "He went back to the studio 
and told." 

"Well, I had to," her husband ex- 
plained. "At the last moment they 
wouldn't let me go. Said I had to 
stay and finish some scenes in the 

" 'But I've got to go,' I told the 

" 'That word isn't in my lexicon,' 
he said. 

" 'But I'm going to be married, 
and my bride is waiting for me.' 

" 'Who is your bride ?' he asked 

" 'Alice Brady,' I told him. 

" 'All right,' he said. 'You go ; 
and if you come back not married 
I'll kill you, for we're behind on this 
picture now.' So I had to tell him 
the truth to save my life. Not that 
I care, of course, but I didn't want 
you to be a widow so soon." 

"And Jimmie and I were both in 
the middle of our pictures, so we 
couldn't have any honeymoon," said 
Alice, taking up the narrative. "And 
the day after our hurried wedding 
we had both promised to be at the 
studio early, so we hustled through 
our breakfast, and when we tried 
to get out the door wouldn't open. 

" 'It's a strange door, and you 
don't understand it.' I told Jimmie. 
'Let me try.' But I . couldn't open 
it — no, not even with a hairpin. So 
he called the "desk and said, 'Come 
up and let us out of apartment No. 
13.' And, finally, after bringing up 
all the mechanics in the hotel, they 
had to chop down the door. No. I 
won't tell you the name of the hotel. 
It might keep honeymooners away. 
And, it is rather disturbing, I'll ad- 
mit. I'm glad I'm not getting mar- 
ried every day." 

"So am I, unless I am getting mar- 
ried to you," concluded Jimmie. 
And this time we thought of the 
quotation we wanted : "There's 
nothing half so sweet in life as love's 
young dream." 

"Won't you come and have din- 
ner with us?" Alice asked. "We've 
got to hurry back for the evening 
performance, but we should love to 
have you." 

We refused because we wanted to 
write this before we forgot it. So 
Alice took Jimmie by the arm and 
said, "Home, James." 

attracted the notice of a dashing young chap from the city. Only then did 
King Vidor realize that he never could be happy if Florence Arto married 
someone else! He was just a home-town boy, and he was afraid that she 
would be dazzled by the airs of the man from the city, so he made an in- 
genious plan to elimate his rival. Grace Kingsley will tell you all about 
it in the next issue of PICTURE-PLAY— how Mr. and Mrs. King Vidor 
became engaged, were married — and their romantic adventures ever since. 

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News Notes From the Studios 

Continued j 

a movement to place a print of Rex 
Ingram's motion picture, "The Four 
Horsemen of the Apocalypse" in the 
Salon at Paris. Until the him is 
shown, it is not expected that ouija- 
board enthusiasts will receive any 
protests from Rembrandt, Rubens, 
or El Greco. 

The rumor persists :. that Doris 
May and Wallace MacDonald have 
been secretly married. Both parties 
deny it, however. Rumor also has 
it that Dorothy Gish and James 
Rennie are, or soon will be, married. 
It is also reported that May Allison 
was recently married to Robert Ellis, 
Selznick director. 

Elinor Glyn's first picture play, 
written especially for Gloria Swan- 
son, is called "The Sheltered 
Daughter." The secret of what the 
story is all about is equally sheltered. 
No one will admit, or deny, that it is 
the least bit like the same author's 
"Three Weeks." 

John Emerson and Anita Loos, 
lonesome for the noise of a studio, 
instead of the usual quiet of their 
home library, where they write the 
Constance Talmadge stories, betook 
themselves to Los Angeles and 
started a production of their own to 
be directed by Victor Fleming. It 
is called "Wife Insurance." 

Douglas Fairbanks, who hereto- 
fore has changed leading ladies with 
each picture, has signed Marguerite 
de la Motte for a year. 

Wallace Beery, specialist in villain 
parts, has been selected by Frank 
Lloyd to play an important part in 
his forthcoming Chinese production, 
"The Water Lily." Beery's 
"Magua" in "The Last of the Mo- 
hicans," received enthusiastic praise 
from even the jaded critics. 

A visitor at the Metro studio 
watched Buster Keaton reel back- 
ward toward a flight of stairs, and 
tumble clown them headfirst. She 
fainted, and Buster Keaton picked 
himself up in time to assist in re- 
viving her. "Why make the day's 
work harder?" he refrained from 
asking her. 

~ Gladys Leslie, who was a Vita- 
graph star, is playing in support of 
Lionel Barrymore in "Jim, the Pen- 

Eddy Polo enjoyed his recent trip 
around the world so much, that he 
is unwilling to film his next serial 
any nearer to Universal City than 
Cuba. Provided there are enough 
ships afloat after the motion-picture 
directors get through blowing them 
up and burning them for pictures he 
hopes to get his entire company 

rom page 69 

If Viola Dana ever wants to stop 
acting in pictures she can make a liv- 
ing operating a marionette show. 
She learned to handle the intricate 
threads which govern the dolls' 
movements when she was rehears- 
ing for "Sorrentina," in which she 
appears as the proprietress of a 
marionette show. 

"What's the Matter With Mar- 
riage?" "Are All Men Alike?" "Are 
Wives to Blame?" and "You Can't 
Fool Your wife" may sound like the 
incomparable Cecil De Mille, but 
they are not. The first three are the 
result of the directorial labors of 
Philip Rosen of the Metro Company, 
and George Melford is responsible 
for the last. 

Peggy Hyland has been making 
pictures in England since her de- 
parture from this country. "The 
Price of Silence" will be the first of 
her new pictures to be released here. 

Carol Dempster will play a lead- 
ing part in "Hank Bottles," the new 
"Limehouse Nights" story, by Thomas 
Burke, which D. W. Griffith is pro- 
ducing. Ralph Graves is the player 
who steps into the shoes of the late 
Robert Harron, and of Richard Bar- 
thelmess, who is now a star. 

Tom Forman presented a motion- 
picture projection machine to Sing 
Sing prison in appreciation of the 
cooperation of the prison officials 
who helped him to arrange scenes 
behind the bars for his Paramount 
picture, "The Quarry." 

One afternoon recently it seemed 
as though all the companies in the 
Eastern Paramount studio were do- 
ing repentance scenes. Ethel Clay- 
ton, Billie Burke, Mae Murray — 
every one seemed !o repent doing 
something or other in pictures. Soft 
music was the order of the day. 
Then Dorothy Dalton arrived with 
three hundred extras to play in a 
rough Western dance-hall scene, and 
shooting was had by all. The re- 
pentance squad couldn't endure the 
noise, so all repenting was post- 
poned until a quieter clay. 

Betty Blythe has succumbed to the 
epidemic of "Mother" plays, and will 
appear in "Mother," an Ince produc- 
tion to be directed by Fred Niblo. 

If a nonstar competition were 
launched, winner to be the featured 
player who had played the most and 
the biggest parts in the past six 
months, the victory would probably 
go to Betty Blythe or Anna Q. Nils- 
son. The latter's record includes 
"Idols," for R. A. Walsh, "The 
Brute Master," for Hodkinson, and 
now "Temple Dusk," for Metro. 

Advertising Section 


The Kentuckians 

Continued from page 68 

"He has gone up there to get shot 
from ambush. That's what I hate 
about it. His death will give me the 
senatorial nomination by default. I 
wanted to win it in a fair fight, just 
as I wanted to win you, Anne. Stal- 
lard has lost his fight for law in the 
mountains, and now he will lose his 
life. I am sorry. For he is a good 
man. But his people are worthless. 
I've told you that all along, and you 
won't believe me. I am bitter, Anne. 
And I'll be candid with you. His 
rough strength, his romantic crude- 
ness has turned your head. You 
think you love him. And if you 
love him you can have him. You 
are engaged to me. I release you. 
You are free. You claim that I am 
soft through years of wealth and 
culture. Well, if you like a hard, 
rugged man, take this Boone Stal- 
lard, for I'll admit that he's as hard 
a nut as you'll find in a week in the 
woods. You say that all I have is 
breeding, and that is of little value 
in your eyes. All right, I will throw 
my good breeding aside. Go marry 
this mountaineer. If I said I wished 
you luck, I would be a liar. Both 
of you may go to the inferno, so far 
as I'm concerned." 

With this outburst, Marshall 
strode out of the room, leaving Anne 
overwhelmed with his rudeness, and 
white with anger. 

Boone Stallard had rallied his 
chief followers in his home county 
and had them sworn as deputy sher- 
iffs. He was ready to attack the 
lawless Keatons in their barricaded 
town. As his forces approached the 
main street, Boone studied the lay 
of the land. With the eye of a 
born fighter, he noted that the Kea- 
tons had planned an ambuscade, as 
they always did. There were two 
big oaks beside the road and a hun- 
dred yards beyond was the barricade. 

"Go ahead, men," said Stallard, 
"and attack the barricade. But don't 
expect to find the best fighters there. 
Look out for the chimneys on both 
sides of the street. I'll take keer of 
the chaps that's layin' for us in the 

The deputies then charged the bar- 
ricade, firing as they advanced. 
There were answering shots from be- 
hind the breastworks, but soon the 
defenders began breaking from cover 
and running to the cabins on each 
side. They were mostly young men, 
and poor shots. As Boone had sur- 
mised, the real fighting came from 
the cabins. The deputies had been 
warned, and as soon as they captured 
the barricade, they flattened them- 

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selves under cover and began pick- 
ing off the men who appeared on 
nearly every roof above them. Rifles 
popped like bunches of firecrackers, 
and Keatons began falling from 
behind every chimney. 

Boone Stallard had crept back 
along the ditch toward the two sen- 
tinel oaks. Sure enough, while the 
posse had been charging the barri- 
cade, the two chief Keatons, Mace 
and Buster, had slipped out of the 
brush and climbed these trees where 
they expected to snipe off every one 
of the deputies at leisure. But just 
as each of the sharpshooters had set- 
tled himself on a level limb and was 
aiming his deadly rifle, Boone Stal- 
lard, lying at ease under the spread- 
ing oaks, deliberately put a bullet 
into the shoulder of each, and Mace 
and Buster came flopping out of the 
trees like buzzards that have been 
brought down on the wing. 

The forces of law and order had 
made such a pretty clean-up, that 
the grand jury took heart, and at 
the next term of court forty crest- 
fallen and throughly whipped feud- 
ists were bundled off to the peniten- 
tiary, and the days of private war- 
fare were at an end. 

Boone Stallard returned to the 
capital that summer to attend the 
nominating convention. Before he 
had rounded up his followers, he 
had a caller at his hotel. It was 
Randolph Marshall, his chief oppo- 
nent for the senatorship. Marshall 
greeted the mountaineer with 
warmth and every evidence of sin- 

"Stallard," said Marshall, "I'm 
frank to say that I have changed my 
mind about you. You enforced law 
in the mountains when I didn't think 
you could do it. I am going to throw 
my support to you, and this means 
that you are the next United States 
Senator from Kentucky." 

Stallard, suspecting a political 
trick, stared at his rival — flabber- 

"By this I do not mean to say that 
we are friends," continued Marshall. 
"I do not like you. How could I 
like a man who has whipped me in 
politics and made a fool out of me 
with the woman that I once loved. 
But for the sake of the party and for 
my political future I support you for 
senator. Kentucky has been a 
doubtful State. The mountain coun- 

ties have been drifting away from 
the party. By letting you go to the 
Senate we make the mountain vote 
solid for us for years to come. That's 
one consideration. The other is this : 
Anne loves you. She will marry 
you. I want her to live in Washing- 
ton and not among those wild ani- 
mals up in the hills." 

As Marshall went on sealing the 
bargain he made, his voice choked 
up and he admitted that his pride 
was crushed. But as a salve to his 
humiliation he wanted to be elected 
Governor of Kentucky for his old 
mother's sake and for the social ad- 
vantage of his two beautiful sis- 
ter's. Stallard shook his hand and 
promised his support. 

That very afternoon the mountain- 
eer sought out the governor's daugh- 
ter, and they took a long walk in the 
fields beyond the town. 

"I ain't fitten to talk about sich 
things," said Stallard, "but I feel I 
ort to do it. A fine lady like you 
wouldn't marry a man what didn't 
have no manners, would you?" 

"Yes," said Anne. 

"What if his bad manners shamed 
you ? What if he was rough and 
didn't know how to say nice things 
to please a woman?" 

"I'd love him all the more for it," 
she whispered, laying a hand on his 

The mountaineer was stumped. 
He swallowed and gulped, and as he 
studied Anne's wistful face he felt 
that in her heart she was wanting 
him to say some particular thing — 
but what it was he could not for 
the life of him make out. Suddenly 
he clutched at a clew. 

"Mr. Marshall never had bad man- 
ners," he asked. "He was never 
rough to you, was he?" 

"Was he?" repeated Anne sadly. 
"The last time I saw him he treated 
me as harshly as if he had been a 
grizzly bear." 

The light broke on the mountaineer 
and flooded his heart with joy. 

"What shall I say to him about 
it?" he asked eagerly. 

"Tell him that I love him for it. 
Ask him why he doesn't come to 

"Thank Gawd," said the moun- 
taineer. "I'll go and fotch him and 
run all the way. He's a smart man 
in politics, but he ain't got the sense 
he was borned with when it comes 
to sparkin' a womern." 

What Is Life Without Movies! 

Oh, how I pity each poor heathen clan 
Way off on some desolate isle. 

They never have seen a Chaplin stunt, 
Or Mary Pickford's smile. 

Advertising Section 


The Screen in Review 

Continued from page 63 

than the greaser-cowboy feud does 
to the average Londoner. 

Therefore we found the story tire- 
some. Moreover, in a technical way, 
the film is inferior to our own pro- 
ductions. (Business of waving the 
flag.) But the settings, both interior 
and exterior, are much more inter- 
esting than ours and an immense re- 
lief after too much California scen- 
ery. The acting of Ivy Duke and 
Guy Newall is conspicuously good. 
And, after all, the English producers 
give their pictures a certain refine- 

"MR. WU." 

The second Stoll production, "Mr. 
Wu," is an adaptation of a London 
stage success. Outside of the fact 
that it is one of the most unpleas- 
ant stories I have ever seen, it is 
an effective production. I confess a 
prejudice against seeing stories in 
which Chinamen pursue white 
women. Lillah MacCarthy has an 
important role and so has Matheson 
Lang. But Mr. Lang's make-up 
wouldn't fool any one with even the 
most superficial acquaintance with 


Speaking of strong stories, there 
is Goldwyn's film, "Godless Men." 
It is a jolly little sea tale of a 
drunken old atheist of a sea captain 
and his abominable son. Most of 
the action takes place on board ship, 
and it is a dirty sort of ship. The 
captain gets hell-roarin' hootched 
and casts covetous eyes at his daugh- 
ter. Of course, he doesn't know 
that the girl is his daughter, but the 
spectator does, and the effect on the 
nerves is perfectly delightful. 

After you get through watching 
"Godless Men," you feel as though 
you had been sitting in close prox- 
imity to a crate of not too new fish. 
Some folks have strange ideas of 
entertainment. Not one woman in 
a hundred will like it, and I don't 
think most men want this sort of 
thing. 'Tain't pretty. 

Will producers, who pretend to be- 
lieve that their main business is to 
please women, please remember that 
most women dislike scenes of dirt, 
disease, drunkenness, fights, and ani- 
mal passion? The pictorial record 
of the heroine's sea voyage in "God- 
less Men" will nauseate the average 
woman. A nice walloping adventure 
story is quite all right, but this story 
goes too far. The events depicted 
therein would not be palatable un- 
less properly De Milled. 


Betty Compson's first production 
at the head of her very own company 
is called "Prisoners of Love." It is 
a perfectly swell fillum about a girl 
who goes wrong so beautifully that 
you cannot help crying over her. The 
story is filled with cabaret scenes 
and what young boys call "hot stuff." 
It is disreputable in a harmless sort 
of way and should brighten the life 
of many a flapper, although I fear 
that I must disapprove of its moral 

But, Miss Compson, why did you 
wait so long to bring out your first 
picture ? 

Right now, I will say that, al- 
though I deplore "Prisoners of 
Love," I admire the lady unre- 
servedly. She is a baby Pauline 
Frederick when it comes to emoting, 
and she has what the French call 
"the beauty of the devil." More- 
over, she has an excellent camera 


It is the rich round humor of 
Harry Leon Wilson that makes "The 
Spenders" a picture for Hodkinson 
to be rather proud of. Mr. Wilson's 
story is of a boy who brings good 
Western money to Wall Street and 
tries to be a Napoleon of finance. He 
is rescued by Uncle Peter, who is a 
pioneer, not a spender. Joseph J. 
Dowling makes Uncle Peter as funny 
as Mr. L. Wilson's celebrated Cousin 
Egbert, who could be pushed just so 
far. "The Spenders" is a bright 
story, rather indifferentlv produced. 


"Isobel ; or, The Trail's End" is a 
James Oliver Curwood story, di- 
rected by Edwin Carewe, and it is 
a rough, rough story of God's coun- 
try and the mounted police. I don't 
know how it will affect you, but il 
gave me a good, honest laugh. It 
is exactly what George Jean Nathan 
thinks the average movie is, if you 
know what I mean. You get a whole 
serial for the price of one admission. 
House Peters and Jane Novak work 
hard, and you work hard, too, if you 
look at it. 

I should like to say more about 
"The Misleading Lady," because 
Metro deserves some compensation 
for my severe words about "Pollv 
With a Past." But I used "Polly" 
as an example of stretched stories; 
she pointed a moral and adorned a 
tale. "The Misleading Lady," with 
Bert Lytell, is an agreeable version 
of an agreeable play. 

Gladys Walton, 
Universal Film 
Star, noted for 
her expressive 


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Advertising Section 



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"Broadway and Home" tells its 
own story in its title. A conven- 
tional story, yet pleasing- withal. 
Eugene O'Brien acts with grace, and 
he has nice ways. The film tells of 
a boy who leaves his home town and 
goes to Broadway. And he returns, 
disappointed. Heigh ! Ho ! How 
about those who aren't disappointed, 
and who never, never return home ? 

"Pagan Love" is Hugo Ballin's 
first independent production. Mr. 
Ballin used to be art director for 
Goldwyn. The story, by Achmed 
Abdullah, tells of the tragic and 
idealistic love of a Chinaman for 
a blind white girl. It is a curiously 
uneven picture, with some beauti- 
ful scenes and some other views that 
look as though they had been slipped 
from a news reel. Mabel Ballin 
proves herself a delicious actress. 

H. B. Warner goes back to crook 
stuff in "Dice of Destiny." Mr. 
Warner can put soul into melo- 
drama. And heart into stone. And 

brains into ivory. "Dice of Destiny," 
although a bit movie-esque, is the 
best vehicle he has had in a long 

Just in passing, a few nice 
phrases should be bestowed on "The 
Charm School," a bright and shin- 
ing picture starring the bright and 
shining Wallace Reid. As for 
Charles Ray's newest, "Nineteen 
and Phyllis," it is funny in spots, but 
Mr. Ray, like William De Mille, is 
breaking my heart. Too much short, 
choppy action, trick subtitles, and in- 
distinct photography spoiled the pic- 
ture for me. 

By the way, I have talked with a 
man who saw "The Kid," Charlie 
Chaplin's masterpiece. And this 
amateur critic said that it was won- 
derful. I also talked with Charlie. 
He smiled when he spoke of it. 
Those who have seen it declare that 
when it comes out the public will 
forgive Chaplin for keeping it wait- 
ing so long. 


Age Occupation 


City State. 

Extra! Extra! 

JUST as we go to press the news 
comes that Constance Talmadge 
and Dorothy Gish are married. 
Constance is now Mrs. John Tia- 
laglo, wife of a tobacco importer, 
and Dorothy is now Mrs. James 
Rennie. Mr. Rennie is one of the 
most popular young actors in New 
York. He is playing in "Spanish 
Love," a stage production, and act- 
ing in pictures with Dorothy's sister 
Lillian. He appeared with Dorothy 
in "Remodeling Her Husband," and 
"Flying Pat." 

The two couples were married at 
Greenwich, Connecticut, by a justice 
of the peace, the day after Christ- 
mas. The four young people had 
gone motoring together Sunday aft- 
ernoon, just as they often did. Their 
families noticed nothing unusual 
about the party. The girls did not 
leave the Savoy Hotel, where they 
live, by ladders, or sheets knotted 
to the window sill. They walked out 
to the car, chatting with each other 
and nodding to their friends in the 
lobby of the hotel. But once in the 
car, thev rushed straight for Green- 
wich — and matrimony. 

Constance's family and closest 
friends had known for some time 
that she was engaged to Mr. Tialaglo, 
but they didn't know whether the 
couple planned to get married next 
month or next year. Their elope- 
ment was a complete surprise. Dor- 
othy's engagement to James Rennie 
has been rumored almost daily for 
the past few weeks, but has always 
been vigorously denied. 

Mr. Tialaglo is a Greek who has 
been in this country about five years. 
He was born in Constantinople twen- 
ty-eight years ago, and is — as you 
would expect — tall, dark, and hand- 
some. He is also enormously 
wealthy, speaks English without an 
accent, and has adored Constance 
ever since he met her at a dinner 
party two years ago. For more de- 
tails about him, we refer you to 
Constance's statement of a year 

"I will never marry a man who 
wears tan buttoned shoes, eats spin- 
ach, carries an umbrella, has a beard, 
says, 'I'm feeling badly,' wears a 
ring on his middle finger, or sings 
tenor." Mr. Tialaglo does none of 
these things. 

James Rennie is a Canadian, and 
was formerly a captain in the Royal 
Flying Corps. 

The two girls have been chums 
ever since they first met. They 
learned their school lessons together, 
bobbed their hair together, grew up 
and went to parties and first nights 
together, and planned that when they 
got married they would have a dou- 
ble wedding. Together thev are 
twice as impetuous as individually, 
so what more natural than that thev 
should elope together? 

The complete account of this dou- 
ble romance, which is one of the 
most interesting stories of its kind 
that ever happened in real life, will 
appear in the next issue of Picture- 
Play Magazine. 

Advertising Section 



By Beatrice Imboden 

THE four o'clock stillness had de- 
scended on Room Number Seven. 
But in a far corner the little teacher 
still bent over her desk, though by 
all the laws of pedagogy it was the 
hour when even the most conscientious of 
little teachers might relax. 

Occasionally the bumping of erasers by 
Billy Bowman, successful contestant for 
the high hcnor of erasing the board, or the 
swish cf the janitor's broom in the hall 
were heard, but the little teacher, worked 
on unheeding. 

Truly an edifying sight, had principal or 
visiting supervisor come to the door. 

Had the visitor been so impolite as to 
look over the little teacher's shoulder, 
however, he might have been surprised. 
For the problem was this: 

Board and room rent $40 

Carfare and lunch 10 

Lectures, professional magazines, 

etc 5 

Money sent to Mother 10 

Savings for Summer expenses.. 15 


"Leaving only $20 a month for clothes 
and extras! And people seem to dress so 
in the city!" sighed the little teacher. 
"Poor thing, you thought you had come 
into a fortune last fall when you got ap- 
pointed to a city school at S100 a month. 
Guess you should have stayed in Millers- 
ville, even if it was poky." 

At this point Billy Bowman's cheerful 
treble broke the stillness. 

"I had a fight last night, Miss Bobbins," 
he announced calmly. 

The little teacher started. Then horri- 
fied disapproval o-erspread her face. 

"Billy!" she began. 

"Oh, it wasn't on the school grounds, so 
you won't have to tell the principal." 

"But," the little teacher protested, "you, 
shouldn't fight anywhere." 

"Well, it was this way," explained the 
unruffled Billy. "Jimmy Dawson said Miss 
Warner was the best-looking teacher in 
the school, and I said no, you were. He 
kept on saying it so we had a fight, and I 
licked him." 

Billy paused for breath. "And I told 
Uncle Bob, and he said, 'That's the boy! 
Always take up the gauntlet for your lady 
love.' An' he asked what you looked like. 

"I told him you had big eyes and brown 
hair with little gold lights on top of the 
crinkles. Then he said, 'Shake, old man. 
I see you have the family taste.' And he 
said he was coming to visit the school." 

Another stop for breath, Billy wondering 
why the little teacher's cheeks were so 
pink and her head so averted. 

"Mother said, 'Indeed, you shan't go and 
annoy the young lady!' But she's coming 
some day." 

Mrs. Bowman speedily made a friendly 
visit, beginning with "I've heard so much 
of you, Miss Bobbins. My small son is 
your ardent admirer 1" and ending with 
"Won't you come to dinner, Friday, just 
,the family, with Billy included, of course?" 

And the little teacher drew from the 
month's allowance ten precious dollars for 
a chiffon blouse. The old suit would have 
to do, with pressing. Billy proudly escorted 
her home Friday evening. 

ONLY the family" proved to include 
"Uncle Bob," whose merry, quizzical 
eyes never left the little teacher's face, 
and a fashionable visiting cousin, the latter 
gowned in something green, low-cut and 
expensive-looking. Mrs. Bowman wore a 
black gown that in Millersville would have 
served for state occasions. 

3 "Why didn't I at least have sense enough 
to wear a one-piece dress," groaned the 
little teacher. "But what would I have 
worn — last Summer's faded pink voile?" 

She felt her embarrassment was evident, 
though the others chattered gaily. As soon 
as possible she made an excuse of a lecture 
and left, alone on the street car, in spite 
of Mr. Bob's determination to whirl her to 
"the lecture" in his car. 

Later came "at home" cards from Mrs. 
Bowman and invitations from other pa- 
trons. But after the chiffon blouse had 
attended a tea or two, and met velvets and 
satins galore, it was quietly folded away. 

Of course, Mr. Bob called at the little 
teacher's quiet boarding place, and tele- 
phoned and sent flowers. He escorted her 
(plus the chiffon blouse) to a play, with 
laces and silks in the next box. 

Then— the little teacher straightway 
adopted the cordiality of an icicle, and not 
even the most square- jawed of young men 

can pay court to such forever. Business 
called him East and everything seemed 
ended, save for a postal or two. 

Billy wondered why his beloved teacher 
forgot to be jolly. Miss Warner dropped 
into Boom Seven one evening and sur- 
prised a tear in the little teacher's eye. 

"Forgive me, dear, if I seem officious," 
she slipped an arm about the younger 
girl. "But you look like a little sister of 
mine. And I've an idea your trouble is the 
same I had two years ago." 

Then she talked, while the little teacher's 
expression changed from incredibility to 
surprise and hope! Soon after, the little 
teacher recovered her gay spirits. There 
was often a mysterious smile on her lips, 
and once Billy caught her humming a tune, 
right out loud in school! 

IT was July, and Mr. Bob had run down 
to his sister's country place. 
"Some nice people here," she greeted 
him. "Oh, yes, and an old friend of yours 
— that pretty little teacher. I think you'ra 
in for a surprise, my boy." 

That evening he got it! While looking 
over the evening paper in the library, he 
was startled by a vision in misty blue, 
something frilly and flower-strewn, a vision 
which slipped quietly in and made a quaint 
courtesy before him. 

"Good evening,'' remarked the vision. 
"Why — ah — oh, good evening." Mr. Bob 
stumbled to his feet. 

"Do you usually gasp at the mere sight 
of an old friend?" queried the vision. 

"No, only at dreams come true, Miss 
Cinderella," returned Mr. Bob with re- 
covered poise. "Would you like the snap- 
shot of yourself you gave Billy last spring? 
Here it is, next my heart. But you can't 
have it." 

It was the little teacher's turn to blush. 

Next morning she appeared for golf in 
a white linen skirt, as tailored and pock- 
eted as you please, with green satin sport 
coat to match the morning fields. 

That afternoon for country club tea she 
donned a cream silk jersey frock, ex- 
quisitely simple and well cut. In the even- 
ing another marvel, something white and 
fluffy, flung over something pink and silky, 
reminding the hitherto unpoetic Mr. Bob 
of a cloud with sunset lining. While on 
Sunday a pensive Quaker maiden went to 
church all in cloudy gray. 

No wonder Mr. Bob was bewildered. 

"What's the answer, Sis?" He sought his 
sister one day, having just left a very 
domestic-looking maiden in cool white 
dimity, embroidering on the porch. 

Mrs. Bowman shook her head. "Per- 
haps she's inherited some money," she 
said vaguely. "But I liked her last Win- 
ter, shabby clothes and all, of course." 

"So did I, worse luck," groaned Mr. Bob. 
He determined to learn his fate that even- 
ing. But a dance was on and a wonderful 
low-cut . frock in orchid tints embroidered 
in violets awed him while the other fellows 
danced with her. 

However, fate — or the little teacher — was 
kind next evening, for nothing more terri- 
fying than a white dotted swiss, with ab- 
surdly babyish blue sash, appeared. 

Oh, wise little teacher, how did you 
know that the man does not exist who can 
resist white swiss and blue ribbons? 

There was a stroll and a moon, and, 
rather late, two supremely happy beings 

"There is only one thing to which I ob- 
ject," Mr. Bob was saying. "You see, I 
used to dream as a boy of making a for- 
tune and laying it at the feet of a lovely 
maid, changing her to a princess. I 
thought I'd found her last year. But, lo, 
the wand has already waved over her and 
she is a princess now. But I didn't make 
her one, so I'm disappointed. Tell me, 
Cinderella, who was the fairy godmother?" 

"Why, I made these clothes myself," 
calmly responded the little teacher, going 
directly to the root of the matter. 

"You — !" Mr. Bob gasped. 

"Of course, so you can still make me a 
princess, for I have no fortune." 

"But how did you make those things? 
Sis says they're lovely, and she has an 
expensive dressmaker." 

"I'll tell you all," laughed Cinderella. "I 
wag so miserable last winter. I wanted 
good times and I — liked you — ■" C'Say it!" 
whispered Mr. Bob, "say you loved me.") 
"But I felt so ill at ease in my poor 
clothes. Finally I was horrid to you, to 
keep you away, though it 'most killed me!" 

The moon obligingly whisked behind a 
passing cloud to allow Mr. Bob to express 
his sympathy. 

There was a stroll 
and a moon, and 
rather late, two 
. supremely happy 
beings returned. 

"Then one of the teachers — Miss War- 
ner — told me a way out. I had always 
secretly admired her clothes — and won- 
dered how she could dress "so beautifully 
on a teacher's salary. 

"Well, she told me that she had learned 
right in her own boarding place, in spare 
time, through the Woman's Institute, how 
to make stylish, becoming clothes and hats, 
even though she knew nothing at all about 
sewing or millinery when she began. She 
said that this wonderful school had taught 
her how to make the kind of dresses and 
hats she had always wanted for less than 
one-half their usual cost, and how to make 
money sewing for other people beside. 

"You see, it makes no difference where 
you live, because all the instruction is car- 
ried on by mail. And it is no disadvantage 
if you are employed because you can devote 
much or little time to the course and just 
whenever it is convenient. 

SO I wrote and began the lessons. Al- 
most at once I knew I had solved the 
problem. In a month I made a pretty 
school blouse, and then I tried a dress. 
I made the gray one I wore Sunday (you 
seemed to like it), and I wore it to the 
Teacher's Institute, where I took my read- 
ing class up on the platform. 

"They said I made quite a successful 
appearance,' demurely. "And now — why, 
with ten dollars invested in material, I 
can make a lovel5 r summer dress. And 
made-overs 1 This white is one and the 
lavender I wore last night came from an 
old dress of mother's, plus a little new 
chiffon. I can even make tailored things! 

"You learn those little- touches that turn 
a few yards of material into a work of art, 
you learn your special colors and styles. 
Why, I could go on forever! And, just 
think, if you should happen to lose your 
money, I could even earn my living mak- 
ing artistic clothes for others." 

"Or dress your own bewitching little self 
so people would think I had a million dol- 
lars while I was getting on my feet again. 
Miss Cleverness,'' grinned Mr. Bob. 

The little teacher's story has a practical 
application to your needs. More than 
85,000 women and girls in city, town and 
country have proved that you can quickly 
learn at home in spare time how to make 
all your own and your children's clothes 
and hats or prepare for success in dress- 
making or millinery as a profession. 

It costs you nothing to find out all about 
the Woman's Institute and what it can do 
for you. Just send a letter, post card or 
the convenient coupon below and you will 
receive — without obligation — the full story of 
this great school that has brought the 
happiness of having dainty, becoming 
clothes, savings almost too good to be 
true, and the joy of being independent in 
a successful business, to women and girls 
all over the world. 

Dept.59-Q, Scranton, Penna. 
Please send me one of your booklets and 
tell me how I can learn the subject marked 

□ Home Dressmaking □Millinery 

□ Professional Dressmaking uCooking 


(Please specify whether Mrs. or Miss) 


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Advertising Section 

Dick's Admirer. — No, I am not re- 
lated to any answer men. Richard Bar- 
thelmess is working at the Griffith stu- 
dios at Mamaroneck, New York. He 
is married to Mary Hay. 

An _ Unknown Friend. — Eugene 
O'Brien is not married. He is not an 
Irishman, as you imagine, except by his 
ancestry. He was born in Denver, Colo- 
rado, in 1884. He is six feet tall and 
weighs one hundred and sixty pounds. 
Write to the editor about that. 

Mildred L. P. — I'm sure I can't see 
anything wicked about writing questions 
about the movies on Sunday, but, of 
course, if you feel that way about it, 
why not wait until Monday? Yes, they 
are very strict about letting visitors into 
the various studios. They have to be 
strict on this point or they would be 
overrun with people all the- time. No, 
the actresses do not give away their 
dresses after they finish a picture. They 
will always find plenty of use for them 
at a later date. They are just added to 
their wardrobe to await a future call. 

Kathryn McG. — Constance Binney 
played the leading feminine role in Mau- 
rice Tourneur's "Sporting Life." Faire 
Binney, her sister, played her younger 
sister in the play. Dorothy Gish's latest 
release is called "Little Miss Rebellion." 
Ralph Graves played the leading male 
role opposite her. He was born in Cleve- 
land, Ohio, twenty years ago. Wheeler 
Oakman was born in Washington, D. C. 
Owen Moore is a native son of Ireland. 
Faire Binney was born in New York 
City in 1901. Her sister, Constance, ar- 
rived on earth two years before Faire. 

Patty of Pattie. — Conrad Nagel was 
born in Des Moines, Iowa, in 1896. He 
is six feet tall and weighs one hundred 
ond sixty-five pounds. His hair is light 
brown and his eyes are blue. He is the 
proud father of a brand-new baby daugh- 
ter. This is his correct name. Lila Lee's 
correct name is Gussie Appel. She was 
born in New York City in 1902. 

E. M. L. — In "Everywoman" Youth 
was played by Clara Horton. Wanda 
Hawley played the part of Beauty. 
Clarine Seymour is dead. She passed 
away in New York on May 26, 1920. 

Merl M. — It is best to inclose a quar- 
ter to cover the expense of the photo 
and mailing. You will find the addresses 
you want at the end of this department. 

Adrian. — William S. Hart is not mak- 
ing any plans for future screen produc- 
tions, so it is no use working on a story 
for him. Bill says — and very emphati- 
cally, too — that he is to retire from the 
screen for good at the completion of his 
next feature for Artcraft. I feel confi- 
dent that Bill will carry out his threat. 

Ruth W. — Bert Lytell is married to 
a nonprofessional. Marjorie Daw was 
born in Colorado Springs, Colorado, in 
1002. Her correct name is Margarita 
House. She selected her screen name 
from the Mother Goose rhyme. Alice 
Brady has dark hair and eyes. Chicago 
would be the nearest point for you. 

Star I. — Allan Sears was born in San 
Antonio, Texas, and was educated at 
Knox College. 

Bill Hart Admirer. — No, Bill Hart is 
not married. He has been in motion 
pictures for six years. He lives in Los 
Angeles, California, with his sister, Mary 
Hart. Kathleen Kirkham was born in 
Menominee, Michigan, in 1895. She is 
married to a nonprofessional. 

Marian.— Oh, wise little girl! One 
does not have to be French because one 
is born in France. You are the one who 
is wrong. Charles Chaplin was born in 
France of English parents, but promptly 
went to England and became naturally 
an English subject. Now will you be 
good? Richard Barthelmess was born 
in New York City in 1895. I can't help 
how old he was two years ago. You 
must have read an issue of Picture- 
Play when Dick was not married. He 
wasn't born that way, you know, and it 
is only recently that he married. To 
be exact, he married Mary Hay on Fri- 
day, June 18, 1920, at the Church of the 
Heavenly Rest in New York City. You 
say you have criticized enough. Not at 
all ; any time you think you are right 
and I am wrong, let me know. Eugene 
O'Brien is starring in pictures for the 
Selznick Pictures Corporation. You are 
likely to hear all sorts of gossip in this 
business, so don't believe anything you 
hear. Wait until you see it printed in 
Picture- Play, and then you can be sure 
that it is a fact, and not a wild rumor. 

S. R. O. — I know that some of the 
motion-picture titles have very little to 
do with the picture, and oftentimes the 
fans are fooled by a title. It is up to 
the producers and not to yours truly. If 
they see fit to put them in, I can't stop 

I. R. O. — I can't help you one bit un- 
less you can be more explicit. If you 
even knew his name in the cast of the 
picture you mean, I would be able to 
name him for you. I'll give you the 
cast, and you can probably tell from 
that. Wallace Reid and Grace Darmond 
had the leading roles in "The Valley of 
the Giants." Will Brunton played Buck 
Ogilvy, Charles Ogle was John Cardi- 
gan, Ralph Lewis was Colonel Penning- 
ton, Hart Hoxie was Jules Rondeau, 
Noah .Beery was Black Minorca, Guy 
Oliver was George Sea Otter, W. H. 
Brown was Judge Moore, Richard Cum- 
mings was McTavish, Ogden Crane was 
Mayor Poundstone, and Speed Hansen 
was Henry Poundstone. There were no 
other men in the cast. 

Katherine H. — Emory Johnson was 
born in _ San Francisco, California, in 
1894. His better half in private life is 
Ella Hall. They have two baby boys. 
He appears opposite Betty Compson in 
her first independent picture for her 
own company, called "Prisoners of 
Love." He has just been reengaged to 
play opposite her in her next starring 

Marjorie Millet. — I am sure I can- 
not tell you for certain. You had bet- 
ter write to him and find out for your- 
self. So many of the fans want the stars 
to answer their letters that it is impos- 
sible to do so. Suppose you received 
several hundred letters every week. Do 
you think you could possibly answer 
them all yourself? Natalie is the young- 
est of _ the_ Talmadge sisters. Eileen 
Sedgewick is playing in serials. Mary 
Pickford has finished one picture since 
her return from Europe, under the di- 
rection of Frances Marion, who also 
wrote the story. She is now working on 
"The Cricket," which David Kirkland is 
directing. "Ruth of the Rockies" is Ruth 
Roland's latest serial. "Sherry" was an 
Edgar Lewis production released by 
Pathe. Jack Dempsey made one picture, 
a fifteen-episode serial called "Dare-devil 
Jack." He has not made any other 
pictures since that time. Marjorie Ben- 
nett is a younger sister of Enid Bennett 
Write whenever you have the time and 
as often as you have the inclination. 

Advertising Section 


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A New Orleans Girl. — May Allison 
was born in Georgia. She was educated 
in Tennessee. If she ever lived in El 
Paso, Texas, she has kept mighty quiet 
about it. I think she never did. Doro- 
thy Dalton was Mrs. Lew Cody, but she 
isn't now. That is her correct name. 
The reason Mary Pickford hasn't had 
many releases lately is because of her 
trip abroad. She has completed an Ital- 
ian picture which will be released very 
soon by the United Artists. 

Jack. — Fannie Ward was born in St. 
Louis, Missouri, in 1S75. Charles Chap- 
lin arrived on earth at Paris, France, in 
1889. Harry Houdini was born in Ap- 
pleton, W isconsin. Eugene O'Brien is 
six feet tall and weighs one hundred and 
sixty pounds. He has light-brown hair 
and blue eyes. Alia Nazimova is five 
feet three inches and weighs one hun- 
dred ar.d sixteen pounds. She has black 
hair and violet eyes. Viola Dana is four 
feet eleven inches tall and weighs but 
ninety-six pounds, soaking wet. She has 
light-green eyes and dark-brown hair. 
William S. Hart's latest Artcraft feature 
is called "The Testing Block." Mary 
Pickford had a very quiet and simple 
ceremony when she was married to Doug- 
las Fairbanks. Marjorie Daw was her 
maid of honor at the wedding. 

Musical Nut. — The majority of the 
stars play some kind of musical instru- 
ment. Yes, it is true that Wallace Reid 
can play the saxaphonc, piano, violin. 1 
know, because I have caught him at it. 

Aspire and Inspire. — I cannot help you 
to become a motion-picture actress, and 
I am sorry I can not grant jour request 
for a letter of introduction to the heads 
of the various film companies. You see, 
no one knows who I am, anyway, so if 
I did give a letter to the film-company 
heads, they wouldn't know who it was 
from, and therefore it would not do you 
a bit of good. It takes more than a let- 
ter of introduction to become a motion- 
picture star. If you would aspire, you 
must perspire first. It takes work, work, 
and moie -work to get to the top, even 
after you have gotten started. 

Nadine R. — Ella Hall has retired from 
the screen for the time being at least. 
Her two baby sons are the reason. She 
is devoting all of her time to them these 
days. Anj' one with two baby sons will 
realize that it takes all a mother's time 
to look after them. Her correct name is 
Ollie Kirkby, not Kirby. She is the wife 
of George Larkin. Constance Talmadge 
w r as born in Brooklyn, New York, in 1900. 
Her sister Xorma was born at Niagara 
Falls in 1897. Not in Niagara Falls. It 
couldn't be done. Emory Johnson played 
opposite Margarita Fisher in the Ameri- 
can production "Put Up Your Hands." 

Elizabeth S. — Albert Roscoe is six feet 
tall. Charles Ray is one inch over six j 
feet. George Walsh is five feet eleven. | 
Alice Brady measures five feet seven. 
Alary Pickford just reaches the five-foot | 
mark. Shirley Mason and Dorothy Gish 
are the same height as Mary. I never 
heard of your friend Ethel. The height 
of a player makes no difference in their 
popularity. The fans go to pictures to 
see acting, not to find out how tall an ac- 
tress is. You will find your other ques- 
tions already answered in these columns. 

Berne. — That is my name nine-tenths 
of the time. Yes, I should think that it 
had done its share. E. K. Lincoln and 
Elmo Lincoln are not related to each 
other. Your other questions already have 
been answered in the replies above. 

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Health and 
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transform you 0ct . 10 , 1920 

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Dept. 1403, 305 Broadway, New York 


Dept. 1403, 305 Broadway, N. Y. City 

Dear Sir: — I enclose herewith 10 cents, for which 
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City State 

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Suite 98 70 5th Avenue 

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Copy this Sketch 

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104 Waverly Place, N.Y. 

Advertising Section 

By Gosh, Himself. — Carter de Haven 
and his wife are not making any more 
comedies for Paramount, so it would 
not do to submit that type of story to 
them. They are now making features 
for the First National Exhibitors' Cir- 
cuit. "Twin Beds" was their first, and 
they are now nearly through with their 
second film for this concern, namely, 
"The Girl in the Taxi." 

Ruth N.— Jack Mulhall and Eugene 
O'Brien are not related to each other. 
Carlyle Blackwell is still very much in 
pictures. He is not with any special 
company. His latest picture is "The 
Restless Sex," in which he plays oppo- 
site Marion Davies. They are all Ameri- 
cans, born right here in the U. S. A. I 
never heard of the people you mention. 
If they were ever in pictures, it must 
have been only as extras, for if they 
were even on a cast of a picture, I would 
have a record of them. Some people 
must like the reissues, because if they 
didn't, the fans would not go to see 
them, and it wouldn't pay the producer 
to get out the prints. Of course, some 
companies have reissued pictures under 
a different title than the original, which 
has misled the fans, and in many cases 
has annoyed them greatly, for they have 
gone into a theater expecting to see a 
new film, only to discover that it is an 
old one they have seen long before. 

Hope. — Haven't had a line from you 
for several months. Aren't you feeling 
up to snuff lately? 

Archibald and Mike. — Your questions 
have already been answered in the above 
replies. Look for the addresses you 
want at the bottom of The Oracle depart- 

Filly. — Charles Rosher is a camera 
man, not an actor. He photographs the 
features of Mary Pickford. 

Edith L. — Jack Holt was born in Win- 
chester, Virgina. The editor has charge 
of all the interviews. Write to him about 
them. Margarita Fisher was born in 
Missouri Valley, Iowa — not in Califor- 
nia. She formed her own company, 
which went to California to start work 
in January. There are quite a few who 
have been "born and rized" there. Con- 
stance Binney's latest picture is "Thirty- 
nine East." She studied dancing as a 
child and was educated in Brearly 
School, in Westover, and in a French 
convent in Paris. Mabel Normand was 
born in Boston, Massachusetts. She has 
never been married. No, just having 
pretty hair will never be enough to con- 
vince any producer that he ought to star 
a girl in pictures. It takes more than that 
these days to get by in the films. 

Miss Madeline C. — Alice Brady is 
married and Frank L. Crane is her proud 
hubby, as you probably know by _ this 
time if you've looked through this issue 
carefully. She is the daughter of Wil- 
liam A. Brady, the well-known theatri- 
cal producer. She is making screen pro- 
ductions for Realart. She is also appear- 
ing on the stage in a play called "Anna 

Miss V. Taras.— Tracing lost relatives 
and running a correspondence bureau are 
somewhat out of my line, but this once I 
am glad to oblige a lady. _ Helen Taras, 
who saw your name in this department, 
wants to know if you are a long-lost 
distant relative she is looking for. If 
you care to write to her in care of this 
department, the letter will be forwarded 
to her. 

Olivia. — You will find all your ques- 
tions answered in the previous replies. 

Tom Mix Fan. — That is his real name. 
Tom Mix is married to Victoria Forde. 
They have no little mixers. 

Ducky Lucky From Pueblo, Colorado. 
— Robert Gordon is married to Alma 
Francis, the well-known musical-comedy 
star. She is very, very pretty. Wallace 
MacDonald is not married. Charles Ray 
is married to a nonprofessional, Clara 
Grant. Jack Pickford has no children. 
Guess ! I'm afraid you are too fickle, 
so I had better not tell you. You men- 
tioned three in your letter that you are 
already in love with, so I am taking no 
chances. Your other question already 
has been answered. 

Billie. — Wallace Reid is not married 
to Ann Little. His better half is Doro- 
thy Davenport. He was born in St. 
Louis, Missouri, in 1892. Corinne Grif- 
fith was born in Texarkana, Texas. 
Grace Cunard was born in Paris, France. 
She was married to Joe Moore, young- 
est of the Moore brothers. Hoot Gibson 
and Helen Gibson were married until 
Helen recently secured a divorce from 
husband Hoot. Charles Hutchinson is 
married. Wallace Reid is six feet tall 
and weighs one hundred and eighty-five 
pounds. He has brown hair and blue 
eyes. Louise Lovely was born in Sydney, 
Australia. She is not an Austrian, but 
an Australian. There's quite a difference, 
Billie. Just call an Australian an Aus- 
trian and you will soon discover the 
fact, much to your regret. Most of the 
prominent players have had extensive 
education. Baby Marie Osborne was born 
in 191 1. 

? — -Anxious.— The actresses you asked 
about are all Americans, born and raised 
in the United States. Kathleen O'Connor 
was born in Dayton, Ohio, in 1897. Cleo 
Madison was born in Bloomington, Illi- 
nois. Kathleen is five feet four and one- 
half inches tall, and Cleo is an inch and 
a half taller than Kathleen. Edith John- 
son was born in Rochester, New York, in 
1895. She tips the beam at five feet four 
inches. James Levering was born in 
Bristol, England, in 1861. He is five 
feet six inches tall. He is an English- 
man. William Duncan was born in Scot- 
land. He is five feet ten inches. 

Dorothy Louise H. and Ruth Eliza- 
beth C. — Eva Novak is Jane Novak's 
younger sister. She is doing very nicely 
on the screen, and threatens to become 
just as popular with the picture fans as 
her big sister. She is William S. Hart's 
leading lady in his newest film. She 
has blond hair and blue eyes, and is still 
in her 'teens. Wallace Reid's latest re- 
lease is called "Always Audacious." He 
is now at work on a story called "The 
Daughter of a Magnate," the title of 
which will no doubt be changed before 
the film is ready for public showing. 
Priscilla Dean's newest vehicle for the 
Universal is named "Outside the Law." 
It was written and directed by Tod 
Browning. It is said to be even better 
than her last one, "The Virgin of Stam- 
boul." Bebe Daniels was born in 1901. 
Her latest picture is "Oh, Lady, Lady!" 
She is not married. Eva Novak is now 
being featured in Universal productions. 
Her latest is "Out of the Sunset." Jack 
Perrin is playing opposite her. Mary 
Pickford does not wear a wig. It is al- 
ways best to inclose a quarter to cover 
the cost of photo and mailing. Viola 
Dana and Shirley Mason are sisters, and 
they have an older sister, Edna Flugrath. 
who is now in England, being featured 
in films by a British concern. Flugrath 
is the family name. Priscilla Dean is 
not related to them. 

Advertising Section 

Z 1 & "P"S ^ € \ /% tf" 1 "^7" d-^ ^ 5 ^1 1 f V 

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PATENTS SECURED. Prompt service. 
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cepted ? Send tliom to-day for best offor, im- 
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Short Stories and Photoplays 

PHOTOPLAYS wanted. Big prices paid. 
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MEN WANTED for Detective Work. Ex- 
perience unnecessary- Write J. Ganor, 
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Mail Order Business 

ico War Issues, Venezuela. Salvador and In- 
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story. Send birth date and dime for trial 
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Advertising Section 

Classified Advertising— Continued. 


GET ON THE STAGE. I tell you how ! 
Send stamp for instructive Stage Book and 
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By Winfield Scott Hall, M.D., Ph.D. 


What every young man and 

Every young woman should know 
What every young husband and 

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euts and commendations on request . 
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" Specialist New York City 

Kedzie. — There are many -of the film 
favorites who were born in the South 
and who are real Southerners. Mary 
Pickford was born in Toronto, Canada. 
Ann Little is still in pictures. She is 
with the Lasky forces. The accent on the 
second syllable. Lew admits he is an 
all-around athlete. They are not di- 
vorced. Your other questions will be 
found answered already in this issue. 

Marie From Maine. — Peggy Hyland 
has left our shores and is being starred 
in productions in England by the Samuel- 
son Film Company, Ltd. It is rumored 
that she will shortly return to America 
and do her picture work here in the fu- 
ture. He did not play in "The Rebellious 
Bride." Pell Trenton is not a star. He 
is a leading man and supports stars or 
plays in special-cast productions at the 
various studios on the Pacific coast. Yes, 
Billie is Billie Burke's correct name. She 
was named for her father. Rod la Rocque 
was born in Chicago, Illinois. He meas- 
ures six feet in his stockings. That is 
his correct name. Vivian Martin is her 
name. She is Mrs. Jefferson in private 
life. "The Song of the Soul" is her latest 
oicture. Mary Pickford is considered 
.very pretty. Don't you think so? I can't 
tell from your description what picture 
you refer to. 

An Alla Nazimova Admirer. — You 
will find all addresses at the end of The 

Bullet Proof. — Thanks for your very 
kind letter. The editor has mailed you a 
copy of the Market Booklet and also the 
"Guideposts" booklet. The amount in 
stamps was sufficient. William Farnum 
has not retired from the screen. He is 
just taking a brief vacation at his pala- 
tial home in Sag Harbor, Maine. 

Jean F.- — William Russell is two inches 
over six feet. His hair is dark. No, he 
is not married. All your other questions 
have been answered. 

Ima Pomo Granit. — Bessie Love was 
born in Los Angeles, California. She 
is all of five feet. Her correct name is 
Juanita Horton. That's Louise's correct 

Ethel B. — You can believe that re- 
port. Pearl White is the wife of Wallace 
McCutcheon. Ruth Stonehouse has re- 
turned to the screen. She is playing in 
Metro productions. She is now support- 
ing Eileen Percy in the Fox feature 
"The Land of Jazz." She is not mar- 
ried to a Mr. Fields, but to J. Anthony 
Roach, the scenario writer. I guess your 
girl friend is mixed up a little. Ruth 
Stonehouse is. at present living in Los 
Angeles, and not in Potaka, Indiana, as 
your friend says. None that I know of. 
There is no studio in Princeton, Indiana. 
Bessie Love' has her own film company. 
Andrew Callahan is back of it. 

Marguerite E. M. — I'm glad I don't 
mind what you call me. Niles Welch was 
born in Hartford, Connecticut. He is six 
feet and weighs one hundred and sixty- 
five pounds. He has medium-brown hair 
and blue eyes. Albert E. Smith is presi- 
dent of Vitagraph. He is not a boy, al- 
though he probably feels like one. 

M. H. A. — Mildred Harris has been 
granted a divorce from Charles Chaplin. 
She was born in igoi. For three or four 
years. Her latest picture is "The Woman 
in the House." Nazimova has no chil- 
dren. Her latest picture is called "Ma- 
dame Peacock." No, it is not true that 
Connie is engaged. Katherine MacDon- 
ald is not married. She was the wife 
of Malcolm Strauss, the artist. Charles 
Ray has no children. You are forgiven. 


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Advertising Section 


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Bound volumes of Picture-Play Maga- 
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VIVIAN D. — Theda Bara is an Ameri- 
can. She was born in Cincinnati, Ohio. 
Xazimova is Russian. The way you had 
it your letter is correct. Lottie Pick ford 
is a sister of Mary and Jack. 

Admirer of Constance. — Harrison 
Ford has been engaged to appear oppo- 
site Constance and Norma Talmadge in 
their forthcoming Pirst National films. 
Pearl W hite is an American. She was 
born in Springfield, Missouri, in 1889. 
William Farnum was born in Boston, 
Massachusetts, in 1876. 

Detroit, Mich. — Pearl White wears a 
blond wig. The first Mrs. Fairbanks was 
not a professional. Tstiru Aoki is Ses- 
suc Hayakawa's wife. Ruth Roland is 
not married. 

M. C. C. — Marguerite Clark lives near 
New Orleans. She returned to the screen 
recently in "Scrambled Wives." Her hus- 
band is not a professional. Bebe Daniels 
is now starring and will not play any 
more leads to the Lasky male stars. She 
was born in Dallas, Texas, in 1901. 
Olive Thomas was twenty-two Avhen she 
died. Jack Pickford was bora in 1896. 
They never appeared in pictures to- 
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Miss A. M. R. T. E. P. K.— Ben Wilson 
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I The Pirate Princess and Captain 
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not related. The Dolly sisters have ap- 
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Kathleen O'Connor Admirer. — Surely 
you will see Pearl White. She is mak- 
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her latest melodrama for that concern. 
Your other questions already have been 

Miss Corinne C. — Richard Barthelmess 
is that young man's correct name. He 
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YOTT may have any instrument with complete musical 
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" •. ■"; "in'-lil tli id imi ehase pi'iec and keep it . I. .dance iti eie/ht monthly amounts. No 
V Jfc&V I oner,, t i Liin-ri No in 1 1 v tei 1 1 1 1 m •! I Write Today t.r I lie hi ee t 'ai . 1,.,. No. 11 

Bill Farnum Fan.— You can rest easy. 
Your favorite is an American and a t3pi- 
cal one. Your other questions already 
have been answered. 

Miss Evelyn B. — Charlotte Burton 
was the wife of William Russell. He is 
not married. Does that straighten that 
up for you? Mary Pickford lives at 
Beverly^ Hills, California. She has an- 
other big - home in Los Angeles, where 
her mother and sister, Lottie, with Lot- 
tie's baby girl, reside. Mary Pickford 
does a great deal for different orphans' 

A Lover of Stars, Screen, and Stage. — 
David Powell was bofn in Scotland. Lew 
Cod}' plays the part of Reggie in Mabel 
Normand's "Mickey." Henry Olive 
played the part of Frank Clayton in "As 
a Man Thinks." You will find all your 
other questions already answered. 

Addresses of Players 

Asked for by readers whose letters are 
answered by The Oracle this month: 

Marv Hav, Richard Barthelmess. Dorothy 
Gish, and Ralph Graves, at the Griffith Stu- 
dios. Mamaroneck. Orienta Toint, New York. 

Mr. and Mrs. Carter de Haven, care of 
Charles Chaplin Studios, Los Angeles, Cali- 

Lila Lee, Clara Horton. Jack Mulhall, 
Walter Hiers. Ann Forrest, Conrad Nagel, and 
Wallace Reid, at the Lasky Studios. Holly- 
wood, California. 

Ruth Roland, George Larkin, Charles 
Hutchinson, at Pathe Exchange, 25 West 
Forty-fifth Street, New York City. 

Marguerite Clark, Dorothy Dalton. Mae 
Murray, and Elsie Ferguson, at the Para- 
mount Pictures Corporation, 485 Fifth Ave- 
nue, New York City. 

Doris May, Douglas MacLean, Louise 
Glaum, and Hobart Bosworth, at the luce 
Stu aios. Culver City, California. 

Pauline Frederick, at the Robertson-Cole 
Studios, Los Angeles, California. 

Norma, Constance, and Natalie Talmadge 
and Harrison Ford, at the Talmadge Studios. 
0I8 East Forty-eighth Street, New York City. 

Shirley Mason. Tom Mix. Louise Lovely, 
Eileen Percy, and Pearl White, at the Fox 
Film Corporation. New York City. 

Buster Keaton. Alice Lake. May Allison, 
Viola Dana. Nazimova. Casson Ferguson, and 
Bert Lytell, at the Metro Studios, Hollywood, 

Charles Ray. at the Charles Ray Studios, 
Fleming Street, Los Angeles, California. 

Charles Murray. Louise Fazenda, Marie 
Prevost, and Phyllis Haver, at the Sennett 
Studios. Edendale, California. 

Eva Novak, Marie Walcamp, Jack Perrin. 
Priscilla Dean, Eddy Polo, and Frank Mayo, 
at the Universal Studios, Universal City. 

Mary Pickford. Mary Thurman. Lew Cody, 
Josie Sedgwick, Emory Johnson, Bettv Comp- 
son, and Mae Marsh, at the Brunton Stu- 
dios. Melrose Avenue. Los Angeles, California. 

Corinne Griffith, at the Yitagraph Com- 
pany. 469 Fifth Avenue, New York City. 

William S. Hart, at the William S. Hart 
Studios. Los Angeles, California. 

Mary Miles Minter. Constance Binney, 
Wanda Hawley. and Bebe Daniels, at the 
Realart Pictures Corporation. 4G9 Fifth Ave- 
nue. New York City. 

Ressie Love and Mariorie Daw, at the 
Hollywood Studios, Hollywood, California. 

Mabel Normand, Tom Moore. Cullen Lan- 
dis. and Molly Malone, at the Goldwvn Stu- 
dios. Culver City. California. 

Elaine Hammerstein. Zeena Keefe. Eugene 
O'Brien, and Owen Moore, at the Selzniel; 
Pictures Corporation. 729 Seventh Avenue 
New York City. 

Jane Novak. Winifred Westover. Kathleen 
Kirkham. Eileen Sedgwick, Charles Clary 
Wallace MaeDonald, Kathleen O'Connor. Niles 
Welch, Seena Owen, Bertram Grassbv, and 
Hal Cooley, in care of Willis & Inglis Los 
Angeles, California, or the Mabel' Condon 
Exchange. Hollywood, California. 

Hale Hamilton, the Lambs' Club, New 
York City. 

Mildred Harris and Anita Stewart care 
of Louis B. Mayer. Los Angeles California 

Douglas Fairbanks, Fairbanks Studios. 
Melrose Avenue. Los Angeles. California 

Mildred Davis. Harold Llovd and Harrv 
Pollard, at the Rolin Studios, Culver Citv 
Californ'a. : 

Antonio Moreno. George Behan. Albert Rav 
James Kirkwood, and Thomas Meighan at 
the Los Angeles Athletic Club, Los Ang'eles, 

Advertising Section 


More "Inside Dope" 

By the World's 


Humorous Writer 

.; H. C. Witw»r 
He is spending the winter in California to be near 
the studios and the stuff that Annette Kellermann 
made famous. 

H. C. Witwer, with his uproariously funny fiction and won- 
derful slang, has become famous in every country that 
reads the English language. So great has been the demand 
for his stories that he has become by far the highest-paid 
humorous writer in this or any other country. And 
n ' he is such a versatile genius that you'll find series of his 
stories in three or four different magazines at a time. 

But for readers interested in moving pictures, the 
best fiction series Witwer ever wrote is the one 
about " I he Camembert Film Company" now 
appearing in PEOPLE'S MAGAZINE. 

It's the "inside story" of life in and about the 
io and the director's office, and although it's 
classic fiction, there's more truth than fiction 
in. it. If you want to know how it really 
feels to be in the movies, you can't afford 
to miss these remarkable yarns, each of 
which is complete in one issue. 

In the March PEOPLE'S Witwer tells the story 
of "Young Mother Hubbard," who helped 
turn a hopeless dub into a famous film star. 

And that's only one of 
man}" great features in — 
the March issue of — 

One of the "'waterproof bathing beauties" in Witwer's hilarious yarn about "Young 
Mother Hubbard" 




25 cents a copy $2 per year jj 

(Note the big saving on annual rate) g 


Advertising Section 






To appear in two big installments in the April and 
May issues of SMITH'S MAGAZINE 

The charm, the humor, 
the brilliance of Miss 
Taylor's work is known 
to all the regular 
readers of SMITH'S. 
If you do not know 
her, you will enjoy 
getting acquainted. 
"Undercurrents" is not 
humorous, but is likely 
to rank as the strongest, 
most significant story 
Miss Taylor has yet 


Author of "Cecilia of the Pink Roses, 1 
"Barbara of Baltimore," "Yellow Soap, 1 
"Between Wives," etc. 

The fiction appearing 
in SMITH'S has ever 
been distinguished 
for its interest and 
variety. The April issue 
contains a great collec- 
tion of unusual short 
stories. There is Love, 
Romance, and Adven- 
ture. Some of the stories 
will take you to the far 
corners of the earth, 
and others to scenes 
you will recognize. 



"The Lamp of Destiny," the greatest novel of the year, by Margaret 
Pedler, will reach its conclusion in the April number. At its end will 
be found a most interesting and important announcement. 

The short stories by Arthur Tuckerman, Philip Merivale, W. Douglas 
Newton, Arthur Crabb, R. O' Grady, and Jessie McGriff, are all 
unusual and worth reading. 

It would be a good idea for 
you to order your copy now 


On the news stands March Sth 

□ c 

3 r 


Whether on the silver screen or 
in plain print, a good story is a 
good story — about as enjoyable a 
thing as there is in the world. The 
best stories published appear 
every two weeks in 


It is the greatest all-fiction magazine in the 
world. It contains no pictures, no special 
articles, nothing but stories. Stories of action, 
love, adventure, mystery; dramatic, vital, thril- 
ling stories. Frank Packard, Theodore Seixas. 
Solomons, Caroline Lockhart — almost all of 
the great writers of film productions have their 
stories appear originally in THE POPULAR. 
It costs twenty-five cents at any news stand. 
It appears on the seventh and twentieth of 
each month. ORDER YOUR COPY NOW! 


The rare Oriental fragrance of Colgate's Florient won first place in a 
l • famous perfume contest. This marvelous perfume may be had also in Toilet Water, 

/ / \J ll ft I F ace Powder, Talc Powder and Soap. 

I TiOWQTS offflC Ovi£Yl~h * f7 "" < ' f ' < "' 5 °/'* f Contestand materials for this per- 

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Dept. 22, 199 Fulton St. 



nineriids ravvnie riagaunv u/ tne oa wn 

Jlpnl 1921 
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Herbert Howe turns 

the spotlight on 
movie colony life. 

. 4 

I i 

"ELECTRICAL EXPERTS" Earn $12 to $30 a Day 

What's YOUR Future? 

Today you are earning $20 to $30 a week. In the same six Then why remain in the "small pay" game — in a line of work 
days as an Electrical Expert, you can make from $70 to $200, that offers — No Big promotion — No Big income — No Big future, 
and make it easier — not work half so hard. Fit yourself for a Bossing Job. ■% 'SKj 


Today even the ordinary electrician — the "screw driver" - tricity — the "Electrical Expert" — who is picked out to 
kind — is making money — big money. But it's the trained man "boss" ordinary electricians — to boss the big jobs — the jobs 
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So sure am I that you can learn electricity— so sure am I guarantee uuder Bond to return every single penny paid me 

that after studying with me, you tco can get into the in tuition if, when you have finished my Course you are not 

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L. L. 


Chief En?., Chicago 
Engineering Works, 

Dept. 444 
1918 Sunnyside Ave., Chicago, 

Dear Sir : Send at once 
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do it NOW— TODAY— before it is too late. 


Chief Engineer, 

Dept. 444 




Electricity Means Opportunities 

Advertising Section 


Was $100 

Before the War 

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In these days when the 
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war, it is a distinct con- 
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■ I I your book — "The High Cost of Typewriters — The 

J Reason and the Remedy," your de luxe catalog and 
i further information. 


| Name 


p Street Address 


I City State 


■ Occupation or Business 

Vol. XIV 


No. 2 

. William Lord Wright 

Hints for Scenario Writers 

Advice for the amateur writer. 

What the Fans Think .... 

An open forum of discussion about motion pictures. 

Flowers Are for Easter ....... 

The Morals of the Movie Folk . . Herbert Howe 

The searchlight is turned on the life of the movie colony 

The Old Swimmin' Hole . . . C. L. Edson 

A "back-to-boyhood" story, based on Charles Ray's latest picture. 

More Genuine Than Usual . . . Barbara Little 

Catherine Calvert lives up to the impression of a fan. 

Romances of Famous Film Folk . . Harold Russell 

This time it's a double romance — perhaps you can guess who the couples are. 

The Master of Spanish Love . . . Harriette Underhill 28 

Introducing James Rennie — a much-talked-about young man just at present. 

The Observer ...... . . . 29 

Editorial comment on timely topics concerning the screen. 

The Four Horsemen .... Charles Carter . 31 

A preview of one of the biggest productions of the year. 

The Movie Almanac - . . . Charles Gatchell . 34 

Wherein you will find much interesting information. 

Favorite Picture Players ... . . . 35 

Some of the world's most attractive screen stars, in rotogravure. 

To One Lot of Kimonos — $25,000 . . Emma-Lindsay Squier 43 

A large item — but one which Sessue Hayakawa was not unwilling to pay when 
his wife presented the bill. 

The Discovery of Dickson 

A youngster who's been making good. 

The Temperamental Blonde . 

Mae Murray talks entertainingly about her work. 

A Girl's Adventures in Movieland. Part III. Ethel Sands 

This time she helps Bert Lytell in one of bis biggest productions. 

A Man Who Refused to Die . . . Malcolm H. Oettinger 50 

His name is Hobart Bosworth, and his career is an interesting one. 

Childe Harold . . . . H. C, Witwer . . 51 

America's premier humorist gets a page of laughs out of a visit to Harold Lloyd's 

Celia Brynn . . 44 
. Malcolm H. Oettinger 45 

. 46 


Continued on the Second Page Following 

Monthly publication issued by Street & Srnil It Corporation, 70-89 Sev enth Avenue, New York City. ORMOND G. Smith. President; George C. Smith, Treasurer: George C. Smith Jr. 
Secretary. Copyright. 1921 by Street & Smith Corporation, New York. Copyright, 1921, bv Street & Smith Corporation, Great Britain. All Riqhts Reserved. Publishers 
everywhere are cautioned against using any of the contents of this magazine cither wholly or in part. Entered as Second-class Matter, March 6. 1916, at the Post 
Office at New York, N. Y.. under Act of Congress of March 3, 1879. Canadian subscription, ?2.3ti. Foreign, $2.72. 
WARNING— Do not subscribe through agents unknown to you. Complaints are daily made by persons who have been thus victimized. 
IMPORTANT— Authors, agents, and publishers are requested to note that this firm does not hold itself responsible for loss of unsolicited manuscripts while at this office or 
in transit; and that it cannot undertake to hold uncalled-for manuscripts for a longer period than six months. If the return of manuscript is expected, postage should be inclosed. ' 



Advertising Section 


listed in order of release 
March I, 1921, to May 1. 1921 

"The Faith Healer" 
George Melford's Pro- 
duction of 
Wm. Vaughn Moody's 
famous play. 

"The Call of Youth" 
Hugh Ford's Production 
Henry Arthur Jones' Play. 

Thomas Meighan in 
"The Easy Road" 
Another splendid 
Tom Meighan Production 

"Straight is the Way" 
A Cosmopolitan Production 

of the story by 
Ethel Watts Mumford Grant 

Wm. S. Hart in 
"O'Malley of the Mounted" 
Mr. Hart's own production 
of a story of the 
Northwest Mounted Police. 

Mae Murray in 
"The Gilded Lily" 
A flashing story of New York 
at its gayest 
A Robert 2. Leonard 
Dorothy Dalton in 
"The Teaser" 
An absorbing story of 
Alaskan dance halls. 
*"Beau Revel" 
Louis Joseph Vance's great 

A William D. Taylor 

"The Witching Hour" 
Elliott Dexter in Augustus 
Thomas' greatest drama. 
Wallace Reid in 
"The Love Special" 
From Frank Spearman's story. 
Roscoe (Fatty) Arbuckle In 
"The Dollar-a-Year Man" 
Mystery and melodrama 
chock full of laughs. 
A William De Mille 
"What Every Woman Knows" 
Sir James M. Barrie's play 
charmingly produced and 
acted, with Lois Wilson and 

Conrad Nagle. 
A Cosmopolitan Production 

"Buried Treasure" 
Marion Davies in a novel and 
colorful romance. 
A John S. Robertson 

"Sentimental Tommy" 
Sir James M. Barrie's won- 
derful Tommy and Grizel 
brought to life. 
•Douglas McLean in 
"The Home Stretch" 
A Thomas H. Ince Produc- 
tion from Charles Belmont 
Davis' story. 

Count me in on that!" 

NOT one member of the family 
wants to be left home when 
it's Paramount night at the 

That's the night you are all 
sure to get your money's worth. 

Paramount schedules romantic 
trips for you every few days- 
trips into the adventurous lives 
of the rich, the bold, the brave 
and the fair. 

Some strange drama of life 
which might happen in a mansion 
of Mayfair, a chateau in Nor- 
mandy, a bungalow in Calcutta, a 
country club on Long Island, or 
the savage depths of Africa, is 
all visible in Paramount Pictures. 

Your craving for healthful ad- 
venture is being well planned for 
by Paramount. 

Never forget that the very 
greatest motion pictures, the 
kind you wouldn't care to miss, 
can only be made by an organiza- 
tion of world-wide scope, such as 
Paramount's, which counts no 
cost and shies at no difficulty or 
danger to make your Paramount 

schedule an unbroken tale of 
thrilling entertainment. 

Don't be among those people 
who let their photoplays choose 
them; that is, they go to the 
theatre without knowing what's 

Choose the Paramount Pic- 
tures, choose the Paramount 

Those nights are as great as 
the nights called Arabian, nights 
of pleasure so enthralling as to 
take you completely out of your- 
self into the enchanted land of 
Let's Pretend. 

It is a simple matter to follow 
the Paramount schedule. Keep 
tab on the newspaper advertise- 
ments of your theatre and look 
for the phrase "A Paramount 

You will notice this also in the 
theatre's lobby and on the 

Those are the nights to go! — 
The nights your theatre shows 
Paramount Pictures ! 

(paramount ff*ictur&s 

Contents —Continued 

. Herbert Howe 

the chips fall where 

Jumping Back to the Sixth Century 

A lively account of a visit to the scene of a big production 

Right Oil' the Grili 

A department in which the author "hews to the line, let 
they may." 

Over the Teacups ..... 

Fannie the Fan is here, as usual, with all the latest chatter 

You Can't Tell Marguerite . 

Which refers to the little favorite, Marguerite Clark. 

The Screen in Review .... 

Critical comment on current productions. 

Louise Lovely Is . 

As no doubt you well agree. 

Dame Fashion's Smartest Daughter 

Much can be learned about dress from Irene Castle, 

Have You Any Whiskers ? 

If so, see Russell Simpson. 

Those Cowless Cowboys! .... 

Another yarn of humorous observation, by the author of "The Naughty Nude 
New Year." 

. Emma-Lindsay Squier 52 

in the making. 

News Notes from the Studios . 
Our New Temples of Art . 

They are doing much to make the movies more enjoyable. 

If You Start Young Enough . 

You may land a big job in the motion-picture industry. 

Snapped Without Warning . 

Favorite players caught by the camera while off stage. 

Low and Behold! ...... 

A brilliant pen picture of Louise Glaum. 

Playing Both Ends Against the Middle . 

Mary Miles Minter has two strings to her bow. 

The Picture Oracle ...... 

Answers to letters from our readers. 


John Addison Elliott . 73 


Malcolm H. Oettinger 84 
Edna Foley . . 86 

. 88 


The Bystander . 


Caroline Bell 


Agnes Smith 


Emma-Lindsay Squier 


Louise Williams 


Edwin Schallert . 


Grace Ringsley . 


are a 

to begin the most interesting feature concerning 
which any magazine has ever offered its readers! 

This is an extreme statement, 
we know, but it will be borne 
out in the next issue of Pic- 
ture-Play Magazine. 
The article in question is the 
story of the wife of a motion- 
picture star. She had married 
him before he became famous. 
And during this long period 
of his rise to fame the two 

had lived, and seen, all that 
goes on behind the scenes in 
the life of the motion-picture 
world. All of the emotional 
joys and sorrows of her own 
experiences, as well as those 
which she saw around her, she 
has set down in an amazingly 
interesting and frank human 


Which star's wife wrote it? This will be the question on thousands of lips next 
month. Perhaps you will guess. At least you will recognize, in all probability, 
some of the famous characters discussed in this remarkable story, which will begin 

Advertising Section 

Two whole months I planned for my wed- 
ding day. It was to be an elaborate church 
a/fair, with arches, bridesmaids and sweet 
little flower-girls. Bob wanted a simple cere- 
mony — but I insisted on a church wedding. 

"We are only married once, you know." I 
laughed. "And Oh. Bob." I whispered, nestling 
closer, "it will be the happiest day of my life." 

Gaily I planned for that happy day and 
proudly I fondled the shimmering folds of my 
wedding gown. There were flowers to be 
ordered, music to be selected and cards to be 
sent. Each moment was crowded with an- 
ticipations. Oh, if I could have only known 
then the dark cloud that overshadowed my 
happiness ! 

At last the glorious day of my marriage ar- 
rived. The excitement fa rm ed the spark of 
my happiness into glowing and I thrilled with 
a joy that I had never known before. My 
wedding day! The happiest day of my life! 
I just knew that I would remember it forever. 

A Day I Will Remember 

How can I describe to you the beauty of the 
church scene as I found it when I arrived? 
Huge wreaths of flowers swung in graceful 
fragrance from ceiling to wall. Each pew 
boasted its cluster of hlies. and the altar was a 
mass of many-hued blossoms. The bridesmaids, 
in their flowing white gowns, seemed almost 
unreal, and the little flower-girls looked like 
tiny fairies as they scattered flowers along the 
carpeted aisle. It was superb! I firmly be- 
lieved that there was nothing left in all the 
world to wish for. The organist received the 
cue, and with a low, deep chord the mellow 
strains of the triumphant wedding march 

Perhaps it was the beauty of the scene. 
Perhaps it was the strains of the wedding 
march. Perhaps it was my overwhelming 
happiness. At any rate, the days of rehearsal 
and p lannin g vanished in a blur of happy for- 
getfulness, and before I realized what I was 
doing, I had made an awful blunder. I had 
made a mistake right at the beginning of the 
wedding march, despite the weeks of careful 
preparation and the days of strict rehearsal! 

One Little Mistake— 
and My Joy is Ended 

Some one giggled, I noticed that the clergy- 
nan raised his brows ever so slightly. The 
sudden realization of the terrible blunder I was 
making caused a pang of regret that I had not 
read up, somewhere, about the blunders to be 
avoided at wedding ceremonies. A hot blush 
c: humiliation surged over me — and with 
crimson face and trembling Up I began the 
march all over again. 

It all happened so suddenly. In a moment 
it was over. And yet that blunder had 
spoiled my wedding day! Every one had 
noticed it, they couldn't help noticing it. All 
my rehearsing had been in vain, and the event 
that I had hoped would be the crowning glory 
c: my life, proved a miserable failure. 

Of course, all my friends toid me how pretty 
I looked, and the guests proclaimed my wed- 
ding a tremendouj success. But deep down in 
niy heart I knew that they did not mean it — 
they could not mean it. I had broken one of 
the fundamental laws of wedding etiquette and 
they would never forget it. After the cere- 
mony that evening I cried as though my heart 
would break — and, incidentally, I reproached 
I myself for not knowing better. 

I Buy a Book of 

After the wedding there were cards of thanks and 
"at home" cards to be sent. The wedding breakfast 
had to be arranged and our honeymoon trip planned. 

I determined to avoid any further blunders in 
etiquette, and so I sent for the famous "En- 
cyclopedia of Etiquette." 

Bob and I had always prided ourselves on 
being cultured and well-bred. We had always 
believed that we followed the conventions of 
society to the highest letter of its law. But oh, 
the serious breaches of etiquette we were 
making almost every' day! 

Why. after reading only five pages I dis- 
covered that I actually did not know how to 
introduce people to each other correctly 1 I 
didn't know whether to say: Mrs. 
Brcrn. meet Miss Smith: or Hiss 
Smiih, meet Mrs. Bremen. I didn't know 
whether to say, Bobbz?. ikis is Mr. 
Blank: or Mr. Blank, this is Bobby. I 
didn't know whether it were proper for 
me to shake hands with a gentle- 
man upon being introduced to 
him, and whether it were proper 
for me to stand cp cr remain ,|j 
seated. I discovered, in fact, . , 

that to be able to establish an 
immediate and friendly under- 
standing between two people 
who have never met before, to 
make conversation flow smooth- 
ly and pleasantly, is an art in 
itself. Every day people judge 
us by the way we make and 

Blunders in Etiquette 
at the Dance 

Bob glanced over the chapter 
;ai;ed itiquette at the 
Ihince. "Why, dear," he ex- 
claimed, "I never knew how to 

Spla^ed'soJmgy.^We read 

the polite and courteous way for 
her to refuse it. We found out 
how to avoid that awkward mo- 
ment after the music ceases and 

We ev 
= .rl : 


what i 

scrv-r-c- ...e c_rr-c; z::xr.g tor a yi'ir.g 

find invaluable aid in our "Encyclopedia 
:e,"' I said to Bob. "It tells us just 
, what to say, what to write and what to 
times. And there are two chapters, I 
eign countries that tell all about tips, 
ng cards, correspondence, addressing 
1 addressing clergy abroad. Why. look, 
en tells about the dinner etiquette in 
gland and Germany. And see. here is a 
wedding etiquette — the very mistake I 
inted out! Oh, Bob, if I had only had 
rful book, I would never have made that 

My Advice to Young 
Men and Women 

The world is a harsh judge. To be admitted to 
society, to enjoy the company of brilliant minds 
and to win admiration and respect for oneself, it is 
essential for the woman to cultivate charm, and for 
the man to be polished, impressive. And only by 
adhering to the laws of etiquette is it possible for 
the woman to be charming and the man to be what 
the world loves to call a gentleman. 

I would rather lose a thousand dollars than live 
through that awful moment of my wedding again. 
r.ven now, when I think of it, I blush. And so. my 
advice to young men and' women who desire to 
be cultured rather than coarse, who desire to im- 
press by their deicacy of taste and finesse of breed- 
ing, is — "send for Ike splendid tec-volume set of 
the t-neyclopedia of tJiqueile." 

Send for it that you may know the correct thing 
to wear at the dinner, and the correct thing to 
wear at the ball. Send for it that you may know 
just what to do and say when you overturn a cup of 
coffee on your hostess' table linen. Send for it 
that you may know the proper way to remove fruit 
stones from your mouth, the cultured way to use a 
finger bowl and the correct way to use napkins. 
Send for it, in short, that you may be always, at all 
times, cultured, well-bred and refined; that you 
may do and say and wriie and wear only what is the 
best of form and utterly in accord with the art of 

"Before I realized 
what I was doing, I 
had started the wed- 
ding march with an 
awful blunder in 
Etiquette. 11 

Encyclopedia of Etiquette 

In Two Comprehensive Volumes 

Sent FREE for Five Days 

Encyclopedia of Etiquette is excellent in quality, 
comprehensive in proportions, rich in illustrations. 
It comes to you as a guide, a revelation toward 
better etiquette. It dispels lingering doubts, 
corrects blunders, teaches you the right thing to do. 

For a short time only the complete two-volume 
set of the Encyclopedia of Etiquette is being 
offered at the special price of $3.50. Don't wait 
until your wedding, your party, your dipner is 
spoiled by a blunder. Don't delay — send for 
your set NOW before you forget. 

The coupon below entitles you to a 5 days' 
FREE examination of the two-volume set of 
Everyman's Encyclopedia of Etiquette. At the 
end of that time if you decide that you want to 
keep it, simply send us $3.50 in full payment — and 
the set is yours. Or, if you are not delighted, 
ret'jm the books to us and you won't be out a cent. 

Send for your set of the Encyclopedia to-day! 
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times. Just mail the coupon — don't send any 
monev. Nelson Doubleday, Inc., Dept. 404 
Ovster Bav. Xew York. 

Dept.404 Oyster Bay, Xew York. 


You may send me the complete two-volume 
set of the Encyclopedia of Etiquette. After 5 
days I will either return the books or send you 
$3.50 in full payment. This places me under no 

Xame . 

Address Picture-Plav 4-21 

We Accept 


If there were no opportunity for an 
unknown writer of plots to sell his ma- 
terial, then this entire department would 
be misleading, to put it mildly, and 
should never see printer's ink. The 
writer would be holding out false hopes to hundreds 
of beginners in literary work. After years of experi- 
ence and of observation in the movie game, the editor 
of this department contends that the future hope of 
material for the screen lies in the "amateur," so called, 
of to-day. He believes in the ancient adage that one 
cannot "make a silk purse out 
of a sow's ear," meaning that 
the beginner who has no plot 
conception, no sense of the dra- 
matic or humorous, no talent for 
putting observations and ideas 
on paper, will never write mo- 
tion-picture scenarios. He does 
contend that there are many 
workers to-day in the newspaper 
editorial rooms who will be the 
scenario writers of to-morrow, 
that there is many a man and 
woman with an inherent talent 
for writing who will be selling 
movie stories before many 
months — that those who strive 
to-day mav become successful 

QUESTIONS concerning scenario 
writing, addressed to this depart- 
ment, will be gladly answered, when ac- 
companied by a stamped and addressed 
return envelope. Beginners, however, 
are advised first to procure our "Guide- 
posts for Scenario Writers," a booklet 
covering all the points on which begin- 
ners usually wish to be informed, which 
will be sent for ten cents. Those who 
wish the names and addresses of the 
principal producers, with statements of 
the kinds of stories they want, may 
procure our Market Booklet for six 
cents. Please note that we cannot read 
or criticize scripts. 

their stories, and what possible chance has a poor, unknown 
straggler, even if his story happens to be good? 

"It seems to me to be wrong to encourage the thousands 
of struggling people who are spending so much precious time, 
energy, and hope on an almost hopeless case. I do not be- 
lieve that all the stories which five hundred thousand people 
are writing are hopelessly poor, old stuff, or imitations. Now 
if I am wrong in regard to the little chance which scenario 
writers now stand of having their work accepted, I will be 
glad to be corrected. If only three persons — beginners, of 
course, or unprofessionals — would write in your department 
saying they had scenarios accepted for five-reelers within the 
last two years by any reliable studios, or if Mr. Wright can 
tell us of three amateurs who with- 
in the past two years have sold five- 
reel plays, then I will cheerfully 
say I was mistaken and will gladly 
go to work again myself." 

from Scena- 
rio Editors 

The Letter 

In response to a letter from Mr. J. 
D. Davis, a beginner, the editor of this 
that Start- magazine queried the scenario depart- 
ed It All ments of the large movie companies 
asking for opinions — as to whether 
there was hope for the amateur writer of screen stories. 
I shall first present Mr. Davis' letter, then quote from 
these scenario editors, and then give some other opin- 
ions and comments. I sincerely hope that this will 
close the argument, and that it will convincingly prove 
that there is an opportunity, and a big opportunity to 
those who have real ability. 

"I heartily indorse R. J. Trebor, of Los Angeles, when he 
asks in your magazine that some one be candid and tell us 
that there is very little hope for an outsider to dispose of 
his stuff," writes .Mr. J. D. Davis, of Rochester, New York* 
"My own experience consists of a few scenarios, some re- 
ceiving favorable personal mention, but none were ever ac- 
cepted by any studio. Although ' encouraged by the letters 
mentioned, I am through with scenarios for the present, not 
because I am peeved, but because there seems to be almost 
no chance for an outsider who is not a noted, or at least, 
a professional writer. 

"Mr. Wright tells us the original story is coming back, and 
it certainlv is, but it is the well-known story of the well-known 
author. Maeterlinck, Rex Beach, Mary Roberts Rinehardt, 
Gertrude Atherton, and a few of those who are now, or have 
been, at the studios to study conditions there, and then write 

Scenario edi- 
tors from a 
number of the 
companies writ- 
ten to replied 
to the inquiry as to whether, in 
their opinion, there was hope for 
the beginner, and if they knew 
of beginners selling stories. I 
will begin by quoting Mr. John 
C. Brownell, of the Universal 
Film Manufacturing Company, 
who said, in part: "During my 
five years with Universal, I can- 
not recall but one instance where 
we bought a story from an unknown writer. We pur- 
chased 'Hitchin' Posts' from Harold Shumate. Later, 
I learned that, though unknown as a writer, he was an 
experienced newspaper man. The opportunities now 
for the screen writer are greater than ever before, but 
it is far more difficult for the amateur with a faint 
heart, the kind that gives up after two or three rejec- 

Possiblv no concern has done more for the develop- 
ment of the unknown or "amateur" screen writer than 
Universal. Giles R. Warren, who aided in organizing 
the Universal scenario department ten years or more 
ago, uncovered ten promising writers in one month. 
C. B. "Pop" Hoadley succeeded Warren and came from 
the wilds of the Michigan peninsula to become a New 
York editor. He was formerly a newspaper man and 
took up picture-play writing unhonored and unsung. 
A youth down in Boonville, Indiana — wherever that 
i s _ r ead that plots for picture plays would bring as 
much as twenty-five dollars each. He began to write. 
His stuff sold. President Laemmle went to French 
Lick Springs, Indiana, one fine day and Monte Katter- 
john accosted Laemmle and asked for a chance. Kat- 
terjohn later became editor of Universal, and his career 
Continued on page 10 

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Read Mae Marsh's 


The only authoritative book on the art 
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MAE MARSH, the little heroine of "The 
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as a writer from then on is history. 
Lucien Hubbard, a newspaper man, 
walked into the Pathe offices in New 
York three years ago with an origi- 
nal plot for a feature film. He had 
never been heard of before in the 
industry. To-day he is scenario edi- 
tor for Universal at Universal City, 

Florence L. Strauss, writing as 
scenario editor of Goldwyn Pictures 
Corporation, states that Goldwyn has 
not purchased a single scenario in 
the past year from an amateur 
writer. "In so far as I know," she 
continues, "there is no prejudice 
against amateur writers as such, it 
is only that these stories offer so 
little in the way of well worked out 
situations and characterizations that 
it is scarcely worth our while to work 
them up to feature-picture stand- 

Mr. J. E. Burk, representing Hope 
Hampton Productions, writes : "We 
have not yet purchased any story by 
an unknown writer. However, 
should such a story of exceptional 
merit be offered us, we would most 
assuredly not reject it. / think it 
a very big mistake to turn down all 
writings of amateur writers, as some 
very good ideas may be lost in this 

Here Are 


Melville Hammitt, 
of the Selznick Pic- 
tures Corporation, 
writes : "In answer 
to your letter re- 
garding stories purchased from peo- 
ple who are not professional screen 
writers, would say that we recently 
obtained from George Hodenpyl, Jr., 
an original story, 'The Fob;' from 
Garret Elsden Fort the story, 'Don't 
Trust Your Husband,' and from A. 
Guisti a story entitled 'Charlie's 
Ward.' I consider that much in- 
teresting material can be obtained 
from original writers who fashion 
their product for screen use. For 
picturization, it is the plot more than 
the literary dressing of a story that 
interests us, and, consequently, I can 
see no obstacle that would prevent 
any person with well-developed fac- 
ulties of imagination and ability to 
set forth his thoughts in a fairly 
logical manner, from becoming an 
important contender in motion-pic- 
ture writing." 

Beulah Livingstone, of the Norma 
and Constance Talmadge Film Com- 
pany, writes that they get their ma- 
terial from the Emerson-Loos com- 
bination, the Norma productions be- 
ing mostly adaptations from novels 
or plays. One story purchased solely 
on its merits was submitted by Stella 
George Perry. It was the first mo- 
tion-picture play the author had ever 

written. Miss Livingstone explains, 
however, that the author had had 
some experience in the magazine 

Edward C. Marsh, of Cayuga Pic- 
tures, Incorporated, believes that the 
tendency at present seems to be to 
pass over original work for stories 
taken from current published fiction 
not designed in the first place for 
the screen. Mr. Marsh thinks this 
tendency is all wrong and believes a 
change will come before long. 

The Hal E. Roach studios do not 
purchase stories from outside 
sources, but maintain a staff of 
writers who prepare the material for 
the comedies. We might also state 
in passing that much of the original 
business always found in Harold 
Lloyd comedies is originated by 
President Hal Roach and Mr. Lloyd. 


J. B. Chapman, of 
Federal Photo Plays, 
Chapman's in a letter states that 
Experience he thinks most pro- 
ducers are relying 
entirely on their continuity writers, 
who take any fiction story, however 
remote from screen possibilities, and 
build a scenario from it. In other 
words, they write their own story. 
They use a touch of the published 
story to justify the use of the title 
and for advertising purposes. "A 
reputable producer who maintains 
his own continuity staff does not care 
for stories written in continuity," 
he says. "No scripts have been pur- 
chased by any producer from non- 
professionals or unknown writers 
during the past year, so far as I 

Two years ago Mr. Chapman 
wrote an original story in synopsis 
form. It was his first real effort. 
It was purchased by a producing 
company, and is certain to make a 
strong production. At that time Mr. 
Chapman was virtually unknown to 
the scenario field. His story did not 
run over two thousand words. Mr. 
Chapman's assertion that "the con- 
tinuity writer puts most of the busi- 
ness into a story is true — not only 
with novels but with originals. Very 
rarely is there a book or a manu- 
script submitted for screening that 
carries enough action. This is true 
of any manuscript whatsoever, 
whether prepared by a professional 
writer, or otherwise. And the 
writers of continuity are going lsme 
on invention. Business and situa- 
tions are repeated, and, when the 
unknown comes across with an origi- 
nal idea and also most of the de- 
tailed business, he will soon be wear- 
ing diamonds. 

Continued on vagc 12 

Advertising Section 


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Advertising Section 

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and No 

Mr. Felix Orman, of the J. Stu- 
art Blackton Feature Pictures, In- 
corporated, states that the Blackton 
production, "Respectable by Proxy," 
now very popular throughout the 
country, was based on a story sub- 
mitted by an author we have never 
heard of before. The script came 
from Chicago. Commodore Black- 
ton read the story, liked it, the con- 
tinuity was then written, and the 
picture made. There is a feeling on 
the part of independent writers 
throughout the country that,, under 
present policies, they have little 
chance of selling their stories to the 
producers. There are many pro- 
ducers who want "themes." They 
feel — and I sometimes think mis- 
takenly — that the momentary flash 
of a novelist's name heightens the 
interest of the audience in the photo 
play, also the use of such a name 
in publicity attracts patronage. The 
same theory held good some years 
ago regarding actors. Yet you can 
go over the list of the most popular 
stars of to-day for yourself and see 
that most, if not all, have little if 
any stage experience or promise. So 
it is, in my opinion, with writers. The 
name of a widely read author has 
its drawing power, for he has an 
established following, but that is true 
in a few cases. Mr. Blackton has no 
policy of clinging to names. Dra- 
matic merit and literary quality are 
what he demands. If those essen- 
tials are met by a struggling school- 
teacher in an Iowa village, they are 
just as sure to be rewarded by pur- 
chase and production as they would 
be if written by an established author 
in New York City. 

. . i T-, About two years 

Other Be- ago Kate Corbelay 

ginners'Ex- was unknown to the 


^Address . 


Canadians may send this coupon to International " 
Correspondence Schools Canadian, Ltd., Montreal, Canada 

picture game. The 
wife of a civil engi- 
neer who had been called to China, 
she cast about to occupy herself dur- 
ing the hours her children were in 
school. A nonprofessional writer, 
she just brought good sense, and tal- 
ent, of course — to her work. Mrs. 
Corbelay came to the editor of this 
department with a story in synopsis 
form, entitled "And the Desert Shall 
Blossom/' In the story she had em- 
bodied some of the adventures she 
had heard her husband relate of his 
civil-engineering experiences and to 
these adventures she had added 
drama and love interest. The story 
was exceptionally good. She sold it 
through Jack Cunningham, author 
and continuity writer, who was do- 

ing scenarios for Frank Keenan. 
Mrs. Corbelay was brought to the 
star's attention. He asked her to 
submit some material for him — for 
Keenan is not easy to write plots 
for. She did so. The result was 
that she was the authoress of a series 
of Frank Keenan stories with Mr. 
Cunningham doing continuities. To- 
day Mrs. Corbelay has a number of 
feature picture plays to her credit 
and is prominently identified with a 
photo-play brokerage company at 
high salary. This is one recent in- 
stance of the success of an unknown 

C. L. Haynes wrote a Western 
story and submitted it for Mr. Dustin 
Farnum. The writer of this depart- 
ment opened the story in the usual 
course of business. The first two 
pages told him here was something 
fresh and original. Five hundred 
dollars was paid for the idea, the at- 
mosphere, and several good situa- 
tions. C. L. Haynes proved to be 
the wife of an author resolved to 
show friend husband that he was not 
the only one who could do it. She 
had never before written for the 

Robert B. Kidd, a former news- 
paper man, had never written for 
the screen in his life before he wrote 
a story entitled "When Dawn 
Came." It was a story on a danger- 
ous topic, too. It involved a lot of 
religious elements. The fact that this 
story was accepted and made into a 
big, successful production speaks 
mighty well for a man who, until 
that time, had never sold a picture- 
play plot. 

An Englishman came to America 
after the Great War. He wandered 
out to Los Angeles and received em- 
ployment playing types in pictures. 
He had a good wardrobe and looked 
the English gentleman that he cer- 
tainly is. He had never thought of 
writing for the screen or elsewhere. 
The editor of this department was 
engaged that summer in helping in 
the making of an expensive serial 
picture. L. C. Wheeler, vice presi- 
dent of the company, requested the 
writer to read a story submitted by 
an Englishman "name of Clayton." 
Not connecting him with the Captain 
Crosoe Clayton who had been en- 
gaged in the cast the story was care- 
fully considered. It was purchased., 
and a top price paid to Captain 
Crosoe Clayton who, in odd mo- 
ments, had written some of his ex- 
periences, weaving through them the 
plot of a strong love story. 

I could go on for pages citing the 
stories of beginners, but space will 
not permit. 

What the Fans Think 

An open forum of discussion by our readers, which you are invited to join. 

High Praise for Bert Lytell. 

To the Editor of Picture- Play Magazine. 

For a long time now I have waited patiently to see if any 
one would write a word of appreciation for a certain star. 
In the February issue I was rewarded for my waiting. Un- 
der the heading of "What the Fans Think," Joan Harcourt, 
of Chicago, Illinois, says she considers Bert Lytell as the 
best actor next to John Barrymore. 

John Barrymore is wonderful, but, in my opinion, he is no 
better than Mr. Lytell. 

I think an actor's worth is to be judged by the number of 
entirely different roles he or she can play. That is why I 
have so high a regard for Bert Lytell. There is nothing he 
cannot play. Until I saw the "Price of Redemption" I never 
dreamed he could play a drug fiend. 
I always thought he was too young 
and good-looking. Now I think he 
could play any role. Contrast the 
crooks of "The Lone Wolf" and 
"Alias Jimmy Valentine" with the 
struggling young minister of "The 
Lion's Den" or the country boob in 
"One Thing at a Time o' Day," with 
the temperamental man modiste in 
"Lombardi, Ltd.," with the brilliant 
but cynical lawyer in "The Right of 
Way," or with the young woman 
hater in "The Misleading Lady." 
Has any other star such a variety of 
parts to his credit? Comparisons are 
odious, I know, but I can't resist this 
one: When Charles Ray tried something different, in "Forty- 
five Minutes From Broadway," than the country-boy roles 
in which he is almost a genius, he failed. On the other hand, 
Bert Lytell in "One Thing at a Time o' Day" equaled anything 
Ray ever did in that line, I think. True, Mr. Lytell is one 
of the few that deserve the name of star. 

Nazimova is. the most versatile woman. Every time I see 
her she is different. I have seen her as the bewitching apache 
girl, Joline, and later the Red Cross nurse in "Revelation," 
the gypsy girl in "Toys of Fate," the mother, maddened by 
her fanatically religious brother until she drowned herself, 
and later the daughter, brought up by her uncle at the lonely 
lighthouse and never permitted to see other people in "Out of 
the Fog," as the Chinese goddess and the white girl in "The 
Red Lantern," as the pathetic little chorus girl in "The Brat," 
as the dancer in "Stronger Than Death," as the Russian prin- 
cess in "Billions," as the vanity-stricken actress in "Madame 
Peacock," and others — every one a different role. 

Though Nazimova is older than Norma Talmadge, Pauline 
Frederick, or Clara K. Young, I'd like to see any of them 
skip and jump around the way she can when she is playing 
a child's part. 

Viola Dana is another versatile star. And she is adorable. 
I could go into raptures over her. 

The stars I care for the least are Norma Talmadge and 
Mary Pickford. My friends accuse me of being crazy or a 
bolshevik. But I earnestly assure you and the hundreds of 
your readers who will let forth a cry of indignation when 
they read that, that I am neither. There was a time when 
I worshiped both, but I became heartily tired of them because 
they were, and are, to me, always the same. To me, their 
pictures are but endless repetitions of each other. I also 
refuse to waste my quarters on Eugene O'Brien, J. Warren 
Kerrigan, or Louise Glaum. 

Alice Joyce, Shirley Mason, Corinne Griffith, Elsie Fergu- 
son, William Farnum, Richard Barthelmess, May Allison, and 
Constance Talmadge are stars I like, but I don't care for them 
nearly as much as I do for Bert Lytell, Nazimova, Viola 
Dana, and Lillian Gish. 

I really think that "What the Fans Think" is the most 
interesting feature of your most readable magazine. In one 
letter a star may be praised to the skies, and in another^ she 
will be roasted all over the department. And I think it is 
good for all of us to get different persons' points of view — 
even when, at times, they irritate us. 

Well, I've said all I want to, except that I think Katherine 
MacDonald is the most beautiful actress in pictures, and the 
least talented. 

With all best wishes for your magazine, I am yours sincerely, 
Hartford, Connecticut. Rosalie Marsh. 

A Tribute to a "True Old-Home Girl." 

To the Editor of Picture- Play Magazine. 

Tell me why it is that so many fans have so much praise 
for a certain few of the stars, and completely ignore some 
others. I think it strange that I see so few references to 
Ethel Clayton, who, to me, is the sweetest, the most beautiful 
"home" girl we have on the screen to-day. 

I am not educated well enough to express my sentiments 
as others, but our friend from the 
Philippines, whose letter appeared in 
the February number of Picture- 
Play, expressed my sentiment pre- 
cisely — if only you change the name 
of Elsie Ferguson to Ethel Clayton. 
Elsie is a beautiful girl, but in my way 
of thinking, Ethel Clayton comes first 
of all. Mary Pickford and Bessie 
Love are next in a neck-and-neck 
race, so -to speak. I like our little 
Mary for the reason she was good 
- j to her mother, brother, and sister. 
Bessie Love looks so good and kind 
I know she would be the same if she 
had been in Mary's shoes. 

Ethel Clayton I know is good. She 
could not be anything else in everyday life than what she is 
on the screen — a good-hearted, sweet-tempered, true old-home 
girl, and I sure wish her all the good luck she can possibly 
have. I know if I were a young man and worthy of Ethel, 
she would not be single long, or she would know that W. R. 
Foster had tried. W. R. Foster. 

Logansport, Indiana. 

In Defense of Mr. Griffith's Policy. 

To the Editor of Picture- Play Magazine. 

I have just read with a great deal of interest a letter in 
your magazine from Frederick C. Davis on that much-dis- 
cussed subject, "Way Down East." He seems to be under 
the impression that this play will be shown only in the large 
cities until 1923. Mr. Griffith has announced that "Way Down 
East" may be shown in any town — large or small — provided 
that it is shown as a regular theatrical production — that is, 
not as a continuous show, but only twice daily, matinee and 
evening — and at regular theater prices, from twenty-five cents 
to two dollars and a half. 

As for the ten-dollar seats at the opening in New York — 
they were not all the seats. Plenty were sold for fifty cents. 

In this contract for showing "Way Down East" Mr. Griffith 
is not working to prevent the small towns from seeing the 
play, but he wants them to see it right. He wants it shown 
with the special music, just as New York and Chicago saw 
it, and not cut down to fit the usual movie program, with a 
Mack Sennett "comedy" thrown in to "lighten" it up. The 
picture is entirely too long to be shown in a "program," and 
Mr. Griffith wants it shown by itself. _ Not long ago he said, 
"The ideal show for which I am working requires from eight 
to twelve reels — an evening's entertainment — the audience 
should be seated before the picture is started, for a great 
deal of harm results when persons enter and leave when the 
picture is half over or almost ended." No one would think 
of taking a good book and reading from the third last chap- 
ter to the end before beginning at the first ! 

Nashville is not so small, but it isn't large. The motion- 
picture theaters are certainly not as good as they might be. 
I recall that when "Broken Blossoms" was shown here it 
was accompanied by a "Mutt and Jeff" cartoon comedy and 
"canned" music by the player piano. I think that was the 
second time it was shown. The first showing was better, but 
certainly far from perfect. 


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Plays can be ruined by being shown 
in this manner, and this is what Mr. 
Griffith is working against. 1 don't know 
whether we will get to see "Way Down 
East" in Nashville or not. It does not 
look like it now, but we are doing all 
w r e can to get it here, and to have it 
shown as it should be shown. 

I also noticed a letter from one of 
your readers defending Dorothy Gish. I 
wish to say, too, that I think Dorothy 
Gish is by far the cleverest comedian on 
the screen. She has been unfortunate 
sometimes in not having as good plays 
as she might, but I don't think I will ever 
forget The Little Disturber in "Hearts 
of the World," "Boots," or "Remodeling 
Her Husband." Very sincerely, 

Esther Fleming. 

Nashville, Tennessee. 

More Praise for Pauline Frederick. 

To the Editor of Picture- Play Magazine. 

Like countless other "fans," I have 
perused your February issue, and the best 
information received is in the form of 
an advance notice of your forthcoming 
story about Pauline Frederick, which I 
presume will have gone to press before 
you receive this letter. I am sure that 
your story will be wonderfully interesting. 

Words are but a mild form of ex- 
pressing what one feels, but if Miss 
Frederick could mingle among her "Ma- 
dame X" audiences, she would fully real- 
ize that she has taken the greatest step 
to fill the void in motion pictures, namely, 
the lack of the speaking voice. 

May 1921 mirror only the best for her, 
and with best wishes for Picture-Play 
and its staff and those who make the mo- 
tion pictures worth while, I remain, their 
well-wisher, Miss Agnes Robinson. 

Syracuse, New York. 

We Appreciate Letters Like This One. 

To the Editor of Picture- Play Magazine. 

I have been reading the Picture-Play 
Magazine, and I will tell you how I hap- 
pened to get acquainted with it. 

I live about ten miles from town, and 
the roads, especially in the wintertime, 
are very bad. I seldom get to town, so 
I do not see many movies. I like them 
very much, and would go to see them 
every night if I could. But as it is, I 
do not get to see a show once a month. 
This does not satisfy me. 

To-day I bought a copy of the Decem- 
ber Picture-Play Magazine, and have 
been reading it all day. I am beginning 
to think that if I bought a copy of the 
magazine once a month I would not no- 
tice the fact that I couldn't see a show 
as often as most people do. 

I think the Picture-Play Magazine is 
the best movie magazine published. I 
hope that you will publish this so as to 
help others out who can't get to see a 
show as often as they hoped. 

Thanking you in advance if you should 
publish it, L. E. F. 

Millerville, Minnesota. 

The "Serial Fan" Writes Again. 

To the Editor of Picture- Play Magazine. 

I have just come from the theater 
where "The River's End" was showing, 
and for once I have seen a picture that 
was just exactly like the book from which 
it was taken. 

A picture is advertised as "Zane Grey's 
great novel," or James Curwood's or 
some other author's. We go, for we 
have read the book and enjoyed it. But, 
alas ! It has been rewritten and so made 
over we. do not recognize; it. Why can't 

we have more pictures like "The Riv- 
er's End?" That picture has shown that 
it can be done. 

I can only think of one other picture 
that was like the story 1 read, and that 
was "Lasca," with Edith Roberts. 

Some of the pictures have part of the 
original story with just a few changes. 
I don't say all of them are not good, for 
they are. For instance, "The Lone-Star 
Ranger" was good. It wasn't exactly 
like the book, but it was well made over, 
and I enjoyed it very much. 

But I am a great reader, and I always 
try and see the story I read in the movies. 
That's why it disappoints me so to see 
them all made over. 

A word about critics. They don't know r 
anything about what is good and what 
isn't. The public is the best critic. Some 
of the pictures the public enjoyed most 
were marked "no good" by critics. Ban- 
ish them ; we don't want any. We know 
what is good and bad, what we like to 
see, and what we don't, without them. 

Thanking you for putting my last let- 
ter in your department, I again sign my- 
self A Serial Fan. 

P. S. — I don't want to forget the serial. 
Have just seen the last of "Daredevil 
Jack," and thought it was great. 

Why Doesn't Lew Marry? 

To the Editor of Picture-Play Magazine. 

I want to know why Lew Cody always 
gets "left" in his pictures. Why doesn't 
he ever marry? I have just seen "Oc- 
casionally Yours," and it was a fine pic- 
ture in every way but one, and that is 
that it ended bad. Why couldn't he 
learn to love one of the girls? Mr. Cody 
is a good actor, and I think he deserves 
better pictures, so why can't he be given 
a picture in which he marries? C. M. D. 

Birmingham, Alabama. 

From An Admirer of Dick. 

To the Editor of Picture-Play Magazine. 

Different fans have different opinions, 
and although Wallace Reid, Thomas 
Meighan, and Niles ' Welch are mighty 
fine chaps, I think that Richard Barthel- 
mess beats them all. 

Dick is getting more popular every 
day, and why? Because his wonderful 
black hair and soulful eyes are enough 
to make any young girl adore him. The 
first play I saw Dick in was "Boots" — 
Dorothy Gish playing the lead. This 
play impressed me so that I went to see 
every play in which he appeared — 
"Three Men and a Girl," "Scarlet Days," 
"The Love Flower," and "Broken Blos- 
soms," in which I decided that Dick was 
my favorite. 

I am looking forward to "Way Down 
East" as being a great success, because I 
know Dick will play a good part. G. C. 

Indianapolis, Indiana. 

An Appreciation of Elaine. 

To the Editor of Picture- Play Magazine. 

I would like to voice an appreciation 
of Elaine Hammerstein. Any one who 
has seen "The Daughter Pays" and 
"Pleasure Seekers" can have nothing but 
praise for her beautiful characterizations 
in these charming silversheet offerings. 

The fine, modest, and noble characters 
she has contributed to the screen should 
make the stanchest advocate of censor- 
ship bow his head in shame. Censorship 
would never be thought necessary if all 
pictures were as free from vulgarities as 
those in which she has been featured. 

Miss Hammerstein, through the medium 
of the screen, has furnished me with 
many happy hours ; and, in return, I 


Flowers are for Easter, and Easter is for hats ; Wanda Hawley, the pretty 
Realart star, would add to the old saying an explanation that flowerlike, Easter 
hats, when not on heads, should rest in exquisite boxes. She is thoroughly 
satisfied with this one. Wouldn't you be? 

INTO the midst of the giant indus- 
tries, which slowly have grown to 
the top of the world, there sud- 
denly sprang, full grown, an Aladdin 
with magic lamps whose rays flooded 
gold upon all they touched. Paupers 
became princes in a single day, and the 
Frangois Villous had their wish. From 
tenements and agrarian wilds, from 
circuses and fly-by-nights, Cinderellas 
rose up from their ashes ar.d became 
the queens of the ball, and beggar boys 
were plumed and knighted as favorites 
of the world. 

Thus arose overnight the magic 
realm of the movies, as fascinating in 
its sudden glitter as any fairyland. 
Mere youngsters realized that universal 
dream whose condition is "If I had a 
million." Never in the extravaganza 
of life was Youth so showered with 
largess. In other industries men have 
amassed fortunes, but not until age 
crept upon them to play the ghost at 
the banquet. In movieland wealth 
comes in the spring of life, before ex- 
perience has urged moderation. So it 
is not strange that in the ecstasy of 
gold many grow heady and fall. The 
industrial parvenu quite naturally has 
the manners of the nouveau riche, 
whose extravagances appear to some as 
Dionysiac revelry and to others as 
censurable immorality. Whatever the 
category of this waywardness, it has 
sufficed to throw a scarf of glamour 
over filmdom, to invest it with an 
orgiastic splendor, an enchantment that 
is the charm of sin. From every side 
come queries as to the immorality of 
the Cinemese, a natural curiosity in 
this Era of the Great Suppression. 

During one of those happy days be- 
fore the war, when we had free speech 
and drinks, a friend and I had attained 
that round where talk inevitably turns 
to matters of morality — and immoral- 
ity. My friend, esteemed in the home 
town as a church pillar and poker 
player, remarked that he always had 
been a great admirer of a certain screen 
star until he had learned through the 
newspapers of her amorous transiency. 
This lady was accredited with intrigues 
similar in motive to those of Du Barry, 
Montespan, and other historic gold 

"I can no longer enjoy her," sighed my friend, who 
recently had been divorced for infidelity. "She al- 
ways represented to me a fine virtuous woman. Not 
that I'm a Puritan, but I thought she was. Motion- 
picture people are a pretty immoral lot, aren't they ?" 

Not knowing the definition of morality I couldn't 
reply with any degree of certitude. Since then I have 
given pious reflection to the whole gamut of synonyms: 
right thinking, righteousness, virtue, rectitude of life, 
conformity to the standard of right. Furthermore, I 
have risked my chances both of entering heaven and of 
being President of the United States by becoming a 
citizen of the movie colony. While dwelling amid the 
Cinemese I have been able to analyze their will-to- 


Like Galahad in search of the Grail, the 
colony, where such orgiastic spectacles 

By Herbert 


raise-merry-hell, as James Huneker terms the com- 
plex. Yet I am vague still as to the stuff which con- 
stitutes morality. So much depends upon one's train- 

In view of all the lurid light of sensationalism play- 
ing fancifully over the Cinemese it was not strange 
that my dear ones should have been agitated when I 
determined to take the broad highway which leads 
straight to the Hollywood colony. Yet they felt, and 
rightly, that one with sound moral training could not 
go wrong, however sirenic the temptation. Our fam- 
ily is very old and distinguished. An aristocratic and 
high-church aunt, whose great grandfather was one 
of the first to gyp the Indians out of land, had our an- 


writer sets out in quest of Sin in the movie 
as depicted below are said to abound. 



cestry traced by the Daughters of the American Revo- 
lution. My ethical training was exemplary. I attended 
Sabbath school every Sunday for six months and won 
a gold medal — which turned out to be brass. When 
only a sophomore out of college I wrote an editorial 
concerning morals, my maiden effort on becoming edi- 
tor of a special page on a mid-Western paper. Imme- 
diately upon its publication an extra man had to be 
added to the circulation staff just to take care of can- 
cellations of subscriptions. Soon afterward I left the 
paper, with the good wishes of all, and determined upon 
a career of adventure. I hesitated in my choice of 
destinations between Paris, Greenwich Village, and the 
Hollywood movie colony, these three being the centers 

of sin, according to the Sunday supple- 
ments and the fiction moonshined by 
Middle Westerners. I do not regret 
my choice. 

I arrived at night in the City of An- 
gels, so named, I presume, in honor 
of those who back motion-picture 
flivvers. My first impulse upon alight- 
ing was to turn tail and retrace the 
rails to New York, so disappointing 
was the quietude of atmosphere. Night 
in Los Angeles is like unto that of the 
town in Dakota, where I was born, ex- 
cept that it hasn't even the yowl of 
coyotes for merriment. Indeed, I soon 
learned that the chief quota of popu- 
lation was supplied not by the Cinemese, 
but by the Dakotans, the Iowans, the 
Minnesotans, and the Nebraskans, who 
had grown rich and old in the commerce 
of Holsteins and Plymouth Rocks. 

On the day after my arrival I was 
invited to go to the Hollywood colony, 
an hour by trolley from Los Angeles, 
where a dance was in progress at the 
chief caravansary of the movie folk. 
That night I set forth. 

I got off the trolley six blocks too 
soon and had to walk the lonely streets. 
It was nine o'clock. My heels clattered 
on the pavement, sounding for all the 
world like a fire horse in a sepulcher. I 
wondered where all the sinners were. 
Then I arrived at the hotel and saw 
their gleaming chariots parked all about 
the drive under the sheltering shadows 
of the palms. Music was leaking out 
from the gay-lighted interior. 

My friend rushed down from the 
veranda to greet me. As we ascended 
the steps, a lady, who seemed to be 
a composite of all the scents of Cali- 
fornia flowers, was introduced. When 
her name was mentioned I recognized 
it as the property of electric lights. 

"I'm mad at you," she said, with 
pouting lips as crimson as the rouge of 
poinsettias. Amours progress rapidly in 
the movie colony, thought I. I meet 
a beautiful dame, and at first sight she 
gets mad at me ! True love never runs 
smooth, but in Hollywood it certainly 
runs swift, so I argued. Without ex- 
plaining the reason for her wrath, she 
smiled, turned, and took the arm of a 
foreign-looking youth, who some time 
in his career must have been a contor- 
tionist, judging by the way he folded 
over the belt line when he bowed. Breathless with ex- 
citement from this first encounter, I permitted myself 
to be led into the melee du danse within. 

Later, when I took up my habitat in this maison. I 
learned that the dance is held once a week and is the 
one social event open to all entries in Hollywood. In 
the tavern dwell numerous players and likewise numer- 
ous female veterans who sit on the piazza and rock. 
On dance nights, when the film laborers gather, the 
venerable dames move their rockers indoors and form 
at the ringside. Miss Texas Guinan describes this ag- 
gregation as a lot of plush horses sitting around bury- 
ing their dead. A self-appointed chaperon, with so 
Continued on page 102 

The Old 

Just a simple 

By C. 

But Ezra wasn't happy, though his eyes were riveted on his bobber, his mind was elsewhere. 

EZRA sat on the rude railing of the bridge that 
spanned Blue Creek on the Sleepy Hollow road, 
idly watching the cork bobber that floated on 
the little stream below. The warm, June sunshine, 
streaming down through the foliage, the lazy, fragrant 
atmosphere of early summer, the peace and quiet of 
his surroundings — all of these things, according to all 
traditions of "barefoot boyhood," should have made 
him as light-hearted and carefree as his dog, Whisk- 
ers, who sat beside him. 

But Ezra wasn't entirely happy. And though his 
eyes were riveted to his bobber his mind was else- 
where. There was a joke that the kids always sprung 
for a laugh at the swimming hole, which ran, "I can 
swim like a rock and dive like a feather." What was 
worrying Ezra was that in the swimming hole of local 
Boyville politics Ezra had some way always "swum 
like a rock." 

The main trouble with Ezra was that he was too 
honest. Now, honesty is all right in its place ; of such 
is the Kingdom of Heaven, But Boyville has slightly 
different standards. 

Ezra's honesty wasn't the 
sort that would keep him 
from robbing orchards, steal- 
ing watermelons, or writing 
notes of excuse when he 
wanted to skip school. He 
was born with a taste for all 
of these things, like any 
normal boy. The trouble 
was that he wasn't foxy. And 
Skinny, his rival, was. This 
was what was puzzling Ezra 
as he sat on the bridge rail. 

"Look at the big slob," he 
said to himself. "I can out- 
run him, outdare him, and 
outsvvim him. I bet I can 
lick him. And yet he's — — " 
It wasn't quite clear to 
Ezra just what Skinny was 
doing. He only knew that 
the fat boy always seemed to 
be beating and tricking him 
in one way or another, and 
had from the time they both 
started going to the same 
school. And Ezra began to 
make up his mind to see if 
he couldn't play that game 

His chance to try came 
soon, for down the road came 
"the gang," barefooted, like 
himself. As they drew up on 
the bridge Ezra was about to 
suggest a fishing expedition 
farther up the creek, when 
Skinny suddenly cried: 

"Hey ! - Swimmin's the 
game ! The last feller in is 
a sissy! The last feller in is a sissy!" 

Skinny bolted for the hole, and the gang followed, 
pulling off their shirts as they ran. Ezra started along, 
but while he was grabbing up his fish, he got the pole 
between his legs, and the hook caught in his trousers. 
He was the last to reach the swimming hole, but gamely 
he began shucking off his clothes as fast as he could. 
They all got in ahead of him, even the clumsy Skinny. 
Ezra had been outwitted again by the foxy fat boy. But 
this time it dawned on him that the deal was crooked. 
So he put his clothes on again and hollered: 

"Aw ! Skinny was the last one in. 1 He's the sissy. 
I ain't going in. That hole's full o' snakes. I seen a 
bunch of water moccasins in there while I was fish- 
ing. You fellers will all get bit." 

Ezra called his dog and hastened away from there. 
The kids knew that he was lying, even the foxy Skinny 
recognized the trick; it was just the kind of bluff that 
be himself was always making. But he was a coward 
al heart, and all he could think of was snake bite, so 
he crawled out shivering like a wet dog, and the gang 
followed him. 

Swimmin' Hole 

old-fashioned story of Boyville. 

L. Edson 

Ezra began to feel that he was learning how to play 
the game. He hoped the gang realized that his trick 
had showed up Skinny for a cowardly calf. Surely 
they could see who was the real leader and who was 
the faker. But it was not only in gang leadership that 
Skinny was his rival. There were girls in the world 
— Ezra had noticed this odd fact with a peculiar buzz- 
ing in his breast. And Skinny was a whirlwind with 
the ladies. 

There was Esther, a pretty-enough girl, even with 
her hair so plainly done in two stiff braids. She seemed 
to think a lot of Ezra, for she made every effort to 
catch his attention, and when she met him in a narrow 
lane or at the stile, she naughtily blocked the way in 
an effort to make him stand and chat with her. This 
terrified poor Ezra, and he used to jump hedges to get 
away from her. Myrtle was a different sort of girl. 
Myrtle was coy, even if she was a howling beauty, 
with her hair all frizzled and curled, and her frocks 
the fanciest kind ever seen on a 
schoolgirl. Myrtle shied away from 
Ezra, and scarcely glanced out of 
the corner of her eye when he did 
handstands and flip-flops which 
were good enough for a circus. The 
more she tried to ignore him, the 
more Ezra was convinced that he 
had to make a hit with her or admit 
that life was meaningless and that 
he ought to have been born a prairie 
dog with a deep hole into which he 
could crawl and dig deeper and 
deeper until the end of the world. 

One day at school he looked across 
the aisle and saw Myrtle glance at 
him out of the corner of her eye. 
In sudden confusion Ezra looked the 
other way. And there he saw some- 
thing that gave him an idea. Skinny, 
the big boob, had a geography standing up in front 
of his face, and behind this screen he was feeding him- 
self candy hearts. He had the hearts spread out be- 
fore him on his desk, so that while he was munching 
the one in his mouth he could devour the others with 
his eyes. On each of the hearts was printed some 
lovely legend such as: "If You Love Me, Smile," "Oh, 
What Bliss Is In Your Kiss," "Be My Queen, Fair 
Laurine," and other choice bits of the literature of 
love. Skinny was a hog for literature, and he was 
putting these choice thoughts where they would do him 
. the most good. But Ezra saw a better use for the 
messages. He bantered Skinny for a trade and finally 
got two hearts in return for his peg top. 

Now he would have a chance to tell the coy Myrtle 
what his heart had murmured, but his tongue had 
dared not speak. He slipped one of the candy mes- 
sages across the aisle to Myrtle. It said: "I Love 
You." The young lady giggled, and Ezra almost had 
a conniption fit. The girl saw he had another candy, 
and she raised her pretty eyebrows appealingly. Ezra 
was jubilant as he passed over the other message. It 
said: "Kiss Me Quick." The haughty little beauty was 


has done an amazing thing in his 
picture "The Old Swimmin' Hole"; 
a thing that producers have said 
couldn't be done. He has made a 
picture in which he has enacted an 
entire story without the use of 
any subtitles. 

C. L. Edson saw the picture, and 
from it he wrote the story, which 
will be enjoyed by every one who 
has been a boy, who has a boy, or 
who knows a boy. 

A Charles Ray-First National Production. 

insulted, and she showed her spite by jabbing her 
pencil into the heart and twisting it around. Poor 
Ezra was smothered with an incomprehensible woe. 
Why had the first message pleased her and the second 
one thrown her into a rage? Ezra was not foxy enough 
to discern that the girl was a flirt, and that his mes- 
sage avowing his love for her was just what she wanted 
to feed her vanity. But when he asked her to give 
love in return, she "wouldn't trade." It was the old 
gag of getting the candy first and then pretending not 
to like it. Would Ezra never get wise to the ways of 
foxy cheaters ? 

When he started out for recess he found a big, sweet 
Jonathan apple in his desk. He didn't stop to reason 
out that the true-hearted Esther had put it there. All 
he thought of was that surely Myrtle would like this 
apple — what daughter of Eve would not ? So he hunted 
out the charmer on the playground and gave her 
Esther's apple. Esther saw the transaction, and her 
heart was wrung most cruelly. But Ezra's own heart 
was to be wrung in turn. For, as Myrtle stood under 
the tree, with the apple in her hand, Skinny saw her. 
He had a nose for foodstuffs that could shame a French 
hog trained to snout for truffles. How was he to get 
that apple? His foxy stomach soon thought of an 
idea, and he came lollygagging over to Myrtle and sug- 
gested that they play Adam and Eve. So Myrtle fed 
the apple to Skinny, under the guise of acting in a 
play. Ezra had to be the audience and pretend to ap- 
plaud it. His applause was feeble 
enough, and as to an encore, he said 
to himself there "ain't goin' to be 
no encore." 

But there was an encore. After 
Myrtle had fed the fat boy the last 
bite of the apple, she took out of a 
corner of her handkerchief the two 
candy hearts with "I Love You," 
"Kiss Me Quick" lettered in red ink 
on their saccharin whiteness, and 
one after the other she dropped 
them into the bottomless pit of 
Skinny's gullet. 

Ezra was wild inside, and his brain 
was reeling. The whole world seemed 
to be going round and round in a 
cyclone. Trees, houses, people, and 
everything seemed to be scooped up 
in a whirlwind, funnel-shaped cloud, 
scrapped into a hash, and then poured through the fun- 
nel again, and the funnel poured the whole debris into 
Skinny's insatiable gizzard !" 

That afternoon Ezra couldn't sit still at his desk. 
Lessons meant nothing to him now, for he had learned 
the great lesson of his life — the lesson that an honest 
man hasn't got anv chance against the politicians and 
the ladies. 

Ezra had a white mouse in his desk, and he turned 
it loose, hoping it would run down the everlasting rat 
hole of Skinny's throat. But the mouse ran under the 
desks of the girls, and soon the school was in an up- 
roar. Everybody tried to throw books and rulers at 
the terrible beast, and Skinny's flying geography hit 
the schoolmaster right on the nose. To save himself, 
Skinny hastened to inform the infuriated master just 
which boy it was that turned the mouse loose. 

The master called Ezra up front, and telling him 
to hold out his hand, the old codger brought down a 
vicious blow with his brass-lined ruler. While the blow 
was descending, Ezra was thinking fast on the ques- 
tion of whether it was the part of a brave man to 
take a licking- in front of the ladies. Or should he 


The Old Swimmin' Hole 

There were girls in the world — Ezra had noticed this peculiar fact with a peculiar buzzing in his breast. 

balk and be expelled like a regular fellow? He didn't 
have time to think it all out, but he jerked his hand 
away just as the hot edge of the ruler went by. 
And Ezra was expelled; 

It is an awful thing to be expelled for disobedience, 
thought Ezra, as he dropped, pining, just outside the 
door. For there is no way to get back in school until 
your dad sends a note saying he has licked you, and 
that hereafter you will be good. While he was think- 
ing what a whaling his dad would give him, he heard 
the schoolmaster telling Skinny to take a note to Ezra's 
parents. Ezra immediately fled down the wooded lane 
and lay in wait for the messenger. 

■ "Now, at last, Skinny Voorhees, we stand face to 
face !" Ezra glared at his enemy with a gaze he hoped 
would melt the leaf lard on the' big slob's backbone. 
Ezra had arisen from behind a bush and advanced 
on Skinny like the hero in a melodrama. He wanted 
to say to Skinny, "Draw, varlot, and defend yourself," 
even though he didn't know just what this meant. 

Skinny began to whine : "I never done nothin' to you. 
Leave me alone." And Ezra, who had been scared weak 
himself, saw he had him and began to feel stronger. 

"Give me that note before I 
black your eye and bloody 
your nose !" 

"Who's a-goin' to bloody 
my nose?" 

"This here," said Ezra, 
brandishing his fist. "This 
one's name is Sudden Death," 
waving his right knuckles. 
"And this one's name is Six 
Weeks in the Hospital." 

"You don't dare to hit me," 
pleaded Skinny. "Leave me 

"They's just going to be 
two hits in this fight," swore 
Ezra. 'Til hit you, and you'll 
hit the ground." 

Skinny had collected his 
scattered wits, and he saw- 
that the best bluffer would 
win the fight. Suddenly his 
face wrinkled, and his eyes 
glared like a maddened bull. 
He threw off his coat with 
surprising speed for a fat boy, 
snorted, spat, jumped up into 
the air, and cracked his heels 
together. He came down in 
a cloud of dust, and crouched, 
sawing his fists back and forth 
like a wild gorilla as he yelled 
between his grinding teeth : 

"This is the ground I 
growed on. I can lick my 
weight in wild cats. I'm a 
howling wolf from Bitter 
Crick, and this is my night 
to growl. I took an alligator 
under each arm and swum up 
the river where the snags was 
so thick that a fish couldn't 
squeeze through 'em. It 
scraped all the hide offen the 
alligators, but I never got a 
scratch. I eat nothin' but hu- 
man blood, and I ain't been 
fed for a year. Come on and 
get me, before I get any wilder." 

This outburst so frightened Ezra that his knees 
collapsed under him. He fell forward and took a pass 
at Skinny. Skinny batted his eyes and swung wild. 
Both boys staggered around, fanning the air with mighty 
blows, but neither landed within a foot of the other. 
Both were fighting a defensive fight and keeping away 
from each other. Finally the fat boy's wind gave out, 
and he sank to the ground. Ezra was glad, for he had 
just made up his mind to run as soon as he could trust 
his legs. But though no real blow had been struck 
on either side, Skinny felt that he was licked. Ezra 
made him dig up the note and forge an answer signed 
by Ezra's dad, and this forgery Skinny took back to 
the schoolmaster. 

Ezra had won his first victory over his craftier rival. 
That afternoon the whole gang went swimming right 
after school, but Ezra's mother sent him to the store 
to get some flour. She was baking a cake for him for 
the picnic on Old Settlers' Day and found that she 
lacked material to complete it. Ezra was sulky and 
sullen because he didn't want to be the last feller in 
swimming, for "the last feller in has got a frog in 
his stomach." But as Ezra was departing from the 

The Old Svvimmin' Hole 


store with his twenty-five pound sack of flour, he no- 
ticed that the storekeeper had received a stock of 
"shipped in" watermelons for the picnic. It would be 
a month yet before the home-grown melon patches 
would be ready to raid. Ezra thought what a killing 
he would make if he appeared before the gang with 
a stolen melon. He kicked one of the melons off the 
side of the store ' porch, and it rolled down the path 
behind a tree. Ezra followed, picked it up when he 
was out of sight of the storekeeper, and with his melon 
and his sack of flour he hastened to the old swimming 

The kids were diving and splashing, and they started 
to jeer him for being late, as they saw him coming 
through the bushes. Ezra set down his flour and came 
up to the bank holding the green-ribbed watermelon 
over his head. He tripped over a log and fell back- 
ward. Did the melon break? They always do. But 
the worst of it was that it broke right in the fallen 
hero's face. As the fall of a stone makes a hundred 
unseen frogs dive into a pool, so the bursting of the 
melon caused a flock of human frogs to dive out onto 
the bank. And before Ezra could wipe the juice out 
of his eyes, the kids had grabbed every fragment of 
the melon, and the fat boy, as was to be expected, had 
got the big, red, honey-dripping heart. 

As Ezra looked hopelessly around for a piece of 
his melon, his face wore such a rueful look that the 
gang began kidding him : 

"Don't worry, old Sock," they told him. "This 
watermelon won't hurt us none. You're afraid we'll 
get cholera morbus from eatin' the melon. But it 
prob'ly won't hurt us a bit. Cheer up, old Sock, the 
guy that ate the most melon will get the worst stomach 
ache if it's poison." 

Then the mud fight began. Ezra had slipped out of 
his clothes and paused at the edge of the hole and 
gathered a nice handful of black, slimy mud. He pasted 
Skinny in the ear and made his head ring. Skinny 
grabbed a handful of clay and threw it at Ezra, but 
Ezra wasn't there, and another kid who had just come 
up from a dive got the full dose right in the eye. 

Then the mud fight was on in earnest. White bodies 
suddenly turned speckled and then black, and the air 
was as full of flying mud as a swamp is full of black- 
birds in the fall flocking days. The kids in the middle 
of the pond dived for the mud on the bottom and 
those at the edges scrambled for the easiest handfuls. 
Skinny got crowded clear out onto dry land where 
there wasn't any mud. He became the target of the 
whole gang, for his fat carcass offered a mark as big 
as a barn door. While he was skirmishing around 
with both eyes plugged shut with mud, he stumbled 
onto Ezra's sack of flour. Lucky find ! 

He began pelting the mud slingers with the puffy 
flour and soon put an entirely different color on the 
situation. The ugly ducklings of a moment before 
now blossomed out as white as swans. The mud fight 
had been good, but the flour fight had it beaten to a 
custard. In vain Ezra pleaded that the flour was for 
his picnic cake. They were having the picnic right 
then. And Ezra found his "cake was dough." It was 
a tragedy, and Ezra in a panic of despair could find 
only one ray of consolation. The cake that he should 
never eat had been swallowed up by the swimming 
hole ; for once it had escaped the gullet of the all-de- 
vouring Skinny ! 

The morning of the picnic dawned bright and fair 
— which is to say it was bright and fair to every one 
in the world except Ezra. Ezra was in about as bad 
a case as it is possible for a sixteen-year-old man to 
be. He was forbidden to go to the picnic — that's about 
the size of it, and yet that isn't the half of it. He 
had been whipped, disgraced, betrayed by the gang, 
and made a fool of in the presence of the ladies. Now 
for fuller details. The whipping was administered by 
his father, who was a blacksmith 

The morning of the picnic was no picnic for Ezra. 
No cake had he to take to the festivities, nor could 
he sit quietly at home and brood about it, for his lick- 
ing had rendered the idea of sitting quiet entirelv out 
of. the question. His folks all went to the picnic in 
Continued on page 99 

More Genuine 

Catherine Calvert presents the unusual spectacle 

By Barbara 

opyriffht by Lum: 

At home, Catherine Calvert prefers robes of classic simplicity 

I HOPE that I never read an interview with Cath- 
erine Calvert," the irrepressible young thing just 
home from boarding school announced emphat- 

And to my "Why?" of surprise, she explained, "I 
don't want to be disillusioned. They would probably 
say that she wore tailored suits, drove her own car, 
and liked chocolate cake. I couldn't bear it. There's 
little enough romance in the world as it is." 

Thus spoke the wisdom of sixteen. 

We were "doing" the Metropolitan Museum of Art, 
that wonderful art gallery that is located in Central 
Park, and before at least one painting in every room 
my enthusiastic companion stopped, and said: "She 
looks just like that sometimes," following it with the 
curt explanation, "Catherine Calvert, I mean." 

"But she couldn't, honey. One of them was a Span- 
ish dancer, another was a colonial belle, and another 
a medieval Madonna. They were absolutely different." 

"Well, so is she. Every part is as differ- 
ent and as filled with romance as those pictures 
back there. And I am scared to death that 
some one will tell me that in real life she is not 
romantic, or-that she reads humorous weeklies, 
or that she chums around with other stars." 

My young friend can stop worrying, for I 
have met Catherine Calvert, and she does none 
of those things. She is as real and as differ- 
ent as her characters on the screen. 

You would no more think of being jocular 
about some persons than you wojdd of jazzing 
"Pomp and Circumstance," or drawing a cari- 
cature of your favorite screen star. That is 
the way you would feel about Catherine Calvert 
if you met her. I had supposed that she shed 
the grand manner she wears on the screen, and 
became just like one of us, when she wasn't 
working before the camera, because I have 
known lots of other stars to be like that. But 
Catherine Calvert isn't. Not that she is cold 
or distant or anything of the sort — she is just 
exalted. You can't imagine her putting on a 
bungalow apron on the cook's night off and 
getting dinner ; you can easily picture her in 
an old English garden clipping roses. You can't 
imagine her clinging to the seat of a chummy 
roadster, but she seems perfectly at ease in a 
luxuriously appointed limousine. She is the 
very antithesis of the girl who says, "Give me 
a good jazz band and a crowd of friends, and 
that's all I'll ask." Such a thought could never 
occur to Catherine Calvert. 

"Well, as a matter of fact, my life is just 
one costume after another," Catherine Calvert 
told me, when I repeated to her the episode of 
the pictures in the museum. "I really ought 
to believe in reincarnation or something of the 
sort, because when I put on old colonial cos- 
tumes, such as I wear in 'The Heart of Mary- 
land,' or mantillas, such as I wore in 'Dead 
Men Tell No Tales,' Catherine Calvert ceases 
to exist, and I become a colonial belle,, or a 
Spanish girl. I even find that my taste in reading 
changes with my parts. When I was down in Natchez, 
Mississippi, doing some of the scenes for 'The Heart 
of Maryland,' I found some novels written at the time 
the action of that story took place, and I was so de- 
lighted with them, I read nothing else the whole time." 

Even my critical young friend from boarding school 
would have been satisfied. I doubt, though, if she would 
have heard what Miss Calvert was saying, for she 
would have been so enchanted with the broad band 
bound around the lovely star's head, the deep rose-col- 
ored negligee of almost classic simplicity that she wore, 
and the lace-covered chaise longue on which she rested, 
that her whole attention would have been occupied with 

Miss Calvert was forced to rest in a semidarkened 
room, because the studio lights had burned her eyes, 
so she had sent word by her maid and her irrepressible 
four-year-old son that if I didn't mind she would see 

Than Usual 

of a star who off-screen is as romantic as she is on. 



me in her boudoir. Mind ? I was delighted, for if 
there is anything more revealing of a person's real per- 
sonality than the room in which she keeps her most in- 
timate belongings, I have not yet found it. Catherine 
Calvert's room is a pearl-gray, with ivory furniture, 
and rose-colored hangings — as serene, and dignified as 
herself. But it is the walls that give the most interest- 
ing key to her character. On them there is a profu- 
sion of colorful pictures — some dancing figures by Von 
Stuck, some water-color sketches by Sargent, and many 
of the well-known posters of Maxfield Parrish. The 
pictures are all hung low on the wall, so that a person 
sitting down can see them without any effort. The 
deep blues and vivid oranges of the Parrish 
pictures are like the vivid personality of the 
real Catherine Calvert. 

"There's one advantage in playing out on 
location," Miss Calvert said, after the entrance 
of the maid with tea had interrupted my scru- 
tiny of her pictures. "You can live in the 
character you are playing most of the time. 
But here"- — and she extended her fingers 
slowly in one of the flowerlike gestures so 
familiar to her audiences — "here there are a 
thousand interruptions. There are so many 
dinner parties to go to, new plays to see, and 
always the lure of the shops, Catherine Cal- 
vert can't resist returning to life out of studio 
hours. I like better to go away to make a 
picture — and just live the part I play until 
the picture is finished. Then I like to have 
a month or more of vacation, so that I can 
see my friends, go about and get new impres- 
sions, and read plays. 

"Not scenarios," she reiterated, "plays. 
And if I ever can find one that I think is 
really big, I am going back on the stage. I 
haven't seen a part that seemed just what I 

wanted since " Her voice dropped to a 

whisper, and she didn't finish the sentence. I 
knew that she was thinking of big Paul Arm- 
strong, her playwright-husband who died, and 
involuntarily my eyes turned to the picture of 
him on her dressing table. 

"He was wonderful, wasn't he?" she said, 
with a little huskiness in her voice. It was 
two days later that I heard something about 
Catherine Calvert from a member of her com- 
pany that revealed her real self to me more 
than anything she had said. When her com- 
pany was making scenes near Natchez, Mis- 
sissippi, for "The Heart of Maryland," 
throngs of people motored out from the city 
to watch, just as people always will when they 
hear of movies being taken. Catherine Cal- 
vert is gracious, at heart, but she thought 
that if those people really 

wanted to stay, they would When she puts on her 
pay for it. So, every day "Heart of Maryland" 
a hat was passed through costume, she forgets 
the crowd^resulting in a Catherine Calvert and 
collection of several hun- becomes a colonial belle. 

dred dollars. More than a hundred little orphans are 
more warmly clad now, and there's a rug on the living- 
room floor at the asylum just because Catherine Calvert 
wouldn't be a free show. 

Catherine Calvert never talks long about motion 
pictures or acting. She talks about her home, the new 
plays in New York — she simply won't make pictures in 
California because of missing them — and flowers. The 
latter subject is inevitable after you have seen her home. 

"Yes, I always have lots of them around me," she 
said, holding out her hands to her little boy who had 
come in staggering under an enormous box. He set 
it down on the floor and began to fumble with the 

"American Beauties," I groaned, thinking that at last 
I had found a point of similarity between Catherine 
Calvert and many other stars. But they were not 
American Beauties. The box contained wild flowers 
of all kinds, sprays of jasmine, great bunches of snap- 
dragons, and clusters of pink roses and mignonette. 

In a few minutes there were vases of them all over 
the room. Sweet and informal and varied they were 
— quite like Catherine Calvert. 

Romances of Famous Film Folk 

The story of the recent elopement of the two most beloved comediennes 
in motion pictures, and what their families had to say about it. 

Bv Harold Russell 

IT was the night after Christmas and all over Green- 
wich, Connecticut, was that air of premonitory 
stillness which invariably suggests that the little 
village is again about to crash into the New York 

Something was about to happen. 

Lights gleamed cheerfully from the windows of the 
Pickwick Inn, and around the fire the villagers had 
their cups of after-dinner coffee and spoke in whis- 
pers. Old Pop Green in the corner drug store 
pushed another strawberry sundae across the bar 
and cocked his ear toward the door that opened 
on the old post road. 

"I remember it was a night 

just like this " Pop began, 

when an automobile shot tip 
to the inn steps, and a young 
man jumped out and ran in- 

He leaned far over the 
counter toward the clerk, 
and, after glancing nerv- 
ously at the villagers, 
each with a coffee cup 
poised between saucer 
and lips — in that raptly 
indifferent way which 
these old villagers adopt 
when any one bustles in 
from the big world — 
asked timidly : 

"How do you get mar 
ried in this town?" 

"Justice of the peace," 
answered the clerk. 

"Shush," said the young JH 
man, "don't talk m> loud." 

He leaned over and ff|§f 
whimpered something that 
brought a look of amaze- jj j 
ment to the clerk's face. | 

"Not really," said that Wm 
young man incredulously, a 
as he edged over toward 
the window and peaked 

"Yes, both of them," WM 
the stranger assured him. I 
"Can you " i 

But before he could fin- rcgj 
ish speaking, the clerk in j 
an awed tone assured him 
that even on Sunday the jus- 
tice of the peace would do any- 
thing to oblige some people. 

Then he picked up the tele- 
phone and called the city clerk. 

And the city clerk called 

the J. P., and in a few kSj-. 
moments, even though it 
jvas Sunday, Dorothy ^gj 

W copyright by 



Gish, she of the dark locks and elfin manner, the 
youngest of the family, and Constance Talmadge, 
who has two sisters, Norma and Natalie, also rather 
well known, were married to James Rennie and John 

Now it is natural to suppose that any one who has 
been married as many times as Miss Gish 
and Miss Talmadge before a camera 
would know how to conduct themselves 
when it came time for them to startle 
a few million fans by a real marriage. 
Such things call for proper notification 
of the newspapers, and an opportunity 
to provide for a movie of the scene 
which would have far more attraction 
for many of our best citizens than 
even the inauguration of President 
• Harding. 

Did they do it? Well, hardly. 
When it comes to getting mar- 
ried motion-picture stars are 
just like other folks. They 
don't want a lot of fuss and 
delay. They don't want the 
occasion dedicated to guests 
and caterers, when all that 
really matters is a bride, 
a groom, and a minister 
or justice of the peace. 
So Constance and Dor- 
othy took matters into 
their own hands. 
There were no trousseaus, 
no bridal bouquets, no end- 
less lists of friends who must 
be invited to the wedding. 
And best of all, to the four 
romantic youngsters, there 
were no photographs. 
This one moment of 
their lives — and a more 
precious one will never 
come to them, they are 
sure — belonged en- 
tirely to them. No 
one else has even a 
memory of it. 
The two grooms blushed 
as determinedly all after- 
noon as though they were 
facing a church full of people, 
with the wedding march halting in- 
excusably just before the notes for the 
bride's entrance. And the brides, quivery 
as two young misses eloping from board- 
ing school, were so nervous that they 

Dorothy Gish plays the part of James Rennie's 
wife much more convincingly in real life 
than she does on the screen. Wouldn't 
you know they were bride and groom 
If if vou met them looking like this? 

Romances of Famous Film Folk 


Miss Gish was sitting 
unknown to her hus- 

were both afraid of calling out enthusiastically, "I 
do/* when the other one was getting married. 

It only goes to prove that no matter how often 
one may be married one never gets used to it. 
And for days afterward Miss Gish and Miss Tal- 
madge were just as full of mystery and excite- 
ment as the) 7 could hold, until their families were 
forced to believe that something out of the ordi- 
nary had really happened. 

There was never a more honest-to-goodness, 
happy-go-lucky elopement in all the history of 
Greenwich. And that is a very sweeping statement. 

When three days later word began to trickle 
out into the world that something had happened 
in the Gish and Talmadge households, I went 
down to Mr. Rennie's dressing room, as the proper 
starting point. There was no doubt about being 
on the right track, when on the wall beside his 
dressing room a picture of Dorothy Gish laughed 
at this seeker after romance with a big R. 

Mr. Rennie was playing Pancho in "Spanish 
Love." He is one of the most ardent lovers that 
ever stalked through a hacienda. Xo man has 
any right to be so good looking. Also he is 
young and altogether boyish. I was almost sure 
I was on the right trail. 

He threw up his hands and laughed through 
his make-up. 

"Honest, old man," he protested, "I can't say 
anything about it. I really can't, you know. Why 
don't you see Miss Gish?" 

So I traveled up to the Savoy Hotel, not know- 
ing that just at that time 
out in a near-front row, 
band, watching him act. 

"I guess she likes to 
look at him," laughed sis- 
ter Lillian. And it was 
from Lillian and her 
mother that most of the 
story came. 

There was a big Christ- 
mas tree in the corner of 
the Gish apartment, and 
it didn't need the tale of 
that Christmas night to 
confirm the impression 
that it had been a merry 
festival in the Gish family. 
Lillian Gish was curled up 
on a couch in a corner 
of the room, alternately 
opening a letter and an- 
swering the telephone. 

"Yes," she said to an 
inquirer who rang up. 
"Yes, there's a man in 
the house." 

John, the parrot, was 
gnawing away on a 
cracker and making 
sounds which suggested 

intense mental excitement. It turned out later that 
John was laughing, sometimes to himself and some- 
times audibly. He's a droll bird. He has been a play- 
mate of Constance and Dorothy ever since they were 
little girls, so he has been trying to pretend ever since 
the wedding that they told him about it in advance. 

Mrs. Gish, who, ever since her girls were six years 
old, has been guiding them through their stage careers, 
came in. It is not hard to understand why the Gish 
family is such an inseparable unit after meeting Mrs. 

Photo by Pach Brothers 

John Pialoglou spends almost as much time 
and ingenuity nowadays in helping his 
wife Constance dodge photographers, as 
he once did in courting her. 

Constance wanders off the sets nowadays looking 
into space enraptured, and wondering how she ever 
lived before she met John. 

Gish. Her quiet and kindly manner, her great 
affection for her daughters, which they re- 
turn to her measure for measure, is reflected 
in her every word and look. It is impossible 
to help liking the Gish family. 

She folded her hands in her lap and smiled 
faintly. It was evident that the elopement 
had rather dazed her. 

"I didn't really believe it until this morn- 
ing," she said. "I thought Dorothy was just 
joking when she first told me about it. But 
I guess it is true, for Mrs. Rennie has just 
been over to see me. She didn't know it until 
to-day, either, nor did Mrs. Talmadge. We have all 
been rather upset. 

"Not that I don't like Mr. Rennie," she added hastily, 
and emphatically. "I do, very much. He is a charm- 
ing and cultivated young man, a gentleman in even' 
way, but — well, we have been together a long time 
now, you know. 

"Christmas night the)' were all here, Dorothy and. 
Mr. Rennie, and Constance and Mr. Pialoglou. And 
Continued on page 100 

Photo by Ira D. Schwartz 

James Rennie in this Spanish costume is one of the most admired actors on Broadway. 

The Master of Spanish Love 

You know that James Rennie is Dorothy Gish's husband, but there 
are other interesting things about him that this story will tell you. 

By Harriette Underhill 

IN addition to being- Dorothy Gish's husband, James 
Rennie is also the handsome hero who shouts his 
way through "Spanish Love" at the Maxine Elliott 
Theater. Now, if Mr. Rennie doesn't like our descrip- 
tion of his performance we shall admit that we never 
could have thought of putting it that way if it hadn't 
been suggested to us by Miss Gish herself. "Have 
you seen my husband?" she said, "He is the one who 
shouts his way through 'Spanish Love/ " It isn't that 
Mr. Rennie is given to shouting — no, indeed. But 

"Spanish Love" is laid in that 
far-distant - corner of Spain 
called Murcia, and there, in 
spite of the heat, they do 
things strenuously. Mr. Ren- 
nie doesn't shout when he 
makes love, of course, but most 
of the time he is defying the 
whole township and refusing to 
let Migaio, his rival, shoot him 

Our first view of Mr. Ren- 
nie was a celluloid one. He 
was Miss Gish's leading man in 
"Remodeling a Husband." 
Next came "Flying Pat," where 
Mr. Rennie appeared again as 
Miss Gish's husband, and this 
time we could no longer resist 
him. As Mr. Rennie was play- 
ing in New York it wasn't 
necessary to resist him. We just 
called up Messrs. Wagenball 
and Kemper, the owners of 
"Spanish Love," and told them 
our story, and that night found 
us at the Maxine Elliott The- 
ater getting our first view of 
the real James Rennie. We 
may as well say right at the 
start, and so get it off our 
mind, that in his Spanish cos- 
tumes he was the handsomest 
thing we ever had gazed on, 
and if we were Dorothy Gish 
we should take him out of that 
show at once. Why, when he 
shouts and raves it is probable 
that every woman in the the- 
ater is trembling for fear he 
won't leap off the stage, seize 
her in his arms, and rush off 
with her. 

And if he did do this the 
rest of the people would think 
it was just part of the show. 
The actors play their parts all 
over the theater, and they make 
three entrances from the wings 
or- out of the boxes or down 
the aisles, in "Spanish Love." 
Well, anyway, after Mr. Ren- 
nie had shouted his last shout 
and had carried Maria del 
Carmen away on his horse we 
went backstage to ask him 
why, when, and where he be- 
became an actor, and whether 
he preferred the silent or the 
noisy drama. 

"I became an actor nine 
years ago, with two years out 
for the war, and I became a screen actor about one 
year ago, when I first met Miss Gish." 

"And how did you happen to do that?" we said, avid 
for facts. Mr. Rennie smiled broadly, showing all of 
his dazzling white teeth. "I didn't happen," he said. 
"Nothing ever just happens. Mrs. Rennie and her 
sister Lillian Gish went to see me playing in 'Moonlight 
and Honeysuckle,' with Ruth Chatterton ; and Dorothy 
said, 'Lillian, there is my leading man I've been look- 
Continued on page 97 

About two years ago The Observer 
The Skv forgot his usual caution and because the 
weather was fine or because he had 
Rocket f or a ]i {jig Liberty bonds or for 

some other reason that makes men full 
of pep and recklessness — he ventured to make a 

He decided to tell the world a few things about com- 
ing big stars, and he announced that there were three 
young ladies who composed the bunch out of which 
the public would choose Mary Pickford's successor. 
These three were Dorothy Gish. who had just made 
the country chuckle at her charm in "Hearts of the 
World ;" Madge Kennedy, fresh from a quick rise to 
fame in the stage production of "Fair and Warmer,"' 
and Constance Talmadge, known mostly as Norma's 

Constance Talmadge was the long shot in the race. 
And the long shot has won. 

Not that she has taken Mary's place. Nobody has 
yet done that. Constance is not yet the favorite that 
her sister has proved to be. But she is so close to the 
front in this contest in which youth always is the victor 
that we are willing to come right out in print now and 
predict that a vear from now — there we go, getting 
reckless again — Constance will have a ticket entitling 
her to wear the queen's crown at least on Mondays, 
Wednesdays, and Fridays. 

Constance Talmadge has rushed to the front faster 
than any other motion-picture star, except Douglas 
Fairbanks and Charlie Chaplin, who were overnight 
successes. She has progressed because she has had 
good stories — something her older sister has often 
lacked — and because she looks to be a lovable lass, own- 
ing a heap of common sense. Folks like her, and they 
like her stories. That's why she draws the crowds. 

A simple formula — but difficult to fill. 

Perhaps Constance Talmadge's suc- 
A Rare cess can ^ e cnarte d so that others can 
. profit by her course. Perhaps we've 

Discovery made a rare discovery that could act 

as a test for all would-be stars. 
Constance Talmadge, to The Observer, is the kind 
of girl who, despite her success, would be genuinely 
tickled to shake hands with the grocery boy who used 
to deliver the potatoes at her house when she was a 
kid. She's the kind of a girl who would marry the 
man she loved, even if he didn't own a dime, and who 
would be happy in a four-room flat where she'd have 
to do her own cooking and pull up the dumb-waiter 

Constance has just married a man said to be wealthy, 
but that doesn't change the situation. 

Take the test we have devised and try it on any mo- 
tion-picture star. Mary Pickford and Norma Talmadge 

are that sort. Try it on some of the other stars who 
are in the medium-good class. You'll find that a lot 
of good actresses, who are supplied with excellent 
stories, have never reached the very top, and the rea- 
son is that they lack warmth. They don't appear to 
be one of us. They belong in show cases. You can't 
imagine them happy in a cottage. Glorious creatures, 
but not at all interested in the troubles and joys of 
the millions who go to see them. 

Following the same clew, we come 
TlVO Real to two b reat screen mothers — Vera 
' Gordon in "Humoresque" and Mrs. 
Mothers Mary Carr in "Over the Hill." Each 
is a real star, made so by vote of the 
public. Each of these women earned her laurels. 

A good many months ago, The Observer, at the re- 
quest of one of the readers of Picture-Play Maga- 
zine, started a search for a real screen mother. The 
search was futile. There was no such thing. 

This one letter from a reader evidently was indic- 
ative of an unfulfilled desire on the part of many for 
a screen presentation of another type of genuine hu- 
man being. 

Until Vera Gordon did "Humoresque" there had 
been no screen mother who really typified what thc 
word "mother" means to us. But nOw the producers 
are paying a good deal of attention to the mother roles. 

Following the success of "Humoresque" and "Over 
the Hill" there will be a flood of "mother" pictures. 
Selznick will put Vera Gordon in one to be named 
"The Great Love." Ince is to do one called "Mother." 
It is our recollection that George Loane Tucker, be- 
fore he became famous, made one by that title. 

rp, r, 7 Like a rush to newly discovered 

1 he KUSh gold fie]d? ig the dash of the i m i t ators. 

to the "The Miracle Man" was a new note 

Gold Fields m P' ctures an< ^ a profitable one. Fol- 
lowing the lead came the imitators. 
And some of them were terrible. "Humoresque" and 
"Over the Hill" and "Way Down East" are now being 

Imitations usually are unsuccessful, like sequels to 
stories. The first idea is welcomed because of its 
novelty. The imitation kills itself. 

There are plenty of chances left for producers to 
make money by using their own ideas. The mother 
theme was an obviously popular one, but it was over- 
looked for years. The faith idea in "The Miracle 
Man" has been in existence since the world began. 

A big production must have a big theme. "Mother," 
"faith" — both elemental words and big in meaning. 
There are many other themes based on feelings that 
are to be found in every heart, "Hope." for instance. 

But a great play is more than a theme. That is 


The Observer 

only the starting point. Authors and directors must 
give the theme the proper treatment. 

The other clay we saw a picture in which a boy 
died, and we wept through the entire scene. A few 
clays later we saw another picture in which a boy 
died, and we sat dry-eyed and only mildly interested. 

The difference was in direction. The first director 
transported us to the little home that the stout-hearted 
little boy was leaving forever, and we felt the mother's 
grief as bitterly as she. The other director did noth- 
ing more than have a few actors go through the mo- 
tions of a death scene. It was cold, and we would 
have no more felt like weeping over it than had we 
read in the newspaper that "Jimmy Jones, six years old, 
died yesterday afternoon at the home of his mother, 
Mrs. Jennie Jones. Funeral notice later." 

Original ideas become great ideas only in the hand 
of a master, Treatment is the big thing. 

There always will be imitators of successful pic- 
tures, soap, safety razors, and motor cars. There al- 
ways have been. 

It is easy to imagine an English publisher who saw 
how popular was becoming Dickens' "Christmas Carol," 
published by. a rival, calling in his staff. 

"Gentlemen," he probably said, "this fellow Dickens 
has caught the public's mind with a story about a fel- 
low named Scrooge, who saw a lot of ghosts. Get me 
out a ghost story at once and we'll make a lot of money 
selling it as 'Better than a "Christmas Carol."'" 

The theater manager now and then 
Other does a bit of imitating on his own. 

Two theater owners in Union Hill, 
Imitators New Jersey, recently were arrested on 
a charge of fraudulent advertising when 
they advertised an Ince production as "Homespun 
Folks, a Story of Way Down East." 

Doesn't look like a crime, does it ? But the theater 
men put "Way Down East" in type twenty times as 
large as "Homespun Folks," so that people would 
think they were seeing the Griffith production. Mr. 
Ince, whose picture was showing, and Mr. Griffith whose 
picture wasn't, are both equally interested in stopping 
this sort of thing. 

A man who poses as a big mind in 
Profound tne motion-picture business announces 
•r^- ; with all the solemnity that Moses must 

vv isaom have used in announcing the Ten Com- 
mandments, that "the motion-picture 
public is tiring of the same old thing and will reward 
only the producer who gives them things that are 
new and better." 

If he had just left out the words "motion picture" 
he might have produced an epigram. We pause to 
point out to the great philosopher that the same old 
thing tires everybody, whether it is food, scenery, con- 
versation, or amusement. 

We don't know the name of the 
Out With camera man who first discovered the 
(i . "soft-focus" effect. Whoever he was, 

he brought to the industry an annoying 
and pestiferous mechanical effect. 
Everybody is soft-focusing these days, and if they 
don't stop it The Observer is going to stand right up 
in a theater some time and yell out his rage. 

Perhaps it will be futile, but so is applauding a pic- 
ture, which is regularly done. 

Properly used, by a master like Griffith, the soft 

focus is very effective. It is not bad on long shots 
where a hazy scene is wanted. But the director who 
uses it, hit or miss, off and on, now and then, irri- 
tates us. 

The big thing about photography is naturalness. 
When the photographer gets in the way of the story 
he should be dropped. The work of the photographer 
never should be obvious. Like good acting, good pho- 
tography is marked by the absence of the appearance 
of effort. 

Some of the soft-focus fellows are ready to stop a 
story at the high point in order to get over their fuzzy 
stuff. You become all excited over the heroine who 
is about to tell the man she loves that she cannot 
marry him. They are standing beside a babbling brook 
in the sunshine. She starts to speak, tears come into 
her eyes, then suddenly a heavy fog envelops the pic- 
ture. You rub your eyes, you look back at the ma- 
chine to see if something has broken. Nothing has, 
except the photographer's common sense. He has 
stopped in the telling of his story, and has announced : 
"Ladies and gentlemen, instead of continuing with 
this drama, I will now show you a few tricks. Watch 
me closely, for I'm a bear on this stuff. See! Look! 
Isn't that immense? That's all, for a few minutes. I 
will now take the heroine's head out of the tank of 
pea soup and continue the story in the sunshine." 

rj It is some satisfaction to know that 

" our recent series of articles on "Crooks 

Expose the that Follow the Movies" served as a 

Crooks warning to several persons who were 

about to be victimized. This we have 
learned by the grateful letters that have been reaching 
us from all parts of the country. 

The agitation that has been started concerning the 
charlatans and sharks who ply their crooked games 
under the pretense of being members of the movie 
profession has recently caused an investigation to be 
started by the district attorney's office in New York. 

According to Assistant District Attorney O. W. Bo- 
han, the fake schools located in New York City alone 
which pretend to train people for screen work are reap- 
ing one hundred thousand dollars yearly. 

Fake institutions of this sort, as many of our readers 
know, are not confined to New York. They are scat- 
tered all over the country. 

If you happen to have been one of the victims of 
these institutions we suggest that you make a complaint 
to the prosecuting attorney of your county, and that 
you tell the story to your local newspapers. You will, 
in this way, be able to assist in ridding the country of 
these scoundrels. 


The day of the Spanish picture 
seems to be upon us, just as a year 
Spanish or so ago pictures with Chinese settings 
Invasion were the order of the day. Alma 
Rubens in "The World and His Wife," 
ushered in the Spanish influence some time ago ; now 
we have the George Seitz serial "Rogues and Romance," 
a part of which was actually filmed in Spain ; "The 
Four Horsemen of the Apocalypse," one of the most 
pretentious pictures yet made ; Viola Dana's "Puppets 
of Fate," and Edith Roberts' "The Fire Cat." Still an- 
other picture that testifies to the popularity of Span- 
ish atmosphere is "The Passion Flower," a Norma Tal- 
madge production. The play "La Malquerida," on 
which this picture is based, was the work of Jacinto 
Benavente, the greatest living dramatist in Spain. 

The Four 

A glimpse of one of the biggest pro- 
ductions of the 
season, which is 
soon to be released. 


Charles Carter 

Tchernoff, the Russian philosopher, 
visions to Julio and Argensola, the 
coming of "The Four Horsemen": 
War, Conquest, Famine, and 

PRINTING presses on two 
continents rumbled for two 
years or more grinding out 
copies of it ; publishers wore out 
computing machines keeping tally 
of how many million people were 
reading it ; squads of cameras 
clicked while armies of photo play- 
ers moved to and fro in Hollywood 
translating it from the printed word 
to celluloid — IT meaning Vicente 
Blasco Ibanez's world-popular 
novel, "The Four Horsemen of the 

When the celebrated Spanish au- 
thor startled the world with ''The 
Four Horsemen," and it started on 
a career that culminated in winning 
for it the distinction of being one 
of the most widely read books to- 
day, there was a race among the 
big producing companies to secure 
the screen rights. Metro won. And 
having won, Metro undertook the 
production of a screen spectacle 
that resulted in the shattering of a 
whole flock of records and set new 
marks in the lore of motion pic- 

It took more than six months to 
translate the epic of Ibanez's into 
moving pictures — the picturesque 
earlier scenes in the Argentine, the 
gay, luxurious life of Paris that was 
darkened by the advent of war, the 
epochal sweep 

of the grappling Don Madriaga, the 
armies across rugged " Centaur" 
the peaceful lit- of the Argentine. 

tie village on the Marne — the com- 1 
edy and the drama and tragedy that 
throbs through the pages of the 

Blasco Ibahez himself went out 
to the Metro studios in Hollywood 
and spent weeks conferring with 
June Mathis on the preparation of 
the scenario. When he got there 
he didn't have any notion of pic- 
ture making, but he soon learned. 
He found out how the pages of the 
book that had made his name fa- 
mous on both sides of the Atlantic 
was being transformed by Miss 
Mathis into terms of screen action, 
and soon the screen won him. In- 
cidentally, when he left Hollywood 
he had become one of the screen's 
most formidable converts and is 
going to write a novel direct for 
motion-picture production. 

But it was when the actual film- 
ing of "The Four Horsemen - ' 
started that records began to fall. 
Rex Ingram, who directed the pro- 
duction, was given a free hand. To 
select a cast that would success- 
full}- visualize on the screen the 
characters of Ibanez's story — Don 
Madriaga, the rugged old "Cen- 
taur" of the Argentine; Desnoyers, 
the Frenchman ; Von Hartrott, the 
German ; Tchernoff, the Russian ; 
the handsome, tango-dancing hero, 
Julio; the lovely Marguerite, the 
impetuous Chichi, and the other fig- 
ures familiar to millions of readers 
— this alone was no easy task. Be- 


The Four Horsemen 

Don Madriaga twits Julio about the beautiful Spanish tango dancer in the Buenos Aires cafe. 

the Germans it was shot to pieces while a corps of fourteen camera men recorded 
the various angles of the action, sometimes all shooting at once. Twelve assistant 
directors under Mr. Ingram marshaled the forces that were employed. In order to 
keep these armies supplied, an extensive costume factory, an armory, and two ma- 
chine shops were established, and special field kitchens and a complete com- 
missary were organized. 

Over one hundred and twenty-five thousand tons of masonry, steel, 
lumber, furniture, and other construction material are said to have been 
used in the various settings of the spectacle, an excess of the materials 
used in the Woolworth Building, and as much as goes to build up all 
of Main Street in some towns. 

Don Madriaga entertains an itinerent dancer at his hacienda. 

A picturesque Argentine cafe type. 

sides the long list of principals, several 
regiments of "extras" were mobilized for 
the big Marne scenes, and, in all, sev- 
eral thousand persons were ultimately 
utilized in various phases of the produc- 

Then came the settings for the far- 
flung scenes of the book — the pampas 
of the Argentine, Buenos Aires, Paris, 
the historic locale on the Marne. An en- 
tire French village capable of housing 
six thousand persons was built in the 
hills near Los Angeles, and there amid 
the roar of artillery and the clash of the 
contending "armies" of the French and 

The Four Horsemen 


The elder Desnoyers helplessly watches the ini'aders despoil his beautiful chateau on the Marne. 

More important, however, than the bulk of materials used in building these 
massive scenes are the art treasures which were required for them. South 
American curios, rare musical instruments, paintings, and tapestries were 
needed to present the scenes as they were described in the book — 
treasures that could not be bought. At first, it was thought that 
copies of these paintings and tapestries would have to be made for 
use in the picture, but the museums and private owners who had them 
were finally interested in the picture stifnciently to lend valuable parts 
of their art collections. While these were in the studio they were 
closely guarded, and heavily insured. 

More than half a million feet — five miles — of film were exposed in 
the photographing of this picture. In trying to give some idea of the 

The French retreat before the invaders through the little village on the Marne. 

Julio bids farewell to his mother as he 
leaves for battle. 

length of this film, before it 
was cut for presentation, the 
Metro statistician figured that 
it would require eighteen work- 
ing days of eight hours each to 
run this film through a projec- 
tion machine. 

The leading roles are enacted 
by Rudolph Valentino as Julio 
Desnoyers ; Alice Terry as 
Marguerite Laurier; Pomeroy 
Cannon as Madfiaga, "the 
Centaur ;" Nigel de Bruiller as 
Tchernoff, the Russian vision- 
ary, and Mabel van Buren as 
Elena, while other prominent 
parts are taken care of by 
Prinsley Shaw, Wallace Beery, 
Edward Connelly, and Harry 
S. Northrup. 



Edited and Illustrated by Charles Gatchell 

19 2 1 

/ remember, I remember the town where 

I was born. 
They did not know the picture show with 

a phonographic horn! 
But now the awnings have come down; 

Main Street's paved up slick; 
The town's alive— a sure beehive — the 

movies did the trick! 

MOI5QN cecile 1;^ \^ an k 

1 — Fr. — Elsie Ferguson, Bull Montana, and Fatty Arbuckle 

appear in an all-star cast of "Tea for Three," 1921.* 

2 — Sa. — Cecil De Mille made his first performance in the lead- 

ing male role of "Hearts Are Trumps," a New 
York stage success, 1900. 

3 — Su. — William G. McAdoo, former secretary of the treas- 

ury, resigned his $iOO,ooo-a-year job as counsel for 
United Artists, 1920. 

4 — M. — Sessue Hayakawa formed his own company, 1920. 

5 — Tu. — Famous Players-Lasky's annual report showed a total 

business for the year of $27,000,000, 1919. Ten mil- 
lion persons, reading this, decide to get into the 
picture business. 

6 — W. — Nine million, nine hundred and ninety-nine thousand, 

nine hundred, after trying for a year, decided that 
the field was too crowded for them, 1920. 

7 — Th. — Chaplin fans began to ask, "Why isn't Charlie making 

any more pictures?" 1920. 

8— Fr.— Mary Pickford born, 1893. 

9 — Sa. — Enid Bennett resigned a position as stenographer in 

a business office in Perth, Australia, and decided to 
become an actress, 1911. 

10 — Su. — George Arliss born, 1868. Sidney Drew died, 1919. 

11 — M. — The Strand Theater, the first one to offer a complete 

motion-picture program with orchestration, etc., 
opened, in New York City, 1914. 

12 — Tu. — Billie Burke became Mrs. Florenz Ziegfeld, Jr., 1914. 

13 — W. — Tully Marshall made his debut at the Winter Garden, 

San Francisco, 1883. 

14 — Th. — Mary Pickford appeared on the stage in support of 
Chauncey Olcott, in "Edmund Burke," 1904. 

*April Fool! 

15— Fr.— Theodore Roberts took command of the schooner 
S. E. Perry, of which he was master for two years 
and a half, making voyages on the Pacific coast, 

-Elsie Ferguson made her stage debut in "The Lib- 
erty Belles," at Madison Square Theater, New 
York City, 1901. 
Illustrated songs began to be considered passe in the 

best movie theaters, 1912. 
Wallace Reid threw up his job as a newspaper re- 
porter to become assistant editor of a New York 
magazine devoted to motor cars, at a salary of fif- 
teen dollars a week, 1912. 
-Constance Talmadge born, 1900. 

Wallace Reid's first automobile picture, "The Roaring 

Road," released, 1919. 
-D. W. Griffith began experiments that led to his adopt- 
ing, later on, the close-up, 1908. 
Taylor Holmes, Henry Kolker, Harrison Ford, and 
Robert Edeson all appeared in the New York stage 
production, "Strongheart," 1905. 
Elliott Dexter was acting in a revival of the old 

stage melodrama, "Siberia," 1905. 
The public decided that Mary Garden was a better 

opera singer than film star, 1918. 
Clarine Seymour died, 1920. 

Clara Kimball began her work in motion pictures, 1912. 
Pauline Frederick was playing a part in the musical 

comedy, "It Happened in Nordland," 1905. 
Bryant Washburn born, 1889. 

William S. Hart appeared in the role of John Storm 

_ in a stage version of "The Christian," 1904. 
Viola Dana created the star role in the Belasco suc- 
cess, "The Poor Little Rich Girl," 1912. 

16 — Sa. 

17— Su.- 

18— M. ■ 

19 — Tu. 

20 — W.- 

21— Th, 

22 — Fr. - 

23— Sa.- 

24 — Su.- 

25— M. - 

26 — Tu.- 

27— W.- 

28— Th, 

29 — Fr.- 

30— Sa.- 


Spiced Peaches. 

Choose perfect fruit only. Cling vari- 
ety best. Simmer in piquant sauce made 
of saccharin, roof-garden spice, and 
generous dash of sherry. Garnish with 
very light French dressing and serve. 
Delightful accompaniment to stag dinners. 

Fluffy hair, eyes of blue. 
Make the movie ingenue. 


Eight years ago, two men lunched to- 
gether at the Claridge, in New York, and 
throughout the meal the waiter eyed them 
balefully, because they were spoiling a 
perfectly good menu card by figuring all 
over the back of it with a pencil. When 
the finger bowls were brought on, the 
two men began to feel through their 
pockets, and the result of their combined 
search was just enough to pav their 
check. For they were theatrical men. 
and each had just been connected with a 
colossal stage failure that had left him 
very nearly dead broke. 

One of them further disgusted the 
waiter by folding up the menu card and 

placing it very carefully in his inside 

The next week one of the men started 
out to California with the menu card and 
some borrowed capital. He bought some 

land back of a garage in Hollywood 
and commenced building a motion-picture 

This man's name was Cecil B. De Mille, 
his • luncheon companion was Jesse L. 
Lasky, and from the arithmetic on the 
back of the Claridge menu started the 
business that is now the $25,000,000 Fa- 
mous Players-Lasky Corporation. 


Emma-Lindsay Squier receives as many 
fan letters as some of the stars. Not re- 
ceiving a star's salary, however, she is 
unable to comply with requests for photo- 

Antonio Moreno is of Spanish descent. 

Alan Dwan was once a professional 

Richard Barthelmess, since living in the 
country, has become very much interested 
in farming. 

D. W. Griffith was once a reporter on 
the Louisville Courier-Dispatch. 

Pearl W T hite once played the role of 
Anna in one of the companies that played 
"Way Down East" on the stage. 

Douglas Fairbanks worked in a broker's 
office early in his career. 

William Fox began life as a sponger 
in a New York East Side tailor shop. 

Man wants but little here below — 
Just four bits and the tax for the movie 
show ! 


PhoU> by Hoover Art Co. 

C\VI0T10NAL power, beauty, and extreme vouth did not 
*— ' satisfy Betty Compson; she yearned for still more 
laurels. So she supervised the making of "Prisoners of 
Love," the first of her star pictures. 

JACQUELINE LOGAN is another girl whom Alan Dwan 
has spirited away from the Follies to appear in pic- 
tures. Her first appearance is- in "The Perfect Crime." 
with Monte Blue. 

ClarenM S. Bull 

MOLLY MALONE is much too young to !>e l; Just Out 
of College," but that didn't keep her from playing 
a leading role in the George Ade story of that name pro- 
duced by Goldwyn. 

CHARLIE RAY is all ready to set out on his first visit 
to New York! Can't you imagine the size of the 
crowd that would gather at the Grand Central station if 
they only knew when his train was due? 

TSURU AOKI wishes that this beautiful vase could ap- 
pear to better advantage in her pictures. She has 
almost decided that she would like its design reproduced 
in embrodiery on one of her wonderful kimonos, about 
which you may learn some very interesting thing9 by 
reading the story on the next page. 


To One Lot of Kimonos — $25,000 

Such an item on a bill would stagger even an American millionaire, but Sessue Hayakawa 
paid it cheerfully, thinking how well his wife would look in them on the screen. 

By Emma- Lindsay Squier 

I HAD almost decided to move to Japan and be- 
come a geisha, or a jinrikisha, or a ten don; not 
that I know exactly what these things are. but 
they sound delightfully Oriental and no doubt some- 
thing that one could be without loss of dignity or 
prestige. My Nipponese inclinations were increased 
by hearing a missionary tell how rice is bought 
at two cents a keg ; shoes at six cents a pair ; 
parasols three cents per each, and lollipops, 
Japanese variety, at five for a cent. In view 
of the high cost of everything in America, it 
sounded attractive, and I might even now 
have been in the land of cherry blossoms and 
oigeon toes had it not been that Tsuru Aoki, 
who in private life is Mrs. Sessue Hayakawa, 
crushed my Oriental tendencies into utter 
oblivion under a huge pile of kimonos just 
brought from the flowery land of Japan 
Not that she intended to discourage my 
craving for two-cent rice and six-cent 
shoes, but — wait and you shall see. 

"This is very nice kimono for go- ^ 
ing to call," she told me, spreading 
out a butterfly garment in which the 
hues of the rainbow, Joseph's coat 
of many colors, and sunset in the 
Grand Canon mingled flauntingly 
and audaciously. 

''It isn't so very expensive, it 
cost me one hundred and sixty yen 
— about forty dollars American 
money, but the obi," she wrinkled 
her olive-tinted nose in an effort to 
recall the amount paid for the won- 
derful sash of heavy gold embroid- 
ery, "one hundred and fifty dol- 
lars American money." 

"One hundred and ' 

gasped, and eyed with awe 
golden five-yard sash that 
across Tsuru Aoki's knees like the 
glittering skin of a Midas-touched 

"One hundred and fifty dollars," 
she repeated calmlv, "just for 

Her pronunciation, I noticed, 
was punctiliously correct, with only 
the faintest accent to remind one 
of her Japanese origin. Occa- 
sionally, she omits articles such as 
the, a, or an, but her vocabulary is 
a complete one, and her use of 
slang is thoroughly Occidental. 

"It seems very ^expensive, does 
it not?" she continued. "But you 
cannot get one of any quality or 
beauty for less." She spread it out 
for me to admire. "The gold em- 
broidery is all done by hand, 
and." she finished, as a clinch- 
ing argument, "it is the same 
on both sides." 
p p 3 



It was indeed so ; inside and out, from top to bot- 
tom, and from stem to stern, the Japanese sash was a 
network of golden threads upon heavy crimson silk. 
Its weight, as I held it in my hands, was tremendous ; 
and when I thought of being wrapped in that five yards 
of gold-and-crimson grandeur, perhaps on a hot sum- 
mer day— somehow the charms of Japanese life be- 
gan to fade. 

We were in the spacious library of the Haya- 
kawa home. Tsuru Aoki, correctly and effec- 
tively tailored in i\merican style, had spread out 
for my inspection a dozen or so of the ravish- 
ing kimonos and obis she had brought with her 
from Japan, where she had been visiting her 
parents after an absence of twenty years. Her 
jet-black hair was coiffed simply, but 
smartly, and there was nothing in her 
dress or manner to indicate her Orien- 
tal birth. Her bull terrier, whose 
Japanese name means "Fire-eater," 
was also very much interested in 
the entrancing sartorial collection, 
and would have taken a more pas- 
sive interest had his mistress per- 

"I don't know why it is that peo- 
ple think Japanese dress is cheap," 
she went on, unfolding a symphony 
of gray and blue for my inspection. 
"You cannot get nice one for less 
than fort}' dollars, and many of 
them are as high as three hundred 
dollars ; then the obis, as I have told 
you, are so expensive, and one must 
have a great many to keep in style." 
"To keep in style?" I echoed. "I 
thought Japan was a place that Dame 
Fashion didn't bother with." 

"Indeed not." she said decidedly. "A 
foreigner perhaps would never notice 
the change in style, but to Japanese, it 
is very apparent. The shape of the 
kimono and the width of the obi do 
not change from year to year, but the 
designs and materials differ almost as 
much as they do in America ; for in- 
stance, this design" — she indicated the 
garment in her hands— "is very popu- 
lar this year. These silver streaks are 
rain falling into the sea, represented by 
this gold embroidery, the white is for 
clouds, and these brown leaves mean 
that it is autumn, and the wind is 
blowing the leaves into the sea. It is 
a poem if you know how to read it. 
Next year, this design may not be used 
at all, and a lady wearing this kimono 
would be behind the times." 

She held up another, a rhapsodic 
melange of gold- 

Sessue must also 
have kimonos of 
beautiful fabrics. 

tailed roosters, vivid 
pink plum blossoms. 

dignified storks. 


To One Lot of Kimonos— $25,000 


green pine trees, writhing dragons, and zigzag 
ning flashes. 

The lining was of more fiery red than ever a boiled 
lobster or a ripe tomato could hope to achieve and was 
quilted heavily around the bottom. 

"This is old court dress," she explained. "When a 
Japanese lady is called to court, the empress presents 
her with a dress like this which she wears on ceremonial 
occasions. It has woven into it all the Japanese sym- 
bols of good fortune; stork for long life, dragon for 
wealth, plum blossoms for virtue, rooster for wisdom, 
and pine tree for a happy home. 

"The pine needles, you see" — she indicated the em- 
broidery with a tapering olive-hued finger — "are always 
in threes. That signifies to us the father, mother, and 
the child. And if a lady wore this dress at court, she 
might give it to her daughter to be married in. It 
would be very appropriate." 

When Tsuru Aoki visited the shops of Japan she 
found the merchants were ardent picture fans and very 
keen about selling her kimonos and obis for pictures, 
but they deducted not a yen from the original price — 
in fact, Mrs. Hayakawa suspects that some slight 
amount of profiteering was indulged in when it became 
known who she was. 

Her collection of kimonos is valued at twenty-five 
thousand dollars, and she paid a duty of sixty per 
cent upon each garment and obi brought to this conn- 

"But it was worth it," she assured me. "I purchased 
material in Japan that is impossible to get in America, 
and many of these kimonos will photograph beauti- 
fully. I will wear them in my next pictures." 

She showed me a marvelous garment of dull blue 
shading into old rose, which gave it the effect of batik. 
A gold-embroidered circle with a three-leaf clover 
on the shoulder was the only ornamentation. 

"It is our family crest," she said. "It is always cor- 
rect to have the crest embroidered on the kimonos one 
wears for evening." She pulled from the pile a heavy 
black kimono of marvelous crepe silk. The crest of 
the House of Hayakawa gleamed upon the shoulder. 

"This is nice dress to wear for evening or for formal 
reception," she told me. "In this country the greater 
the occasion, the more brightly you dress ; in Japan, 
the greater the occasion, the more plain is the kimono." 

So now I know two things ; one is why rice, shoes, 
and parasols in Japan are so inexpensive. When a 
Japanese husband finishes paying for his wife's yearly 
wardrobe of kimonos and obis, rice and shoes have 
to be cheap, or Nippon would go foodless and shoeless. 
The other thing I know is that I shall remain in 

"How many dresses would a Japanese lady of fash- 
ion have a year?" I inquired, still with a lingering 
Nipponese thought in the back of my mind. 

"Oh, perhaps sixty — and, of course, each one would 
have an obi to match," she added. 

The Discovery of Dickson 

He's a youngster who's been making big strides of late. 

By Celia Brynn 

A DIRECTOR at Lasky's was talking about 
"Dickson," and I thought it was a town 
where the company had gone on location. 
I was about to ask what the population was and 
what part of the State it was in, when the director 
interrupted my obvious ignorance by saying, "In 
twelve months from now that name won't be so 
unfamiliar. I consider that Ted Dickson is one 
of the discoveries of the year." 

And still I was completely in the dark about 
him — except that I knew he was a person instead 
of a place. Then Mary Miles Minter paused in 
passing and contributed a statement to the fact 
that Ted was the dearest boy ; that he had worked 
with her in "Sweet Lavender," and that she was 
crazy about him. 

So naturally I was anxious to meet this new 
discovery and to "discover" for myself the quali- 
fications which had made the conservative La sky 
director predict for him such a bright and shin- 
ing future. 

Over the phone hi? voice had in it the suspicion 
of a Southern drawl. And when he appeared at 
my office in response to an invitation to come 
down and get interviewed, I was positive that 
my long-distance estimate was correct. Some- 
how he looked as if he'd been born down in 
"Ole Kaintuck." He has crisp, curly, black 
hair, big brown eyes, and the most perfect array 
of teeth which I have seen for some time. Add 
to that that he is almost six feet in height, is 
just twenty-one, dresses cor- 
Dickson as he ap- rectly, but not flashily, and 
peared in ''Sweet you have a picture of what 
Lavender." Continued on page 91 

The Tempera- 
mental Blonde 

'*No ingenue stuff for me," says 
the fair but stormy Mae Murray. 

By Malcolm H. Oettinger 

IT looked like the Rubiayat beside 
the subway ; Bagdad, New York ; 
a caliph on an omnibus ; Sche- 
herezade dodging a Ford. This impres- 
sion of the Famous Players studios 
will be better understood when it is 
chronicled that George Fitzmaurice 
was spooling a Turkish-harem-and- 
mosque romance on the one side, with 
Dorothy Dalton spurning the villain's 
very modern advances in a Riverside- 
wise apartment set on the other side 
of the barnlike building. The enter- 
ing guest, then, was reminded of "The 
Arabian Nights" with an O. Henry 
obbligato : Fifth Avenue, Cairo, and 
divers similar conflicting thoughts. 

"You're luck}- if you find Miss 
Murray working," my studio guide 
assured me, as we dodged in and out 
among wires, Klieg lamps, backings, 
and miscellaneous odds and ends of 
scenery. "She used to be in the 
Follies, y'know, and when they've 
once been in the Follies, you might 
as well try to film the telephone di- 
rectory as get them on the set before 

It was eleven. We found our cir- 
cuitous way to Mr. Fitzmaurice. He was directing two 

"That moon." he said, "must be smooth, calm, steady, 
not like a spotlight. You understand? Dim it. Dim it!" 

He turned to me, and showed me the photograph in 
his hand. It was a still of a scene that had been shot 
in Florida for the picture now in course of construc- 
tion, and it was his task, and that of the electricians 
to "match up" the moonlight they had registered there, 
with the moonlight streaming in through the window 
of the set. 

In the midst of his explanation, Mae Murray made 
her blond appearance. She was the Harold MacGrath 
heroine to the life: fluffy, golden hair billowing about 
her slender shoulders, eyes wide and wistful, lips red 
and pouting. Whosoever christened hers the "bee-stung 
lips" had an eye for metaphor, or simile, or whatever 
it is. Her lips do look bee stung. More provocatively 
bowed lips would be hard to find. 

She came in, incased from head to foot in shimmer- 
ing gold cloth, and wearing a barbaric headdress of 
feathers. The make-up box that she carried seemed 
crude and out of place, as did the big armchair that 
she sank down in. The chair looked like a comfort- 
able home and fireside, and Mae most emphatically did 
not. She looked more as though she could break up 
any happy home ! 

"I heard that you were waiting for me," she said, 
"so I came out here to finish making up. What's the 
good word?" 

"That was what I wanted to know." 

"Well," she smiled, letting her eyes half close in 
a distinctly fetching manner, "there's a consolation in 
breaking away from ingenues and getting into some 
real heavy emotional parts, where I get shot, and shriek, 
and all that sort of thing. Emotion is the true test of 
the actress." 

I couldn't refrain from a chuckle. It seemed so ab- 
surd to have a piquant little figurine like Mae Murray 
handing out such a stock phrase in all seriousness. 
Mae and platitudes didn't seem to go together. But 
she was apparently most sincere. 

"In 'On with the Dance' I had my chance," she 
said. "Then they decided to keep me in the heavy 
stuff, and gosh, how I love it ! Ingenues, you know, 
are all very well for them as likes 'em, but deliver 
me ! I've been ingenuing ever since I left home to 
be a Brinkle)- girl in Flo's Follies. I've had e-Jiougli" 
she finished emphatically. 

"Being a blonde did it all," she confided, as she deftly 
applied her lip stick. "Blondes are always in distress. 
They look so helpless, too. Luck was against me when 
it decreed that I should be a blonde." 

I couldn't sympathize with her. She is one of those 
rare, ash blondes, whose appearance in any lobby is 
greeted with Ohs ! and Ahs ! and Lookits ! 

"Of course." she reconsidered, "I would never have 
landed the Follies job unless I had been a blonde. The 
Brinkley girl had to be, you see. And not to have 
landed in the Follies might have meant never getting 
into pictures. It was in a screen scene of the "Folies of 
Continued on page 92 

"Here you are between the devil and the deep sea," Bert Lytell said to Ethel Sands. 
"Will you look at Mr. Karger or me when the picture is taken?" 

A Girl s Adventures in Movieland 

Part III. On this trip she acts in a picture, meets two celebrities, 
and finds out some of the studio secrets you would like to know. 

By Ethel Sands 

'HEN the editor of Picture-Play Magazine 
telegraphed me to come to New York to ap- 
pear in a picture with Bert Lytell, the rest 
of the people in our town were almost as excited as I 
was. How the news got around is a mystery to me, 
because I didn't show the telegram to a soul. But 
even the bov who delivered it seemed to know what 
was inside. On my way to the movies that night sev- 
eral people stopped me and asked about it. It was 
e::sy to see that some of them didn't believe that I was 
being sent so as to write about it afterward for Pic- 
ture-Play. Some of them didn't believe that I was 
going at all. They seemed to think that I had sent 
the telegram to myself, though goodness knows if I 
had done such a thing I would have shown it to even- 
one instead of trying to keep it a secret. Maybe I 
would have been suspicious if some one else had re- 
ceived that same telegram ! Anyway, having every 
one know where I was going made me feel awfully 
self-conscious when T hurried down to the railroad 
station to take the train to New York the next morn- 
ing. I felt as though jealous eyes were peering out at 
me from behind every window curtain. 

I was almost as much excited about going out to see 
the Metro company working on scenes for "A Message 

from Mars" as I was the very 
first time I saw the movies 
in the making. This time I 
was going to see Bert Lytell, 
whom I have always admired 
immensely, ever since his first 
appearance in "The Lone 
Wolf." You always get the 
greatest thrill when you meet 
your particular favorites, of 
course, and I was terribly 
anxious to see what he would 
be like in real life. I was 
almost afraid that he would 
be "actorish," or just bored 
to death, though goodness 
knows why I should. All of 
them I have met have been 
friendly and pleasant as could 

But even the possibility of 
disappointment in him wasn't 
all that worried me. I was 
to have a chance to play as 
extra in this picture, too ! 
Everybody knows that work- 
ing as an extra is the only way 
that a person without experi- 
ence can break into the mov- 
ies, so, of course, I always 
had an idea that I might get 
to play "atmosphere" some 
time. But now that the time 
had come, I almost wished I 
could put it off. 

No matter how you've 
planned and looked forward 
to it, when the chance finally 
arrives to do something like 
that, you can't help feeling a 
little nervous and fidgety 
about it. So I really was quite 
a bit excited when I met 
Louise Williams at the Pic- 
ture-Play office, and we set 
out for the office of the Metro 
company. We stopped at a 
drug store in Times Square and bought some make-up ; 
powder, lip stick, and mascaro — the stuff players put 
on their eyelashes to give that starry effect. Goodness — 
there seemed to be enough make-up in that store for 
all the actors in the world ! 

The Metro offices are in the Longacre Building, and 
so are several other companies. Lots of girls who come 
to New York to get jobs on the stage or in pictures 
find that address in the telephone book, and make the 
mistake of going to the business offices instead of the 
studios to see the casting director. Maybe I would 
have found my way there some time on the same quest. 
My, how nice it is to be warned about little mistakes 
like that that any one might make. 

We reached the eleventh floor of the building in no 
time. In a cozy little office where there were pictures 
of Bert Lytell and Viola Dana in their newest pro- 
ductions just heaped on the desk and table, we waited 
for the people who were going out to the studio with 
us. There was Fleta Campbell Springer, a woman who 
was so pleasant and friendly that I could hardly believe 
that she wrote stories for magazines, and Mr. Balch, 
the press agent. If the fans only knew how good look- 
ing he is, they would write for his photograph as well 
as for those of the stars. 

A Girl's Adventures in Movieland 

As the Lytell company was not working at the studio 
but in a big armory far uptown, it was decided that 
[we would have luncheon first, so we went to the Cla- 
ridge. It was close to noon, and a lot of people were 
(arriving, some waiting in the lobby to keep appoint- 
ments evidently. I looked at the corner where Lillian 
Gish, Jerome Storm, Herbert Howe, and I had sat the 
|last time I was there, and I was a little disgusted to 
isee perfectly ordinary people that you might meet 
jany time sitting there now. This time we had a table 
more in the center of the room, and we seemed to be com- 
pletely surrounded by waiters who gave us great, huge 
menu cards or poured water or wrote our orders 
down in little books. The waiter said we would have 
to have breakfast, as it was only quarter of twelve 
j and too early for lunch ! I just gasped at the idea of 
j any one eating breakfast at that time. In the hotels 
out our way they close the dining-room door and 
| don't let any one in to breakfast after nine o'clock ! 
But Mr. Balch just said as unconcerned as could be, 
"Well, you can take our order now, and we'll chat 
until lunch time." 

There were so many things on the menu that I didn't 
know what to order, so I just chose chicken salad. 
My, but it was delicious. We had some other things 
and then ice cream for dessert, and it was the best 
ice cream I had ever tasted. No wonder — this was 
from a big metropolitan hotel, 
where they do things grandly — 
mot just a corner drug store. 

It was like trying to watch 
every one on the stage at the 
Hippodrome or at a three-ring 
circus at the same time. Miss 
Springer is the most interesting 
woman — she told us some clever 
Stories, and a lot about books and 
some movie stars. An orchestra 
up on a little balcony played such 
wonderful music that I could 
hardly sit still. Not being used 
to music like that with my meals 
I forgot all about eating. Then 
who should walk right past our 
table but a movie actor I recog- 
nized instantly. I nearly shouted, 
"Oh, look," so every one else 
would see him, too. It was 
Crawford Kent, who played so 
well with Alice Joyce in "Dollars and the Woman." 

The Eighth Coast Artillerv armory, where the com- 
pany was working, is way up in that part of New York 
City that is called the Bronx. It is a huge gray stone 
affair with narrow barred windows. From the outside 
the place looked just like a prison — and on the inside, 
well — I never saw such a big place in all my life. In- 
side, an amazing sight greeted our eyes. Enough build- 
ings had been put up in there to form a whole city 
block, and this huge set — the biggest set by far that 
I had seen, except the Scotch village, which was out 
of doors — took up only about a third of the floor. At 
one end there were a lot of fire engines standing around. 
I learned later that the Metro company had purchased 
a whole fire department especially for this picture, be- 
sides paying thousands of dollars for the use of the 
armory ! And we fans only have to pav fifteen or 
twenty cents to see the result of all that work and 

When we got around to the front of the set, I saw 
the most realistic reproduction of houses I have laid 
eyes on since the "Sentimental Tommy" village. It was 


to represent a street in the fashionable district of Lon- 
don. On one corner was the side and front of a regu- 
lar three-story, brownstone house which was to be the 
residence of the hero in the play. The rest of the 
houses were not completed yet, but would be in a few 
days, so they were taking scenes that only required the 
hero's house to show. 

The whole story happens on Christmas Eve, and 
that set just breathed such a Christmasy atmosphere. 
Real trees had been cut down and set up with plaster 
sprinkled on to look like snow. Typical London lamp- 
posts were on the corners, and the ground was covered 
with tons and tons of salt that represented snow. 
Christmas wreaths hung in the lighted windows of 
glazed paper which looked exactly like frosty panes. 
Every little detail was correct, even to having the lights 
in some of the windows a different tone from the rest. 
The illusion was absolutely perfect. Even standing 
there in the studio, with carpenters hammering and 
calling to each other, you couldn't believe that there 
wasn't real furniture and rooms behind the fronts of 
those houses, yet the only real interior was the hall 
of the corner house, which could be seen a little as 
butlers or maids opened the door. Even the salt-snow 
made me feel as though I were really outdoors, be- 
cause it absorbs moisture, and gets almost as cold to 
stand on as the real thing. 

The technical director was re- 
sponsible for all this and he cer- 
tainly did a wonderful piece of 
work. Sometimes we fans com- 
plain when a great long list of 
names of people responsible for 
a picture are flashed on the 
screen. But now that I've seen 
what wonderful work all these 
people do, I wish that every car- 
penter and electrician and cos- 
tumer could have credit. 

Crowds of extras were standing 
around, some in character make- 
up to represent poor slum peo- 
ple, who were to be rescued from 
a fire, some half clothed, or in 
tatters, with their cheeks shad- 
owed and hair scraggly. "You 
ought to be with us when we 
film the tenement fire in a set 
they're going to build down on 
Long Island," one of the assistants told me. I've no 
doubt that would be thrilling. 

I couldn't help thinking to myself how I would have 
felt had I been there "on my own." A beginner couldn't 
help feeling timid. Any one would feel small and 
unimportant in such vastness. It surely does take a 
lot of hope and courage to break into the movies and 
stick at it. Even always working as an extra, it is 
hard to get steady work, and as for "stardom," well, 
it is much farther away from merely getting into a 
studio than movie-struck girls realize. I know I re- 
fused to believe that that was the case until I saw it 
all. If you are very much like every one else, there 
isn't a chance of your being picked out of the crowd. 
Directors are always entirely too busy tearing around 
watching out for flaws to give even a passing glance 
or thought to the extras. You might photograph like a 
million dollars, but your chance of showing up in the 
rest of the background would be awfully small. As 
for displaying your talent — the greatest asset of all — 
there isn't much chance in a "walk through" part. 
And that is all that an extra gets. So there you 

Haven't You Often Wondered 

how they ever manage to handle big scenes 
when they have a street full of people ? 

Ethel Sands learned how great crowds 
of extras are handled so that there is no 

She learned how it feels to be an extra 
and to act in a big picture. 

She became acquainted with another big 
star — one who is one of the biggest favor- 
ites in her home town, and she met a 
director who lived up to all that she had 
expected a director to be. 

In reading this account of her visit to the 
big armory where Metro's "A Message 
from Mars" was being made you are prac- 
tically taking the trip with her, for her 
impressions are simply those of a typical, 
enthusiastic fan — they are the ones that 
you would experience. 


A Girl's Adventures in Movieland 

Mr. Lytell suggested to Mr. Karger — on the left — that the horses' noses should be powdered to look frosty. 

The trouble with us is that we became movie struck 
too late. The field is overcrowded now. Maybe if 
some of us had been born ten years sooner, we would 
have had an opportunity to work our way up like 
Anita Stewart and the Talmadge girls. 

I began to wonder if we had arrived too late for 
me to appear in any of the scenes when I heard an 
assistant director say to some elderly ladies who had 
been hanging around all made up since goodness knows 
when, "We won't need you to-day. Report to-morrow 
at nine." Oh, the patience movie stars must have. 

While our party was busy chatting, my eyes wan- 
dered around. I simply can't keep my eyes on one 
thing in a studio — I am always afraid that I am miss- 
ing something else. I saw a car arrive, and a man get 
out. Though he was quite far away and had a cap 
pulled low over his forehead I was sure that it was 
Bert Lytell. And it was! Sometimes I catch myself 
feeling a little proud of being able to recognize every 
one of the movie stars the moment I spy them. But 
then, I can temper my pride — any other fan could do 
the same. The players all look like they do in pic- 
tures, except that sometimes they look prettier or thin- 
ner. Strange to say. the screen doesn't flatter people. 

As soon as Mr. Lytell had a chance he came over 
to us. I was glad that he conveyed the same impres- 
sion that he does in the movies ; he seems polished and 
gentlemanly, without in the least being stagy or actor- 
ish. He looks just like a regular man, only he's much 
more handsome, tall, and dark, with a slight mustache, 
and he keeps his eyelids half lowered over gray eyes 
that have a trace of sadness .in them. And that way 
of throwing back his head and then looking down at 
his feet while he's talking — you've noticed those man- 
nerisms in his photo plays. 

I don't believe that Mr. Lytell or the rest of the 
movie stars that I've seen will care for the way I've 
raved over their looks. But then they must remem- 
ber that I'm a movie fan, not a regular interviewer, 

and I can't help describing things the way they im- 
press a fan. 

Bert Lytell had just come from the West Coast, and 
he seemed rather depressed by the gloomy weather. 
"You can be outdoors all the time in California," he 
told us. "You can't stand that here. Here you die 
physically, and out on the Coast you die mentally, so 
what are you going to do. Live in Omaha and do 
both, I suppose. 

"Working in picttires is all right, but you never get 
the enjoyment of playing on the stage. The thrill and 
feeling of your audience out there in front of you — 
there's nothing like it." He paused dreamily and 
shook his head. "When I like a play I go to see it 
over and over again, sometimes five times. 

"I've been on the stage ever since I was seventeen," 
he went on, "and my father, mother, and grandfather 
were actors, too, yet I never realized until now — from 
the time I was a young fellow on the stage and just 
ran around having good times — how much I had to 
learn. When men become actors or doctors the}' study 
for years — why shouldn't actors do the same thing?" 

Then he told us about how foolish and self-conscious 
he felt a few days before when he was "snapped" by 
a news camera man. He was officiating at the laying 
of a corner stone with Ina Claire. I just couldn't im- 
agine Bert Lytell feeling that way. He takes a tremen- 
dous interest in his pictures, I noticed, even in the 
scenes where, he doesn't appear. Every little while he 
would go over to the director to make suggestions. 
For instance, he thought the cab horse running in cold 
weather would have frost around his mouth. So flour 
or powder was duly applied, much to the" distaste of the 
horse. The pedestrians, too, walking along the snowy 
streets would have snow on their shoes, so since salt 
wouldn't stick, plaster was smeared over them. 

Mr. Lytell seems to have a thorough knowledge of 
every branch of the movie business, yet he never cares 
to cut his own pictures. He says : /'Every scene seems 

A Girl's Adventures in Movieland 


Inside the armory enough buildings had been put up to form a whole city block, and it took up only about a third of the floor. 




v, a 

r p 
Id '$ 



1 tin 


too long and dragging to me. I want to cut this short, 
and that short, until I'd have the picture jumping all 
nver, from one scene to another." He believes that 
every one on the staff contributes something toward 
the success of a motion picture. "You always hear 
argument over which one had the most to do with a 
good production," he explained. "The director wants 
to claim all the glory, the star thinks he is the whole 
thing, the camera man says, 'Where would you be with- 
out me?' and so on. It's like trying to decide which 
one of the four wheels of a wagon does the most work. 
If you took away one wheel you'd have a tricycle, two 
wheels, and you'd have a bicycle; three, and you have 
a wheelbarrow. And there vou are." 

They were beginning to take a scene now. This time 
,1 learned something new. Haven't you often wondered 
how they ever manage to handle those big scenes when 
they have a street full of people? Well, I found out 
how it is done. Each person in this scene was given a 
number and told to walk into the scene and what to 
ido when their number was called. The character actor 
ftaking the part of a gangster came down the street, 
[looked up at the house, and started mounting the steps. 
Then the director called, "One," and an elderly man 
walked briskly down the street ; "Two," and a Bobbie 
came and watched the man on the steps ; "Three," and 
a cab came toward the camera, and "Four," and a 
couple started up the sidewalk. So it continued — "five 

\ — six — seven " and so on, until the street was 

swarming with people, each one doing what he had 
been instructed to do at just the right time, so that 
there was no confusion, no getting in each other's way. 
Later on it was explained to me that in some of the 
big location scenes where there are hundreds and hun- 
dreds of actors, they have a whole lot of assistant di- 
rectors stationed at different points, each of whom gives 
orders to a certain group of actors who are responsible 
to him, in somewhat the same way that an army is 
directed during a battle, according to plans that are 

mapped out beforehand. I was surprised, though, that 
they didn't rehearse the scene much, but just filmed it 
over and over instead, with the idea of using the best 
"take." I had supposed that they shot a picture only once. 
Of course, filming a scene five or six times is sort of 
rehearsing, but it seems an awful waste of film to me. 

Raye Dean is the leading lady in this picture. The 
press agent took me over to speak to her. It was 
awfully nice that I had seen her just a few days be- 
fore in a picture — it was the first time, too. She's a 
pretty girl, awfully little, with light hair and brown 
eyes, and she doesn't seem at all like an actress. And 
she's been on the stage, too, before trying the movies. 
"I've only been in pictures since January last year," 
she told me, "and this is the first time I've worked for 
the Metro company and Mr. Lytell. I like them so 
much." Raye Dean does not want to go back on the 
stage, because as she expressed it, "I like having my 
evenings off." Sounds as though there were a man in 
the case, doesn't it ? These motion-picture actresses 
are a lot like the rest of us, and what would we do 
if we never had any but Sunday evenings for receiving 
company ? 

Bert Lytell came back then, all made up "in char- 
acter." They had a "still" camera set up, and the lights 
arranged, so I went over with him on the set to have 
some pictures taken. I'm not half as self-conscious 
as I was at first while posing for "stills." I'm gradu- 
ally getting used to it. Yet I was stupid enough to 
move and spoil the first picture. But any fan can 
understand how thrilling it is to pose for pictures with 
your favorite movie stars. To have crowds of extras 
standing around wondering who you are to be so priv- 
ileged, makes it doubly exciting. Mr. Lytell called 
Mr. Karger, his director, to get in the picture, too. 
I remembered his name from the Nazimova produc- 
tions, of course — he's the director general of Metro — 
but he was very nice and friendly to me. Here I stood 
Continued on page 90 

Photo by Hartsook 

Hobart Bos worth's smiles are rare — and genuine. 

A Man Who 
Refused to Die 

In spite of the dictates of doctors, Hobart 
Bosworth wouldn't let an incurable ailment 
keep him from rising to stardom. 

By Malcolm H. Oettinger 

IF you knocked about from pillar to post in Holly- 
wood for a couple of months meeting stars and 
directors, supers and camera men, juveniles and 
ingenues, carpenters and critics, you would find that 
the race is almost always to the swift, contrary though 
that may sound. The stars are young, beautiful women, 
and young, handsome men, the majority of them little 
more than girls and youths. The average star is a 
personable, friendly, carefully dressed individual with 
youth and a certain definite irresponsibility about life 
and its problems. You will find it exceedingly diffi- 
cult to induce one of these spotlit creatures to discourse 
intelligently on anything foreign to diffusers, fat parts, 
or upstaging. You will find them a singularly easy- 
going set — worried neither by the rising cost of gaso- 
line nor even the income tax. 

Once in this fluffy, languid climate, imagine meeting 
a different sort of star. Imagine meeting a middle- 
aged, gray, stony-faced man with massive shoulders and 
glinting eyes and a determined jaw. It would 
strike you as a distinct novelty, just as it 
struck me. 

You need only one good look at Hobart Bos- 
worth to realize that you are looking at a man who 
has encountered life not once, but many times ; a 
man who has met life on more than one plane, 
and who is now fairly convinced that life means 
fight. That's the thought you get as you look at 
this Bosworth man. If you saw him on the 
street you would never set him down as "one 
of those movie actors." Tweeds, a golf cap, and 
a sandy little mustache indicate the wary busi- 
ness man rather than the weary actor. And he 
doesn't talk about himself. 

When he does talk, it's in a slow, bitter sort 
of drawl. He has had such a stiff struggle to 
stardom that now it seems almost too little a 
reward. He never intimated as much, but judg- 
ing solely from his attitude and manner, I would 
hazard the guess that I'm right. 

First of all, a malignant disease sent him West 
with the pioneer Selig troupe, disrupting what 
was undoubtedly a promising stage career. After 
a few successful years in Selig celluloids the call 
of the calcium proved strong enough to lead him, 
against his better judgment, on a vaudeville tour, 
from which he emerged a broken man. 

"Go back to California and die," advised his 

He obeyed the doctor's orders only partially. 
He came back to California, but he didn't die. 
Instead he started working in pictures, doing 
character bits for Lasky. 

"Every one thought I w r as about through," he 
explained. "But Lasky's were willing to take 
me on for characters." 

He flashed forth with the old-time vigor in 
"Joan the Woman," and an offer 
followed from Universal. It was a 
starring offer, and a step upward, 
so Bosworth accepted. For over a 
year he was half submerged in 
shoddy, cheap melodramas. 
Then the tide of fortune 
changed. Thomas H. Ince 
saw in Bosworth the ideal 
man for a series of sea pic- 
tures he was planning, and 
accordingly offered him a 
contract. It wasn't a gilt- 
edged, platinum-lined contract. 
It stipulated, as a matter of fact, 
a smaller salary to start than 
Bosworth was then getting at 
the "U." But he saw the possi- 
bilities in an Ince engagement, 
and joined the Culver City pro- 
ducer to make "Behind the 

Then the new generation of 
fans began to talk about Hobart 
Bosworth. Did you see him in 
"Behind the Door?" If you did, 
you will understand why his 
name became a byword where- 
ever films were shown. His 
power and force coupled with 
his bitterness and experience 
rendered his characteriza- 
\ tion of the apostle of 
g£) vengeance one of the 
most stirring ever 

». Continued on 

^_;JT29* page 92 

Childe Harold 

A famous humorist visits a comedy factory, and discovers some very amusing things. 

By H. C. Witwer 

Author of "From Baseball to Bodies," the "Ed Harmon" stories, etc. 

To The Generally Public, 

Dear Madam: Well, I have just got back from a 
voyage to the hoopskirts of Loose Angeles, where I 
pestered the life out of Harold Lloyd, the handsome 
young gent which has already made more out of a 
set of spectacles than the guy which invented 'em. 
Harold makes the movies which has got the nation 
hysterical, at the Hal Roach studios, a brisk walk from 
the town. In honor of Mildred Davis, Harold's 
charmin' leadin' lady, the place is called Culver City. 

The now famous conference was arranged through 
the courtesies of the jovial Monsieur H. M. Walker, 
which was my interpreter, guide, and friend throughout 
the interview and which also acted as the castin' di- 
rector for the "stills" which accompany this novel. 
-In a handsome, luxurious tourin' car, furnished by 
myself, I was whisked to Culver City bright and early 
one mornin'. The mornin' was bright, and I was early. 
Mister Walker met me at the portals of the Roach 
studios and immediately escorted me to his private 
office, where we discussed the possible effects of pro- 
hibition in Califilmia, provided it ever gets out this 
far. I hope, gently reader, you will not get the idea 
from this that we indulged in no forbidden brews, 
for such was far from the case. I am a strict teetotaler 
myself, whatever that is, and Monsieur Walker tells 
me he has not seen his famous 
namesake, "Johnny," which we 
all loved so well, in years. Well, 
after we have both sit down and 
boosted Loose Angeles to each 
other for about half a hour, 
I give vent to a po- 
litely cough and re- 
mind my genial host 

that I have came for the purposes of stagin' a inter- 
view with Harold Lloyd. Monsieur Walker looks a 
bit uneasy and says that he's terrible sorry, but it seems 
that Harold has been interviewed to within a inch of 
his life durin' the past couple of days and is now a 
trifle gun-shy. This also goes for Mildred Davis and 
Hal Roach, the latter a big bug out here. Mr. Walker 
goes on to say that he will be tickled silly to show me 
around the lot and let me get my picture taken lookin' 
through a movie camera, et cetera, or somethin' equally 
original. I says I have came out to see Harold X. 
Lloyd in the flesh, and they is no use tryin' to appease 
me with somethin' else. In desperation, he says the 
Vanity Girls is workin' on a comedy not thirty feet 
away and how about treatin' my eye to them, but I 
shakes my well-shaped head and says they is no use 
to try bribery, either ! 

Well, as we stepped out of Monsieur Walker's volup- 
tuous office I seen two well-set-up and comely young 
men talkin' with a little blond representative of the 
adjoinin' sex which wouldst of made Romeo throw 
Juliet's phone number out of the window. The min- 
ute they seen me they all gasped, and one of the men 
whispers somethin' to the other, and the next instant 
the trio has reached down and picked up some work- 
men's tools which is layin' around, and then they all 
start across the lot, like they was hurryin' to get back 
to the job. One of the men was no less than Harold 
Lloyd, which I recognize from his 
glasses ; the girl was Mildred 
Davis, which I recognize from 
her beauty, and the other 
man was Hal Roach, which 


Childe Harold 

I recognize from a director passin' him and 
sayin', "Good mornin', Mister Roach !" 

Harold has got a box on his shoulder, Hal 
Roach is carryin' a carpenter's lumber mani- 
curin' set, and the delightful Mildred 
is strugglin' along with a bucket of pitch. 
They thought they was gettin' away with it, 
but I stepped up to them smartly and held 
up my hand. 

"Just a minute," I says, "I see you are all 
set for a home-brew party !" 

Weli, you should of seen their faces fall ! 
Harold explained to me afterward that for a 
minute they was sure I was a revenue officer, 
because I looked too thirsty to be anything 

At this point Monsieur Walker stepped into 
the breech, and explanations flew back and 
forth like sea gulls. For the next hour we 
all played around together and had a boocoo 
time. Like all the other dumb-bells which vis- 
its the studio I stuck my finger through 
Harold's glasses to find out are they real or 
not, and he let me read the scenario for his 
next rib-splitter, and they is some hair-raisin' 
stunts therein for Harold to do that I 
wouldn't personally consider if they give me 
Continued on page 95 

2.% T • fi II 

/ stuck my finger through Harold's glasses to 
see are they real. 

Jumping Back to 

This sounds impossible, but 
you see "A Connecticut 

By Emma- 

THERE are times when you and I together 
with the rest of the vox populi get fright- 
fully sick of civilization and sigh for what 
we choose to term "the good old days" of knight- 
errantry and chivalry. We love to kick about 
paying income taxes and six-cent car fares, and 
wish that we could transport ourselves back into 
the days of sweet simplicity in the sixth century, 
let us say, when nineteen dollars was a year's in- 
come for a belted duke — or whatever it was that 
dukes girded themselves with in those days — 
and the high cost of living was thought of in terms 
of pennies and not dollars. 

But if you could drop into the sixth century as 
Mark Twain's Connecticut Yankee is reported to 
have done, browse around mid torture rooms and 
underground prisons, live in a castle which lacked 
clocks, electric lights, windows, and bathtubs, go 
out to fight your next-door neighbor in a suit of 
armor plate weighing three pounds less than a 
ton — all this, mind you, with your twentieth cen- 
tury ideas and tastes — and you'd be mighty glad 
to sneak out of the sixth cen- 
tury's back door, creep into lit- 
tle old nineteen twenty-one and 
shake your income tax lovingly 
by the hand. 

How do I know so much 
about it ? Ods bodkins ! I have 

If the hero had 
not become ab- 
sorbed in reading 
about the days 
of old, all the 
following adven- 
tures would not 
have befallen him. 

Jumping Back to the Sixth Century 


Herein ye Yankee encountereth a gallant knight, much 
to his displeasure. 

the Sixth Century 

it isn't, as you will learn when 
Yankee in King Arthur's Court." 

Lindsay Squier 

but recently returned from a visit at King Arthur's 
Court, and per adventure if this seemeth passing 
strange, cry me mercy while I do hereby expound 
the seeming mystery — if you know what I mean. 

Unlike the Yankee whom Mark Twain has im- 
mortalized, I did not fall into the sixth century, I 
was invited to enter therein. The invitation came 
from no less a person than Emmett Flynn, the Fox 
director, who is responsible for the filming of "A 
Connecticut Yankee in King Arthur's Court." 

They had reconstructed King Arthur's castle at 
Camelot in the wilds of the Hollywood mountains, 
he told me, and didn't I want to take a little flyer 
back into the days of the Round Table, meet King 
Arthur, Merlin the Magician, and that beauteous an- 
cestress of vampires, Queen Morgan la Faye? Of 
course I did. Who wouldn't? I had had a row with 
the income-tax collector that very morning, the price 
of gasoline had gone up three cents per gallon, and 
at the bootery they had assured me that I couldn't get 
high shoes for less than twenty-two dollars a pair 
A quiet little jaunt into the sixth century looked good 
to me. 

At the end of a forty-minutes' He learneth that 
ride by motor it was indeed as if love runneth much 
we had left the twentieth century the same at all 
behind, for in front of us loomed times and in all 
a gigantic castle with stately tur- lands. 
rets crowned by pennants that flut- 


Jumping Back to the Sixth Century 

tered in the breeze. The structure was surrounded by 
a moat across which a huge drawbridge lay. Hun- 
dreds of people swarmed about the courtyard in front 
of the mammoth building, dressed in the quaint holiday 
garb of long ago. There were knights in shining armor 
and plumed helmets. There were silk-tighted pages 
leading horses richly caparisoned. There were maidens 
of r.oble birth, with conical hats, well-nigh a yard in 
height, and buxom village wenches in short skirts and 
tight bodices. There was a general air of festivity in 
the spacious courtyard, for over at one side was a 
gaudy pavilion already occupied by King Arthur, who 
in modern life is Charles Clary, with Queen Guinevere 
and her ladies-in-waiting. In front of the royal booth 
was a platform with a stake affixed upright upon it, 
and piles of fagots grouped around the base. 

"Is the king giving a party?" I asked, and Director 
Flynn nodded. 
"Well, you might 
call it that. The 
Connecticut Yankee 
is to be burned at 
the stake, following 
a few minor execu- 
tions in which a cou- 
ple of criminals have 
their heads cut off." 

I started to tell Di- 
rector Flynn that I 
wasn't partial to hot 
stakes, or cold chops 
either, for that mat- 
ter, but what was the 
use of springing 
nineteenth - century 
wit on a twentieth- 
century man in a 
sixth-century set- 
ting? Anyway, he 
left me to attend to 
the cheerful details 
of getting the fagots 
piled up just right, 
and I found myself 
face to face with a 
young man dressed 
in a Tuxedo coat and 
purple silk tights. 
This person had a 
misplaced eyebrow 
on his upper lip, and 
in his hand he car- 
ried a high silk hat. 

"Oh, you're the 
Yankee, aren't you?" 
I said at once. 
"Would you mind 
telling me what is 
your name in real 
life? I don't think 
Mr. Flynn men- 
tioned it." 

"Forsooth, fair damsel, I hight Harry Myers," he re- 
sponded, with a sweeping bow. 

"Forsooth, you what?" I demanded, considerably 
taken aback. 

"Oh — I — er — I mean my name .is Harry Myers," he 
explained. "I take the part of the Connecticut Yankee 
who finds himself back in the court of King Arthur, 
and I've gotten so used to talking in medieval subtitles, 
that I'm hardly modern any more. 

"When one of the extras steps on my toe, it's all 

'Ha!" thinketh ye Yankee, "this sixth century is not so slow. 

De Mille never visioned a more sumptuous scene. " 

I can do to keep from telling the director to 'Hail me 
yon varlet into durance vile.' By the time we finish 
this picture, I'll be able to hold down the professorship 
of old English in any university in the country." 

Mr. Flynn and his assistant were shouting mega- 
phone directions for the holiday crowd to gather around 
the platform. 

"The party is going to get rough," I remarked to 
Harry Myers, and he assented somewhat ruefully. 

"Rough ! Ods bodkins ! It's been rough from the 
first day of the picture. I have been y-brasted on the 
bean, y'thumped in the ribs, and y 'rolled in the dirt 
until I'm sore as a boil all over." 

" 'Tis well they have not y-brake thy neck," I re- 
joined. Then I looked foolish and tried to pretend 
that I had been purposely facetious. There's no doubt 
about it. The medieval atmosphere was catching. 

"They're going to 
try to burn me at the 
stake in a couple of 
minutes," the Yan- 
kee remarked cas- 
ually, "but I fool 
'em ! I pull an 
eclipse of the sun 
which absolutely 
takes the tissue-pa- 
per hauberk for 
miracles in this 

country and " 

"Tissue - paper 
hauberk?" I re- 
peated, bewildered 
by his archaic sim- 

"Tissue - paper 
coat of mail," he ex- 
plained patiently. 
"You know, equiva- 
lent to barb-wire 
garters and celluloid 
fire tongs." 

I said I got the 
idea, and at that in- 
stant a clarion call 
rang out for Sir 
Yankee, and he 
hailed him away — I 
mean he went away 
— to take his place 
upon the platform. 

"Ready, camera !" 
shouted the director, 
and instantly the 
courtyard was alive 
with vigorous and 
ominous activity. 
The Yankee, still 
nonchalant in the 
face of approaching 
disaster, was bound 
to the stake, and two swarthy individuals approached 
with torches to fire the fagots which surrounded him. 

Merlin, like the crafty old parlor magician that he 
was, egged on the men for more speed, and the fair 
damsels in the royal pavilion were smiling with girlish 
delight at the spectacle. Clarence, the page, who in 
real life hight — I mean is called — Charles Gordon, was 
wringing his hands despairingly ; for he liked Sir Yan- 
kee, you see, and was loath to see him seered sore unto 
the marrow — I mean — well, you know what I mean. 
A battery of cameras clicked ceaselessly, but even 

Even Cecil 

" Alack-a-day I '" he waileth now. "Would I 

this and the presence of directors and camera men in 
caps and puttees could not dispel the illusion of an- 
tiquity with which the whole scene was imbued. In- 
deed they seemed like outsiders who, like the Yankee 
himself, had passed backward through the centuries 
and ended up at the court of King Arthur of the Round 

Suddenly the Yankee raised his hand commandingly 
and pointed to the heavens. "Behold!" he cried to the 
astonished king and the frightened multitude. "In 
punishment for not receiving me in accordance with 
my rank and power, I will blot out the sun forever, 
and you shall dwell in perpetual darkness, so help 
me, Hezekiah !" 

There was a murmur of dolorous alarm, and slowly 
the scene began to darken. The king put forth a trem- 
bling hand and begged the mighty Sir Yankee to stop 
his enchantment. 

"Thou shalt have anything, even unto the halving 
of my realm," he promised. "Thou shalt be clad in 
fine raiment, and thou shalt have power in the king- 
dom, second only to mine own." 

The Yankee shrugged his shoulders. 

"O. K., king," he responded. "I will dissolve the 
frightful darkness presently, but remember thy prom- 
ise, old scout, or it will be the worst for thee and thy 
kingdom, believe me!" 

I promised Director Flynn that I would not reveal 
the secret of the eclipse which was as perfectly ar- 
ranged as any real one photographed from the Lick 
Observatory. It was accomplished by a feat of cinema 
magic as great as any of that by which Merlin the 
Mighty made a living in days of yore, or by which 
Sir Yankee, "The Boss," gained the awe and respect 
of King Arthur and his Court. 

Noontime came, and I had lunch at the Round Table. 
King Arthur was complaining that his whiskers would 
not stay on, Queen Morgan la Faye — Rosemary Theby 
— was smoking a cigarette — which by rights she should 
have known nothing about, they not having come into 

were back in those dear old modern days!" 

vogue until some nine hundred years later — and Sir 
Sagramor — George Seigman — dressed in full armor, 
was demanding of the assembled knights, also done 
up in tin packages, what they did when they had — a — 
well — an itch midway between their shoulder blades. 
Sir Lancelot suggested tapping it with a hammer, and 
Merlin wanted to know why a can opener wouldn't 
be useful. 

After lunch the tournament scenes were filmed 
wherein the wicked Sir Sagramor, having challenged 
Sir Yankee to mortal combat, appeared at one end of 
the courtyard fully bedight — that is to say — dressed, in 
his cumbersome armor. The Yankee on the other hand 
appeared from his tent completely outfitted in cowboy 
regalia with broad-brimmed hat, leather chaps, and a 
brace of pistols at his belt. He rode a wiry little steed 
— I mean horse, and a coil of rope was looped around 
the horn of the saddle. The scene had been rehearsed 
the previous day, so it was all over but the shooting. 

Do you remember Mark Twain's description of that 
tournament ? Here it is as told by the Yankee himself : 

The king made a sign, the bugles blew, Sir Sagramor laid 
his great lance in rest, and the next moment he came thun- 
dering down the court. When that formidable lance point 
was within a yard and half of my breast, I twitched my 
horse aside without an effort, and the big knight swept 
by, scoring a blank. We turned, braced up, and down we 
came again. Another blank for the knight, a roar of ap- 
plause for me. Then Sir Sagramor lost his temper, changed 
his tactics and set himself to task of chasing me down. Why, 
he hadn't any show in the world at that. It was a game of 
tag with all the advantage on my side. I whirled out of his 
path with ease whenever I chose, and once I slapped him on 
the back as I went to the rear. Finally I took the chase into 
my own hands, and after that, turn or twist or do what he 
would, he was never able to get behind me again, so he gave 
up that business and retired to his end of the lists. I slipped 
my lasso from the horn of my saddle and grasped the coil 
with my right hand. The moment he was under way I started 
for him. When the space between us had narrowed to forty 
feet, I sent the snaky spirals of the rope cleaving through 
the air, then darted aside and faced about and brought my 
trained animal to a halt with all his feet braced under him 
Continued on page 96 

Right Off the Grill 

A medley of up-to-the-minute observations and opinions, suggestions 
and satire, praise and protest — aimed at those who make the movies, act 
in the movies, who write about the movies, and who see the movies. 

By Herbert Howe 

THE movie industry is the goat for a swarm of 
journalistic cooties unscrupulous as to prey. 
Small as are these insects they are quite as 
irritating as the film star who believes in his divine 
right as the God-ordained grace of creation. When an 
interviewer is treated to fol-de-dwaddle by some poser 
who thinks he's casting pearls there may be reason to 
hang the ham in effigy. There's no need of reverence 
toward a conceited bruiser whose only service 
for humanity is the wholesaling of his mug. 
Nor is there any reason for the existence of 
a writer who can only earn his sinker and 
coffee by throwing ink on a white char- 

A press yarn recently went out across 
the continent concerning Lillian Gish. It 
stated she was begging for a job and inferred 
she was in dire want of employment. Only 
an ignoramus would swallow such a pill. 
Unfortunately there are a lot of ignora- 
muses, in whose eyes the star's value might 
be depreciated. As a matter of fact, it 
would be a reflection upon the American 
public if the finest tragedienne of silent 
drama were not appreciated. No star on 
the screen to-day seems more deserving of 
esteem, both as an individual and an artist, 
than Miss Gish. Certainly no one has 
more loyal advocates among men and 
women of the press. Because Miss Gish 
would be the last to ridicule another it 
seems particularly disgusting to find her the 
subject of a witless jest. 

At present writing Miss Gish's problem 
is to choose between the offers made her. She 
may appear in a film, sponsored by Anne 
Morgan, for the benefit of devastated France, 
and she may sign a contract with William < 
Randolph Hearst to become a Cosmopolitan 
star. Congratulations await any company 
fortunate enough to secure her. 

Interviewers generally had the opinion 
that Madame Nazimova disdained the press 
because she would not, until recently, re- 
ceive its representatives. They did not 
know of her experiences with some of the 
tribal hams. Upon one occasion a newspaper woman 
remarked at the termination of an interview : 

"Madame, I am sorry I have to do what I must, 
and I w ? ant you to know that I, personally, admire 

"What do you mean ?" asked Nazimova. 
"My paper has asked me to write an interview ridicul- 
ing you," was the reply. 

"But you wouldn't do that!" 

"One must earn one's bread and butter," replied the 
noble scribe. 

"Very well, go along and ridicule me," said madame. 
"I only hope you can eat that bread and butter." 

The interview, of malicious inference, was published 
several years ago. 

Theda Bara has been considered legitimate prey by 
the same sisterhood. Because the fictitious character 

given her by manufactured publicity early in her ca- 
reer has been exploded, various writers have taken the 
license of weaving other fiction concerning Miss Bara 
personally. Several times she might have retaliated in 
such a way as to cost these reporters their jobs, but 
she generously refrained. 

What sort of complex has a person who will malign 
charming, cultured women and then pound out ful- 
some rhapsody anent a gold-digger salvage from a 
Broadway show? I presume this ilk of literary 
street walker would reply in character: "It's the 
easiest way." 

Predictions Fulfilled. 

Whenever, by some freak of fortune, one of 
my predictions in Picture-Play's annual Fore- 
cast is fufilled there's a celebration at the 

Robert Gordon, w : hom I proclaimed 
the best bet of the unstarred, is soon to 
dawn on the First National horizon with 
his own company, according to present 
weather reports. Therefore we open 
with that familiar anthem, "There'll Be 
a Franchise — Everywhere." 

And Paramount, not to be outdone, 
has negotiated with D. W. Griffith for 
the services of another sure bet, Rich- 
ard Barthelmess. This jcune premiere 
will play the role of Youth in Fitz- 
maurice's edition of "Experience." If 
Paramount can secure a permanent lease 
LJ " on his talents, he may also appear in 
"Amos Judd," "Peter Ibbetson," and other 
choice literature which was selected for John 
Barrymore prior to that star's deflection from the 
Paramount way. 

Negotiations for the starring of Betty 
Blythe, whose ascension was also predicted, 
are being made in various quarters. At 
this moment William Fox and First Na- 
tional are said to be the highest bid- 

The heralded procession of for- 

Negri's "Carmen," one of the record 
holders on the Continent, is to be 
released very soon by First National, 
which also is editing "Sumurun," starring Negri under 
the direction of Ernst Lubitsch. Paramount has made 
a deal for the entire output of the German Ufa com- 
bine, producers of "Passion," "Carmen," and "Sumu- 
run." And several hundred films are being sent over 
by other Continental countries. It will be a strenuous 
year for the American director ! 

Masks for Movie Actors. 

I earnestly advocate the Benda masks for movie 
players. Agnes Smith, our tigerish critic, grants that 
these false faces, now worn by Broadway dancers and 
pantomimists, might improve screen appearances, but 
objects that they would permit of no expression. On 
the contrarv, where a movie actor now wears the same 

Right Off the Grill 


expression throughout a picture he could easily change 
it by a mask. 

A Beauty Problem Solved. 

The Benda mask would also solve the star's prob- 
lem: how to be beautiful while expressive. 

Critical Conventionalities. 

Rules to be observed if you would be considered a 
picture critic : 

Never admit that Wallace Reid is a good actor, but 
always refer facetiously to his female following. 

Never admit liking Marion Davies, even though you 
do think she is more attractive than various other film- 

Never fail to use the word ''human" and "hick" in 
eulogizing the histrionic ability of Charles Ray. 

Never admit that Katherine MacDonald is as good 
an actress as a homelier star ; hence never is as good. 

Never refer to a player as rotten, but use the term 
'adequate" as much as you like. 

Never say what you think of a picture, but say what 
you think the most ignorant portion of the public will 
think of it. 

Never criticize. 

Exhibitors' Comments. 

Critical comments made by exhibitors concerning any 
picture : 

"The Curse of the Cuspidor" : A humdinger, knocks 
'em dead, star popular here, book it if you have to 
crawl to the exchange on your knees. 

"The Curse of the . Cuspidor" : Rotten, had to take 
it off, star unknown, pass it up if you have to break 
your contract and close your house. 

Why, Oh, Why? 
Whenever the picture industry gets a financial cramp 
a lot of homeopathists rush forward with the patent 
prescription — a cut in salaries of stars and directors. 
In reality what is needed is a major operation upon 
the business brain of the elephant. For instance : Can 
any one explain the economic theory of those pur- 
chasing a famous play by a famous author at a fabu- 
lous sum and then producing an abortive version un- j 
der a different title, with the author's name sub- 
merged or omitted utterly? Why not let Sadie 
Guggenslaughter, the scenario wizard, do the whole 
cheese and save the expense? We grant that the \ 
plays of Barrie and Schnitzler may not be suitable for 
screen purposes, and that the titles possibly may not 
have a lure for the Jinky-Dink theater. Then why 
waste money on them? Schnitzler's famous 
"Affairs of Anatol" is being De Milled. It ^ttjl&v 
will come forth as "Five Kisses," Mr. 
Schnitzler's name subordinate, of course, to 
that of the producer. I suppose this is a neces- 
sary precaution lest any Schnitzler admirer creep -' ' 
in and raise a hullabaloo as did the Barrie fans % 
over "The Admirable Crichton" yclept "Male and 
Female." But why — oh, why again — "Five Kisses?" 
There was much more in the affairs of Anatol. Can 
it be that even De Mille is going back on us? 

Verily the ways of the movie might}' surpasseth all 
understanding. Why not have the business heads and 
the actors change 
jobs for a while? 
Certainly nothing 
could be lost 
in the transac 
tion, and we'd 
have the ( 
much -needed 

Pola is Coming, Hurray! 

Pola Negri accepted the invitation of the Inter- 
viewers' Union of America, extended last month from 
the Grill, and she's coming over, she's coming o-ver. 
Paramount has signed her as a star. Her salary per 
annum, translated to marks, is said to be the equivalent 
of Germany's debt to the Allies. Let us hope she'll 
bring her own director, otherwise some member of the 
local brotherhood may decide to Americanize her. 

Is Public Favor Changing? 

A short time ago producers believed that the public 
would not accept the mature woman as a star. Mary 
Pickford had established the ideal. Because of her 
preeminence in popularity it was fancied that the pub- 
lic wanted only the little golden locks with the knock- 
knees and pigeon toes. Recent events seem to point 
to a change in type, or, rather, a lifting of restriction 
as to ideals. Pola Negri, the lush dark Latin, was re- 
ceived with ovation. The womanly Norma Talmadge 
seems gaining steadily in popularity. Katherine Mac- 
Donald, of a statuesque dignity, has proved a winner. 
That Junoesque Patrician, Betty Blythe, is considered a 
reigning beauty of potential power. And there's not 
an angel child in sight ! Since the time of my first 
favorite— Betty Nansen, a middle-aged Danish actress 
whom William Fox introduced to this country — I've 
wondered at the intolerance toward women of legal 
age and mentality. There's no use going on looking 
for more Man 7 Pickfords. There never will be an- 
other. Besides, we've grown up to the- height where 
we are ready to say : bring on the women ! 

Chaplin's Conceit. 

Charlie Chaplin boasted recently that "The Kid" is 
the finest performance of the screen. Before we could 
make sarcastic retort, he added, "And the credit goes 
to my costar, Master Jack 
Coogan." Here is a unique 
type of stellar character, one 
who not only finds inspira- 
tion in the work of a sub- 
L ordinate player, but openly 
. \ press agents it. It is re- 
| ported that Chaplin has 
| | made the precocious 
j youngster the chief bene- 
ficiary of his will. 

Long Live the King! 

"Who is this new star, Chap- 
lin, that First National is trying 
to put over?" we remarked 
facetiously, at the 
preview of "The 
Kid." Then the film 
flashed on and a 
| mighty roar arose as two pedal 
f dreadnaughts carried the panta- 
loon into view. Who said the 
king was dead ? 

The Fairbanks Team for Europe. 

Douglas and Mary Fairbanks 
plan to leave this month for Europe. 
Doug to do "The Three Musket- 
eers" and Mary "Little Lord 
Fauntleroy." Other stories may 
also be produced abroad, 
which indicates a protracted 
absence of the well-known 
Continued on page 104 


Marguerite Courtof may not look Spanish in the laces she brought 
from Spain, but she certainly looks stunning. 

WHAT do you suppose has happened?" 
Fanny hurled the question at me as she 
dashed into the lobby of the Alexandria Hotel, 
her henna-colored suit and hat quite putting to shame 
the minor brilliance of the Los Angeles sun outside. 

Blinking a little, I murmured, "What?" though any 
one could have seen that what I really wanted to know 
about was her clothes, where she got them, and why. 

"I've discovered that T am related to Dick Barlhel- 
mess !" 

Fanny heaved a triumphant sigh, and then rushed 
after me into the cafe. I wanted to sit down comfort- 
ahly, hefore I he long and tortuous tracing of their re- 
lationship began. 

"His wife's sister went to college with me," Fanny 
almost sputtered in her eagerness. "So that makes us 
sort of related, doesn't it?" 

1 didn't argue; one can't with Fanny. Signaling a 
waiter, I said "Tea" exhaustedly, and then waited while 
Fanny described the particular varieties of French 
pastry that she wanted, all pink, topping 
off the list with a mundane ham sandwich. 

"But why the ham?" I asked. 

"It has a red tone in it." Fanny explained 
airily. "Red expresses my personality. Mary 

Mary Hay rushes home 
to the country after every 
evening performance in 
"Sally" in New York. 


Fanny the Fan won't favor pro- 
as it gives her an opportunity 

By The 


Miles Minter said so. She knows a lot about 
color; I'll tell you about it later. What do 
you think — my cousin in New York visited the 
Griffith studio one day last week. Dick was 
over there and Lillian Gish and a lot of other 
players who just can't resist visiting the studio 
now that they are not working there any more. 
She wrote me all about them." 

Fanny leaned back and looked at me dream- 
ily through half-closed lids. For a moment I 
didn't recognize it as a tribute to Pauline 
Frederick, it is so hard to keep up with 
whom Fanny is trying to be like at the mo- 

"You know Dick and his wife, Mary Hay, 
have the cunningest little house imaginable 
up in Mamaroneck. It is three stories high, 
and has just two rooms on each floor. It is 
a real honeymoon cottage. Mary is playing 
in 'Sally' in New York, but she dashes to the 
train after the performance and gets home 
fairly soon after midnight. Dick goes to New 
York with her in the afternoon, goes to a 
show with his mother, and then plays stage- 
door Johnny, waiting to take Mary home. 

They have an old negro servant 
who runs the little home in the 
country. Dick wouldn't stop read- 
ing even long enough to eat if 
there weren't some one there to 
remind him that it was custom- 
ary. He is simply devouring 
H. G. Wells' 'Outline 
of History.' He was 
so excited over the 
chapter on the reli- 
gious history of China 
that he carried the book- 
around with him, and almost 
got run over reading it on 
the street. You know a lot 
of his ancestors were mis- 
sionaries and all that sort 
of thing. One great-un- 
cle that he is particularly 
i proud of was the Bishop 
I of China!" 

I At last the tea came, 
| interrupting Fanny, and 
H thus saving me that 
H trouble. 

"I hear that Blanche 
Sweet and Marshall 
Neilan are going to be 
married," I said tri- 
umphantly. Fanny was 
appropriately aghast. "Some 
day you will read in the papers 
that Blanche Sweet is in New 
York on business— that will 
mean buying her trousseau. 
Then you will see that Marshall 


hibition of tea, so long 
to tell the latest gossip. 


Neilan has rushed to New York with 
the original print of his new picture, 
or something like that, and you can 
just take the first train East then if 
you want to be on hand for the cere- 

"Speaking of weddings," Fanny re- 
marked breezily, "Larry Semon is also 
going to be married. Lucille Carlisle 
— she was his leading woman, you 
know — will be the bride. I always 
hate to think of comedians getting 
married," and she sighed. "Suppose 
they took to rehearsing at home !" 

"Well, you don't expect an actor 
to act all the time, do you?" 

"Just because a banker doesn't bank 
all the time, or a broker isn't always 
broke?" Fanny answered facetiously. 
"Don't shatter my pet illusion. Fve 
always thought that it would be won- 
derful to be married to an actor, be- 
cause whenever you thought you knew 
all his ups and downs, he'd just change 
his whole character, and you'd have 
the fun of getting acquainted all over 
again. Imagine Bert Lytell " 

"Or Hohart Bosworth," I broke in. 
"Incidentally, he married Cecily Per- 
cival, his secretary, a while ago. Per- 
haps you could persuade her to tell you if he changes 
as much off screen as on." 

"Speaking of changing," Fanny took up eagerly. 
"You ought to see Marguerite Courtot. Of course, you 
can't, because she is in New York, or more likely in 
Weehawken, New Jersey, where she lives. She's 
grown so Spanish. She bought some beautiful lace 
mantillas and embroidered shawls while she was in 
Spain making 'Rogues and Romance.' She sent me 
her picture in one of them. She doesn't look really 
Spanish, of course, because she is too light, but then 
I suppose there are places in South America where 
there are brown-haired and green-blue-eved people who 
are sort of Spaniards. And if there are not, well — she 
may not be Spanish, but she's stunning. 

"Oh, there's Alice Lake." Fanny motioned fran- 
tically, until Alice came over, but she just paused long 
enough to say in a hoarse whisper, "Don't tell anybody 
that you saw me. I've been reminiscing with some old 
school friends ever since luncheon, and now I'm going 
out and tell my director that I was held up in a traffic 

She was hardly out of sight when Fanny asked, 
"Did you know that she may play 'Tess of the d'Urber- 
villes?'" I hadn't, so Fanny went on. "The Metro 
company had the funniest experience with that picture. 
They gave the book to a continuity writer about a year 
ago, and he worked over the scenario for weeks. When 
he finally finished it, he was all enthusiasm. It looked 
to him like a masterpiece. Be that as it may, it didn't 
look like 'Tess' to the scenario department. They 
thought it was a wonderful story, though, the way he 

Photo by Evans 

Alice Lake always wears what is just right for her type, according to Fannv. 

had adapted it, so they put the characters in modern 
clothes and settings and called the picture, 'Should a 
Woman Tell ?' Alice Lake appeared in it last year. 
Now, they hope to start all over again, get a continuity 
writer who will really preserve the original story of 
'Tess' in his scenario, and have Alice Lake play it." 

"It may not have been 'Tess,' " I remarked, "but 
the modern clothes were prettier, anyway. Did you 
notice the dress she had on when she was here?" 

"Did I? I always notice clothes," Fanny ejaculated. 
"Hers was just the right color for her. She always 
ought to wear salmon-pink, though I suppose she really 

couldn't have serge suits that color " 

- "What is all this mysterious talk about color and 
Mary Miles Minter?" I demanded, finally unable to 
restrain my curiosity any longer. 

"I don't know that you'll understand it," Fanny re- 
plied, in an attempt to be superior. "It is something 
that can't be explained ; you have to feel it. Mary 
rarely ever tells any one about it, because they prob- 
ably wouldn't understand, or if they did they would 
call her a precocious child. And you know how that 
provokes Mary. She wants to be judged on her merits 
irrespective of age. It infuriates her to be reminded 
that she is a mere child. 

"But about her color theory — when Mary was a 
tiny youngster playing in 'The Littlest Rebel,' she trav- 
eled a great deal. So, to amuse herself she invented 
a game that consisted of trying to pick out the colors 
that reminded her of the people around her. She was 
a keen analyst even in those days. She grew so fasci- 
nated with the idea that she still thinks of people as 


Over the Teacups 

Mary Miles Minter is trying her best to outgrow the precociom 
child stage. 

colors. Her director, her leading- men, her friends — 
everybody is represented in her mind by a color. She 
thinks a girl looks much better dressed in a color that 
suits her personality than in one that matches her eyes 
or hair. She wouldn't tell me what the color of her 
own personality is, but I think it is a beautiful emerald- 
green. The dress she had on the last time I saw her 
was the loveliest emerald-duvetyn you ever saw. She 
wore pale-gray suede slippers with it and a deep collar 
of tan lace. It was awfully becoming, but if I were 
choosing her color, I'd take forget-me-not blue or sun- 
set-pink or orchid. And some one must agree with 
me about Mary and orchids, because there were great 
bowls of them all over the room. I wonder who sent 

Fanny is an incurable romantic ; she would be much 
happier if every one would get engaged. 

"There haven't been many weddings lately," Fanny 
commented sadly. "But there have been some terrible 
fires " 

I sometimes wonder if Fanny's insatiable liking for 
comedies is affecting her polite conversation. I asked 
her, but she ignored me. 

"First there was a terrible one at the Fox 
studio. A big street set had been built for the 
Louise Lovely picture, 'While the Devil Laughs.' 
It caught fire one night, and about fifteen thou- 
sand dollars' worth of 'props' were burned. Thank 
goodness, it wasn't Louise Lovely's dressing room. 

"And then the amusement pier at Venice 
burned. Any one would have thought it wasn't 
a million-dollar disaster, but a party especially 
planned for the motion-picture people. Frank 
Lloyd, the Goldwyn director, saw the flames, 
rushed to the scene with a camera man, and took 
a thousand feet of film of the fire. It just 
happened that he needed a fire in the picture he 
was making, 'A Tale of Two Worlds.' Claire Du- 
brey, who appears with Louise Glaum, saw the 
flames from her house, and called up several of 
her friends to join her in a sight-seeing tour. 
King Baggot, Louise Glaum, Marcia Manon, 
Helen Jerome Eddy, and Pell Trenton all went 
along with her and enjoyed the fire." 

"But what about Lillian Gish? What has she 
been doing of late?" I finally asked, wondering 
how Fanny could talk so long without even men- 
tioning her favorite. 

"Oh, haven't you heard?" Fanny was breath- 
less as ever at mention of her name. "Just a short 
time ago Joseph Hergesheimer. the author, and 
his wife gave a house part)' for her at their home 
in West Chester, Pennsylvania. The Hunt Club 
gave a ball, simply every one in that part 
of the country entertained, and Lillian fairly 
danced her slippers away, like the princess in 
the fairy story. I wish that the companies that 
are going to make pictures from Mr. Herges- 
heimer's stories would hurry up. If they don't, 
I'll simply have to read them. I felt badly enough 
out in the cold when Lillian Gish and Richard 
Barthelmess simply raved over his stories all the 
time, but now that Harrison Ford and a lot of 
other players have started, something will have 
to be done about it. Maybe I can get Mary Al- 
den to tell me the stories of them. She's so clever, 
I'd feel just as though I had read them. 

"Oh, I nearly forgot to tell you !" Fanny 
paused dramatically. 

"Norma Talmadge is in Palm Beach, resting 
up for her next production, 'The Sign on the 
Door.' And guess who is to play the villain in 
that ? None other than Lew Cody ! Won't that be 
gorgeous ?" 

Fanny was so enraptured that she failed to see the 
waiter bringing our bill. It was as long as an anni- 
versay-week program, but then if Fanny hadn't a young 
and healthy appetite she wouldn't be strong enough to 
keep up with the last word in filmdom the way she 

"Let's take a taxi and charge it," Fanny suggested. 
"That's the way Viola Dana does when her own car is 
in the shop. She says the bill doesn't seem nearly so 
big when the first of the month comes around. We 
can go out to Vidor Village and play with the 

"Dogs, nothing," I retorted. "It has just occurred 
to you that Florence Vidor's color ought to be grape, 
and you're going out to ask if she ever wears it." 

I was sorry afterward that I refused to go with her. 
"You never could guess what I ran into," Fanny tele- 
phoned me excitedly a few hours later. "Let's have 
tea together soon, and I'll tell you all I never 
was so thrilled in my life." 

You Can't Tell 

Friends have tried to warn and 
advise Marguerite Clark, but she 
never heeded until her public spoke. 

By Caroline Bell 

DON'T do it," her friends urged, 
years ago, when Marguerite 
Clark insisted that she was 
going to act in motion pictures. "It 
will ruin your career." 

It took more bravery than one 
would expect of four-feet-ten of 
piquant laughter and curls to disre- 
gard their advice, forsake a success- 
ful stage career, and go in for motion 
pictures when most people were still 
quite dubious about them. But Mar- 
guerite just cast her advisers one of 
her droll little smiles that says, "Wait 
and see." 

The next they knew of her every 
one was saying, "Have you seen Mar- 
guerite Clark in pictures ? She's ador- 
able." Or perhaps the adjective would 
be "wonderful," or "exquisite." or 
any of a dozen others. Almost from 
the first she was ranked with Mary 
Pickford, and there were some, of 
course, who liked her even better. 

"Just play fairy stories and kid 
parts," her friends advised when she 
had made several phenomenal suc- 
cesses in such pictures. "Don't try 
fo change your type and do grown-up 

This time she answered with an 
airy little twirl and a bow that would 
have been a credit to a prima ballerina. 
It was her sweet little way of not refusing them. The 
next they knew of her she was playing flapper parts. 
The "Bab" stories introduced a new Marguerite Clark 
to the screen, a Marguerite as captivating as the dear 
little girl in the first fairy stories. And still people 
didn't stop advising her. 

"To your public you are just a charming little girl. 
You owe it to them never to marry." She heard that 
on all sides. But, of course, she did. And the public 
loved her more than ever. 

The great disappointment, the only disappointment, 
that Marguerite Clark gave to those vast audiences that 
love her was when she stopped making pictures about 
a year ago. She went down to her home near New 
Orleans then, forgot all about pictures for a while, and 
became just a little lady of the old South. She wan- 
dered through her gardens that she had known before 
only during hasty visits, learned the names of the dif- 
ferent varieties of roses from the old gardener, explored 
the treasures of her linen chests, and gave big enter- 
tainments in a charming, leisurely way. She became 
as much the darling of society in a few months as she 
had been the darling of theatergoers. And she loved 
the peace and quiet of it all. 

For a time her friends stopped advising her, but her 

t by Underwood & Uoderwood 

Marguerite Clark returns to the screen as captivating as ever. 

public didn't. They clamored for her as strongly at 
the end of her year of retirement as they had at the 
beginning. They begged her by letter, by telegram, and 
in person, not to retire permanently from pictures. She 
had always been as unwilling to tell her plans as she 
had been to take advice, but she didn't like the assump- 
tion that she had retired. She had been playing stead- 
ily on stage or screen since 189(5 — twenty-one 3-ears. 
Couldn't she be allowed to seek a change for a while? 

She really hadn't the slightest intention of retiring. 
But she gave her audiences the satisfaction that she 
had never given to her personal friends — she appeared 
to take their advice. She came to New York, bought 
the screen rights to "Scrambled Wives," a successful 
stage comedy, and organized her own company. Soon 
you will see her on the screen again. 

She wants to take the public into her confidence 
now, so that there won't ever be another serious mis- 
understanding about her plans. "I am not ever going 
to retire permanently from the screen," is her message 
to her friends. 

So in the future, won't you let her have a few months 
of rest at the lovely old home in the South, let her 
have plenty of time to find the stories she wants to 
screen? If you will, then she will always come danc- 
ing back to you as merrily as ever. 

The delicious humor and whimsical pathos of the scenes between Chaplin 
and Jack Coogan in "The Kid" would do credit to Barrie. 

The Screen in Review 

Our critic, quite unrestrained, tells you about the best, 
and some of the worst productions of the month. 

By Agnes Smith 

THE chief difficulty of the screen critic in review- 
ing the average output of the month is to con- 
ceal a certain lofty disdain — a disdain of the 
stars who will insist on doing the same old things over 
and over again like tiresome trained dogs ; a disdain 
of the directors who seem bent on spending much 
money and little thought; and a disdain of the authors 
who, for the sake of large checks, allow themselves to 
be taken in on the old shell game of "What the pub- 
lic wants." 

In writing a review of "The Kid," which 
I mentioned prophetically in the last paragraph 
of last month's Screen in Review, I wrote 
two stories about the art of Charles Chaplin 
and then tore up both of them. Or rather, 
so plastered were they with heated enthusi- 
asm that they blew themselves up. In the 
case of a picture like "The Kid," the re- 
viewer has to guard against, not disdain, but 
indiscriminate laudation. 

It would be so easy to rush right in and 
declare that "The Kid" is the greatest picture 
ever made, to announce that Chaplin is the 
finest artist now brightening the world, and 
to proclaim that "The Kid" is the sort of film 
that ought to be made part of the curriculum 
of every school and college in the country'. 
"The Kid" evokes smiles, tears, and superla- 
tives. It is a dangerous picture. It leads 
cool-minded critics into hysterics. 

However, let us face the facts about "The 
Kid" and then proceed to consider it with 
due regard for law and order. It is five thou- 
sand two hundred and fifty feet long — meas- 
uring a little less than a mile. It took Charles 
Chaplin nearly a year to make it, and its ca- 
reer was nearly ended by a certain widely 
advertised divorce suit. It was purchased by 
First National for eight hundred thousand 
dollars, which sounds like a lot of money; 
but wait until you have seen "The Kid." 

"The Kid" has a plot, and some of its in- 
cidents are so serious that Chaplin himself 
was a little doubtful about the success of the 
picture. In fact, he showed it before an au- 
dience of women in Salt Lake City just to try 
it out, and the women cried harder than they 
laughed- — which was puzzling to a comedian. 
The plot concerns a little boy who is one of 
the world's unfortunates — born in a charity 
hospital and a social outcast from his birth. 

John's mother deserts him. There is noth- 
ing else for her to do. He is found in an 
ash barrel by Charlie, the tramp glazier who 
adopts him as partner, valet, cook, and com- 
panion. When the boy is five years old, he 
is wise enough to break windows for the 
glazier to mend. He is a man of the world, 
with a wide acquaintance among policemen 
and back-alley toughs. 

The delicious humor and whimsical pathos 
of the scenes between Chaplin and Jack 
Coogan, who plays the boy, would do credit 
to Barrie. The fun is knock-about enough to 
catch the loud ha-ha of the vacant mind, but 
it is also fantastic, imaginative, and unreal. 
And in such a blending of qualities lies the 
artistic future of Chaplin. His comedy is 
simple enough to tickle the five-year-old 
Jackies in the audience, but it is also subtle 
enough to make the intellectual pause and con- 
nect it with the classic humor of the Eng- 
lish stage and English literature. The other comedians 
who bounce about the screen merely have the knack 
of pulling snappy gags and of satisfying the popu- 
lar craze for speed. Even in his early days, Chaplin 
surpassed his rivals in technique. In "The Kid," he 
proves that he is a humanitarian; that is, a man of 
deep sympathies and definite social purpose. Whereas 
a few years ago Chaplin outdistanced his rivals bv his 
astonishing technique, in "The Kid" he rises as their 
superior through his wide understanding. 

The Screen in Review 


This braimvork is evident in the direction, for Chap- 
lin both wrote and directed "The Kid." While Chap- 
lin's fun is unbounded, his pathos is restrained. The 
brevity of the pathetic scenes saves them from sentimen- 
tality. In his subtitles. Chaplin does not gush. He 
limits himself to- half a dozen words. The story of 
the unhappy mother is told in such a way that it could 
not offend either a child or a censor. 

To most persons, the best part of the picture will be 
the tramp's dream of Heaven. Here, literally, the fun 
soars. The inhabitants of the slums go about looking 
like winged choir boys. Even the policeman is equipped 
with wings, while a dog floats celestially about. But, 
alas, Sin enters, and the feathers fly. 

Picture-Play Magazine has already told you the 
story of the boy. Jack Coogan. Chaplin says that he 
is the star of the picture. He is a miniature Charlie, 
a bit grave and serious, but with none of the abominable 
cutey tricks of the usual screen "kiddie." 

I have devoted much space to telling you about "The 
Kid." It is unnecessary space, too, because most of 
you will see the picture. After having sobbed over 
Chaplin, his art and his intellect, let us proceed to 
some other picture and give it a good, old-fashioned 


Looking -about at random, we pluck "Forbidden 
Fruit." It was directed by Cecil B. De Mille, and I 
have just a small prejudice against Cecil B. 
'Way back in my family tree, there is a 
Yankee ancestor. Every time I see one of 
De Mille's pictures, this ancestor crops up 
and whispers in my ear: "This person wastes 
a lot of monej- to make an unjustifiable ap- 
peal to the senses." Whereupon, I tell the 
ancestor that he is old-fashioned, that Mr. 
De Mille's pictures sell very well, especially 
in the small towns where there are no caba- 
rets to run in competition, and that a thing of 
beauty is a joy forever. 

"Forbidden Fruit" is the new title of an 
old story called "The Golden Chance," written 
by Jeanie MacPherson and produced by Mr. 
De Mille when you and I were young, Cecil. 
"The Golden Chance" was an excellent pic- 
ture, with plenty of melodrama and an ap- 
pealing love story. At that time, Mr. De 
Mille was doing fine, clear, and artistic work. 
In fact, he was contributing a lot in the way 
of lighting, story development, and stage- 
craft to our budding art. 

The story relates the adventures of a mod- 
ern Cinderella — a poor girl married to what 
is known in many sections of the country as 
a "bad lot." The girl does sewing for a 
wealthy society woman who has oodles of cash 
and absolutely slitheringlv gorgeous clothes 
and jewels. The husband of the above-men- 
tioned society light is engaged in the oil busi- 
ness. . When the story opens he is trying to 
interest a handsome and also immensely 
wealthy young man with curly hair in an oil 
deal which is most important to the society 
folk. But the young man is kind of indiffer- 
ent and hang-offish, and he won't sta}- to dis- 
cuss the matter until the wife tells him that 
she has invited the 

most beautiful girl in For unconservative 
town — or the most audiences , "Passion 
beautiful girl in the Fruit," with Doraldina, 
world — to meet him. is recommended. 

But the beautiful girl fails to show up, and, at the 
last minute, the poor seamstress is asked to take her 
place and ensnare the young man. The young girl is 
all dressed up with her hair marceled when she meets 
the young man. Bang ! Right off starts the love story. 
Everything is all orchids and champagne until the 
seamstress has to go home and wash the supper dishes 
for her husband. 

The climax of the picture comes when the husband 
sets out to get some of the De Mille jewels. When he 
learns the role that his wife is playing, he tries to 
turn the situation to good account ; he attempts to black- 
mail the impeccable young business man. The happy 
ending is easily achieved when the butler, partner in the 
crime, kills off the husband. 

Instead of filming "Forbidden Fruit," I wish that 
Paramount had revived "The Golden Chance," with its 
original cast of Wallace Reid, Cleo Ridgeley, and 
Theodore Roberts. A great deal of good money would 
have been saved. "Forbidden Fruit" is a riot of ex- 
penditure. The clothes and the house decorations look 
as though they had been designed by a fifteen-year- 
cld girl who suddenly had been left a million dollars 
and told to do with it as she liked. 

Perhaps you have noticed Mr. De Mille's extreme 
aversion to a nude telephone. To him the sight of a 
naked and unadorned telephone is as shocking as the 
sight of a bathing girl is to a censor. "Forbidden 
Fruit" boasts the latest thing in telephone decoration. 


The Screen in Review 

no elaborate wardrobe. Even the hero of a De Mille picture 
merely dons the conventional black. By the way, the theater was 
simply jammed when I saw it, and I understand that it's breaking 
records for popularity. 


When "Black Beauty" is shown in your neigh- 
borhood be sure to go to see it. Do you remem- 
ber Anna Sewall's classic book, the autobiog- 
raphy of a horse ? Children of all lands have 
sobbed oceans of tears over it. In an era when 
automobiles are taking the place of horses, and 
when the screen is running to showy and sexy 
stories, Vitagraph had the courage to produce 
Miss Sewall's well-loved story. 

Of course, the picture isn't all about the 
horse, Black Beauty. George Randolph and 
Lillian Chester have woven another story 
about the human beings who own Black 
Beauty. The interpolated story is a romance 
that might have walked out of any Victorian 
novel. It has a thrilling climax which smacks 
of a serial, in which the hero, mounted on 
Black Beauty, races the villain for the hand 
of the heroine. 

In every respect "Black 
Beauty" is the most refresh- 
ing picture of the month. The 
saddest parts of Anna Sew- 
all's book have been glossed 
over, but the picture carries 
a real and sincere message of 
kindliness and humaneness. 
Out in the wilds of Holly- 
wood, David Smith, the director, has managed 
to find some glimpses of English scenery. And 
he shows us an old-fashioned railroad train in 
action. The details of the costuming and setting 
give the picture a flavor that is quite unique. 
Jean Paige is seen in the leading role. You remem- 
ber that she recently married Albert E. Smith, presi- 
dent of Vitagraph. Mr. Smith has excellent taste. 
Miss Paige is a charming and ingenuous girl, 
and the studio doesn't seem to have spoiled 
her. In "Black Beauty" she looks as 
though she had just stepped from 
an English print. 

Dorothy Dickson ornaments the lovely 
settings of "Paying the Piper." 

The modern instrument of torture is caged in a Queen 
Anne sedan chair. What could be more discreet? 

Having treated "Forbidden Fruit" so cruelly, I shall 
not mention the atrocious wording of the subtitles nor 
the way that the society folk talk and act. Some short 
flashes of the story of the original Cinderella are staged 
with the lavishness of the latest roof garden show. 

Agnes Ayres, the simple and delightful heroine of 
the 0. Henry stories, is the Cinderella of "Forbidden 
Fruit." She is not another Gloria Swanson, but she 
is quite beautiful. At times, she looked just a bit 
ashamed when she appeared in her gorgeous gowns. 
She seemed to realize that she was part of an appeal 
made to the least admirable side of the American pub- 
lic, and that she was encouraging the national vices 
of extravagance, snobbery, and vulgar showiness. For- 
rest Stanley plays the hero with a happy smile and no 
signs of any twangs of conscience. However, he wore 


From the delightful and un- 
affected "Black Beauty," we jump 
into Allen Holubar's superhodge- 
podge, "Man-Woman-Marriage." 
I want to be fair to Mr. Holubar, 
but in my opinion, he is not a director of the first cali- 
ber, and therefore most of the money spent on "Man- 
Woman-Marriage" was tossed away. These are hard 
words, but I have been urged to be frank. 

The story was written by Ida Scholl, and is a plea 
for feminism. All very well and good. I do not quar- 
rel with the theme. But the picture itself is the weird- 
est mixture of good and bad that I have ever seen. 
Mr. Holubar has a certain gift for filming spectacular 
scenes, but when he tries to show us something simple 
like a child saying its prayers, a jealous wife, or a man 
getting religion, he uses the most banal and obvious 
terms of the screen. 

The plot, in brief, runs thusly: Innocent young girl 
who refuses to be forced into an unwelcome marriage 
elopes with ambitious lawyer who has the urge for 
uplift. Several years of married life ensue with con- 
siderable cooling- of the ardor of both love and ambi- 

The Screen in Review 


tion. Husband sells himself to political interests and 
immediately is elected to the senate. Upon becoming 
a senator, he develops a taste for flappers and orgies. 
Wife tries to attract him by joining the merry whirl, 
but the game doesn't work — the flapper is still trium- 

The wife leaves him and opens her own law office. 
She also goes into politics. With the coming of woman 
suffrage, she is elected to the senate and her husband 
is defeated. Not only is he defeated, but he is sent 
to jail. Behind prison bars, with no orgies or flap- 
pers to distract his attention, he gets religion and even- 
tually returns home to the lady senator and the kiddies. 

All of this plot would have been most simple if Mr. 
Holubar had not been seized with a wild urge to do 
a D. W. Griffith and get all entangled in history. He 
must have seen "Intolerance," and therefore he should 
have known better. 

The history is ladled out in flashes. Flashes show- 
ing the triumphant Amazons, the willful women of the 
Middle Ages, the Christian martyrs of the fourth cen- 
tury, and the cave women of the stone age. In spite 
of the pretentiousness of these visions, they are ex- 
tremely distracting. For instance, we are shown the 
husband in jail getting religion and getting it hard. 
Then we are transported to a Roman orgy. Does Mr. 
Holubar really believe that he can mix religion with 
scenes of licentiousness and drive home a good clean 
moral? Or did he merely do it to be sensational? 

Moreover, while we are on the subject, I object to 
the modern revel. The sight of a lot of intoxicated 
men and women is not a pleasant one. In spite of 
some of its beautiful scenes and a few bits of good 
feminist propaganda, the picture leaves you with an 
unpleasant feeling. More good effort wasted in an 
attempt to be sensational. 
Dorothy Phillips, an intelli- 
gent actress, is the Amazon, 
and the popular James Kirk- 
wood is seen as the roving 
husband. The picture is pre- 
sented by First National. 


By this time you probably 
have seen Mary Pickford's 
production, "The Love Light," 
which was written and di- 
rected by Frances Marion. 
Mary is, as always, the great 
artist. She plays the role of 
a full-grown woman — an Ital- 
ian girl — and she suffers and 
suffers and suffers. The pho- 
tography is good, but the 
agony is something terrific. 
"The Love Light" actually 
left us wishing for another 
"Pollyanna" so that we could 
be glad, glad, glad. The story 
is long drawn out ; every time 
you think that it is going to 
end, some one else dies, and 
Mary suffers some more. If 
it were not for Mary's admi- 
rable artistry, the plot would 
be outra- 
geously inane. 
But we take 
off our hat to 
Mary's cam- 
era man. 


That naughty and sophisticated play, "The Devil," has 
been made into a movie and is released by Pathe. 
George Arliss plays for the camera his original role 
of the evil one, the suave society gent who is danger- 
ous to ladies. Mr. Arliss is not quite at his ease be- 
fore the camera. He has not caught the knack of 
making his best points register. But he is a young fel- 
low, and he will learn. 

The screen is not the medium for a play like "The 
Devil." On cool celluloid, it loses some of its bril- 
liancy and wit. Still, "The Devil" is worth seeing, be- 
cause, if you have not seen Mr. Arliss on the stage, 
you cannot afford to miss him on the screen. The set- 
tings are very fine, and the colorful and vivid acting of 
Sylvia Breamer is an added point in favor of the pic- 

Adaptations of stage plays flock upon us from all 
sides. There is "Cousin Kate," with Alice Joyce as 
its star. It is a pretty and demure romance for a 
pretty and demure star. It was directed by Mrs. Sid- 
ney Drew, and you know what that means ; it means 
that the titles are clever, that the characters behave 
naturally, and that the picture is free from the vulgar 
and the obvious. 


No one knows why Constance Talmadge chose to 
play "Mamma's Affair." The play, by the late Rachel 
Barton Butler, was one of the cleverest presented in 
New York last season. But the role of the down- 
trodden and much imposed-upon daughter is not one 
for Constance. You cannot impose on Constance. The 
star of the picture is really Effie Shannon, who gives 
Continued on page 87 

Priscilla Dean 
makes the most 
of some dramatic 
moments in" Out- 
side the Law." 

They say she looks like Mary Pickford; what do you think? 

Louise Lovely — Is 

Even the studio carpenters say so, and 
when they compliment a star — it's genuine. 

By Emma-Lindsay Squier 

IN spite of the fact that Louise Lovely was having a 
frightful row with her husband when I went out to 
the Fox studio to interview her, I liked her immensely. 
In the first place she had grounds for complaint, he hav- 
ing left her flat on a desert island, and in the second place 
the quarrel was only a scene from her latest starring ve- 
hicle, "Partners of Fate." 

I may as well admit right here as later that I hadn't 
been particularly anxious about interviewing Miss Lovely. 
I didn't like her name for one thing. Somehow the sirupy 
appelations such as "Pretty," "Darling." "Love," and "Joy" 
give me a perverse desire to say acrid and biting things, 
the desire being in direct proportion to the ration of the 
name's sweetness. 

But this time I'm wrong. I admit it. 
Louise Lovely — is. I don't blame Carl 
Laemmle for applying the adjective to her as a 
name to be worn throughout her screen ca- 

" 'Carbasse' was my real name," she said to 
me during a lull in the quarrel scene, in which 
we ensconced ourselves on a sofa behind the 
battery of mercury lights and exchanged a 
series of rapid-fire and constantly interrupted 
questions and answers. 

Louise isn't quarrelsome by nature, of that 
I'm sure. But her director, Bernard Durning, 
would call her back to the set ever and anon 
to give her screen husband the deuce for leav- 
ing her on that desert island — and he had gone 
off with Rosemary Theby to boot. 

"But Carbasse seemed to be an absolutely 
impossible professional name," she continued. 
"They called it 'Garbage,' 'Carbarn,' and even 
'Carbuncle,' so finally Mr. Laemmle— I was 
working at Universal then— said I'd have to 
change it." 

"Oh, yes, I know," I interrupted eagerly. 
"He saw your work on the screen in the 
projection room and said: 'Isn't she lovely!' 
And the name clung." 

Lovely Louise made a little grimace. 
"That's just publicity," she said. "He simply 
thought it would be euphonious, and I agreed ; 

although I didn't like it 
very well at first." 

That was one of the 
things I liked about her, 
her lack of affectation. 
She could have let me go 
on believing that publicity 
story, you know, but she 
wouldn't, and she didn't. 

Her real name, "Car- 
basse," is documentary 
evidence of the much- 
mixed lineage which is 
hers. Her father was 
\ French and her mother 
Italian — or maybe it's the 
other way around — and 
she was born in Sydney, 
Australia. Even now she 
speaks French like a na- 
tive of Paree, and her 
English has, it seemed to 
me, a slight, almost in- 
9 tangible, continental 
flavor. It is not an ac- 
cent any more than the 
; scent of a violet is a fra- 
grance, but you feel that 
[ if it went just a bit far- 
ther, it would be. 
Although not exactly 
} born on the stage, she was 
I at least born for it. She 
commenced playing in 
stock companies when she 
was nine years old, and 
they called her "Dolly 
Nicholson," which is the 
pet name of the Austra- 
lians for Mary Pickford. 
V No doubt you yourself 

^**s«^ Continued on page 96 



Dame Fash- 
ion's Smartest 

You can learn what to wear 
and how to wear it, if you 
will only study Irene Castle. 

By Louise Williams 

SHE'S not exactly pretty " 
"You mean not essen- 
tially pretty. She's attrac- 
tive, of course, and then being so 
slim, and wearing even that little 
gingham dress so well — oh, my 
dear, I have it — she's Irene Cas- 
tle's type!" 

The train pulled on out of the 
little California town, on its way 
from San Francisco to Seattle. 
And I turned and surveyed the 
two girls who, occupying the ob- 
servation platform with me. had 
thus commented on a girl whom 
we'd all seen standing near the 
railway station. They were quite 
right — she was Irene Castle's 
— or rather. Irene Tremain's 
— type. And, of course, 
you know what that is. 
It's not simply dependent 
on being very slender, or 
on standing and walking in 
a nonchalant, limber-spined 
manner — which, inci 
dentally, can be 
achieved only 
by swim- 



Photo by Ira L. Hill's Studio 

Irene Castle proves 
with embroidery, lace, 
and stiffened veil 
\ that it's the 
\ little thin°s 

ming and dancing and riding so much that 
your whole body is perfectly fit. It's 
rather the result of knowing how to wear 
clothes ; of making them show that they've 
been put on carefully, and of being sure 
that each article of apparel is just the 
right thing to wear with everything else. 

You have noticed that when you have 
seen her on the screen, of course. Her 
shoes, hats, belts, gloves — everything — 
look as though they had been designed and 
made to be worn together. And they are 
all worn with that insouciant air that is 
Mrs. Castle's greatest charm. It is due 
to this extreme individuality that Mrs. 
Castle's pictures are still in demand, for 
the producers for whom she has played 
seem to have gloried in providing her with 
poor stories. Each one was worse than 
its predecessor, but through them all Mrs. 
Castle danced and smiled and won the 
hearts of her audiences. Now she has her 
own producing company, and in the fu- 
ture you will not only go to see the charm- 
ing Irene Castle in beautiful clothes, but 
you will see her in interesting pictures as 
well. She will make four pictures a year 
from now on for the Hodkinson Corpo- 


Dame Fashion's Smartest Daughter 

Photo by F. E. Geisler 

In her coat-dress of white polo cloth striped with blue, Mrs Castle lives up 
admirably to her reputation for wearing striking clothes. 

ration, and they will all be stories suited just to her. Of course, 
that means that the pictures will have a sort of Fifth Avenue 
atmosphere, that they will give her a chance to ride and swim $| 
and dance, and that — best of all — she will show you the newest 
creations of the great fashion designers, and the way they ought 
to be worn. 

Now you may not be as slim and vivacious as Irene Castle Tre- 
main is. Very probably you haven't a wardrobe as extensive as 
hers — few people have. But you can profit both by her selection 
of gowns for the early spring and by her choice of accessories to 
wear with them. 

Just the other evening, at the first night of one of New York's 
big theatrical productions, I saw three girls who had done this very 
thing. They were in evening dress, and each of them wore on her 
head a little wreath of leaves — dark-gfeen leaves, sprinkled with dia- 
mond dust. It's a charming fashion which the piquant Irene intro- 
duced not long ago, and a very becoming one as well. Such a wreath 
may be of ribbon, of silk, or of tiny enameled leaves. 

Occasionally Mrs. Castle lets her wreath act as an accessory 

to- the smartest dancing frock that I've 
seen in a long time. It is of apple- 
green crepe meteor, made with green 
Georgette crepe of the same shade. 
The skirt, which is made without a 
seam, is of pieces so shaped that when 
she dances they fly out like the petals 
of a flower unfolding. These pieces 
overlap, the heavier ones, on top, hold- 
ing the lighter ones down. 

Even the girl whose looks convince 
her that she's anything but the popu- 
lar Castle type can profit by the Cas- 
tle method of selecting other acces- 
sories. For example, there's the ques- 
tion of the fluffy blouse or equally 
fluffy chemisette. Even if a girl has 
but one new suit a year, she can see 
how smart an effect is gained by wear- 
ing really beautiful lace and embroid- 
ery as a supplement to it. Mrs. Cas- 
tle is shown in the large photograph 
on the preceding page wearing such 
a blouse, with a strand of Oriental 
pearls to detract from the very white 
effect. Incidentally, the rage for dis- 
tinctive veils finds expression in this 
same costume — for with her little em- 
broidered hat Mrs. Tremain wears 
one whose edge is stiffened by a nar- 
row, gilt ribbon. The embroidered 
hat is another proof that Mrs. Cas- 
tle's wardrobe has space for only the 
newest creations of Dame Fashion — 
it is of satin which matches her suit, 
and is embroidered all over in braid 
and heavy silk thread. Some of these 
little embroidered hats are of silk, 
some of soft straw, and one exceed- 
ingly smart one was of soft, shiny, 

black leather, 

embroidered in vivid 
and yellows. 

A soft, duvetyn 
wrap, plain in front 
and full in back, de- 
mands all of Mrs. 
Castle's smartness 
of manner. 

Dame Fashion's Smartest Daughter 


Only the girl who wears her clothes with some of the smartness 
of manner which distinguishes Mrs. Castle can wear a wrap such 
as one recently designed for her. The front widths are not very full, 
but the back, which hangs from a yoke, is very full indeed, and is 
embroidered in fine threads. The wrap is of silk duvetyne and is 
edged all around with kolinsky. 

Even before she became a national figure and bobbed her hair, Mrs. 
Castle was noted for wearing daring clothes, and she is still most 
capably living up to that reputation. So the girl who is her type will 
be delighted with a new coat-dress of white polo cloth striped with 
dark blue, which will prevent its wearer ever remaining in the back- 
ground. It is rather simply made, with a vest and deep pockets, and 
has a narrow belt of red leather, just by way of variety. With this 
costume Mrs. Castle wears a smart little hat of light-gray astrakhan 
cloth, which is trimmed with yarn flowers. 

For afternoon wear she chose recently a dark velvet frock which 
should have a prototype in the wardrobe of every schoolgirl in the 
land. It is very simply made, on straight lines, and has a small white 
collar of Irish crochet and Valenciennes and a light leather belt. Its 
most interesting feature is the row of buttons which runs up the 
inside of either sleeve to the elbow — both the buttons and the long 
buttonholes being white. With this frock goes a rounded toque, banded 
with an ostrich feather, which hangs down in "King Charles" fashion. 

A similar frock, which a friend of mine dubbed "a perfect ingenue 
dress," is of blue serge, with a wide embroidered skirt panel and a 
becoming oval neckline. Incidentally, it will pay you to study the 
necklines of Mrs. Castle's gowns — there's not an ugly one among 
them. She is a perfect artist when it comes to knowing exactly what 

She likes the unexpected, so she puts her sleeve buttons up the inside, and wears 
an ostrich feather more off', than on. her hat. 

Photo by F. E. Geisler 

Fhoto by F. E. Geisler 

Mrs. Castle can also lend distinction to perfect 
ingenue clothes. 

she can wear and what she can't. Would 
that more of us followed in her footsteps 
in this respect ! 

The burning question of the spring suit 
is solved easily, of course, when, like Mrs. 
Castle, one can have many of them. But 
even those of us who will have but one will 
be perfectly happy if it is as attractive as 
a certain blue serge suit which Mrs. Tre- 
main selected not long ago. It is braided 
Continued on page 98 

Photo by Freulich 

Russell Simpson hopes that some day a director will 
want him without any whiskers. 

Have You Any 

Maybe you can trade places with Russell Simp- 
son, who's getting tired of his crape hair. 

By Edwin Schallert 

times in a mattress store or rug dealer's shop. It 
depends a great deal on the part. Here's some I 
bought to-day at Woolworth's. Very good hair," 
he remarked, as he showed me a package. "Think 
I'll use it." 

"That woman I was just talking to is going to 
cut off her hair, and she gave me first chance on 
a purchase. I generally pay pretty well for good 
hair," and Simpson commenced draping on a beard 
with the Woolworth switch. 

I began to see that there was something in this 
hair stuff after all. And I recovered some of my 
equipoise, or whatever it is. 

"You see, whiskers are my specialty," Simpson 
went on, as he surveyed the patriarchal beard that 
appeared on his chin in the looking-glass. "I've 
tried to get away from them, but I can't. They 
make such a lot of trouble. 

"My wife, for instance, has objected from time 
to time at the disappearance of her switches. But 
perhaps I shouldn't say that, because she doesn't 
wear them now. 

"I've had the misfortune to be cast in many roles 
where I had to wear a beard. Sometimes, when 
the part allows, I raise my own. I did that in 
'Godless Men,' the new Goldwyn picture. Other 
times, I have to glue on the whiskers with spirit 
gum, which I obtain from the East — a special kind 
that doesn't show. 

"I used a beard like 
that in 'Lahoma,' also 
in 'The Brand.' The 
one in 'Lahoma' was 
the longest — eighteen 
and a half inches," de- 
clared Simpson, with 
the precision of a 
mathematical expert. 

"In 'Bunty Pulls the 
Strings,' of course, I 
wore only side-burns. 
That was easy. By 
the way, that picture 
gives me my best 
chance at acting — that 
and 'Godless Men.' 
Continued on page 93 

The dirt-stained natives 
think that Simpson is one 
of them when they see him 
out on location. 

WILL you pardon me a moment? There 
is a lady waiting outside to show me 
her hair." 

Russell Simpson gave me a nod and a half 
smile and walked out of his dressing room at 

Goldwyn studio, while I gave vent to a repressed "Oh — I see !" wonder- 
ing what sort of piquant adventure was in store for the character actor 
whom I had come to interview. 

Evidently the lady's hair was bobbed, or Simpson's taste for admiring 
tresses was dulled that day, for he very shortly ended the interruption 
—which I had considered rather frivolous — by coming back and seating 
himself before his dressing table, where he started to make up as if 
nothing unusual had happened. 

"I suppose you are rather a connoisseur on hair," I remarked by way 
of opening the conversation, and with a certain curiosity concerning his 
odd penchant for beholding a woman's coiffure. I had visions of him 
selling dye or hair restorer, when he was acting. 

"Oh, yes, I suppose I am. I do pick up a lot of hair that way," said 
he, nodding toward the door through which he had just returned. 

"You say " And I know my surprise was as 

wide-mouthed as the entrance of a subway. "You say "Bunty Pulls the 
you pick up hair " Strings" gave him 

"Oh, yes, now and then," he broke in. "Down at oneof his best parts. 
the ten-cent store, around the beauty parlors, and some- Photo by ciarence s. &>ii 

Those Cowl ess 

OH, those cowless cowboys of the mo- 
tion pictures ! Those guys that 
go 'round all dolled up like a 
merry-go-round in the cowboy scenery, but 
who never seem to have any work to do ! 

Pictures are so educational, aren't they ? 
You know, I always used to think in my 
artless Japanese way that cowboys really 
were on speaking terms with cows — that 
they were a bunch of hard-working guys 
that got up early in the morning, worked 
hard all day at cow-punching, and played 
cards at night for relaxation, drinking liq- 
uor, if any. But now I know differ- 
ently. Cowboys probably wouldn't 
know a bossy if they met one in the 
lane. Cowboys never work. They 
don't have time. The hero keeps 
'em too busy. 

And how sympathetic and inter- 
ested they always are in the hero's 
affairs ! We wish sometimes when 
we are in trouble and things go 
wrong with us that we had a flock 
of sympathetic folks as devoted and 
helpful to us as that gang of cow- 

boys always is to the hero. Take a William 
Russell picture I saw not long ago, for 
instance ; when the boss of a mining engi- 
neer refused to give the hero more salary, 
the cowboys tied him up, gagged and bound 
him, and made him come through. Snappy 
service, I'll say ! 

But when the hero's girl gets lost or kid- 
naped — oh, boy ! That's when the cowboys 
have a chance to show the stuff they are 
made of. They never seem to have 
a girl of their own. They couldn't ! 
They're too busy looking after the 
hero's girl, for she has a natural 
genius for getting into trouble. And 
even if a cowboy gets him a girl, 
in a dance hall — or some place like 
that — it always turns out she's 
really the hero's girl, and he has 
to give her back to him. That's 
how it was in a recent Tom Mix 
picture. Even after the cowboy 
had rescued Tom's girl from a 
burning building, he never even 
got to hold her hand. 
Yes'r, heroism, not work, is the cowboy's life job. 
I saw a bunch of cowboys at a round-up of cattle, 
all fitted up with lariats and things, in a Bill Farnum 
picture the other day, and I thought to myself, they 
really are going to work this time. Next minute, 
though, along came the hero and told the boys his girl 
had been stolen and his bank robbed, and — whoopee! 
off they rode. Those cows could go jump in the kike 
for all they cared. That ranch owner could just go 
whistle for his cattle. I wondered why he kept on 
paying the cowboys, but he did, judging from their 
handsome carved saddles and sombreros. Probably 
he was afraid of them. 

But I will say for those cowboys they're a clever 
bunch when they get to sleuthing. If ever I lose a 
mine or a relative, I won't employ a detective. I'll 
get a bunch of cowboys to trail the criminal. They're 
so careless about where they go a-horseback, for one 
thing. They prefer tops of mountains in the sunset 
glow, for pictorial effect;^ but you will remember 
that when duty called the cow chaperons in one of 
Mix's late pictures, the boys never hesitated — they 
Continued on page 94 

| News Notes From the Studios | 

1 Some information about the productions that are being made and the players who appear in them. | 

IlllIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIH Illlllllllllllllllllllllllllllllllllllllllilllillllllllllllllllllllll Bill IllllllllllllllllllllllllllUlllllllliilllllllllllllilllllllllllllll 

Two old favorites who have not been seen in motion 
pictures of late are coming back. Florence Lawrence, 
famous as "The Biograph* Girl" and Mary Pickford's 
early ideal, returns as the star of "The Unfoldment," 
a Producers' Picture Corporation production. J. War- 
ren Kerrigan announces that in the future he will make 
five pictures every year. The first one will probably 
be an adaptation of a Richard Harding Davis story. 

New stars, too, are coming to the fore every day. 
Charlotte Greenwood, who for three years has delighted 
theater audiences from coast to coast in the musical 
comedies, "So Long Letty" and "Linger Longer Letty," 
is starring in a motion-picture version of the first 
"Letty" play. 

Wilfred Lytell, brother of Bert, 
is playing opposite Pearl White in 
her forthcoming production. 

A near-riot was caused at Ellis 
Island, the immigrant station of the 
port of New York, recently, when 
it was learned that Mary Pickford's 
company was filming some scenes 
there. Crowds rushed to the scene 
and watched anxiously for Mary, 
but Mary never came, for although 
the scenes were being made for her 
picture, "Through the Door," Mary 
herself did not appear in them. If she had known 
how disappointed the crowd would be she might have 
rewritten the scenario and come on from California to 
appear in those scenes. 

After studying classic dancing for years, in the be- 
lief that she would some time find it useful in her 
pictures, Norma Talmadge's first fancy-dancing role 
came in "Passion Flower," her newest picture. Un- 
fortunately, she was called upon to do a Spanish dance 
utterly different from anything she had learned. For 
weeks she was as busy forgetting the rules of classic 
dancing as she formerly was learning them. 

Apropos of Constance Talmadge's marriage it is in- 
teresting to note that two of her future pictures will 
be "Wedding Bells" and "A Butterfly in Harness." 

Dorothy Dalton has withdrawn from the cast of 
"The Money Master," the first picture play written by 
Sir Gilbert Parker. 

Roscoe Arbuckle does not want his admirers to get 
unduly excited over the title of his next picture, "Crazy 
to Marry." 

Pauline Starke will play the title role in "Salvation 
Nell," a Whitman Bennett production of the famous 
play in which Mrs. Fiske appeared on the stage. 

Metro has recently indulged in the popular pastime 
of changing the names of several of their picture plays. 
During production, Viola Dana's most recent vehicle 
was known as "Sorrentina," but it will be released as 
"Puppets of Fate." "More Stately Mansions," a short 
story by Ben Ames Williams, which was called "Are 
Wives to Blame?" when its script first reached the 
studio, is now titled "Extravagance." Jack London's 
popular novel, "The Little Lady of the Big House," 
is to be screened as "What's the Matter With Mar- 
riage ?" 

Ethel Clayton's next appearance will be in "Sham." 
Mabel Normand, having finally succeeded in gain- 
ing ten pounds, has declared her rest cure at an end, 
and is back at work in the Goldwyn studio on a pic- 
ture as yet unnamed. 

On the completion of "East Lynne," her husband's 
production in which she plays the leading role, Mabel 
Ballin retired to Lakewood, New Jersey, to rest. 

Marcia Manon and Richard Dix will play the prin- 
cipal parts in "The Bridal Path," a motion picture to 
be made by Goldwyn from the play of the same name 
by Thompson Buchanan. 

In "A Divorce for Convenience," a Selznick produc- 
tion, starring Owen Moore, a vam- 
pire part is played by Nita Naldi, 
who won her first laurels in motion 
pictures when she appeared with 
John Barrymore in "Dr. Jekvll 
and Mr. Hyde." 

"The Love Special" is the title 
of the latest Wallace Reid picture. 
In this he plays the part of a rail- 
road engineer, and needless to re- 
mark, the heroine, played by Agnes 
Ayres, has eyes for no one else in 
the cast. 

Several big productions are listed 
among the current releases of the Famous Players- 
Lasky Corporation. They include "The Faith Healer," 
a George Mel ford production of the famous play by 
William Vaughn Moody; "The Call of Youth," a pro- 
duction made at the London Famous Players studio; 
Thomas Meighan in "The Easy Road;" Mat Moore 
in a crook story, "Straight Is the Way;" William S. 
Hart in his own production, "O'Malley of the Mounted;" 
Mae Murray in "The Gilded Lily," "a Robert Z. Leon- 
ard production ; Dorothy Dalton in "The Teaser" and 
"Beau Revel," a Thomas Ince production written by 
Louis Joseph Vance. 

"The Opened Shutters," a popular novel by Clara 
Louise Burnham, has been purchased as a screen ve- 
hicle for Edith Roberts. Carmel Myers, her neighbor 
at Universal City, will next appear in "The Dangerous 

Rudolph Valentino will play Armand Duval in Nazi- 
mova's production of "Camille." 

A heavy blizzard at Truckee, California, sent May 
Allison and twenty other members of the "Big Game" 
company scampering up there to film snow scenes. 

Naomi Childers, a leading player in many Goldwyn 
productions, will play the leading role in "Courage," a 
Sydney Franklin production to be released by First 
National. Sylvia Breamer, formerly the leading 
woman in Sydney Franklin productions, has signed a 
contract to appear in productions sponsored by the 
Rubiayat Press and Publishing Company. 

The title of the first motion picture by Elinor Glyn, 
the celebrated author of "Three Weeks," has been 
changed from "The Sheltered Daughter" to "Her Great 

Among the prominent people soon to make their mo- 
Continued on page 101 

Our New 
Temples of 

How the motion-picture pal- 
aces developed, the problems 
that their further development 
will solve, and a glimpse be- 
hind the scenes, showing how 
their wonderful programs are 
put together. 

By John Addison Elliott 

SHORTLY after the close 
of the war, almost be- 
fore any peace-time ac- 
tivities had been resumed, I 
remember seeing in Picture- 
Play the following comment 
by The Observer : 

"What is the finest new 
building that is going up in 
your town? In nine places 
out of ten the answer is, 'The 
new motion-picture theater.' " 
In a great many places 
that answer still holds good. 
Scarcely a week passes but 
in some city a new pic- 
ture palace opens its doors. 
And in connection with these 
new theaters and their meth- 
ods of showing pictures, may 
be seen the solution of some 
of the problems that have 
been vexing the producers, 
the theater managers, and the 
picture-loving public. 

Like everything else in con- 
nection with the industry, the 
history of fine presentation of 
pictures has been one of brief 
and rapid development. It 
began only seven years ago, 
when S. L. Rothapfel came to 
New York from a small town 
in Pennsylvania, and with a 
vision of what was to come, 
induced capitalists to erect 
the famous Strand Theater 
on Broadway, the first the- 
ater to be devoted exclusively 
to pictures, embellished by 
orchestral music, artistic 
lighting, and incidental bits 

Photo by White. 

Just a tiny corner of the huge Capitol Theater, the largest building of its kind in 
the world, and one of the most beautiful. 

of song and dance. 
Soon after that theater became an established success, 
the Rialto was built, replacing what until then had been 
the most famous home of vaudeville, and into this new 
cinema temple moved Rothapfel, there to develop fur- 
ther his now well-known theories of a "unit program," 
in which everything from manner of raising the cur- 
tain until its final . fall was carefully worked out to 
combine in a unified and satisfying performance. 

The success of the Rialto Theater, added to that of 
the Strand, started the building of these picture palaces 
all over the country, which culminated, a year and a 
half ago, in the opening of the Capitol, the largest 
theater in the world — a huge edifice that requires the 

services of three hundred employees, that seats fifty- 
three hundred persons, and. where, each week, from 
sixty to one hundred thousand persons are entertained. 

These great amusement centers have accomplished 
two things of note. They have inspired an interest 
in pictures on the part of thousands of persons who 
would not have been content, a few vears ago, to visit 
the old-fashioned "store show," and this encouraged 
the producers to strive for higher quality in production. 
Second, they have done more for the popularizing of 
fine music than any other single institution. 

An example of this last statement lies in the fact 
that at the Rialto, Rivoli, and Criterion Theaters, in 
New York, all under the direction of Doctor Hugo 


Our New Temples of Art 

Riesenfeld, five hundred thousand dollars a year is 
expended for music. It may interest the countless thou- 
sands of persons who have visited these theaters to 
know that out of every admission they paid, ten cents 
was applied toward the musical part of the program. 
And it may be of further interest to know that, thanks 
to their patronage, Doctor Riesenfeld has been able 
to found a school for the development and training of 
professional singers 
and dancers. Nor are 
these pupils confined to 
appearing in motion- 
picture theaters. Their 
training and experience 
before the picture audi- 
ences is but a stepping 
stone toward grand 
opera and the concert 
stage. Already a large 
number of them have 
been graduated from 
picture-theater work, 
and have found places 
in the Metropolitan and 
the Chicago Grand 

The very latest development 
in picture theaters is now in 
quite another direction. Hith- 
erto the movement had been 
toward larger and larger the- 
aters. It is not likely that any 
theater will exceed the huge 
Capitol in size. And so, the 
opening of the Criterion The- 
ater as a picture house, a year 
ago, answered a new need — 
the need for a theater in 
which a program of an inti- 


Photo by Campbell 


have done more, perhaps, than any others, to 
develop the art of motion-picture presentation. 

The one above is S. L. Rothapfel, a pioneer in 
this line of work, who rose from running a small 
picture show above a saloon in a Pennsylvania 
mining town, to managing the largest theater in 
the world. 

Doctor Hugo Riesenfeld, below, was a musician 
of note before he became interested in picture 
theaters. A composer as well as a conductor, he 
forsook the symphony orchestra to join Roth- 
apfel, whom he succeeded. He has done much to 
improve the artistic quality of motion-picture 

mate and exquisite type might 

be presented, and in which a picture might be placed 
for an indefinite run. 

The problem which this and other theaters of its 
kind is expected ultimately to solve is the most vex- 
ing problem that the producers face to-day : the neces- 
sity of making every picture a sort of greatest common 
divisor for the tastes of every one who patronizes 

As Doctor Riesenfeld recently explained it. under 
the present system a producer is fortunate if his pic- 
ture shows for a week in the largest house in the 
largest city. In the smaller cities, and in the smaller 
theaters, a picture is shown for only one day. Under 
such a system, in order to get back the cost of pro- 
duction and to make a profit, every picture must be 
shown everywhere, in almost every town and city of 
every size. 

But the taste of theatergoers varies in different lo- 
calities. Pictures that succeed in the large cities do 
not always interest the patrons of the smaller places, 
and vice versa. 

Doctor Riesenfeld contends that if a chain of little 
theaters like the Criterion, irr which pictures can be 
given an indefinite run, can be established throughout 
the country, a producer can then make pictures which 
will not need to have this universal appeal. And it 
does not severely tax the imagination to vision several 
such chains of small theaters, each devoted to a differ- 
ent type of picture, so that different classes of persons, 
having different likes and dislikes, can choose a cer- 
tain theater as always having the type of picture which 
he or she most enjoys. 

The picture palace will remain, however, no matter 
how extensively the chains of small theaters are de- 
veloped, for so interesting and colorful are their pro- 
grams that they appeal to practically every class of 
patrons — as does the huge New York Hippodrome, 
and the great circuses that year after year play to 
thousands every day, drawing the same sort of enthusi- 
astic patronage from city, town, and country. 

No one can visit one of these picture palaces with- 
out wondering by what ingenious method the differ- 
ent elements that go to make up the programs are fused 
together into a harmonious and blended whole. Per- 
haps this unity is the most remarkable in the case of 
the huge Capitol — not because it is any finer than the 
others, but because it is so much larger. 

"We never can relax for a moment in our striving 
for absolute perfection," said Mr. Rothapfel to me, 
recently, while discussing this phase of presentation. 
"With an audience of more than five thousand per- 
sons you can't slip up for a second. Thus the smallest 
details of every program are gone over and over until 
they are as near perfect as they can be made. Take 
such a matter as opening or closing a curtain — you 
wouldn't think there was much of a trick to that, would 

you? Well, our men who 
do that work are as care- 
fully trained as our singers 
and dancers. Every move is 
timed to the exact second, and 
every move must be done — 
just so." 

"But how is the whole pro- 
gram put together?" I asked, 
"your huge orchestra playing 
music that seems to flow along 
in exactly the same mood and 
rhythm as the picture?" 

"Come around to our pro- 
jection room at ten to-night 
and I'll show you," he said, 
projection room that night I found Roxy, 
as he is called, sitting, 
in his shirt sleeves, be- 
hind a high desk that 
looked as though it be- 
longed in the pilot 
house of a steamer. .AH 
along the top of it were 
instruments of preci- 
s i o n — chronometers, 
speedometers, and 
other mechanical de- 
vices to tell him just 
how fast his film was 
being run off, at ex- 
actly what moment the 
film would reach a 
given point in the story, and the like. 

Beside him sat the librarian, whose sole duty is to 
care for the theater's great collection of orchestral 
music, and other members of his staff. At the piano 
sat the principal conductor of the orchestra, who had, 
for the last performance, turned over his baton to an 

From a great stock of selections which had been 
brought to him Rothapfel selected one and handed it 
to the conductor. 

"Try this one," he asked, signaling for the operator 
Continued on page 83 

On the following three pages are examples of fhestage settings and 
scenic effects used in recent programs at the different theaters men- 
tioned in this article. 

In the tin\ 

Vhoto by Apeda 

Desha danced into the 
hearts of Criterion audi- 
ences with an airy creation 
called "The Bubble." Her 
success brought her an ex- 
tended engagement there. 

This rollicking scene from "Falstaffs Dream," which was pre- 
sented at New York's Rivoli Theater by the New School of Opera 
and Ensemble, made this theater more than ever the delight of 
music lovers. Below is shown the pretentious spectacle which 
ushered in "The Garden of Allah," at the Strand Theater, also 
in New York City. 

Maria Gambarelli, t h e 
ballerina of the Capitol 
Theater, is only seventeen 
years old, but she success- 
fully creates dances for 
every type of feature pic- 
ture on the Capitol 

Pboto by Floyd 

Photo by Apeda 

Refinement and delicacy reign throughout the prologues at the 
Criterion Theater. There gentility holds sway, leaving more 
dramatic effects for the larger theaters. One of the most striking 
and effective prologues ever seen in New York was staged at the 
Capitol Theater as an introduction to "Passion." The finale 
of it is pictured below. 





You may be able to equal the achievement of 
one of these remarkable youngsters — if you 
start young enough. The motion-picture in- 
dustry demands extraordinary talents — and hard 
work — but recognition, when it comes, comes 
swiftly, as this sextet holding important posi- 
tions proves. Sarah Y. Mason, the young 
woman above, claims that she is twenty-five, 
but she is probably reckoning her age by con- 
tinuities written, not birthdays passed, for she 
looks younger than that. 

She started her screen career writing sub- 
titles for C. Gardner Sullivan, then did con- 
tinuities for Douglas Fairbanks, Metro stars, 
and ZaSu Pitts. Now the Selznick company 
has her under a long-term contract. 

Irving Thalberg, to the right, is only twenty- 
one, and all the cares of being general manager 
of Universal City don't seem to make him ap- 
pear older. When everything goes right in the 
film city, the credit goes to whoever can claim 
it first, but when anything goes wrong, it's a 
case of "See Thalberg about it." 

Walter Wanger, at the bottom of the page, 
became production manager of Famous Players- 
Lasky Corporation at the age of twenty-six. He 
has charge of their studios in Hollywood, Long 
Island, London,^, and Bombay — and he has all 
the qualifications for the job except a pair of 
seven-league boots. 


IlllllltlllilllllllillllllllllllilllllllllllllifllW 11111:1 

fhnto by White 

Kathryn Stuart, whose photograph is shown 
at the top of the page, has been appointed to 
adapt to the screen ''Star Dust," the novel by 
Fannie Hur9t, author of "Humoresque." Three 
years ago she was a novice in the Famous 
Players-Lasky scenario department; one year 
ago she had become one of their most capable 
scenarioists. She went to Realart then, where 
she has prepared the scenarios tor all the Con- 
stance Binney pictures. "Everything comes to 
her who . writes," is Miss Stuart's sincere con- 

The distinction of being the youngest mo- 
tion-picture director belongs to Marcel de Sano. 
whose picture is shown above. He is only 
twenty-two years old, and has had but a year's 
experience in a studio, but he is already a full- 
fledged director for the Universal company. He 
came to pictures by way of the French army 
and the Roumanian diplomatic corps. His first 
picture is "Beautifully Trimmed." 

At. the right is Robert M. Haas, whom you 
would have known as a brilliant young archi- 
tect if Famous Players-Lasky hadn't come along 
and persuaded him to become head of their 
arts and decoration department in the East. 
He is still in his twenties, but he commands the 
army of workers at the big Long Island studio 
like a veteran general. 

Jt looks like a young man's — and a youne 
woman's — game. 


Intimate glimpses of movie 

The wondrous gardens of the Al- 
hambra in Spain provided such ex- 
quisite settings as this for Mar- 
guerite Courtot in "Rogues and 

Not the setting for a pie-throwing comedy, but the pie 
counter adjoining a motion-picture 9et where some big 
scenes were being taken, all ready for the extras' drive 
when the director called, "Time for lunch!" 

Raymond Hatton plays 
"At Home 5 ' with his char- 
acteristic finesse. The 
dog wishes he would play 
it more often. 

Pboto by C. HeUthton Monro* 


folk, at home, and on location. 


A striking silhouette from Marshall 
Neilan's "Bob Hampton of Placer," 
the great spectacle that revivifies 
frontier-days history, the small 
boy's delight. 

Fortifications are not always as strong as they seem when you slip 
around and get a side or a back view, as the photographer did when 
he snapped this picture of the big set in George Seitz's "Rogues 
and Romance." 

Anita Stewart is as ro- 
mance-loving as ever ; 
she won't go to the party 
until the story's heroine 
is safe. 


Our New Temples of Art 

Continued from page 74 
to begin running off the picture, the 
lone which was scheduled to be 
shown in the theater on the follow- 
ing week. 

j But after a few bars he cried out 
rto stop. "It isn't right," he observed, 
jas he waited until the operator could 
i rewind the film he had run off, and 
make ready to begin again. "Not 
quite the right swing," he explained. 
"Try this." 

The second apparently was as un- 
suitable. But the third selection 
seemed to meet with his approval. 
As the end was reached he ex- 
claimed, "Fine ! fine ! The finale 
comes at just the right place, too. 
Heaven's with us. Now let's see — 
what key is it in? We'll see if 
Heaven is really with us." 

The key was given. Then, after 
digging out another selection which 
he had in mind as one which was 
suitable for the next few feet of 
the picture, he cried, "Well, Heaven 
is with us ! Same key — what do you 
think of that?" And he signaled to 
try it out. 

For two hours I watched him se- 
lecting, fitting together, rejecting — 
now jumping up and rummaging 
through the piles of music — now 
rushing over to the piano and with 
wild gesticulations, singing — in a not 
too pleasing voice — a few bars to 
show how he wanted a certain bit 
played. Never have I seen any one 
work more intensely. Not only he, 
but the entire staff that assisted him 
were tired out when they had fin- 

At midnight they went out for a 
bite to eat, and thence home and to 
bed. All except Roxy. He was back 
in the theater at one o'clock ready to 
go through two hours of just as 
vigorous rehearsals with the staff 
that manage the lights — a feature 
that is almost as essential to the 
success of his programs as the music 

I did not stay for this rehearsal, 
but I did attend his final rehearsal 
that took place on Sunday morning, 
just before the theater opened for 
the first showing of the week. Dur- 
ing the week preceding every execu- 
tive — such as the ballet master, the 
orchestra conductor, the chief scenic 
artist, and the electrician in charge 
of the lighting — had been working 
out, with the help of those under 
them, the details of the general in- 
structions they ~had received from 
Mr. Rothapfel. Now the time had 
come to see whether it would weld 
together properly. 

Never have I seen a more interest- 
ing rehearsal. Though to the av- 
erage person everything would have 
seemed smooth enough, there was 

scarcely a phase of it that Roxy 
left untouched. First, the brasses 
in the orchestra seemed to him 
to be too loud, and he ordered 
their position changed. The playing 
of several passages he criticized, and 
ordered different tempo or shading. 
The ballet did not suit him in every 
respect, and he ordered changed the 
stage setting for the prologue to the 
feature picture. In a last, final burst 
of temperament, he discharged the 
bass drummer. This came about be- 
cause the poor drummer, smarting 
under a tongue lashing in which 
Rothapfel had charged him with hav- 
ing no style in handling his tambou- 
rine while the orchestra was playing 
the marimba, to accompany a beau- 
tiful tropical travel picture in color, 

N O W — F OR A 

Herbert Howe has done 
a personality story that 
is different. It's a cameo 
of Corimie Griffith — a 
series of brief impres- 
sions of this most charm- 
ing of the cinema stars, 
which will reveal her in 
varied moods and set- 
tings. It will appear in 
the next issue of 

the man had, in desperation, tried 
thumping his tambourine on his 

Rothapfel, standing down in the 
orchestra of the theater, and shout- 
ing through his megaphone, like a 
picture director, stopped the orches- 

"Two weeks' notice !" he said to 
the hapless drummer. "I'll have no 
smart Aleck stunts !" 

I have a sneaking notion that 
Roxy never really intended to en- 
force the two-weeks' notice, for I am 
quite sure that I recognized the same 
drummer in his orchestra some 
weeks later. However, the criticism 
seemed to be not without its effect, 
for I never heard so much pep shaken 
out of a tambourine as I did when I 
sat in the same theater later in the 
week and listened to the marimba. 
And the drummer did not rap his 
head with it, either. 

Pep ! That was the word that 
characterized the whole program, be- 
ginning with the burst of applause 
that followed the crashing finale of 
the overture, when the soft tints that 
flooded the stage tapestries — rose and 


gold, blending into a soft green- 
suddenly were transformed into a 
blaze of vivid yellow, and ending 
with the last strains of "The Good 
Old Summertime," which concluded 
a short picture showing a trip 
through some odd corners of old 
New York. 

That- picture had been chosen as 
a light diversion intended to dispel 
the emotional state in which the au- 
diences were expected to be in after 
the feature, "Madame X," and to 
lighten it still further Rothapfel had 
scouted the town to get some of the 
old songs of a generation or two ago. 
How he had chuckled on the night 
of the rehearsal when his librarian 
finally came in with them: "The 
Sidewalks of New York," "A Bi- 
cycle Built for Two," and several of 
the others. He knew how those 
would hit a New York audience! 

It became more clear, too, why he 
had slashed the news reels the way 
he had. At the rehearsal he had had 
run off for him all the week's issue 
of each of the big news reels — there 
were some forty or fifty subjects in 
all. From these he picked about six 
subjects. They included no monu- 
ments being unveiled — no groups 
standing on the steps of the Capitol 
at Washington. They were pictures 
of animation and thrill — such as the 
new artillery tanks performing 
strange maneuvers, a picture that de- 
manded the call of bugles, deep-roll- 
ing drums, and the crash of the brass 
choir as the huge tanks on the screen 
went crashing through a forest of 

Then, by way of preparing the au- 
dience for the feature, the master 
program builder had prepared a deli- 
cately tinted travelogue bit, "A Trip 
Through Marimba Land," a picture 
languorous and tropical — save for 
that one place which had been so 
unfortunate for the drummer. 

Was it any wonder, I thought, as 
the soft strains of the violins intro- 
duced the first scenes of the feature 
picture, that the audience is so car- 
ried away beyond the world of ras- 
calities, to love and to suffer with the 
heroine ? 

Some day performances — not so 
huge or quite so fine, but perform- 
ances that will be perhaps quite as 
satisfying — will be given in the the- 
aters in every city of any conse- 
quence whatsoever. It is not the 
size, but the quality that counts. The 
little Criterion seats only six hun- 
dred persons, and its orchestra is but 
a small one. Yet some of the finest 
productions have had their premieres 
there, and audiences continue to pack 
the tiny house each week, paying a 
higher admission, by the way, than 
is charged at the larger theaters. 

Low and 

Photo by Abbe 

There is subtlety in veils and silks and satins— and in Louise Glaum's eyes. 

EMPIRE gowns, the fashion editor tells me, are 
cut square. And, she adds, some decolletes are 
V-models. This inside information on modes 
and models does not help me a little bit in describing 
what Louise Glaum was wearing when I saw her be- 
ing saved from violent death in the J. Parker Read 
studios and, more specifically, "Love." I saw her from 
the back at first glance, and in my meager way, I 

But seeing Louise Glaum in decollete 

By Malcolm I 

iiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiM I 

should classify the costume she wore 
as a distinctly O-model. From the 
waist up, her back was as bare as 
Mrs. Hubbard's cupboard. A strand 
of determined-looking pearls disap- 
peared over her left shoulder: that 
was all. It stood between Louise and 
the National Board of Censorship, so 
to speak. But it probably stood her 
in good stead. The picture is being 
shown at all of the best theaters. 

My second meeting w T ith Miss 
Glaum was a less sensational one. 
Her mother was there, and a digni- 
fied maid, and a tableful of cosmetics, 
perfumes, lotions, soaps, and salves. 
The table interested me immensely. I 
asked Miss Glaum whether she used 
half of the things I saw there, whereat 
she laughed long and loudly, and as- 
sured me that in addition to what was 
on the table, she used some ten other 
preparations regularly. 

"Watch me make up," she invited. 
But I think that it would be more 
apropos to describe to you what she 
looked like before donning the grease- 
paint. You can see her on the screen 
any day. 

Her figure is short and inclined to- 
ward the embonpoint, but not, as yet, 
anywhere near the fatal point of fat- 
ness. Her hair is bobbed, brown, and 
boisterous, if you follow the meta- 
phor. It is snarly and carefree and 
impudent, framing her face roguishly, 
albeit alluringly. Her lips are the 
most attractive of her features. They 
are inviting. Her chin has a cleft 
that resembles Wally Reid's, and her 
eyes are rather narrow and vampish. 
There is a come-and-play-wiz-me tilt 
to the Glaum head, and an eternal 
challenge in the Glaum manner. She 
is the single Califilmienne I have met 
who impressed me as a person sim- 
ilar to her screen-self — and yet so dif- 
ferent ! When she talks the siren in 
her stops abruptly, and the American 
woman steps to the fore. 

"I guess I'm the last of the Mo- 
hicans at this vamp stuff," she re- 
marked as she touched up her eve- 
lashes deftly. "It's interesting work, 
too, I think. This vampiring isn't the deadly boring 
stuff you would expect it to be. I make the lady use 
different methods every time. Dressing the part helps 
so much !" 

There followed a detailed analysis of how Miss 
Glaum had dressed her last part and how she was un- 
dressing — that is to say, how she was dressing "Love." 
Louise Glaum is wrapped up in dress and style and 


and in private are two different matters. 

H. Oettinger 


! costuming. She designs everything 
she wears, and her mother often 
makes many of the costumes. When 
Louise talks she uses her expressive 
forefingers to illustrate her points, and 
the result is as graceful as it is help- 
ful. She leans forward, with chin 
thrust out, and eyes often staring up 
and beyond, as if dreaming. Her 
poise is complete and her pose effec- 

Her ambitions are concentrated 
upon acting and writing. 

"I want to be an emotional star on 
the speaking-stage some day," she 
told me. "And I want to publish a 
book of love poems that I've been 
working on for ages and ages. 
They're not Ellawheelerwilcox in any 
way. They are sincere, and I see no 
reason why they shouldn't be given to 
the reading public. I'd like to do a 
book on spiritualism, too." 

I raised my eyebrows in polite sur- 
prise. There is nothing spirituelle 
about Louise Glaum. 

"Honestly," she smiled, narrowing 
her eyes in what might have been a 
supremely earnest manner. "I believe 
in communication with the other 
world. I've done it. And I intend 
to write about it some day. 

"Then," she concluded ambitiously, 
"there are the pictures. No one has 
done them justice yet, in print. I 
have in preparation a history of the 
photo play." 

"I shall look for an autographed 
first-edition copy," I assured her 

"And you shall have it!" she ex- 
claimed. But she didn't take my ad- 

The pet Glaum aversion is visitors 
on the set during the making of one 
of her pictures. Signs are promi- 
nently displayed around her sets 
warning off "Admiring Friends" as 
they are classed in the notices. I 
don't know whether I came under 
that category or not, but I did see 
Louise in action. She is an intense 
worker, and an energetic one. After 
each scene, her mother or maid hur- 
ried over to her with a great big tin box full of make- 
up utensils. Miss Glaum readjusted her eyes and lips 
after each scene, and every once in a while covered 
her arms and back with a white liquid soap that would 
register a gleaming tint, she told me, that would render 
her vampire-characterization the more vivid. Veils, 
she assured me were invaluable aids to the silver- 
sheet siren. And silks. 

Photo by Abbe 

Gleaming shoulders and bizarre costumes make her every move effective. 

"There is a subtlety in veils and silks and satins," 
she said, "that register one hundred per cent, where 
other materials flop woefully. That's why you see so 
much filmy stuff all around this scene — it was the in- 
terior of a temple — it heightens the suggestion of ro- 
mance and adventure." 

She held out a beauty spot, with a smile, as she mas- 
Continued on page 87 


By Ed 

IN southern California you can swell your bank 
account suddenly by entering into either of 
two professions — the motion-picture business 
or real estate. And recently a little yellow-haired, 
blue-eyed girl deserted- the camera just long enough 
to meet the real-estate crowd at its own game and 
prove herself the equal of any agent in it. 

"People go to movies — and they go home," Mary 
Miles Minter had reflected. She was already in 
the movies — if she went into real estate, too, she 


na Foley 

could play both ends against the middle, as you 
might say ; she'd have the upper hand of the money 

So she and sister Margaret formed an invest- 
ment company, bought a tract of land adjoining 
the California Country Club, divided it into resi- 
dence sites, and promptly sold two of them for 
money enough to cover the original investment. 
And here you see the two principal members of 
the company, as they appear "on location." 

The Screen in Review 


Continued from page 65 
an amusing portrayal of a perfectly 
healthy woman rushing from one 
rest cure to another. Anita Loos 
and John Emerson have tried . to 
brighten things a bit for Constance. 
The picture is good enough, but you 
need not go out of your way to see it. 


"The Inside of the Cup," pro- 
duced by Albert Capellani for Cos- 
mopolitan, was adapted from Win- 
ston Churchill's novel. It is a 
rather solemn treatise on religion and 
socialism — a film sermon. The man- 
ner of its presentation is praise- 
worthy, and it is a good, sound pic- 
ture for conservative audiences. 


For unconservative audiences we 
recommend "Passion Fruit,". Doral- 
dina's first picture for Metro. Her- 
bert Howe has already described to 
you the domestic life of Doraldina, 
the hula-hula dancer, the cabaret fa- 
vorite, and the excellent wife. Leav- 
ing the "excellent-wife" part of it 
out of consideration, "Passion Fruit" 
is just what you might expect. It is 
a lurid melodrama of Hawaii, and 
every time a smashing climax is 
needed Doraldina gets up and flings 
a couple of dances. In spite of the 
dancing and wild goings-on, "Pas- 
sion Fruit" is not so bad. If you 
live in the city and are used to hula- 
hula dances and Hawaiian cabarets, 
"Passion Fruit" will mean nothing 
at all to you. But if I were living 
on a lonely Nebraska farm, I should 
dash into the flivver and rush to the 
nearest Bijou Dream to see "Passion 
Fruit." I think it would interest me 
in the same way that a simple, pas- 
toral play interests the person who 
leads a hectic city life. 


"The Great Adventure" is a fairly 
amusing picture if you have not read 
the book from which it was adapted. 
"Buried Alive," by Arnold Bennett, 
contained a rare screen plot; but 

Whitman Bennett, the producer, pre- 
ferred to turn it into a plain, ordi- 
nary movie. The story of the shy 
artist who "plays dead" to avoid 
fame is burlesqued beyond all rea- 
son. The chief offender is none 
other than Lionel Barrymore. With 
a chance for a genuine comedy char- 
acterization, he gives us a routine 
portrayal of a vaudeville English- 
man. Lionel was "off his game" 
when he made "The Great Adven- 


I am ashamed to say anything 
more about George Fitzmaurice and 
Ouida Bergere. But I am obliged 
to report that they have not re- 
formed in their newest production, 
"Paying the Piper." It is an idle 
story of an idle society girl 
who learns that "money isn't 
everything." Yes, the settings 
are lovely. Dorothy Dickson, an- 
other dancer, is the featured player, 
but she fails to make the grade. 
How T ever, she ornaments the settings 
and flits gracefully hither and yon. 


Working against the handicap of 
a familiar locale — the Cumberland 
Mountains — Pearl White manages 
to give us something different in 
"The Mountain Woman." She plays 
the part of a gal who has been raised 
as a boy, and the story has the swing 
and the zest of the old Pearl White 
serials. Miss White is an active- 
minded, active-bodied young woman. 
Everv day she lives, she grows more 
like Mary Garden. The fans know 
Pearl, and they know her worth. 
Maybe some day William Fox will 
encourage her to do something in the 
way of dramatic acting that will 
make us all sit up and take notice. 


Constance Binney's new picture is 
called "Something Different," but it 
is not. Mae Marsh's first picture 
for Robertson-Cole is called "The 
Little 'Fraid Lady." I got as far 

as the theater, saw the title, and ran 
the other way. Perhaps some day I 
will be brave enough to see the pic- 
ture. Just now I have a sentimental 
feeling about Mae Marsh, and I hate 
to think of her as a little 'fraid lady. 
"The Highest Law," with Ralph Ince 
playing his favorite role, that of 
Abraham Lincoln, is worth your kind 
patronage. Another Selznick pic- 
ture, with Vera Gordon as its star, 
is called "The Greatest Love." It is 
Mr. Selznick's "Humoresque," and 
is full of tears and laughter. Gladys 
Walton, a new Universal star, proves 
that she is a star by playing a dual 
role in "Rich Girl, Poor Girl." Have 
you heard that Paul Helleu has pro- 
claimed Rubye de Remer the most 
beautiful girl in America? Miss de 
Remer adorns the screen. The title 
of her current picture is "The Way 
Women Love." It was adapted from 
a story called "Behind the Green 
Portieres." Dear me ! 

I should like to be able to tell 
more about George Beban's produc- 
tion, "One Man in a Million." It is 
a kindly, wholesome story, human 
and sentimental. Helen Jerome 
Eddy and "Bob White," who is 
George Beban, Jr., are in the cast. 

Unfortunately, I failed to see a 
picture called "Women Men Love." 
But the title is a masterpiece, and 
the cast, which includes William 
Desmond, Marguerite Marsh, Mar- 
tha Mansfield, and Evan Burrows 
Fontaine, sounds interesting. The 
picture is described as the "story of 
a girl's passion for gambling." 

Addenda : Since completing the 
Screen in Review and after having 
shown justice to all and mercy to 
none, I met an intelligent woman who 
told me that "The Kid" was disgust- 
ing, and that Charles Chaplin ought 
to be ashamed to wear such dirty 
clothes. And I met another intelli- 
gent woman who thought that "Man- 
Woman-Marriage" was a noble 
blow for the cause of feminism, and 
that "Forbidden Fruit" was a perfect 
dream of a picture ! It is great to be 
a critic. 


saged a final gob of cold cream into 
her face. 

"And that," she said. "See that? 
Well, one little bit of court-plaster 
placed judiciously — or should I say 
injudiciously — will get across the 
lure of a siren lady more than all 
the cigarettes in the world." 

Following the cold cream, rouge 
was deftly applied, and finallv an 

ow and Behol 

Continued from page 85 

overcoating of skin enamel. (So, at 
least the box was labeled. It looked 
to me like floor wax.) With a final 
pat of the powder puff, and a last 
rearranging of her carmined lips. 
Miss Glaum arose from her dressing 
table and started toward the door. 

"Have to slave some more," she 
smiled. "And when I get through 
there's a dinner to go to, and a dance 


and a local appearance and letters 
that ought to be written and Heaven 
knows what else." 

She helped a slipping shoulder- 
strap back onto her gleaming white 
shoulder. Somewhere outside some 
one with a megaphone was howling 
for Miss Glaum. 

"It's a great life !" said Louise, as 
she left me. 

I have my doubts. 

PEGGY REBECCA.— Here you are, 
right at the head of The Oracle 
department! If at first you don't suc- 
ceed, eh? No, that was not my picture 
you cut out. Sadly unlike me, in fact. 
You will have to guess again. Mary 
Pickford was born in Toronto, Canada, 
in 1893. She wears her very own hair, 
no one else's. Jack Mulhall has just 
signed a long-term contract with Lasky, 
and will appear opposite the Paramount 
and Realart stars in future productions. 
Bebe Daniels' first starring vehicle for 
Realart was "You Never Can Tell." He 
has been on the screen for the last four 
years. Louise Fazenda is not with Mack 
Sennett's forces any longer. She is now 
touring the country for the Special Pic- 
tures Corporation, and will begin work in 
a series of comedies for them immediately 
upon her return to the coast. 

Miss Julia S. — You must write direct 
to the players for their photographs, not 
to me. All addresses at the end of The 

Lasca. — Where have you been keep- 
ing yourself? Cecil B. De Mille lives in 
Hollywood, where he has built himself a 
beautiful home in the hills. He has a 
wife and two children. 

R. S. B. C. — Are vou any relation to 
R. S. V. P.? "The Kid" is the title of 
Charles Chaplin's latest picture. It will 
be released by the First National Exhibi- 
tors' Circuit, the organization that has 
handled all his other recent pictures. 
Frank Keenan was born in Dubuque, 
Iowa. You are right; they did go_ to 
Europe for their honeymoon. You might 
write them and try. Probably they would. 

Melttng-Pete. — Douglas Fairbanks' 
first wife was Beth Sully, a nonprofes- 
sional. He has an' only child, a son ten 
years old. Write to her at the studio. 
We do not give the personal addresses 
of the players. If you believe everything 
you hear, you will soon be in the same 
fix, don't you think? I'm sure I would 
be if T did". 

Lonesome L. J. Mc. — Being married 
doesn't interfere with their sending pho- 
tographs to the fans. You will probably 
hear from her before long. Some of 
them will and, again, some of them won't. 
It all depends on how many requests 
they have and how much time to take 
care of them. None of the stars you men- 
tioned are married, with the exception of 
Wanda Hawley. Constance Talmadge 
was born in Brooklyn, New York, in igoo. 
Mary Miles Minter was born in Shreve- 
port, Louisiana, on April I, 1900. Bebe 
Daniels was born in Dallas, Texas, in 
iqoi. Constance Binney, in New York. 
Marjorie Daw, in Colorado Springs, Colo- 

rado, in 1902. Wanda Hawley was born 
in Scranton, Pennsylvania. Shirley Ma- 
son arrived on this earth at Brooklyn, 
New York, in 1901. Mary Thurman, in 
Richfield, Utah, in 1894. Never heard of 
the other two you ask about. Dorothy 
Dalton is not married at present. I am 
sure I cannot answer that. Why is any 
one homely or pretty? Just because they 
weren't made any different, I guess. 

Just Me. — You are another of my regu- 
lar old-timers who have been hiding out 
on me lately. Where have you been 
keeping yourself? William Duncan re- 
cently married his serial leading lady, 
Edith Johnson. He was born in Scot- 

THE ORACLE will answer in 
these columns as many ques- 
tions of general interest concern- 
ing the movies as space will allow. 
Personal replies to a limited 
number of questions — such as will 
nit require unusually long answers 
— will be sent if the request is ac> 
companied by a stamped enve- 
lope, with return address. Inquiries 
should be addressed to The Picture 
Oracle, Picture-Play Magazine. 79 
Seventh Avenue, New York City. 
TheOracle cannot give advice about 
becoming a movie actor or actress, 
since the only possible way of ever 
getting such a job is by direct 
personal application at a studio. 
Questions concerning scenario 
writing must be written on a 
separate sheet of paper. Those 
who wish the addresses of actors 
and actresses are urged to read 
the notice at the end of ihis 

land, and she in Rochester, New York, in 
1895. Do you watch the magazines 
closely? You will find several pictures of 
him in them if you do. No, not every 
month. There are no stars who manage 
to have a likeness of themselves published 
in every issue, no matter how popular 
they are. 

The Thunderbolt. — Olive Thomas was 
born in Charleroi, Pennsylvania, in 1898. 
Pearl White hails from Springfield, Mis- 
souri, where she arrived in 1889. Alice 
Brady was born in New York City. 
Douglas Fairbanks first saw the light of 
day at Denver, Colorado, where he was 

born in 1883. Doris May hails from Se- 
attle, Washington. Mary Miles Minter 
is five feet two. Shirley Mason just tips 
the beam at five feet. Their ages have 
already been given in the answers pre- 
ceding yours. Jean Paige was born in 
Paris, Illinois, in 1898. Edith Roberts 
was born in New York City. Madge 
Evans is also a New Yorkite, and 1909 
is the year of her birth. Yes. I have been 
in Chicago several times. It's a fine city. 
You are certainly most welcome to write 
to The Oracle at any old time. 

An Admirer of Bebe and Wally. — 
Write to the stars themselves, not to me. 
You will find all the addresses you asked 
for at the end of The Oracle. Wallace 
Reid is married to Dorothy Davenport 
and they have one little boy. Bebe Dan- 
iels is not married. Yes, that is her cor- 
rect name. Her latest picture is called 
"Oh, Lady, Lady !" Wallace Reid's next 
starring vehicle for Paramount will be 
"The Daughter of a Magnate," from the 
novel by Frank H. Spearman. 

A Lover of Art. — Casson Ferguson was 
born in Alexandria, Louisiana, in 1891. 
He received his education there and in 
Paris, France. His early career consisted 
of ten years on the stage in Shakespeare 
and in musical comedies in America. His 
screen career has been with Morosco, 
Lasky, Incc, Universal, Triangle, Hamp- 
ton, Goldwyn, and Metro. He is five feet 
eleven inches tall and weighs one hun- 
dred and fifty pounds. His hair is brown 
and his eyes are blue. 

Sassy Jane. — You will find your ques- 
tions already answered in this issue. 

B. K. L. — You, too. All addresses at 
the end of this department. Your last 
question cannot be answered. It's en- 
tirely too personal and none of my busi- 

Alkali Ike. — I guess you don't read 
up much on motion pictures. The Alkali 
Ike comedies have not been made for sev- 
eral years. The character was first in- 
troduced by Augustus Carney in the old 
Essanay days, and later he left that com- 
pany and continued in his character for 
the Universal. The comedies were known 
as the Alkali Ike brand. I don't think 
that they will be revived. 

Sister Sue. — William S. Hart is work- 
ing on his last picture for the Artcraft 
program, and has announced that he will 
retire from the screen at its completion. 
T do not know whether Bill means to 
make it a permanent affair or not. It 
looks that way from all appearances, but 
let us hope not. He has a sister, Mary 
Hart, but not a wife. 

Continued on page 106 

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A Girl's Adventures in Movieland 

Continued from page 49 

between a famous actor and direc- 
tor general! "Now, which one are 
you going to look at?" said Mr. 
Karger. That's what I had been try- 
ing to decide. And Mr. Lytell said, 
"It's like being between the devil 
and the deep, sea." But I never could 
agree with him on that. I was wish- 
ing that I could be like Ben Turpin 
and look at them both. 

Then the big moment of the after- 
noon arrived. Mr. Karger said that 
I was to "walk through" the next 
scene. I'd had a feeling almost of 
relief when I thought they weren't 
going to take me in any scenes that 
afternoon, and yet I wanted it more 
than anything else in the world. The 
scene was one where Bert Lytell 
brought home in his limousine 
the poor people he had rescued from 
the tenement fire. We were to be 
passing on the other side of the 
street, and stop to stare at the un- 
usual sight. The technical assistant, 
who was just getting in the picture 
for the fun of the thing, walked with 
me.~ Our number was "two." It 
took the "prop" men so long to fix 
the lights and cover the wires with 
snow, that I thought the time for 
us to go on would never come, and 
it made me terribly nervous and 
shivery. Finally the director called 
out, "one," and the couple at the 
other end of the street walked to- 
ward us. "Two," and we started. 
"Keep on going," the director called, 
and I almost turned around to look 
at him when he said this, but just 
caught myself in time. Four times 
we went over this same thing. 

Mr. Karger is more like my idea 
of directors than some I've seen. 
He wears high boots, and slams his 
hat on any way it happens to land 
on his head, and uses a megaphone. 
"Step lively there, you people in the 
car !" he called in regular dream- 
director fashion. "Don't be so 
wooden ! Remember, you've just 
had all your belongings burned — 
you're homeless. Don't come in 
grinning as though you were coming 
to a party." 

Somehow you're never surprised 
to hear that great actors were law- 
yers or physicians or artists or 

something else awfully educated be- 
fore they became actors, but I'll con- 
fess I was surprised to hear that Mr. 
Karger had been first violin of one 
of the big New York symphony or- 
chestras before he became a motion- 
picture director. 

He and Mr. Lytell seem to be aw- 
fully good friends. I am not sur- 
prised that they plan to go on work- 
ing together. Sometimes you wouldn't 
know which one is director and 
which one star just by watching 

It was getting late now. Mr. Ly- 
tell had already gone off for supper 
at some little store in the vicinity. 
"Be sure not to ask for anything but 
ham and eggs," some one warned him. 
"That man nearly threw a guy out of 
his store last night for asking for a 
roast-beef sandwich." I couldn't 
picture a star like Mr. Lytell eating 
ham and eggs in some out-of-the- 
way store. It seemed as though he 
ought always to go to places like 
the Claridge. 

Just before we left we were in- 
troduced to George Spink, who is 
playing the valet in the picture, and 
who wrote a song famous a few 
years ago. He has been engaged to 
write the music for Marion Davies 
pictures — a new idea that they are 
trying out — and he told us just how 
he is going about it. It won't be 
like the old music that used to ac- 
company all pictures, "Hearts and 
Flowers" for sad scenes, and popular 
songs for comedies. It is going to 
be a symphony composed specially 
to accompany her next picture. I 
hope it will have some effect on the 
music in the theaters in our town — 
surely something ought to be done 
about it. 

It was six o'clock before we left, 
and there was no apparent let-up in 
the work. Mother tells me that I 
saw "A Message from Mars" years 
ago when it was a stage play. I 
don't remember that, but I'll never 
forget this version. Even if I did 
play only a bit of the background, I 
have the satisfaction of knowing that 
I was in a real picture play, to be 
shown in a real movie theater ! 



be your favorite in real life, if you had an opportunity to know a 
lot of them? In "A Girl's Adventures in Movieland" next month 
Ethel Sands tells how she felt when she met her favorite. She also 
tells about the Rehearsal Club, a place in New York City where 
girls who are just beginners on the stage or screen live; what a 
casting director's office is like, and how some actors feel about 
playing love scenes. You will find this one of the most interest- 
ing chapters in the series. 

Advertising Section 


The Discovery of Dickson 

Continued from page 44 

Ted Dickson looks like off the 

"But I'm not from the South," he 
drawled, contradicting my spoken 
guess. "I was born in New York 
and lived there most of my life. If 
I ever resided in the South it must 
have been in a previous incarnation." 

When I asked the young man 
where he was working he hesitated, 
tried to speak with offhand non- 
chalance, and failed. 

"I'm the leading man of the Van 
Curen Company." He said it in ex- 
actly the same tone your kid brother 
would use when announcing that he 
had licked the school bully twice his 
size ; trying to be modest about it, but 
intensely proud just the same. 

I gasped. 

"Why you were only an extra six 
months ago !" I exclaimed — having 
had this much data from the director. 
And Ted Dickson blushed like a 
schoolboy and twirled his hat in his 

"Luck, just plain luck," he said 
apologetically. "This company was 
going to make a series of Westerns, 
and for the lead of the first one they 
wanted a young fellow who didn't 
look like a 'native son,' as the story 
called for a boy who is an Easterner. 
The casting director was considering 
different free-lance actors, when I 
just happened to come along. And 
just by luck, at that moment the big 
boss himself came out of his office, 
stared at me for a minute, then said 
out of the side of his mouth to the 
man who stood by him, 'That's the 
fellow we want, right there !' And 
I was hired out of hand on the spot, 
as you might say." 

The interview was over, and the 
door was closing upon cinema's new- 
est leading man, but suddenly, he 
flung it open. 

"Say !" he said breathlessly, "I for- 
got to tell you I got a fan letter to- 
day ! What do you know about 
that? It's from a girl in Iowa who 
saw me in a 'bit,' and she wants my 
picture. Do you think I ought to 
send it to her?" He finished anx- 

I told him it was customary, in 
fact quite the usual thing. 

"Well, it gave me one of the big- 
gest' thrills I've had since I started' 
in the movies," he said. 

"The other two were when 1 
landed the lead in the Van Curen 
Company, and when you told me I 
was a discovery. 

"I hope," he added earnestly, "that 
I won't disappoint that director. If 
I do 

"But I won't," he finished firmly. 

And I don't believe he will. 

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Advertising Section 

Have You a 

Creative Mind? 

Make This Test and See 

This is an opportunity for you to test yourself 
in the privacy of your home without cost to learn 
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This courageous test, originated and put into 
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Van Loan, America's most prolific photoplay 

Its purpose is to find those who really have the 
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Its purpose is also one of self-interest — to main- 
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On the Palmer Advisory Council are Cecil B. 
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me without charge. If successful, I am to receive 
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any obligation on my part to enroll for the course. 

Name _ 

The Temperamental Blonde 

Continued from page 45 



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1915' that Jesse Lasky saw me. I 
went West to do some pictures for 
him then. And if I hadn't gone 
West I shouldn't have met Bob 
Leonard, which would have meant 
that I might have missed a perfectly 
good husband. So, after all, perhaps 
I'm glad that I'm a blonde." 

She was doing The Plow Girl in 
the picture of that title when she first 
met Mr. Leonard. And you must 
take. her word for it that it was a 
case of L. at F. S. And what is more, 
they are living happily, strange 
though this must seem to those wise- 
acres who speak of "these incompat- 
ible temperaments." 

"And it is lots of fun," said Mae, 
daubing her neck with a gigantic 
powder puff, "working under Bob. 
He is some little director." 

As a victim of the sex-titled pic- 
ture play, Miss Murray took up an 
active cudgel against the practice of 
tacking luring labels on otherwise 
circumspect photo plays. 

"At Universal I did some six or 
eight pictures, and the one thing I 
am thankful for is that I didn't 
do more, because when they got to 
the last the title had become 'Her 
Body in Bond.' The board of cen- 
sors alone knows what the next one 
might have been called. 

"If pictures can't draw through 
merit and real magnetism, it hardly 
seems justifiable from any sane point 
of view to wish such hectic titles as 
that on them, and scare a lot of peo- 
ple away. I'm for pictures strong, 
and I'm against that sort of exploita- 
tion of them with equal emphasis." 

But her conversation didn't run 
entirely along such serious channels. 
For instance, she assured me that 
life in the Follies wasn't the cham- 
pagne-colored existence that popular 
fancy paints it. Far from it, says 

"Ann Pennington and I shared a 
dressing room together. We drank 
milk night and day to get pleasingly 
plump. We never saw the primrose 
path winding anywhere near the 
Follies' stage door. Ann's a great 
little pal. We still drink milk to- 
gether whenever we meet, just to 
recall our Follies days. 

"There was a training to be de- 
rived from that musical-comedy 
work, too. You know how grace- 
fully every- girl in a Ziegfeld show 
carries herself. You've noticed that 
ball-bearing glide, haven't you ? Well, 
it's a cultivated art. Calisthenics, 
practice, and Ned Wayburn are the 
recipe. Ned isn't with Flo any more, 
but he was a wonder in his day. 
And it was there that I acquired 
whatever grace I possess. Then, 
too, I did a lot of interpretative danc- 
ing in the Follies. That aided me 
enormously when I came to the 

"You will insist upon being emo- 
tional, won't you?" 

She smiled and pouted. 

"I want to do strong, heavy 
drama," she said. "I want to be 
one of those high priestesses of 
passion. I want to do stories that 
let me suffer and sacrifice and strug- 
gle and — love. I like the sort of 
play that gives me the tragic touch 
in the earlier parts and then winds 
up with a strong climax — and a 
happy one. Give me a part with 
depth and emotion and feeling, and 
I'm happy," said Mae, with her big 
eyes looking at me earnestly. 

"Don't you think I could do that 
heavy stuff?" she asked suddenly, 
her carmined lips curving coaxingly. 

There was. of course, only one 
answer that a susceptible young man 
could make to such a lovely ques- 

A Man Who Refused to Die 

Continued from page 50 

projected on the silversheet. In "Be- 
hind the Door" he had to play an 
oldish man who had suffered. It 
was easy for him, he told me. 

"When people tell me how good 
that was or the next one or the one 
after that, I smile to myself and 
think of what the doctors told me to 
do. It hasn't been any soft snap for 
me, this starring game. I like to do 
pictures just as much as I ever did, 
of course. I was born a trouper, 
and a trouper I'll die. But don't, 
please don't let any one tell you it's 
an easy life ! I've lived through 
enough to fill three other lives as 

well. And I'm not young any more." 
After his sea stories with Ince, 
Bosworth went over to the J. Parker 
Read forces — on the Ince lot — and 
starred in "Bucko MacAllister," 
"MacNeir," and "His Own Law." 

After that came "The Brute Mas- 
ter," a Hodkinson picture, which 
was considered by some the finest 
work of his career, but those who 
have already seen him in "A Thou- 
sand to One," a new J. Parker Read 
production, declare that that is Bos- 
worth at his best. 

His comeback should be enough 
to give even a Jess Willard hope. 

Advertising Section 


Have You Any Whiskers? 

Continued from page 70 

That one is a sea story, with a 
strong thrill interest. You may find 
it a bit gloomy in theme, but I think 
you'll like the fight and the excite- 

I said that I was sure I would, but 
I made a mental reservation that it 
would be chiefly because I would 
have a chance to see what kind of 
whiskers Simpson could produce 
himself. Also I could easily visualize 
him in the part of Bunty with his 
thick, Scotch-looking hair and whisk- 
ers to match. 

Simpson is really a virtuoso at 
make-up. Up around Ticonderoga, 
so his friends tell, and he reluctantly 
admits it himself, the visitors were 
willing to bet ten dollars that he 
wasn't made up at all, when they saw 
him in full beard working in pic- 
tures. And he frightened tender- 
hearted women to death by pulling 
hair out of, or rather, off his chin. 

That was before he had returned 
to California. You see he was born 
out West — on the bay near San 
Francisco, in fact. He worked up 
and down the coast at various em- 
ployments, and then finally sought to 
fulfill a juvenile ambition. He got 
a job in Ralph Stuart's company in 
"By Right of Sword." He avers 
that he was a very poor actor at that 
time, but at the close of the tour a 
critic in St. Louis gave him a puff 
that kept his ambition from choking 
to death. 

He later tried comic opera — "The 
Count of Luxembourg." "I didn't 
have a singing role, though," contin- 
ued Simpson. "I can't sing and I've 
got sense enough not to fry. I had 
one of those incidental talking parts. 
It helped. 

"Later I did Bub Hicks in 'The 
College Widow.' That was just be- 
fore I went into the pictures. Frank 
Wonderly, who was playing Silent 
Murphy in the stage show, got 
me in. That was in the days when 
you slid around to the back door of 
a studio so your friends wouldn't 
know you were acting in the movies." 

It almost looks as though Simpson 
were going to register a rise to stel- 
lar fame in the near future. Both 
in "Bunty Pulls the Strings" and 
"Godless Men" he plays featured 
roles. He also has the lead, sans 
whiskers, in "Out of the Dust," an 
independent production that ranks 
highly among the new Westerns. 
Film fans first became acquainted 
with Russell's penetrating eyes, his 
incisive features, and his keen dra- 
matic vigor in "The Brand," the Rex 
Beach story, which was released 
about two years ago. 

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Advertising Section 



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Continued from page 71 

rode right into a lady's boudoir, and 
from there onto the stage of a the- 
ater. Attaboy! 

When it is Mix or William Far- 
num or Duncan or Hart or Carey, 
the hero himself is a cowboy. I'm 
not talking about the king-pin cow- 
boys, but about the common or 
garden variety that hunts in packs 
and takes care of him. He's such 
a reckless guy, that cowboy hero. I 
don't know what would become of 
him if it weren't for his faithful 

Why, that cowboy pack never 
seems to need food or sleep. They 
never seem to get their natural rest, 
at least in bed. Sometimes the hero 
lets 'em drop down all exhausted 
on the ground with their boots on, 
after days of hard riding, as I saw 
in a William S. Hart picture the 
other day. But a cowboy gang never 
does know when it's going to get its 
sleep out, because the hero does take 
the most ungodly times to find out 
that somebody has stolen his mine 
or that he has mislaid his girl. And 
as for food — away with it ! The 
cowboys will start out on long trips 
across the desert in the hero's cause 
without a bite to eat. I don't know 
what keeps 'em Up. Maybe their 
sense of duty well performed. Water 
they seem to take along in just suf- 
ficient supply so that one of their 
number can give his away and die 
nobly with his head on the hairy 
chest of Spike Robinson, who has a 
mother and five little sisters — pard- 
ner — and who doesn't' forget any of 
the family census, either, when he's 
telling about it. 

Cowboys, we learn from pictures, 
are natural ascetics. They never 
have any wives. And this is the 
more surprising as their paternal in- 
stinct is simply astonishing. Oh, 
how cowboys do love little children ! 
I saw a Harry Carey picture not long 
ago, in which Carey had a perfect 
passion for adopting stray brats and 
bringing them up to charm the whole 
camp with their sweet, childish 
tricks, such as yelling out in the mid- 
dle of the night and letting the In- 
dians know where they were. One 
of the sweet little things drank up 
the supply of water when they 

reached the middle of the desert, 
playfully spilling in the hot sands 
what he didn't drink. In real life 
these artless pranks might annoy a 
cowboy, but not on the screen. Carey 
just looked on with a fatuous smile 
and then went out and paged an- 
other kid to adopt. 

Cowboys in pictures have three ac- 
complishments. They can ride 
horseback, they can roll cigarettes 
with one hand, lighting matches with 
their thumb nails, and they can' play 
the accordion — or the guitar. That 
accordion playing is one of the 
things that reconciles us to the si- 
lent drama being silent. 

But, after all, picture cowboys 
have their rewards. Theirs is a free, 
workless, wild life. They don't have 
to associate with the rich relatives 
of the hero who live in the great 
mansion on the hill with iron lions 
on the front lawn and a general look 
inside as if it had been furnished 
with trading stamps. They don't 
have to be buttled by a film butler; 
they don't have to wear b'iled shirts ; 
they don't have to meet screen vam- 
pires on tiger skins ; and last, but not 
least, they don't have to get tied up 
for life to the rag-doll heroine. 

Another compensation a cowboy 
has: He can kill, whenever so 
minded, and the law never does a 
thing about it. He can kill a wife- 
beater or a story-telling drummer or 
a prohibitionist, and still keep on 
having his health. 

Finally the noble fellow dies with 
his boots on, after giving that-ar 
hell-hound what wuz coming to him, 
surrounded by all his reverent fel- 
low cowboys with their hats in their 
hands and with the sun going down 
over yon hill. They take up his guns 
reverently — kind, good guns, that 
never done no harm to nobody 
that was on the squar', pardner — 
never killed more'n ten men. Bury- 
ing him under the cactus he loved 
and cussed so well, they inscribe 
above the noble fellow's grave : 

"Here lies our pal, the killer of 
eight ; 

He mighta got more, but now it's 
too late." 

Advertising Section 


Childe Harold 

Continued from page 52 

I the ice-cream soda concession in 
Hades ! 

Mr. Roach called Harold away for 
a minute to go over a piece of "busi- 
ness" for a scene they was goin' to 
shoot that afternoon. So's in order 
that I wouldn't hear it, they went out 
in back of one of the extry women's 
cars. Like a real reporter, I sneaked 
up behind, and Hal Roach was 
showin' Harold Lloyd a block of 
wood in a vise, and he's sayin' that 
he thinks it wouldst get a laugh if 
he bounced it off of my bean as I'm 
leavin', but Harold says he won't 
stand for that, and I am thinkin' 
what a good guy he is, when I hear 
him say the reason he won't stand 
for it is because he has already ar- 
ranged to have me walk over a 
busted trapdoor as I go out. 

But seriously speakin', as is my 
custom, I made a close-up study of 
Harold Lloyd whilst he was showin' 
me over the lot, and I can't remem- 
ber when I've met a more regular 
guy. Harold's a kid which has never 
growed up — a clean, fun-lovin', big- 
hearted boy that's absolutely 
wrapped up in his work and gets 
as many giggles out of makin' his 
movies as you do seein' 'em on the 
screen. They's no temperamental 
quirks or upstage affectation about 
this healthy kid's make-up — he's all 
on the surface, nothin' concealed. I 
don't know whether he ever did this 
or not, but I'm sure he wouldst grab 
a passin' stage hand after he's shot 
a scene and ask earnestly: "Did that 
hit you all right? Think it's funny?" 

That's Harold Lloyd, and that 
may also be the reason he's a suc- 
cess. I know that on the lot, from 
camera man to Hal Roach himself, 
they swear by him ! 

Before leavin,' I doped out a list 
of questions to ask Mildred Davis. 
I found she had hid away from me 
in a sleepin' car used in one of 
Harold's scenes, so I left her the list. 
She sent it back filled out to-day, 
and I am inclosin' it herewith: 

Name Mildred Davis. 

Born Certainly. 

How long have you been in pictures ? . . Yes. 

Married or single? No. 

Do you like being in pictures? 


Favorite flower? Buckwheat. 

Favorite fruit? Since 1918. 

Favorite book? Very seldom. 

Favorite sport ?. Neither. 

Well, that's that, and my next in- 
terview will be with no less than 
Priscilla Dean. Fawncy that ! 

Yours and the like, 

H. C. Witwer. 
Loose Angeles, Cal. 


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Advertising Section 

Mrs. Margaret Sanger, the great birth 
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Louise Lovely— Is 

Continued from page 66 

have noticed the resemblance. I did. 
Her profile is like Mary's, her eyes 
are the same color, and the expres- 
sion of the mouth is the same. At 
times the resemblance is uncanny. 

"It was much worse when I was 
a child," she said, in response to my 
comment. "I had yellow curly hair, 
and I used to get lots of letters from 
people who had seen me on the stage 
and thought that Mary and I must 
be one and the same person. In 
those years I played all the standard 
child roles, Li'V Eva, Lord Fauntle- 
roy, and the child in 'Ten Nights 
in a Barroom,' who pleads for her 
papa to 'come home with me now.' 
I grew up in Australia and came over 
to the States in a vaudeville act with 
which I toured the country. When 
I reached California I went out to 
Universal with some friends to see 
them make pictures. I remember I 
was watching Frank Mayo in a 
scene, and though I didn't realize it 
Carl Laemmle was watching me. He 
asked me point-blank if I wouldn't 
like to work in a picture for Uni- 
versal, and I said, 'Well, I might, 
providing the salary was enough.' 
That's how I started; and following 
my first picture with Universal I 
was William Farnum's leading 
woman for seven pictures. Now 
Fox is starring me, and I feel that 
my career as well as plenty of trou- 
ble is just ahead of me." 

"Why trouble?" I asked. I had 
never heard a screen star speak of 
her career by that name. 

"Well, it's such a responsibility. 
It's just next door to having your 
own company. Your fans expect 

you to make good, the company ex-* 
pects you to make money for them, 
and way down deep inside your heart 
you say to yourself, 'But can I make 
good? Am I really big enough to 
do all that they expect of me?'" 

There is a wistfulness about her 
when she talks like that which is 
more than ever reminiscent of Mary 
Pickford. The resemblance is the 
bane of Louise Lovely's life. 

"Of course, I'm glad that I look 
like Miss Pickford," she said, "be- 
cause I can't think of any one who 
is quite as charming, but honestly, 
I don't want to look like any one. 
I've tried to overcome it in every 
way imaginable. I've drawn my 
hair straight back from my face, I've 
changed my make-up, I've tried to 
choose a different style of dress, and 
still I look like her." 

The indefatigable Mr. Durning 
wanted Louise to quarrel all by her- 
self for a close-up, and while she 
was monologuing before the camera, 
one of the carpenters touched me on 
the arm. 

"Interviewing Miss Lovely, ain't 
you?" he asked me, and I said I was. 

"Well, here's something you can 
say for all the people who have ever 
worked around her : She's got the 
nicest disposition of any girl I ever 
saw. Never loses her temper or 
swears at the director, and she al- 
ways has a smile and a nice word 
for every one. She is kind even 
when she is tired out. Believe me 
she's " 

"Lovely?" I suggested. 

"You said it \" he replied promptly, 
and I think he's right. 

Jumping Back to the Sixth Century 

Continued from page 55 

for a surge. The next moment the rope 
sprang taut and yanked Sir Sagramor 
out of the saddle. Great Scott, but 
there was a sensation. 

Sensation is right! It was as 
pretty an exhibition of cowboy skill 
as I have seen in some time, and the 
bulky Sir Sagramor clanged down 
upon the earth like a cast-iron stove 
thrown from a second story window. 

"Bravely smitten, forsooth !" ex- 
claimed a voice in my ear, and I 
turned to confront Emmett Flynn, 
who blushed and pretended that he 
had been reading the script out loud. 

They sent me home at sundown 
that day in a machine belonging to 
the Fox Company. The driver asked 
me where I wanted to go. 

"Marry, good sir, an' ye will but 
hail me townward," I commenced, 
and the driver looked at me in a star- 
tled way and threw in the gears with 
a jerk. I heard afterward that he 
complained to Mr. Flynn that I had 
asked him to marry me and that he 
suspected me of being addicted to 
home brew ; but that is untrue. In 
justification to myself, I want him 
to know that the only thing that ailed 
me was a six-century hangover. 

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Advertising Section 


The Master of Spanish Love 

Continued from page 28 

ing for. You'll have to direct him 
with me in my next picture.' When 
they sent for me and asked me to 
sign a contract I signed without even 
reading it over. I wanted to be in 
pictures, and I wanted to support 
Miss Gish." 

"And" now you've got a chance to," 
we interrupted irrelevantly. "Well," 
he continued, "I hadn't been working 
for more than a day when I con- 
cluded that being a screen actor was 
a pretty pleasant sort of thing. 
Fancy having Dorothy and Lillian 
for leading woman and directress. 
In our first scene, Lillian, who is 
very serious when she works, said : 
'Ready, take her in your arms ! 
Closer, closer, closer !' 

" 'No,' piped up Dorothy. 'He's 
crushing me now !' 

" 'All right,' said Lillian, in a 
businesslike tone, 'unhug.' And after 
that we all felt pretty well ac- 
quainted. And then I stayed on and 
made two more pictures with Dor- 
othy, and now I'm making one with 
Lillian, and that's the extent of my 
picture acting." 

"And did you always want to be 
an actor?" we asked. 

"Always," replied Mr. Rennie. "I 
went on the stage straight from col- 
lege and played in stock until the 
war broke out. I was for several 
seasons with the stock company at 
Northampton, Massachusetts, and 
was playing there when I left to en- 
list in the Royal Flying Corps. You 
know I was born in Toronto and 
had a theater of my own there. I 
must tell you about that theater. My 
father was a grain merchant, and 
when I was thirteen I persuaded him 
to let me have one of his old ware- 
houses to turn into a playhouse. We 
built a stage in one end and rigged 
up a curtain and called it the Ren- 
nie Theater, and when that was fin- 
ished I wrote the play. It was 
adapted from Sir Walter Scott's 
'Lady of the Lake,' and was a very 
pretentious production. I was also 
stage manager and leading man, and 
at that time I wasn't quite sure 
whether I wanted to be an actor or 
a playwright. I just wanted to be 
noble and didn't care how I accom- 
plished it." 

"You sing, too, don't you?" It was 
an assertion rather than a question ; 
for we were sure that any one with 
such a wonderful speaking voice 
must surely sing. 

"Well," said Mr. Rennie, "I 
thought I did, but I guess I don't. 
Not long ago the man with whom I 
had been studying voice culture said, 
'I'm giving a benefit, and I wish you 


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could take part, but you don't sing.' 
So after that unkindest cut of all I 
stopped trying." 

So we found Mr. Rennie just as 
delightful and just as handsome be- 
hind the scenes as he is behind the 
footlights. He is thirty years old, 
tall and broad-shouldered, and he has 
the whitest teeth and the bluest eyes 
and the blackest hair ! We wondered 
if he knew how handsome he was, 
so we asked him. He said no, he 
didn't. And let us add right here 
that he also has a marvelous sense 
of humor, and that is why he is such 
a good actor. We believe that a 
sense of humor is manifested, not 
so much in what it makes a man do 
as what it prevents him from doing. 
And Mr. Rennie plays his screen 
comedy with delightful repression. 
He told us that he always wondered 
what would happen if, when this 
question is put to him in "Spanish 
love," "Do you swear to shoot this 
man on sight?" he should reply, 
"No, I was only joking!" Bm 
"Spanish Love" is serious business, 
and nobody says anything he doesn't 
mean. So, in the daytime, Mr. Ren- 
nie has to get rid of his exuberance 
of spirits by playing comedy in front 
of the camera. 

Dame Fashion's Smartest 

Continued from page 69 

with black soutache, and the coat is 
lined with apple-green, achieving a 
delightful note of color. The blouse 
worn with this suit is of heavy white- 
corded silk, and the hat worn with 
the suit is of white felt and black 

Much of what I have told you in 
this article I told a college girl friend 
of mine not long ago. When I'd fin- 
ished she said : 

"But I'm not Irene Castle's type 
— I'm fatter and heaps blonder, of 
course, and a little younger, too. But 
I've learned something just the same. 
Everything I buy after this is going 
to belong with something else, or 
I won't buy it. And if she gets that 
zippy, smart effect by putting her 
clothes on carefully, as you say she 
does, and then wearing them as if 
she liked to, instead of just because 
a person has to wear clothes or get 
arrested" — my own unfortunate ex- 
pression — "why, I'm going to be her 
type inside even if I'm not on the 
surface !" 

May the girls who read this article 
follow her example ! 

Advertising Section 


The Old Swim mi n' Hole 

Continued from page 23 

a livery carryall, and Ezra decided 
to go on foot, and to be there even 
if he didn't have anything to eat. 
He could see the girls and hear the 
speeches, and that would be some 
fun. But when he started out on 
foot, he soon found he was assailed 
by a new woe. His dad had cob- 
bled a new pair of shoes for him, and 
since his dad was a horseshoer by 
trade instead of a cobbler, it can be 
imagined how well the shoes he made 
fitted the human foot. Ezra saw that 
he would never get there in those 
seven-league boots and had sat down 
in despair, when suddenly he 
thought of his boat. His new boat ! 
He had built it in secret to surprise 
the gang, and it was all painted and 
complete, hidden in the old water 
mill, all ready for launching. 

Ezra limped hurriedly to his boat, 
shoved off into the creek, and gayly 
floated downstream two miles to the 
picnic grove. Triumph, hurrah ! 
His was the only boat there, for the 
creek was narrow and shallow and 
not worth while for man-sized boats. 

Myrtle, the curly-haired beauty, 
was watching for Ezra, expecting to 
wheedle cake and candy from him, 
and when she saw him sailing along 
in his little green rowboat, with a 
barrel stave for a paddle, she was the 
first to-greet him and ask him for 
a ride. "At last I have won her !" 
thought Ezra. For no other boy had 
a boat, and they couldn't make one 
on the spot, so he felt that he would 
have no competition. Myrtle 
stepped into the boat, and Ezra 
shoved off from shore. But shov- 
ing off from shore in a brook eight 
feet wide doesn't get a sailor far 
from land. Skinny came up grin- 
ning like a hobgoblin. "The ever- 
lasting Skinny !" thought Ezra, "the 
woods are full of him. Everywhere, 
afloat or ashore, I am always run- 
ning plump up against Skinny V oor- 

Skinny picked up pebbles and fol- 
lowed the boat, splashing the oars- 
man with his rudely flung stones. 
Ezra leaped out of the boat and be- 
gan fighting. It was the old battle 
all over again, with wild swings and 
grunts and terrible threats by both 
boys. Ezra hoped to wear the fat 
boy out and win a glorious victory 
before the eyes of Myrtle, but this 
time he was handicapped by his new 
shoes. They weighed a ton and made 
him heavier on his feet than Skinny 
was with his weight of human blub- 
ber. Ezra lost all control of his 
feet. »It was like fighting with a ball 
and chain on each leg. Finally one 
of the shoes turned clear around 

on his foot, and the next thing he 
knew he had fallen backward into 
the creek. He came up like a 
drowned rat and saw Myrtle stick 
out her tongue at him and yell : 

"Goody, goody, ghee, out goes he !" 

Those words cut him to the heart. 
There was no mistaking the mean- 
ing of that cruel sneer. The girl 
was a heartless flirt and had been 
using Ezra only for what she could 
get out of him. Now that luck had 
gone against him, she had given him 
the horse laugh and had gone off 
with the victorious Skinny, leaving 
Ezra-to his fate. 

"I am done with wimmin'," vowed 
Ezra, as the tears of humiliation ran 
down his cheeks, mingling with the 
muddy creek water that was flowing 
from his hair. But an angel had 
come to his rescue. A pretty girl 
was wiping his face with her hand- 
kerchief and saying: 

"Never mind, Ezra. They're noth- 
ing but a couple of smarties !" It 
was Esther. Was it possible that 
this girl who had always teased him 
was his true friend after all? Could 
she come to him, in the face of his 
defeat, and wipe away the muddy 
tears with her own sweet-scented 
lace handkerchief? 

"Now you're all right," the loyal 
girl declared, "and we'll sit right 
down here and eat our dinner." 

The girl's face now gleamed with 
a light that Ezra thought was only 
seen on the faces of the holy angels. 
She opened her basket and took out 
two whole mince pies. She had two 
chicken drumsticks, two bottles of 
coffee, two of everything from ham 
sandwiches to fat dill pickles. She 
had known of his disgrace and his 
lack of food, and she had come pre- 
pared to feed him like a king. He 
saw in a jiffy that he was not "done 
with wimmin," he had only just be- 

Skinny and Myrtle watched Ezra 
eating olives out of Esther's hand 
and turned up their noses in malice. 

Then Skinny, overwhelmed with 
that appetite of his, said: 

"Let's us go eat." 

"All right," said Myrtle. "Where 
is your lunch basket?" 

"Where's yours?" asked Skinny, 
his eyes "opening in alarm. 

Skinny was a mooch, and he had 
figured entirely on Esther's basket. 
Esther was a flirt and she had fig- 
ured that Ezra would fill her with 
his usual cake. 

But Ezra had found his own true 
love, and he and she dined royally, 
while Skinny and Myrtle looked on 
with wolfish eyes. 

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Romances of Famous Film Folk 

Continued from page 27 

Dorothy said then, 'I'm going to be 
married to-morrow.' I thought she 
was fooling, and didn't pay much 
attention to it. The next day they 
all went out for an automobile ride, 
and when they came back after din- 
ner, they danced around and told us 
they were married. I didn't believe 
them, for Dorothy has been with me 
ever since, and Constance has been 
with her mother also." 

"Lillian ripped open another letter, 
and said decisively : 

"They couldn't fool me. I was 
out in Pittsburgh, and when I got 
back Monday I knew something was 
up. Dorothy may be able to fool 
mother, but not little sister." 

"Well, she did very successfully, 
so far as I was concerned," said 
Mrs. Gish. "On Monday I couldn't 
believe it had really happened, but 
that night we went out to dinner and 
then to the Frolic, and Mr. Rennie 
showed me the rings and the cer- 

"Who was the justice of the 
peace?" asked the seeker after facts. 

"His name was Meade. I remem- 
ber, because I looked him up in the 
telephone book," laughed Mrs. Gish. 
"I was going to call him up and make 

"We really didn't suspect they 
were seriously in love," said Lillian. 
"All they did was sit around here 
and giggle and laugh." 

"But that's one of the signs, isn't 

She nodded her head vigorously 
and shook one finger wisely in the 

"I know now. I'll know what to 
look for next time." 

The thought would pop in that 
perhaps the next time Miss Gish 
recognized the signs, she might have 
to stop and say to herself, "Look 
here, young woman, are you slip- 
ping also?" But it seemed tactful 
to suppress the thought. 

"They were just like a couple of 
kids," she added, and laughed to her- 
self. John chuckled on his perch, 
and then let out a cackling laugh. 

"It was funny, wasn't it, John ?" 
she agreed. "Even he is amused. 
It has its funny side, even though 
it is rather a shock." 

"We haven't been able to get a 
thing out of them one way or the 
other," Lillian continued, with a 
smile. "They are living in a sort 
of trance." 

"I really think Dorothy is more 
afraid of having to leave me than 
anything else," said Mrs. Gish. 
"Lots of times when we have talked 

of her some time getting married, she 
has asked if she would really have 
to leave me. She used to stamp her 
foot and say she just wouldn't do 
it. So Mr. Rennie is keeping his 
bachelor quarters, and she is living 
here. But she spends most of her 
time with him." 

Dorothy first saw her hero of the 
Greenwich elopement nearly two 
years ago when he was playing with 
Ruth Ghatterton in "Moonlight and 

"She liked him so much that she 
said she must have him — for a pic- 
ture, you know," said Lillian. "And 
so when she was to put on 'Remodel- 
ing Her Husband,' she had Rennie 
sent for, and he played opposite her. 
The}' were married early in the pic- 

"That was the first picture I ever 
directed. It was made in the Grif- 
fith Mamaroneck studio, and they 
billed and cooed all through several 
weeks — in their parts. Constance 
Talmadge has always been a chum 
of Dorothy, and she used to come up 
there with Mr. Pialoglou. The four 
began to go around together, and I 
guess that is where the romance 
started. They have been together 
now for several months, most of the 

Which naturally led me to go 
down to the Talmadge apartment a 
few floors below in the same hotel. 

There was not so much serenity 
there. The elopement had been a 
startling surprise to the Talmadges. 
Constance, or Mrs. Pialoglou, was 
in bed with a headache, becomingly 
reclining on a lot of pillows. Her 
brand-new husband was near by, full 
of concern. 

"How in the world did you hear 
of it?" exclaimed Miss Talmadge. 
"That justice of the peace said he 
would keep it a secret until the first 
of the year, or later, and that he 
would put off filing the papers." 

Mr. Pialoglou scowled. He also 
wanted to know how the news leaked 
out. Oh, there was no doubt about 
this elopement being the real thing! 

"How did it happen?" said Miss 
Talmadge, in answer to my ques- 
tion. "It would have happened 
eventually, so why not now?" with 
an arch look at her husband. 

He agreed that in the natural 
course of human events it would in- 
evitably have occurred. 

"We just went out riding and de- 
cided to get married. What's all the 
fuss about? 

"Miss Gish and Mr. Rennie were 
married first, and we acted as wit- 

Advertising Section 

nesses, and then we were married, 
and they witnessed our wedding. 
Theirs was at six o'clock, and ours 
at six-three, if you must know the 
exact time," she laughed. 

"And are you going to keep 
house?" I couldn't help asking, in 
view of Miss Gish's indecision. 

''Who knows?" coyly replied Miss 
Talmadge. "For the present I am 
here, and Mr. Pialoglou is at the 
St. Regis, and we are very happy and 
see each other just as much as we 
want to, which is a lot. Isn't it, 
Jack ?" 

"Right," agreed Mr. Pialoglou. 

So there is the account of how 
two young men acquired wives and 
fame in the little town of Green- 
wich, where extraordinary things do 
happen, and the reason why you will 
never see pictures of the Gish-Tal- 
madge weddings. 

A few days ago I called up Lillian 
Gish and asked her if her sister had 
made up her mind yet as to what 
she is going to do. She laughed as 
she said: 

"Oh, she is going to stay with 

It takes more than matrimony to 
break up these two moving-picture 

News Notes From the Studios 

Continued from page 72 

tion-picture debuts are Lady Diana 
Manners, who will appear in J. 
Stuart Blackton productions ; Mar- 
garet Beecher, great-granddaughter 
of Henry Ward Beecher and niece 
of Harriet Beecher Stowe. who will 
be seen as the star of "Sunshine 
Harbor." Raymond Brathwayt, a 
noted English journalist, plays the 
part of an aged British peer in the 
screen version of Arnold Bennett's 
"Sacred and Profane Love," in 
which Elsie Ferguson appears. And 
best of all, to lovers of outdoor 
sports, Snowy Baker, the Olympic 
games hero, and wealthy sportsman 
of Australia, will appear in a series 
of five and six-reel pictures. These 
are to be made under the supervision 
of one of the veterans of the motion- 
picture industry, Colonel Selig. 

During the filming of "Mr. Barnes 
of New York," Tom Moore avoided 
society, as he didn't care for the side- 
burns that he had to grow to fit the 

Doris Kenyon is returning to mo- 
tion pictures in "Get-Rich-Ouick 
Wallingford," which is being made 
under the direction of Frank Bor- 
zage, who directed "Humoresque." 

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Advertising Section 


The Morals of the Movie Folk 

Continued from page 19 

Intimate Stories of the 
Greatest Movie Stars 

Know your favorite star as inti- 
mately as a good friend. All the 
little personal things that make 
them so human and lovable, their 
problems, joys, loves, their work 
and their play. Be an authority 
on their lives. 


The "Movie Mirror" Library lays bare 
in their own words the personal lives of 
the greatest stars. Wrilten by them — 
for YOU. 


The first 12 books issued contain the 
life stories, full color pictures (on cover) 
pen and ink portraits and personal 
letters from these great stars: 

Lillian Gish Colleen Moore 

Harriet Hammond Doraldina 

Viola Dana Wesley Barry 

Corinne Griffith Mae Murray 

William S. Hart Ben Turpin 

Wallace Reid Bert Lytell 


You must act quickly before edition is 
exhausted — NOW. Send only one 
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many chins that her face appears to 
be taking a landslide, keeps an ath- 
letic eye on the trotters. Although 
near-sighted, she can detect a 
shimmy clear across the floor in two 
shakes. Sometimes the dancers 
laugh. If they laugh three times it 
is whispered they have a bottle se- 
creted somewhere. Dancing ceases 
at twelve. The wilder revelers then 
go over to a confectionery store 
across the street and imbibe heavily 
of fizz hootched with strong lemon. 
There's only one place open after 
twelve-thirty in Hollywood. That's 
John's cafe, where, as I've mentioned 
before, the strongest thing you can 
get is catchup. 

Exhausted from my trip across- 
continent, and the meeting with the 
maid who was mad at me, I sank 
down on a rocker next two of the 
plush monuments, who wore double- 
barreled glasses and a disapproving 
look. Before me whirled various 
players. Even though I had never 
seen them on the screen, I recog- 
nized them by their consciousness of 
being recognized. 

"There is Anastasia Prunella," I 
heard the dormer-eyed lady next to 
me remark. "I suppose you've heard 
she is getting a divorce. Her hus- 
band used to beat her something ter- 
rible ! The other night he tried to 
hang her out of the window by her 
hair. She said he was going just a 
little too far, and so she's getting a 

"And there's the Lopdoodles," 
said the companion, by way of reci- 
procity. "I suppose you've heard 
that he is in love with the star he's 
directing. His wife wouldn't pay 
any attention to the rumors. But 
the other night she got to thinking 
about them after she went to bed, 
and she made Lopdoodle get right up 
and go with her over to the" star's 
house. They got the star and her 
husband out of bed. 'Now,' said 
Mrs. Lopdoodle to Mr. Lopdoodle, 
'choose between us.' Mr. Lopdoodle 
chose the star." 

"Then what happened?" wheezed 
the lady next to me. 

"Mrs. Lopdoodle said, 'You can't 
have her. You come right home 
with me.' I hear they've been get- 
ting along very nicely ever since." 

Just then the lady of my romance 
whizzed into view. I tried to catch 
her eye to ascertain if she still were 
mad at me. 

"Ah, there's Lulu Lastew," came 
an exclamation from the lady next. 
"Isn't she beautiful?" 

"Yes," said the other. "But I 
suppose you know she's a dope!" 

I staggered from the room and 
found my friend on the veranda. I 
told him what I had heard. 

"You poor prune," said he, in a 
contemptuous tone. "You've been 
getting clubby with the gossips. 
When those old ghouls have ex- 
hausted their scandalogue they bury 
the remains with the final epitaph — 
a Dope. That's the last word in 
movie malediction. Before you leave 
here you'll be a dope." 

"I believe that," said I wearily. 
"I've got all the symptoms now." 

Thereupon I adjourned to a quiet 
retreat along the hall which leads 
from the dance floor to the lodgers' 
rooms. Over a cigarette I pondered 
as to why the lady was mad at me. 
It seemed so blamed unreasonable. 
Maybe she was a dope. But, then, 
so must be the birds who sang of 
the gay night life in Los Angeles. 
I decided I must be in the City of 
Beautiful Nonsense. Just as I ar- 
rived at that conclusion the window 
opposite me slowly lifted and over 
the sill came a satin slipper and a 
beautiful silk-lace stocking. Both 
were occupied! 

I rubbed my eyes. Looked again. 
The hose and slipper, looking as 
though they were fitted on one of 
those artificial forms in department- 
store windows, hung over the sill. I 
looked at my watch. It was just 
midnight. The slipper seemed to be 
struggling to gain the floor. The 
sash of the window wouldn't budge 
higher. I took another glance at the 
sample on display and decided to 
see the rest. I crossed the room and 
raised the window. A wave of per- 
fume dizzied me as a golden head 
popped through the aperture. Be- 
fore me stood the mad lady. 

"I didn't want to go through the 
lobby," said she, without offering 
thanks for my service. 

"That's evident," I remarked 
dryly. "But tell me, why are you 
mad at me?" 

With what must have been an ef- 
fort on the part of her optic mus- 
cles, she raised her eyelashes, 
weighted with mascara, to their full 
height. Her eyes resembled twin 
heavens, done by Maxfield Parrish, 
into which I had the sensation of 
falling. Her perfumes were rapidly 
going to my head, and I wondered 
vaguely that she were not indicted 
for coming under the head of an in- 
toxicant. Then came her voice, 
which obviously had been toned by 
incense of nicotine. 

"Mad at you?" she repeated, with 
a smile which misfit have been a 
threat or a promise. "Why, you 

cluck, I never saw you before in mv 

Thus ended my romantic illusion. 
My friend put me to bed, I believe, 
asking where I had gotten it. He 
never would believe I hadn't quaffed 
of the forbidden. "When I told him 
my tale, his only remark was : "Why 
don't you write another Thousand- 
and-one Xights?" 

"I shall, if I live," I replied. 

But I never again met the mad 
lady; hence nights have been less 
Arabian. Of course. I patronized 
the nocturnal resorts at A'enice on 
the Pacific, just a half-hour's dash 
by speedster from Hollywood. Ven- 
ice has the reputation of being a 
veritable Montmartre and the ap- 
pearance of being a peewee Coney 
Island. In some Xew York hotels, 
I'm told, you can have your drap if 
you are a relative by blood or money 
to the head waiter and if you know 
how to do the licker semaphore. But 
I don't think you could get a drink 
at Sunset or any other Venetian re- 
sort even if you could turn six som- 
ersaults in the air and fall on your 
cerebellum as deftly as Buster 
Keaton. Some may bring their own. 
If they do, they must keep it in their 
overshoes under the table. Of this, 
of course, I cannot vouch, as I have 
been trained never to look under 

A clique of film society regularly 
visits these cafes. But the larger 
toll is taken from the immigrants 
from mid-Western prairies who 
come to see the famous filmers as 
the} r cavort to strains of Tents of 
Arabs and cream of tomato. I have 
visited these resorts several times 
without catching a glimpse of Chap- 
lin, Fairbanks, Reid. Ray, Mary Pick- 
ford. Xazimova, or Anita Stewart. 
Even though I had seen them there, 
hanging heavily over their third cup 
of coffee, I feel I could have for- 
given them and continued to pat- 
ronize their pictures. 

The players even have to bring 
their own cabhooraying. These acts 
performed by persons known as 
comedians are replicas of those you 
see on the screen. The last night I 
was there it was rumored that a 
young fille de cinema had become 
incandescent. Everv one became 
very excited. The women asked, 
"Who is she?" And the men, 
"Where did she get it?" The next 
day, the president of the gossips' 
union was retailing the news on Hol- 
lywood Boulevard. She was so 

Advertising Section 

sorry for the girl. She said she 
hoped it wouldn't get around. 

After visiting all the public re- 
sorts, I besought my friend and 
guide to tell me where I could find 
Sin, for which I had come in quest. 
I confessed my disappointment in 
the samples I'd seen. He apologized 
and assured me that he'd heard there 
were private parties staged occa- 
sionally which were humdingers. I 
was invited to one of these. They 
played charades. I went to another 
given by a gentleman to celebrate his 
divorce : his former wife was guest 
of honor. We didn't play charades 
because no one seemed to know any 
words. It was an owl-eyed affair, 
toward the end of which there was 
a yawning contest. 

Thus, like Irvin S. Cobb seeking 
atrocities in Belgium, I went about 
always with the promise that soon 
I would see the real thing. At the 
end of a year a physician told me I 
was suffering from something resem- 
bling sleeping sickness, quite com- 
mon to the Coast, and which in the 
East is known as ennui. I hastened 
back to Xew York, where in moral 
society I soon recuperated. 

I understand clearly why there 
are so many divorces among film 
players in the colony. There's noth- 
ing to do but to quarrel. 

The only shocking thing I dis- 
covered is that, despite strict sup- 
pression of the news, there is a real 
aristocracy arising in the filmarchy. 
I understand an effort is being made 
to offset this bad influence to the 
reputation for immorality by an at- 
tempt to create a Greenwich Village. 
It will never succeed. Picture peo- 
ple have too much money and van- 
ity. They would never eat from un- 
clothed boards, nor wear rubber- 
tired spectacles, nor read Freud. 
How, then, can a Greenwich Village 
be created? 

The liveliest places in Hollywood 
are the churches. - They play to 
standing room. If you want to get 
vour weeklv portion of gospel, even 
on a mid-week night, you have to 
go early. 

It is my conviction that Holly- 
wood, like Xew York's Bohemia, is 
a matter - of press-agentrv. based on 
the antics of a select few. who. like 
college boys, try to play hob by 
making noise. 

Nevertheless I intend to keep my 
promise and publish a book on "Hol- 
lywood Xights." It will be a volume 
of blank pages. 

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Advertising Section 

Right Off the Grill 

Continued from page 57 

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couple. Miss Pickford is quoted as 
saying that if she ever made a bad 
picture she would either shelve it or 
send it to Russia. If other stars were 
to adopt this policy the Russians 
might haul down the red flag and run 
up the white. It seems to me, how- 
ever, that Russia has taken about 
enough punishment from the world, 
and maybe that's what Miss Pickford 
thought when she decided to release 
"The Love Light" here. At that, 
"The Love Light" was the peer of 
any other picture shown on Broad- 
way at the same time. 

Star Salaries Coming Down. 

Star salaries certainly are taking 
a tumble, so the wiseacres tell us. 
Anita Stewart, whose contract with 
Louis B. Mayer expires in Septem- 
ber, has been offered the mean sum 
of six thousand dollars per week — 
American money. But then some 
star would shine in any weather. 

No Work, No Gas. 

The financial quakes have shaken 
a lot of actors off the cushions. 
Now's the time to buy a used car. 

Screen Needs Man Power. 

The word "personality" is about 
as explicit as the word "bolshevism." 
Yet it is the substance which makes 
or breaks an actor. The way an ac- 
tor parts his hair, hoists a teacup, or 
snatches a smack from the inky 
bazoo of a chicken determines his 
power of attraction. There's Eugene 
O'Brien with the corrugated hair 
and the gentle loving touch, Wallace 
Reid looking like a gridiron Apollo 
and with thel-don't-give-a-hang man- 
ner which gets the wimin — such are 
the perennial parfaits in popularity. 
And, as every one knows, the stellar 
election is controlled by the female 
contingent attending the theaters. 
The ladies determine screen idols. If 

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men exercised any interest in the 
matter what a revolution would take 
place in the male personnel ! But 
even with the women folk in con- 
trol, most any ordinary he-male can 
walk on to the canvas and make the 
present incumbents look sickly. H. 
R. H. Prince of Wales, even in a 
news reel got across more real mas- 
culine "personality" than most any 
celluloid Narcissus does in eight reels 
of hot love-making. And for the 
once I agree with my lady friend and 
the hired girl on the personality ques- 
tion — that Georges Carpentier was 
the most likable and male-convincing 
figure that has gone through the lens. 
The trouble is that such males won't 
stay on because they can make good 
off. There's real opportunity for 
young men on the screen — and they 
don't need to know a darn about the 
technique of screen acting, if there 
is such a thing. The trouble is that 
fellows of the Carpentier mold won't 
take the opportunity except as an 
outing. But the fact remains we do 
need more man power. Give it a 
thought, gents, only don't send the 
producers a pastel of your mug; that 
stunt alone let's you out. 

Ouija Oaths Expected. 

Metro has changed the title of 
Jack London's story, "The Little 
Lady in the Big House," to "What's 
the Matter with Marriage?" thus 
giving it a De Mille question mark 
and the lilt of a college yell. Grace 
Kingsley says she bets the late Mr. 
London is looking frantically for a 
ouija board. 

Mary Hay on Stage. 

Mrs. Richard Barthelmess is ap- 
pearing on the New York stage in 
"Sally," a Ziegfeld musical show, 
likewise on the screen at another 
New York theater in "Way Down 

A Ten Strike! 

By Vara Macbeth Jones 

In days of old 
Ere robbers bold 

Caused prices' high inflation, 
Our family spree 
Would always be 

A photo-play migration. 

Nor did we chant 

After each expedition, 

The baby, we 

Could take in free, 
The rest — "Five Cents Admission !" 

But now, if we 

En famille, 
Dared movieward go flitting, 

They would demand 

Four bits each — and 
Our baby's not admitted ! 

Advertising Section 

Classified Advertising 

Agents and Help Wanted 

Patents and Lawyers 

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from $110 to $200 per month and expenses. 
Travel if desired. Unlimited advancement. 
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CM 28, Standard Business Training Institute, 
Buffalo. N. Y. 

AGENTS — Large manufacturer wants 
agents to sell hosiery, underwear, shirts, 
dresses, skirts, waists, shoes, clothing, etc. 
Write for free samples. Madison Mills, 503 
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TIRE AGENTS. Exclusive representatives 
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PATENTS. Write for Evidence of Con- 
ception Blank and free guide book. Send 
model or sketch and description for free 
opinion of its patentable nature. Highest 
references. Prompt Attention. Reasonable 
Terms. Victor .1. Evans & Co., 767 Ninth, 
Washington, D. C. 

WRITE A SONG POEM. Love, Mother, 
Home, Comic or any subject. I compose mu- 
sic and guarantee publication. Send words 
today. Edward Trent, 625 Reaper Block, 

PATENTS. Highest references. Rates rea- 
sonable. Best results. Promptness assured. 
Booklet free. Watson E. Coleman, Patent 
Lawyer, 624 F Street, Washington, D. C. 

PATENTS, Trademark, Copyright — fore- 
most word free. Long experience as patent 
solicitor. Prompt advice, charges very rea- 
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procured. Metzger. Washington, D. C. 

WRITE A SONG POEM — I compose music 
and guarantee publication. Send poem today. 
E. Hanson, 3810 Broadway, Room 102, Chi- 

PATENTS promptly procured. Moderate 
Fees. Best References." Send Sketch or Model. 
George P. Kimmel, Master of Patent Law, 
1SF, Loan & Trust Bldg., Washington, D. C. 

write the music, publish, and secure a copy- 
right. Submit poems on any subject. The 
Metropolitan Studios, 914 S. Michigan Ave., 
Dept. 210, Chicago, Illinois. 

for ideas. Adam Fisher Mfg. Co., 223, St. 
Louis, Mo. 

will write the music and guarantee publica- 
tion on a royalty basis. Submit poems on any 
subject. Seton Music Company, 920 S. Michi- 
gan Ave., Room 109, Chicago, 111. 

PATENTS SECURED. Prompt Service. 
Avoid dangerous delays. Send for our "Rec- 
ord of Invention" form and Free Book telling 
How to Obtain a Patent. Send sketch or 
model for examination. Preliminary advice 
without charge. Highest references. Write 
Todav. J. L. Jackson & Co.. 135 Ouray 
Bldg., Washington. D. C. 

cepted? Send them to-day for best offer, im- 
mediate publication, and free examination. 
Song writing booklet on request. Authors & 
Composers Service Co., Suite 566, 1433 Broad- 
way, N. Y. 

PATENTS — Send for free book. Contains 
valuable information for inventors. Send 
sketch of your invention for Free Opinion of 
its patentable nature. Prompt service. 
(Twcntv years experience). Talbert & Tal- 
bert. 4929" Talbert Bldg., Washington, D. C. 

proposition. Ray Hibbeler. D102, 4040 Dick- 
ens Ave., ( hicugo. 

DTCT1VCTT VTTft T<' \ R\' Die vmVT^V Tv-n-nl 
i > iio o i ' i ivn_ji\ ui jl . x ra \ ei. 

Great Demand. Fascinating work. Experience 
unnecessary. Particulars free. Write, Amer- 
ican Detective Svstem 1968 Broadway N *v 
MEN, get into the wonderful tailoring 
agency business, big profits taking orders and 
your own clothes free. We furnish fine sam- 
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compose music and guarantee to secure pub- 
lication on royalty basis by New York pub- 
lisher. Our Chief Composer and Lyric Editor 
is a song-writer of national reputation and 
t has written many big song-hits. Submit poems 
on any subject. Broadway Studios, 233 Fitz- 
gerald Bldg., New York. 


ST-STU-T-T-TERING And Stammering 
Cured at Home. Instructive booklet free. 
\\ aitei jMcuonneti, ou 1 otomac ±>anK IjUHq- 
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EXPERT ADVICE by Famous Composer, 
How to Write and Sell Popular Songs. Free. 
Song Specialists, Box 494, New Britain, Conn. 

MEN WANTED for Detective Work. Ex- 
perience unnecessary. Write J. Ganor, 
iuiuit_i u. 0. vtu\ 1 ueLecii\e, i^u, or. louis. 

Short Stories and Photoplays 

AGENTS, $60 to $200 a Week, Free Sam- 
ples. Gold Sign Letters for Store and Of- 
fice windows. Any one can do it. Big de- 
mand. Liberal offer to general agents. Metallic 
Letter Co., 431T N. Clark Street, Chicago. 

PHOTOPLAYS wanted. Big prices paid. 
Great demand. We show you how. Get free 
particulars. Rex Publishers, Box 175 — P 21, 

esting pamphlet explains our method of Pro- 
fessionally placing your work before the re- 
liable publishers. Manuscript examined with- 
out charge. Superior Song Studios. 1547 
Broadway. N. Y. 

$50 — $100 weekly writing Moving Picture 
Plays. Get free book : valuable information ; 
prize offer. Photo Playwright College, Box 
278 XY 26. Chicago. 

BE A DETECTIVE— Wonderful oppor- 
tunities; particulars free. Write Wagner, 1S6 
East 79th, New York, Dept. 302. 

Mail Order Business 

I want 100 men and women quick to take 
orders for raincoats, raincapes, and water- 
proof aprons. Thousands of orders waiting 
for you. $2.00 an hour for spare time. Mc- 
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seven days. $5,000 a year profit for eight 

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capital required. Write quick for information. 
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FREE to writers — a wonderful little book 
of money-making hints, suggestions, ideas ; 
the A B C of successful Story and Movie 
writing. Absolutely Free. Just address 
Authors' Press, Dept. 89. Auburn, N. Y. 

I MADE $25,000 with small Mail Order 
Business. Sample article 25c. Free Booklet. 
Stamp. Alss Scott. Cohoes. N. Y. 

Pe rsonal 

DO YOU WISH TO KNOW whether you 
are to gain success, win friends, be happy, 
or the reverse? Scientific, convincing in- 
formation. Wonderful results claimed by 
patrons. "Key to Success" and personality 
sketch for 10 cents and birthdate. Thomson- 
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WRITE News Items and Short Stories for 
pay in spare time. Copyright Book and plans 
free. Press Reporting Syndicate (4061, St. 
Louis, Mo. 

WRITE PHOTOPLAYS : $25— $300 paid 
any one for suitable ideas. Experience un- 
necessary : complete outline Free. Producers 
League, 439 St. Louis. 

AGENTS — 200% profit. Wonderful little 
article ; something new ; sells like wildfire ; 
carry in pocket : write at once for Free Sam- 
ple. Albert Mills, Gen. Mgr., 3145 American 
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a.ui»i 1 JUL n \\ ivl 1 ii.Ko ot 1 uoiopiays. 
Short Stories, Poems, Songs, send to-day for 
Free, valuable, instructive book. "Key to 
Successful Writing," including 65 helpful sug- 
gestions on writing and selling. Atlas Pub- 
lishing Co., 509 Butler Bldg., Cincinnati, O. 

story. Send birth date and dime for trial 
reading. Eddy 4307 Jefferson. Kansas City. 
Missouri, Apartment 74. 

YOUR NAME on 35 linen cards and ease 
20c. Agent's outfit free. Card and leather 
specialties. John Burt, Coshocton, Ohio. 

WRITERS ! Stories, Poems, Plays, etc., are 
wanted for publication. Literary Bureau, 175, 
Hannibal Mo. 

your fate Mail 15c money or stamps for 
Book containing 12 Birth Readings, one for 
each month. Forewarnings, personal advice, 
16 illustrations, reference chart. 12 in 1. 
Send .today. Mark Jackson, 39 West 27th 
St., N. Y. 

Wanted to Bay 

MEN — BOYS WANTED. Railwav Mail 
Clerks. $135 month. Particulars free." Frank- 
lin Institute, Dept. H2. Rochester, N. Y. 

$1400. $1600 and $1800 at start. Railway 
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expert, former Civil Service Examiner, pre- 
pare you Write Today for free booklet. Pat- 
terson Civil Service School, Box Y, Rochester. 
N. Y. 

fornia Producers. Also Stories, Articles. 
Criticize free, sell on ('ommission. To Be- 
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Course or Experience unnecessary. Submit 
MSS. or write. Harvard Company, 400, Mont- 
gomery. San Francisco. 

monds, platinum, watches, old or broken jew- 
elry, old gold, silver, magneto points, old false 
teeth, gold and silver ores or nuggets. War 
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land, Ohio. 

Guaranteed Hosiery and Underwear, easy by 
our new Sure Success Plan. Quickest intro- 
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Section B. Grand Rapids, Mich. 

SHORT STORIES. Novels. Photoplays 
edited, criticised, typed and marketed. Fred 
Willenbecher, Literary Editor, Allentown, Pa. 

for publication. Copying — 50c per thousand 
words. Copying with revision — 75c per thou- 
sand words. Ruth G. Taylor, Allendale, N. J. 


Advertising Section 

Classified Advertising — Continued. 

For the Home 

facturers! Save money List 37 free. Mar- 
tinets, 405 Lexington Avenue. New York. 


GET ON THE STAGE. I tell you how ! 
Send stamp for instructive Stage Book and 
particulars. E. La Delle. Bos 557, Los An- 
geles, Cal. 


5 MASTER KEYS and novel key chain 
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Farm Lands 

LOOKING FOR A FARM? If you are, an 
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Female Help Wanted 

$6 — $18 a dozen decorating pillow tops at 
home, experience unnecessary : particulars 
for stamp. Tapestry Paint Co., 110. La- 
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Lame People 

for any person with one short limb. No 
more unsightly cork soles, irons, etc., needed. 
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Old Money Wanted 

$2 to $500 EACH paid for hundreds of 
coins. Keep All old money. You may have 
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Business Opportunities 

FOR SALE : Patent 1,260,900. Moving Pic- 
ture Scenery. Patented March 26. 1918. R. 
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Ven t riloq uism 

VENTRILOQUISM Taught Almost Anyone 
at Home. Small cost. Send to-day 2-cent 
stamp for particulars and proof. O. A. 
Smith, Room 746, 801 Bigelow St., Peoria, 111. 

Ask your dealer for 
Only 25 cents the copy, but a great 
pleasure and a big surprise 

La Goutte-a-Goutte 


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Send me a Little Lock ol Your 
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Cut it close to head and say what color you wish. 
I have helped thousands of ladies with dandruff, 
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Write fully. No charge for frank opinion. 
"SECRETS of BEAUTY," my new booklet, 
mailed free on request. 

L. PIERRE VALLIGNY, Room 98, No. 34 West 58th St., New York 

The Picture Oracle 

Continued from page 88 

Wallace Reid Fan. — Barbara Castle- 
ton was Margaret Hill, John Bowers was 
John Ordham, Sydney Ainsworth was Al 
Levering, Doris Pawn was Mabel Cut- 
ting, Elinnr Hancock was Mrs. Cutting, 
Lawson Butt was Lord Bridgeminster, 
Edythe Chapman was Lady Bridgemin- 
ster, Ashton Dearholt was Walter Dris- 
combe, Carrie Clark Ward was Teddy, 
Lincoln Stedman was Sir Reggie Blan- 
chard, and Clarissa Selwyne was Lady 
Rosamond in the Goldwyn production, 
"Out of the Storm." Madge Kennedy's 
latest picture is called "The Girl with the 
Jazz Heart," in which she plays a dual 
role. She has finished her Goldwyn con- 
tract and has returned to her first love, 
the stage. She has announced that here- 
after her screen appearances will be 
made in her own productions. She is 
playing in "Cornered," on the stage. 
"The Wonderful Chance" is Eugene 
O'Brien's picture. 

Jean E. B. — That is her correct name. 
Alice Joyce was born in Kansas City, 
Missouri, in 1890. You will find your 
other questions already answered in the 
above replies. 

D. B. I. — Mabel Normand has brown 
hair and eyes. She tips the beam at just 
five feet. 

Jimmy Lou. — Douglas MacLean and 
Doris May are not married to each other. 
Douglas is married to a nonprofessional, 
while Doris is still a Miss, and lives with 
her mother. Harrison Ford is not mar- 
ried. "Food for Scandal" is his last pic- 
ture released. He is going to alternate 
for a year, playing first with Norma, 
then with Constance. You must write 
to each one separately. You can't write 
to just one and get everybody's photo- 

The Imp. — Theda Bara is not dead. 
Constance Talmadge is still as free as 
the air. Richard Barthelmess was born 
in New York City in 1895. He received 
his education at Trinity College in Hart- 
ford, Connecticut. There are several 
companies who make postal cards and 
photographs of the players, who can sup- 
ply you with one of her pictures. 

Louise M. — Casson Ferguson is not 
with any special company. He is free- 
lancing around the different studios in 

Ruthie. — Mary Miles Minter's hair is 
natural, so is May Allison's. Write to 
the editor of Picture-Play Magazine, 
same address. 

Kurious Kate. — Likewise. 

C. Fred G. — You, too. 

Mae B. — No, "Midsummer Madness" 
was not made by Cecil B. De Mille. It 
is a William De Mille production for 
Paramount. You're not the only one 
who has the two De Milles confused. 
They are brothers, being the sons of the 
late Henry De Mille, a playwright and 
coauthor with David Belasco in several 
stage successes, and Beatrice De Mille, 
a play broker. William is the older 
brother. Both brothers attended Colum- 
bia University, and when they graduated 
started writing plays for the stage. Wil- 
liam's first play was "A Mixed Four- 
some," in 1900, and the De Mille broth- 
ers and Bessie Barriscale were in the 
cast. Cecil B. and William later com- 
bined in writing "The Genius," in which 
Charles Richman and Nat Goodwin 
starred. This was produced by David 

A. B. C. — You will find the addresses 
you want at the end of The Oracle de- 

Y. C. Q. — Charles Ray has no children. 
Wallace, Jr., is two and a half years old. 

Betty. — Katherine MacDonald was born 
in Pittsburgh, Pennsylvania. She lives in 
California. Elaine Hammerstein was 
born in 1897. She works at the Eastern 
studios of the Selznick Pictures Corpo- 
ration. Ethel Clayton was born in Cham- 
paign, Illinois, in 1890. She has never 
married again. She is five feet five inches 
tall and weighs one hundred and thirty 
pounds. Elaine weighs one hundred and 
twenty. Their pictures appear in the 
magazine from time to time. You will 
have to keep watch for them. Those are 
their correct names. She is the grand- 
daughter of the late Oscar Hammerstein. 

Eddie Denver. — Betty Blythe is an em- 
phatic brunette. Sorry you didn't care so 
much for that particular interview". That 
is just the way it was given. Perhaps 
there will be one in the near future which 
will suit your taste better. That is all 
a matter of opinion. Personally, it 
doesn't matter with me about favorites, 
as I like them all. I couldn't possibly do 
it if I valued my life very much — and I 
do. "The Penalty," featuring Lon Cha- 
ney, has been released for some time. 
"Outside the Law*," in which Priscilla 
Dean has the leading feminine role, is 
his most recent feature. He is considered 
about the best character actor on the 
screen to-daj - . Wallace Beery is appear- 
ing in Frank Lloyd's latest Goldwyn fea- 
ture, an adaptation of "The White Lily." 
He plays the part of a Chinaman. Cer- 
tainly, they furnish their own clothes, 
and you are right that it must cost a 
nice little pile of the filthy lucre. No, 
they don't have to be any special color. 
Anita Stewart's next film to be released 
is "The Tornado." Herbert Rawlinson 
has the leading male role opposite her. 
Thanks very much for the good wishes. 

Down and In. — I never heard of any 
picture by the name of "Hearts and Sil- 
ver." You must have it mixed up with 
something else. 

Mrs. Ira S. — Ann Little played opposite 
Wallace Reid in "Believe Me, Xantippe." 
L. C. Shumway with Bessie Barriscale 
in "Two-Gun Betty." You refer to Al- 
bert Roscoe with Theda Bara in "Cleo- 
patra." "M'liss" is the Mary Pickford 
picture you are thinking of. 

Miss Inquisitive. — Pauline Frederick 
was the wife of Willard Mack, but they 
recently were divorced. Pearl White was 
born in Springfield, Missouri, in 1889. 
She is the wife of Wallace McCutcheon, 
who used to direct pictures, back in 1908, 
at the old Biograph studios on Fourteenth 
Street in New York City. They have 
no children. Mack Sennett's studios are 
situated at Edendale, California, a few 
minutes' ride from the downtown of Los 

Vivien ne. — Frank, Pete, and Josie are 
not married. Eddie is. 

Jesse Faulkner Heard. — Charles 
Clary is not with any particular com- 
pany. He plays in pictures for nearly 
all of the studios on the Pacific coast. 

Miss Ethel B. L. — You will have to 
write to the editor about the publication 
of pictures in this magazine, as I have 
nothing to do with that end _ of it. _ I 
have a hard-enough job as it is keeping 
up with my Picture-Play correspond- 
ence. ■ 

Advertising Section 


Browx-Eved Bessie. — Certainly I'll ex- 
cuse you. I don*t mind how you address 
me. Colleen Moore is not related to the 
Moore brothers nor to Mildred Lee 

Pearl White Admirer. — Wallace Mc- 
Cutcheon played the part of Frederick 
Vaux in "The Black Secret." Walter 
McGrail has been playing in Selznick 
features lately. 

Lazy Lew. — Larry Semon is not mar- 
ried. He looks just the same. Constance 
Talmadge's latest picture is called "Dan- 
gerous Business." Your other questions 
already have been answered. 

Nina M. — That's part of my work. 
If the fans didn't have a lot of questions 
to ask, there wouldn't be any job for me, 
so you see why I like to answer them. 
Viola Dana's husband died during the 
first influenza epidemic in New York. 
The accent on the second syllable. 

Miss Mary S. — Eddy Polo was born 
in California of Italian parents. Wil- 
liam and Edith are married. Write to 
the editor about the publication of pic- 
tures. That is not in my line. Your 
other questions have been answered. 

Maretta. — Highly honored, I assure 
you ! Richard Barthelmess is five feet 
seven inches tall and weighs one hun- 
dred and thirty-five pounds. He has 
dark hair and eyes. If you look in the 
replies preceding this one, you will find 
the answers you desire. 

Rod and Gexe Admirer. — Rod la 
Rocque is appearing on the stage in Xew 
York at present. He also finds time to 
keep up his picture work. Katherine 
MacDonald's latest picture is "Curtain." 
Eugene O'Brien is still single. Other 
questions will be found already answered. 

Ethel M. W. — Winifred Westover re- 
cently returned from Sweden, where she 
went to star in pictures for a Swedish 
motion-picture company. She says she 
enjoyed the trip immensely, but is very 
glad to be back in the U. S. A. She is 
going to be leading woman in Conway 
Tearle's pictures. Tom Moore has light- 
brown hair and blue eyes. His latest pic- 
ture is the well-known stage farce "Offi- 
cer 666," which was made in pictures sev- 
eral years ago with Howard Estabrook 
in the principal role. 

Gloria. — Betty Compson is now a star i 
and has her own company, the Betty 
Compson Productions. Her first picture 
for her own firm is "Prisoners of Love." 
"Ladies Must Live," a George Loane 
Tucker production in which she has the j 
principal role will shortly be released. 
Gloria Swanson is musical. She is con- | 
sidered quite beautiful. Virginia Brown 
is not a star. They can't all be stars, 
you know. Some one must plav the 
other parts in a picture. The popularitv 
of the players with the fans decides their 
starring ambitions. Frank Mayo was 
born in 1886. Richard Barthelmess has 
brown hair and eyes. Ralph Graves has 
light-brown hair and eves. "The Deli- 
cious Little Devil" included Mae Murray, 
Harry Rattenbury, Richard Cummings. 
Rudolpho de Valentino, Ivor McFadden. 
Bertram Grassby, Edward Jobson, and 
Y\ illiam Mong. You refer to Bertram 
Grassby. He was born in Lincolnshire. 
England, in 1880. He is six feet and 
weighs one hundred and seventy-five 
pounds. He has black hair and eves" He 
is married. ZaSu Pitts is married. Her 
husband is her leading man in pictures 
also. Blanche has no brother Jack in | 
the navy. You have your magazines all 

few Easy Way to 
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Room 1599, Marden BIdg., Washington, D. C. 



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Advertising Section 

Two Inches in One Month 
That Is My Guarantee 

I will increase 
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your chest at 
least two inches 
in 30 d a y s . 
Sounds impossi- 
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Well, come on 
and make me 
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what's more. I 
will enlarge 
your arm and 
your neck at 
least one full 
1 n c h in the 
same length of 

Seek Proper 

By following 
my instructions 
you are bound 
to receive 
these benefits 
and a thousand 
more. Any one 
can give you a 
series of move- 
ments to go 
through every 
day. But will it 
get you any- 
where ? I have 
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life work. As a 
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study of medi- 
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parts of your 
body, so have I 
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and the benefits 
derived from 
various forms of 
exercise. 1 do 
not promise to 
cure disease, but 
I absolutely will 
prevent it. 

Latest photograph of EARLE E. LIEDERMAN 
Taken Oct. 10, 1920 

The Man Who Knows 

Tex O'Rourke is one of the best authorities on 
physical culture in the world to-day. He has trained 
more world champions than any other. He knows 
every training device worth while, and he says 
"Earle Liederman has absolutely the best." 
Charles Atlas, known throughout the country as 
one of the strongest men ever produced, gives full 
credit to Earle Liederman for his present condition. 

Is the Best Too Good? 

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Dept. 1404, 305 Broadway, New York 


Dept. 1404, 305 Broadway. N. Y. City 

Dear Sir: — I inclose herewith 10 cents, for which 
you are to send me. without any obligation on my 
part whatever, a copy of your latest book, "Muscu- 
lar Development." (Please write or print plainly.) 

Name . . 

Frances Brawner. — Anita Stewart is 
not dead. She has been taking a vaca- 
tion. "Sowing the Wind" is her latest 

M. B. — I am glad that I don't care what 
I am called or I am sure that I should ob- 
ject to being called "A dear old thing," 
as I am not very old — yet. Clarine Sey- 
mour was. just about to be starred by 
D. W. Griffith when she passed away. 
"The Idol Dancer" was her last picture. 
She took sick and died while working in 
"Way Down East," and all the scenes she 
had appeared in had to be retaken, with 
Mary- Hay playing her role. It was cer- 
tainly a loss to the screen. If I undertook 
to name all the photoplays those stars 
have been featured in for the past two 
and a half years, the other readers would 
not be able to get an answer in Picture- 
Play for a couple of months. Have a 
heart, M. B., and let them come a few 
at a time. She has appeared in nothing 
since she supported Dorothy Gish in "Re- 
modeling Her Husband." I don't know 
whether she intends to continue her screen 
work or not. On the contrary, I should 
probably go crazy if I didn't have the 
letters to answer, now that I have become 
so used to them. Such is the force of 
habit, once acquired, and also the neces- 
sity of eating once in a while. 

Fulla Howles. — That was a Para- 
mount picture featuring Robert Warwick. 
It was not Eugene O'Brien. I managed 
to read your letter all right, but, of 
course, it could have been a bit more legi- 

A. R. — George Cheseboro has never let 
me in on it, so I can't tell you. I never 
heard of your friend Frank. Juanita 
Hansen was born in Des Moines, Iowa, in 
1897. No bother at all, I assure you. 
Come again when you have nothing bet- 
ter to do. 

Bobby's Admirer. — You ask which I 
am, man or woman. I am one of the 
two, so if you take two guesses, you will 
certainly be right in one of them. Which 
one I leave for you to guess. Harry 
Houdini was born in Appleton, Wis- 
consin, and is not the foreigner you think 
him to be. He is not working in any 
picture at the present time, but I expect 
him to shortly make his appearance on 
the silversheet once more. Robert War- 
wick was born in Sacramento, California, 
in 1881. He is a real native son, as they 
call them. He is not married. He did 
his first screen work for the World Film 
Corporation. Then he made several pic- 
tures for Selznick before he enlisted in 
the United States army and received the 
commission of major. He is six feet tall 
and weighs one hundred and seventy-five 
pounds. He has brown hair and eyes. 
Upon his return from the war he was 
signed to a long-term contract by the 
Lasky Company, and made quite a few 
starring vehicles for them. He is not 
making any pictures at the present time, 
as he is having a court action against 
the Lasky company, charging a breach of 
contract. The case has not as yet been 
settled. Yes, I have met him. 

Agnes From Frisco. — I thought all San 
Franciscans disliked having their fair 
city referred to as "Frisco?" I suppose 
there are exceptions to every rule. You 
should address all questions pertaining to 
scenarios to William Lord Wright, who 
has charge of that department for Pic- 
ture-Play Magazine, and who will be 
glad to give you any advice that he can 
to help you. Send six cents in stamps to 
the editor for a copy of the "Market 
Booklet." Nazimova has not retired from 
the screen. She is still making pictures 
for Metro. 

A. & F. — You will find your questions 
already answered in this issue. 

Wanna No. — If I could get positions 
for my readers as actors and actresses, 
I would certainly open up a motion-pic- 
ture employment agency and quit being 
an oracle. I'd eat more regularly, too. 

Bessie Love Fan. — Bessie Love's latest 
picture is called "Bonnie Bay." It is be- 
ing released by the Federated Exchanges. 
Carter de Haven's newest film is "The 
Girl in the Taxi," taken from the stage 
farce of that name. Carter also appeared 
in the leading role in the legitimate pro- 

C. & B. & M. — Harrison Ford is in New 
York at present, working in Norma Tal- 
madge's latest picture. Charles Ray is 
married. His latest pictures are "The 
Old Swimmin' Hole" and "Scrap Iron." 
Albert Raj' has deserted the screen as an 
actor and is devoting his time to direct- 
ing these days. He is with Charles Ray. 

A Minneapolis Girl. — Harold Lock- 
wood has been dead for over two years. 
You should write to some of the firms 
who sell photographs of the players. 
They probably have pictures of him in 
their stock. Don't ask me to give my 
reasons for the number of divorces in the 
United States these days. I don't know 
anything about the causes or effects. It's 
no different in the acting profession than 
in any other; it's only that you are more 
interested in the players, and it seems so 
to you. "Way Down East" has been re- 
leased for some time. It is having won- 
derful runs all over the country, and is 
some picture. Charles Chaplin and Mil- 
dred Harris were recently divorced. 

Hoot Gibson and Eugene O'Brien Ad- 
mirer. — I never heard of your friend 
Mamie in pictures at all, so I can't help 
you one bit in trying to locate her. Hoot 
Gibson was married to Helen Gibson, of 
the railroad thrillers, but they have been 
divorced. He was born in 1892. Neither 
Eugene O'Brien nor Ruth Roland is 
married. Yes, she is considered very 
beautiful. I agree with the considerers. 
Francis MacDonald has no children. 
Katherine MacDonald is not married. 
Your questions concerning Constance Tal- 
madge have already' been answered. 

R. M. S. — Douglas MacLean is married 
to a nonprofessional. Your other ques- 
tions have already been answered. Ad- 
dresses are always printed each month at 
the end of The Oracle department. 

W. H. S. — Owen Moore is not married. 
Your other questions have already been 

Skating Kate. — They have plenty of 
snow in California when the season comes 
around, but they have to go away from 
Los Angeles to get their snow scenes. 
Truckee is the favorite place with the 
film companies to go for all their snow 

Halclare. — Mae Marsh and Billie 
Burke are not related, and they don't look 
alike off the screen. 

Jackie. — No, Tom Moore has not left 
the Goldwyn Company. He is still mak- 
ing features for that company. He took 
a vacation after finishing "Officer 666," 
but is back at work again at their Culver 
City studios. Robert Gordon is married. 
Billie Rhodes is in California. Her latest 
picture to be released was "His Pajama 

Helen M". R.— Mary Miles Minter is 
not married. She is a decided blond. 
You will have to write to her yourself 
to find that out. Your other questions 
will be found answered in the replies 

Advertising Section 

Hoxey Girl. — Xaomi Childers was born 
in Pennsylvania. She received, most of 
her education at the Maryville Convent 
at St. Louis, Missouri. Her early career 
was spent on the legitimate stage, where 
she appeared in "Madame X," "Ready 
Money," and with H. B. Warner in 
"Among Those Present." She was a star 
with the Yitagraph Company in the early 
days, and then she joined the Metro 
forces. Lately she has been appearing in 
many of the Goldwyn features, opposite 
Tom Moore and in their specials. ''Earth- 
bound" is one of her latest successes with 
that concern. She is five feet six and 
one-half inches tall and weighs one hun- 
dred and thirty-five pounds. She has 
dark-brown hair and blue eyes. Xot too 
far, but not much time. 

Harrisox Ford Admirer. — Harrison 
Ford was born in Kansas City, Missouri. 
He was educated there and in Los An- 
geles, California. His stage career con- 
sisted of stock in Baltimore, Maryland, 
and in Syracuse, Xew York, during the 
years of 1913-14-16. His screen career has 
been principally with Paramount. L T ni- 
versal, and First Xational He is five feet 
ten inches tall and weighs one hundred 
and sixty pounds. He has brown hair 
and eyes. 

Joserhixe E. M. — Yes, '•Smiling'' Bill 
Parsons is dead. He passed away over 
a year ago. Pell Trenton was born in 
Xew York City. He is not married. Joe 
Moore is still working in pictures. He 
is with the L-Ko Company at the present 
time. Bert LytelPs wife is not a profes- 

A. X. H. — Send six cents in stamps to 
the editor for a copy of the "Market 
Booklet." It will give j _ ou the names 
and addresses of all the film companies 
and the type of stories they are in the 
market for. You are enrirelv welcome. 

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Dardaxella. — Where have you been 
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Picture- Play and The Oracle? I shall 
expect to hear from you regularly, now I2^5l!^sIS^5[ 
that we have become acquainted, to make j ^z^^^LJS^Vri. 
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Faribo. — Jack Pickford is the youngest 
member of the Pickford family. Lillian 
Gish is not married. Clarine Seymour | 
died in a Xew \ork hospital on May 26, 
1920. Xorma Talmadge is the eldest of 
the three. Xatalie is not as famous as 
her sisters, but may be in time. Who 
can tell? "The Branded Woman" is 
Xonna's latest starring vehicle to be re- 
leased. Charles Ray is married to Clara 
Grant. She is not in the profession. Yes. 
Albert Ray is also married. He recently 
became the proud papa of a baby boy. 
Charles Albert Ray. Wanda Hawfey has 
been on the screen for several years. She 
has been featured in Lasky productions, 
but it is only in the last few months that 
she has become a star in her own right 
for the _ Realart Pictures Corporation. 
May Allison was never a Mack Sennett 
bathing beauty. She was Harold Lock- 
wood's costar at the American Film Com- 
pany and also, later, at Metro. Lew 
Cody was the husband of Dorothy Dal- 
ton. Chester Conklin is married. That 
is his correct name. 

Alma Reubexs Admirer. — Your favor- 
ite was born in San Francisco, Cali- ! 
fornia. She would be called a "native 
daughter.'' You hit the nail on the head. 
She is. 

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Advertising Section 

Another Fan. — Fannie Ward is in 
London, England, making features for 
the Joan Film Sales Company. She was 
born in St. Louis, Missouri, in 1875. 
Francis Ford and Harrison Ford are not 
related. Jack Ford, the Fox director, is 
a brother of Francis. Olga Petrova was 
born in Warsaw, Poland. Vivian Martin 
is married. She is Mrs. Jefferson in pri- 
vate life. Bill Hart and Neal Hart are 
not related. William and Dustin Farnum 
are brothers. _ Baby Marie Osborn has 
not been making any pictures lately. Her 
mother won the custody of her. Mary 
Miles Minter's correct name is Juliet 
Sjielby. That is Margaret's correct name. 
No, she is not a star. She is younger 
than Mary. Ralph Bushman is Francis 
X.'s oldest son, not his brother. Charles 
Ray has no sister on the screen. Eileen 
is no relation. You see him just as he is. 
Mary's hair is all her very own. 

Ernest and Frank: — Priscilla Dean is 
still making features for the Universal. 
"Outside the Law" is her latest release, 
and also her first since she made "The 
Virgin of Stamboul." Tod Browning is 
still directing her. Eddie Lyons and Lee 
Moran have been making five-reelers for 
Universal, but will make a series of spe- 
cial two-reelers for that concern during 
1921. They are the only team working 
in pictures at present, and started in for 
the old Nestor company with Al E. Chris- 
tie in the old days when the Universal 
was but a pup, and the whole industry, as 
well ! 

Mrs. T. W. — Norma Talmadge's latest 
feature for the First National is "The 
Branded Woman." Vivian Martin is still 
very much in pictures. Her latest effort 
is a Goldwyn feature, "The Song of the 
Soul," taken from Robert W. Chambers' 
famous novel, "An Old-World Romance." 
Mae Marsh's baby girl is about a year 
and a half old. 

St. Cloudyminn. — Norma Talmadge 
was born at Niagara Falls, New York, in 
1897. Three of her Select releases were: 
"The Way of a Woman," "She Loves 
and Lies," and "The Isle of Conquest." 
"A Daughter of Two Worlds" was her 
first First National feature. The six pic- 
tures that Constance made for Select 
were: "Up the Road With Sallie," "A 
Pair of Silk Stockings," "Mrs. Leffing- 
well's Boots," "Sauce for the Goose," 
"Romance and Arabella," and "Happiness 
a la Mode." "Saturday to Monday" was 
released some time ago. You must have 
missed it. Charles Ray has not deserted 
his rural characterizations by any means. 
His "Forty-Five Minutes From .Broad- 
way" was something different, to be sure, 
but his following film, "Peaceful Valley," 
showed him as the country youth again. 

'"A Little Vamp." — Seena Owen is the 
wife of George Walsh. They have a lit- 
tle baby daughter. Seena has just signed 
to be featured in a story for Cosmopoli- 
tan. Pearl White has deserted the ranks 
of the serial queens and is confining her 
efforts to making feature films for Fox. 
Her newest film is "The Thief." "The 
Silent Avenger" is the title of William 
Duncan's latest Vitagraph thriller. 

Ezra— You will find that all your ques- 
tions have already been answered in this 

Erma. — John Bowers was born in In- 
diana. He is not a bachelor. Your ques- 
tions concerning Mary Miles Minter have 
already been answered. She is a decided 
blond. It was decided from the time 
she was born and not in later years. John 
Bowers has dark hair and eyes. I riave 
no special favorites. I like them all. 

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Advertising Section 


Seth H. K — Send six cents in stamps 
to the editor for a copy of the "Market 
Booklet." The other booklet you refer 
to is the "Guideposts for Scenario Writ- 
ers." Send all your questions concern- 
ing scenarios to William Lord Wright, 
who has charge of that department for 
Picture-Play Magazine. 

Handsome Harry. — See answer to "A 
Little Vamp" and Harrison Ford Ad- 
mirer for your replies. 

F. G. — Most of the cameramen in the 
business began as assistants to the cam- 
eramen with the different companies and 
gradually worked themselves up. That 
is the only course that I _ would suggest 
for you to try- The various companies 
do not take on cameramen unless they 
have had actual experience in photograph- 
ing motion pictures. It is entirely too 
risky, as a cameraman can make or ruin 
any picture. 

Charles Ray Fan. — All addresses at 
the end of this department. Your other 
questions have already been answered. 

Goldwyn Inquirer. — The Goldwyn 
Company do not limit themselves to the 
making of star's pictures. They also fea- 
ture their authors or else their directors, 
as the case may be. 

Viola Forever and Shirley, Too. — 
Flugrath is the family name. Viola 
Dana's correct name is Flugrath. Shir- 
ley Mason was chistened Leonie Flugrath. 
She is married to Bernard Durning, who 
is directing Fox films at present. They 
also have a sister, Edna, who works in 
pictures. She is being featured in Eng- 
land by a British firm. Viola is still with 

Miss Nina J. — Keep on the lookout 
for your answers and you will find them. 
They may not have gotten in the issue 
you wanted them to appear in because 
they were received too late. All letters 
are answered in the order in which they 
are received. If you will look at the end 
of The Oracle, you will find the addresses 
of the players you asked about, and that 
will also give you the names of the com- 
panies they are employed by. I can't 
say for sure whether you will receive the 
pictures j-ou want or not. You will have 
to wait and see. 

E. Stevens. — You will find all addresses 
at the end of The Oracle. 

Addresses of Players 

Asked for by readers whose letters are 
answered by The Oracle this month: 

Mary Hay. Richard Barthelmess. Dorothy 
Gish, and Ralph Graves, at the Griffith Stu- 
dios, Mamaroneck, Orienta Point, New York. 

Mr. and Mrs. Carter de Haven, care of 
Charles Chaplin Studios, Los Angeles. Cali- 

Lila Lee, Clara Horton. Jack Mulhall. 
Walter Hiers. Ann Forrest. Conrad Xagel, and 
■Wallace Reid. at the Lasky Studios. Holly- 
wood. California. 

Ruth Roland, George Larkin. Charles 
nutchinson. at Pathe Exchange, 25 West 
Forty-fifth Street, New York City. 

Marguerite Clark, Dorothv Dalton. Mae 
Murray, and Elsie Ferguson, at the Para- 
mount Pictures Corporation, 485 Fifth Ave- 
nue, New York City. 

Doris May. Douglas MacLean. Louise 
Glaum, and Hobart Bosworth, at the Ince 
Studios, Culver City. California. 

Pauline Frederick, at the Robertson-Cole 
Studios, Los Angeles, California. 

Norma. Constance, and Natalie- Talmadge 
and Harrison Ford, at the Talmadge Studios. 
318 East Forty-eighth Street, New York City. 

Shirley Mason, Tom Mix. Louise Lovelv. 
Eileen Percy, and Pearl White, at the Fox 
Film Corporation, New York City. 

I Buster Keaton. Alice Lake, May Allison. 
Viola Dana, Nazimova, Casson Ferguson, and 
Bert Lytell, at the Metro Studios, Hollywood, 
| California. 

Charles Ray, at the Charles Ray Studios, 
Fleming Street, Los Angeles, California. 

Charles Murray, Louise Fazenda, Marie 
Prevost, and Phyllis Haver, at the Sennett 
Studios. Edendalc, California. 

Eva Novak, Marie Walcamp, Jack Perrin, 
Priscilla Dean, Eddy Polo, and Frank Mayo, 
at the Universal Studios, Universal City, 

Mary Pickford. Mary Thurman, Lew Cody, 
Josie Sedgwick, Emory Johnson, Betty Comp- 
son, and Mae Marsh, at the Brunton Stu- 
dios, Melrose Avenue, Los Angeles, California. 

Corinne Griffith, at the Vitagraph Com- 
pany, 409 Fifth Avenue. New York City. 

William S. Hart, at the William S. Hart 
Studios, Los Angeles, California. 

Mary Miles Minter. Constance Binney, 
Wanda Hawley, and Bebe Daniels, at the 
Realart Pictures Corporation, 460 Fifth Ave- 
nue. New York City. 

Pessie Love and Marjorie Daw, at the 
Hollywood Studios. Hollywood, California. 

Mabel Normand, Tom Moore. Cullen Lan- 
dis. and Molly Malone, at the Goldwyn Stu- 
l dios. Culver City, California. 

Elaine Hammerstein. Zeena Keefe, Eugene 
; 0"Brien, and Owen Moore, at the Selznick 
; Pictures Corporation, 729 Seventh Avenue, 
| New York City. 

Jane Novak. Winifred Westover, Kathleen 
Kirkham, Eileen Sedgwick, Charles Clary, 
I Wallace MacDonald. Kathleen O'Connor, Niles 
Welch, Seena Owen. Bertram Grassby, and 
Hal Cooley, in care of Willis & Inglis, Los 
Angeles. California, or the Mabel Condon 
Exchange, Hollywood. California. 

Hale Hamilton, the Lambs' Club, New 
York City. 

Mildred Harris and Anita Stewart, care 
of Louis B. Mayer, Los Angeles, California. 

Douglas Fairbanks. Fairbanks Studios. 
Melrose Avenue, Los Angeles, California. 

Mildred Davis. Harold Lloyd, and Harry 
Pollard, at the Rolin Studios, Culver City, 

Antonio Moreno, George Beban. Albert Ray. 
James Kirkwood, and Thomas Meighan, at 
the Los Angeles Athletic Club, Los Angeles, 

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