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Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
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Window  shopping  through 

the  world 

Looking  around,  comparing,  deciding  on  colors  and 
flavors  and  textures  and  designs — "shopping"  for 
many  of  us  is  half  the  fun  of  buying  things  and  having 
them.  .  .  .  Other  people  (more  scientifically  minded) 
always  know  exactly  what  they  want,  and  where  they 
want  to  buy  it. 

But  before  anyone  definitely  can  say  "I  like  that 
— I'll  take  it"  in  order  to  spend  money  wisely,  some 
"looking  around"  must  be  done. 

Looking  around  by  reading  the  advertisements 
saves  time  and  trouble  and  money.  For  advertisements 
are  the  shop  windows  of  a  world  of  manufacturers. 
You  don't  need  to  walk  up  Fifth  Avenue  or  past  the 
corner  drug  store  to  see  what  So-and-So  is  offering  in 
the  way  of  silk  stockings,  or  refrigerators,  or  tooth- 
paste, or  automobiles,  or  schools  for  young  George, 
or  vacations  for  the  whole  family. 

The  advertisements  picture,  describe,  explain  the 
merchandise  and  the  new  ideas  that  are  displayed  and 
talked  about  from  Maine  to  California. 

/       /  / 


Read  the  advertisements  because  it 
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Picture  Play 

Volume  XXIX  CONTENTS   FOR   SEPTEMBER,    1928  Number  1 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


What  the  Fans  Think       .       .       .       .  ... 

An  open  forum  for  and  by  our  readers. 

Back  Stage  in  Vaudeville  

A  glimpse  of  William  Haines  and  Josephine  Dunn,  in  "Excess  Baggage." 


You  Can't  Do  That!  

The  vagaries  of  censorship  are  authoritatively  set  forth. 

Oyez!  Oyez!  

John  Barrymore  smashes  some  conventions. 

The  Girl  Grows  Older  . 

Mary  Brian  displays  surprisingly  sophisticated  fashions. 

The  Stroller  

Ironic  observations  of  a  Hollywood  rambler. 

And  Now  the  Deluge!  . 

The  spectacular  production  of  "Noah's  Ark." 

Hot-weather  Cures     .       .       .  . 

Pictures  that  show  how  the  stars  combat  the  torrid  spell. 

There's  No  Place  Like  Home  .... 

Esther  Ralston's  residence  is  minutely  inspected. 

Reginald's  Lament  


Edwin  Schallert 


Helen  Louise  Walker 


Carroll  Graham 
A.  L.  Wooldridge 


Mr.  Denny  proves  that  happiness  and  comedians  are  strangers. 


Margaret  Reid 
Myrtle  Gebhart 


Portrait  of  a  Wow     .       .  . 

A  keen  interviewer's  impressions  of  Joan  Crawford. 

Favorite  Picture  Players  . 

Full-page  portraits  of  eight  favorites. 

The  Interviewers'  Waterloo 

Richard  Barthelmess  is  frankly  analyzed. 

Over  the  Teacups  . 

Fanny  the  Fan  steadily  chatters. 

The  World  Is  Upside  Down  to  Them 

Topsy-turvy  pictures  of  some  stars. 

Just  What  Is  Acting,  Anyhow? 

The  stars  express  conflicting  opinions. 

A  Girl  Comes  to  Hollywood 

The  fourth  installment  of  a  fascinating  serial. 


Malcolm  H.  Oettinger 


Madeline  Glass 
The  Bystander 


Katherine  Lipke  . 
Alice  M.  Williamson 


Manhattan  Medley  .... 

Impressions  of  the  stars  who  visit  New  York. 


.    Alma  Talley  . 

Continued  on  the  Second  Page  Following 


8 
15 
16 
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21 
22 
24 
27 
28 
32 
34 
35 
43 
44 
48 
50 
53 
56 


Monthly  publication  issued  by  Street  &  Smith  Corporation.  79-89  Seventh  Avenue,  New  York  City;  Ormond  G.  Smith,  President:  George  C.  Smith,  Vice 
President,  and  Treasurer;  George  C.  Smith,  Jr.,  Vice  President;  Ormond  V.  Gould,  Secretary.  ■'Copyright,  1928,  by  Street  &  Smith  Corporation,  Ne» 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  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,  $2.86.    Foreign,  $3.22. 


YEARLY  SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


M.L   MANUSCRIPTS    MUST   BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 


 11  1  ■  Illllllllllllllllllllililllll  Illllllllllllllllllllllllllllllllllllllllllllllilll  I  Illlllllll!l!lllllllllllllllllllllll!ll!lll!llllllllllllll||||l!!!!!lll!lllll||  Illlllllll  II  IIIIIIIIIIIIIII  Illll  Illllllllllllllllllllllllllllli; 


1 


[iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiM  Contents  ContfnueJ 


High-hatting  the  Fans  60 

Who  do  you  think  is  guilty? 

Mother's  Boy  Grows  Up  William  H.  McKegg     .  61 

Barry  Norton,  of  "What  Price  Glory?"  is  interviewed. 

Hollywood  High  Lights     .....    Edwin  and  Elza  Schallert  63 

Paragraphs  of  Hollywood  news  and  gossip. 

A  Confidential  Guide  to  Current  Releases       ...       .       .       .  .67 

Brief  tips  on  pictures  now  being  shown. 

The  Screen  in  Review  Norbert  Lusk       .       .  68 

Critical  opinions  of  the  latest  films. 

We've  Heard  of  California  Sunshine  .       .       ...       .       .       .  .72 

And  now  the  stars  show  how  they  protect  themselves  from  it. 

Money,  But  No  Airs   Myrtle  Gebhart     .       .  74 

A  description  of  Estelle  Taylor. 

"Gimme  a  Lift?"       .       .       .       .       .       .    H.  A.  Woodmansee     .  83 

An  interesting  phase  of  Hollywood  life. 

Far  Away  and  Long  Ago  Myrtle  Gebhart     .       .  84 

The  stars'  earliest  impressions  are  painstakingly  recorded. 

There  Are  Styles  in  Stars,  Too       .       .       .    Ann  Sylvester       .       .  89 

Tracing  some  radical  changes  in  public  taste. 

"Talking"  Bathing  Outfits  93 

Beach  costumes  are  eloquent  this  season. 

Red-headed — By  Preference       .       .       .       ...       .       .       .  .99 

Pictures  of  stars  who  have  heeded  the  call  of  henna. 

Information,  Please  The  Picture  Oracle      .  102 

Answers  to  readers'  questions. 


The  Talk  of  Hollywood 


WHAT  is  sweeping  over  the  motion-picture  colony  like  a  storm, 
threatening  to  wreck  some  careers  and  bring  added  fame  to 
others?  Why,  "talking"  pictures,  of  course!  There  is  not  one  player 
whose  future  is  unaffected  by  this  innovation,  which  is  more  than  a 
passing  fad  and,  indeed,  shows  every  sign  of  completely  supplanting 
silent  pictures  in  the  next  few  years.  Did  you  know  that  one  company 
has  invested  three  million  dollars  in  the  future  of  talking  pictures,  and 
that  within  a  few  months,  a  greater  improvement  has  been  shown  in 
the  recording  process  than  has  been  the  case  with  any  other  develop- 
ment of  motion  pictures  in  the  history  of  their  existence?  All  this  is 
a  matter  of  grave  import  to  the  stars  as  well  as  the  fans,  because  new 
players  are  due  to  appear,  new  favorites  will  surely  develop,  and  an 
entirely  new  form  of  screen  acting  is  expected  to  evolve  from  the 
 combination  of  sight  and  sound. 

"V *»■  %*  *J* The  subject  of  talking  pictures  will  be  thoroughly  discussed  by 
Q<WOOOi(000<     Edwin  Schallert  in  the  October  PICTURE  PLAY,  with  some  amaz- 
ing side  lights  never  before  published.    Don't  even  think  of  missing  it! 
It  will  give  you  an  insight  into  the  future  of  the  movies. 

Leslie  Fenton,  Ben  Lyon,  and  Olga  Baclanova 

Can  you  think  of  a  more  varied  trio?  Leslie  Fenton  with  a  score 
of  splendid  characterizations  to  his  credit,  Ben  Lyon  with  a  legion  of 
fans  who  apparently  never  swerve  from  utter  loyalty,  and  Olga 
Baclanova,  the  Russian  actress  who,  with  only  a  few  roles  to  her 
credit  in  this  country,  is  already  thought  by  many  critics  to  be  the 
supreme  feminine  artist  of  the  screen.  Mr.  Fenton  has  been  inter- 
viewed by  none  other  than  the  controversial  Malcolm  H.  Oettinger, 
Mr.  Lyon  is  the  subject  of  Margaret  Reid's  impersonal  analysis,  and 
Madame  Baclanova  is  described  by  Madeline  Glass.  All  three  articles 
will  be  features  of  next  month's  PICTURE  PLAY  from  which,  of 
course,  the  favorite  Myrtle  Gebhart  will  not  be  missdng. 


if 


IllillllllllllllllllllUIIIIIIIIIIIIIIIIIIIIIIIIEllllllll!  Illllillllllllllllllllffl 


Advertising  Section 


They  gave  me  the  ha-ha 

when  I  offered  to 


•  but  I  was  the  life  of  the  party  after  that 


THE  first  day  of  Dorothy's  house  party 
at  her  cottage  on  the  shore  had  been  a 
huge  sucess.  With  an  afternoon  of  swim- 
ming, boating  and  golfing  we  were  all  set 
for  the  wonderful  dinner  that  followed. 

"Well,  folks,"  said  Bill  enthusiastically, 
as  we  were  leaving  the  table,  "I  don't  know 
how  you  feel,  but  I'm  all  pepped  up  for  a 
good  dance." 

"Fine !"  cried  Dorothy,  "Dick  Roberts 
has  his  banjo  and  can  sure  make  it  hum. 
Now  who  can  play  the  piano?" 

Instantly  the  laughter  and  merriment 
ceased.  All  looked  at  one  another  foolishly. 
But  no  one  said  a  word. 

"How  about  you,  Jim,  you  play,  don't 
you?"  asked  Dot. 

"Yes  I'll  play  'Far, Far  Away',"  laughed  Jim. 
"Well  then,  Mabel,  will  you  help  us  out?" 
"Honestly  Dot,  I  hate  to  admit  it,  but  I 
can't  play  a  note,"   she  answered. 

It  certainly  looked  as  if  the  party  were  go- 
ing flat.  Plenty  of  dancers  but  no  one  to  play. 

Then  I  Offered  to  Play 

"If  you  folks  can  stand  it,"  I  offered 
shyly,  "I'll  play  for  you." 

The  crowd,  silent  until  now,  instantly 
burst  out  in  laughter. 

"You  may  be  able  to  play  football,  Jack, 
but  you  can't  tackle  a  piano." 

"Quit  your  kidding,"  cut  in  another,  "I've 
never  heard  you  play  a  note  and  I've  known 
you  all  your  life." 

"There  isn't  a  bar  of  music  in  your  whole 
make-up,"  laughed  Mabel. 

-  A  feeling  of  embarrassment  mingled  with 
resentment  came  over  me.  But  as  I  strode  to 
the  piano  I  couldn't  help  chuck- 
ling to  myself  when  I  thought 
of  the  surprise  I  had  in  store 
for  them. 

No  one  knew  what  to  expect. 
They  thought  I  was  about  to 
make  a  fool  of  myself.  Some 
laughed.  Others  watched  me 
wide-eyed. 

Then — I  struck  the  first 
snappy  chords  of  that  foot-loos- 
ing fox-trot  "St.  Louis  Blues." 
Dick  was  so  dumbfounded  he  al- 
most dropped  his  banjo.  But  in 
a  flash  he  had  picked  up  the 
rhythm  and  was  strumming 
away  like  mad. 

Although  they  could  hardly 
believe  their   ears,   the  crowd 


PICK  YOUR  INSTRUMENT 


Piano 
Organ 
Ukulele 
Cornet 
Trombone 
Piccolo 
Guitar 


Hawaiian  Steel  Guitar 
Sjght  Singing 
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Voice  and  Speech  Culture 
Harmony    and  Composition 

Drums  and  Traps 
Automatic  Finger  Control 
Banjo    (Plectrum.  5-String 
or  Tenor) 


were  all  on  their 
feet  in  a  jiffy.  And 
how  they  danced ! 
Fox-trots,  waltzes — 
with  rests  few  and 
far  between. 

After  a  good  round  of  dancing  I  decided 
to  give  them  some  real  music  and  began  a 
beautiful  Indian  love  lyric. 

The  couples,  who  but  a  moment  before  had 
been  dancing  merrily,  were  now  seated  quietly 
about  the  room,  entranced  by  that  plaintive 
melody. 

No  sooner  had  the  last  soft  notes  died  away 
than  I  was  surrounded  by  my  astonished 
friends.  Questions  were  fired  at  me  from  all 
sides. 

"How  wonderful,  Jack !  Why  haven't  you 
played  for  us  before?" 

"How  long  have  you  been  studying?" 

"Why  have  you  kept  it  a  secret  all  these 
years  when  you  might  have  been  playing 
for  us?" 

"Who  gave  you  lessons?  He  must  be  won- 
derful !" 

I  Reveal  My  Secret 

Then  I  explained  how  some  time  before  I 
made  up  my  mind  to  go  in  for  something 
besides  sports.  I  wanted  to  be  able  to  play 
— to  entertain  others — to  be  popular.  But 
when  I  thought  of  the  great  ex- 
pense and  the  years  of  study 
and  practice  required,  I  hesi- 
tated. 

Then  one  day  I  ran  across 
an  announcement  in  a  magazine 
telling  of  a  new,  quick  and 
simple  way  to  learn  music  at 
home,  without  a  teacher. 

I  was  a  little  skeptical  at 
first,  but  it  was  just  what  I 
wanted  so  I  sent  for  the  free 
booklet  and  demonstration  les- 
son. The  moment  I  saw  it  I 
was  convinced  and  sent  for  the 
complete  course  at  once. 

When  the  lessons  arrived  I 
started  right  in,  giving  a  few 
minutes  of  my  spare  time  each 


Violin 

Clarinet 

Flute 

Saxophone 
Harp 
Mandolin 
'Cello 


day.    And  what  fun  it  was — even  from  the 
very  beginning.     No  monotonous   scales — ■ 
no  tedious  exercises — no  tricky  methods — 
just  a  simple,  commonsense  system  that  even  a  child  could 
understand.    And  best  of  all  I  was  playing  my  favorite 
numbers  almost  from  the  start. 

Anyone  can  learn  to  play  this  easy  no-teacher  way — 
right  at  home.  The  piano  if  desired;  or  any  other  in- 
strument that  you  may  choose.  Almost  half  a  million 
people  have  learned  to  play  by  this  simple  system  in  less 
than  half  the  time  it  takes  by  the  old-fashioned  methods. 
And  regardless  of  what  instrument  you  pick,  the  cost 
averages  oniy  a  few  cents  a  day. 

Send  for  Free  Booklet  and 
Demonstration  Lesson 

To  prove  how1  simple  and  practical  this  remarkable 
course  is,  the.U.  S.  School  of  Music  has  arranged  a 
typical  demonstration  lesson  and  explanatory  booklet  which 
you  may  have  for  the  asking.  So  if  you  really  want  to 
learn  to  play — if  you  wish  to  win  a  host  of  friends — to  be 
popular  everywhere — write  for  this  free  booklet  and  valu- 
able demonstration  lesson. 

Don't  delay,  act  at  once — fill  in  and  mail  the  attached 
coupon  today — no  obligation  whatever. 

Instruments  supplied  when  needed,  cash  or  credit. 
XJ.  S.  School  of  Music,  537  Brunswick  Bldg..  New 
York  City. 


U.  S.  SCHOOL  OF  MUSIC, 

537  Brunswick  Bldg.,  New  York  City 

Please  send  me  your  free  book,  "Music  Lessons  in 
Your  Own  Home."  with  introduction  by  Dr.  Frank  Crane, 
demonstration  lesson,  and  particulars  of  your  easy  pay- 
ment plan.    I  am  interested  in  the  following  course: 


Have   you    above  instrument?  

Name   

(Please  write  plainly) 

Address   ,  

City  State  .. 


What  the   Fans  Think 


Guide,  Philosopher  and  Friend. 

IN  a  town  the  size  of  Montpelier,  even  a  back-yard, 
fire  calls  for  comment.  A  short  time  ago,  one  of 
our  jewelry  stores  suffered  the  loss  of  some  five 
thousand  dollars  by  theft.  The  offense  was  committed 
by  a  clerk,  a  comparative  newcomer  in  the  city,  during 
the  noontime  absence  of  his  employer. 

Rumors  and  speculations  were  many,  but  one  in  par- 
ticular certainly  roused  my  wrath.  The  youth  is  said 
to  have  had  movie  aspirations ;  indeed,  that  he  once 
started  for  Hollywood.  Consequently,  more  than  one 
person  made  use  of  this  information  in  the  wrong  di- 
rection entirely.  "He  got  his  idea  from  the  movies,  of 
course.   They  are  to  blame.   We  might  have  known  !" 

This  is  the  sort  of  thing  that  surely  makes  me  see  red. 
Why  cannot  people  see  that  the  movies  do  enough  good 
— more  than  enough — to  counteract  any  bad  influence 
they  may  exert  ?  One  cannot  possibly  find  any  thriving 
industry,  in  which  the  good  and  bad  elements  are  not 
always  present.  The  movies  are  no  exception.  Talk 
them  down  if  you  will — but  try  to  get  along  without 
them  !  Just  what,  I  ask  you,  would  the  small  towns  and 
villages,  far  removed  from  the  metropolitan  centers,  do 
for  amusement  were  it  not  for  the  cinema?  They  are 
the  only  way  out.  But  still  a  certain  class  of  people 
kick.  They  say  the  movies  are  an  undermining  influ- 
ence, destroying  the  elementary  goodness  of  the  younger 
generation,  and  introducing  unwelcome  examples  to  the 
old. 

Some  are  more  broad-minded,  of  course.  But  there 
are  those,  I  am  convinced,  who  actually  believe  that  the 
movies  are  all  bad,  right  through.  This  class  are  simply 
laboring  in  ignorance.  Some  of  their  ideas  are  fan- 
tastic, quite  unbelievable.  But  I  have  known  unpreju- 
diced persons  to  be  completely  reversed  in  opinion  after 
viewing  one  of  the  really  worth-while  films. 

In  a  way  they  are  right.  The  industry  does  need 
patching.  But  it  is  yet  a  baby  movement.  Judging  ac- 
cordingly, use  discretion  in  picking  your  films.  If  you 
go  every  night,  quite  at  random,  regardless  of  the  film, 
expect  to  be  disappointed.  Choose  your  pictures,  and 
you  will  not  be.  By  that  I  mean  choose  them  through 
some  worth-while  source.  Among  the  very  best  are  the 
splendidly  frank  reviews  contained  in  Picture  Play, 
and  other  fan  publications.  With  these  as  reference, 
one  need  never  go  blindly  to  the  theater,  whether  one 
lives  in  a  city  or  small  town. 


Read  the  splendid  articles  in  Picture  Play.  They 
are  not  written  as  space  fillers.  They  present  to  us,  in 
the  best  possible  manner,  the  things  we  want  to  know 
about  our  stars — and  the  right  things.  They  are  care- 
fully filtered,  and  only  the  best  remain.  Picture  Play 
deserves  much  credit  for  its  frank  and  straight-from- 
the-shoulder  interviews.  Most  sayings  of  the  stars 
sound  like  hokum,  and  are.  But  these,  especially  those 
by  our  admired  Mr.  Oettinger,  are  well  worth  any  one's 
time. 

So,  you  who  kick  the  movies :  Have  you  read  Picture 
Play  with  an  open  mind  ?  Have  you  seen  the  truly  fine 
pictures?  Or  are  you  laboring  under  a  warped  vision? 

Give  the  movies  a  chance !  They're  doing  their  level 
best  to  please  you,  but  you  make  it  mighty  hard.  Don't 
be  high-hat,  but  judge  them  honestly,  and  I'll  wager 
you'll  find  in  them  just  that  little  something  you're  now 
groping  for,  and  gain  the  friendship  and  understanding 
which  we  who  acknowledge  them  have  gained. 

S.  Garvey  Thomas. 

43  Summer  Street. 
Montpelier,  V ermont. 

Use  Common  Sense! 

We  all  look  back,  with  relief,  that  the  day  of  the  old, 
mechanical  piano  is  ended. 

The  movies  have  become  an  art,  because  they  can  put 
over  acting  without  the  aid  of  voice  or  any  other  sound. 

And  those  who  cannot  hear,  have  found  in  them  a 
real  solace. 

Then  why,  in  the  name  of  common  sense,  are  we  go- 
ing to  be  "educated"  to  Movietone  and  Vitaphone,  and 
all  the  other  such  annoyances? 

In  "Tenderloin,"  for  instance,  the  action  was  slowed 
up  so  the  voices  of  the  actors  could  carry  the  story. 
How  do  you  suppose  that  would  entertain  a  deaf  per- 
son? Not  even  subtitles  to  help,  in  the  slow  places. 
Looks  bad  for  those  who  are  hard  of  hearing. 

And  as  for  those  who  can  hear — I  am  sure  they 
prefer  the  trained  voices  of  stage  folk,  and  the  standard 
stage  acting,  to  this  maudlin  melange  which  gets  no- 
where. 

The  movies  have  plenty  of  room  for  improvement, 
just  as  they  are.  There's  no  reason  why  they  should 
retrograde  like  this.  Editha  L.  Watson. 

711  Seventeenth  Street, 
Denver,  Colorado. 


What  the  Fans  Think 


9 


Does  She  Like  Foreigners? 

Why  all  the  controversies  over  Valen- 
tino? He  was  my  ideal,  and,  so  far,  I 
have  found  no  one  to  take  his  place,  and 
never  shall.  He  had  something  that  I 
can  find  in  no  other  actor.  It  certainly 
was  not  his  love-making,  it  was  some- 
thing deeper. 

I  have  seen  no  letters  in  praise  of 
"White  Gold."  Why?  This  film  is  my 
idea  of  a  perfect  picture.  The  acting  is 
the  best  I  have  seen.  I  rank  "Seventh 
Heaven"  with  it,  and  "Soul  Fire,"  in  which 
Dick  Barthelmess  proved  he  could  act. 
Why  can't  we  have  more  pictures  like 
these,  instead  of  the  never-ending  series 
that  show  nothing  but  jazzy  youth,  and 
drunken  orgies? 

British  films  have  certainly  improved. 
To  me,  American  movies  seem  to  con- 
sist almost  of  the  same  type,  with  a 
few  exceptions.  America  is  crazy  over 
youth  and  good  looks.  In  a  British  pic- 
ture the  dramatic  value  is  taken  more  into 
account,  and  the  surroundings  are  more 
natural.  I  do  not  know  whether  many 
American  fans  have  seen  our  movies,  but 
"White  Gold"  and  "Seventh  Heaven"  are 
more  the  style  of  movie  we  go  in  for. 

One  other  item.  There  has  been  a 
great  number  of  brickbats  thrown  at  the 
foreigners  in  Hollywood.  I  agree  with 
one  of  your  readers  that  the  film  in- 
dustry in  America  would  look  queer,  if 
some  of  the  stars  took  it  into  their  heads 
to  go  back  to  Europe. 

And,  ■  lastly,  I  notice  that  the  "fallen 
stars"  of  Hollywood  are  beginning  to  come 
to  England.  I,  for  one,  do  not  want  them. 
If  they  are  not  good  enough  for  the 
States,  then  they  certainly  are  not  good 
enough  for  us.     J.  Ernest  Browne,  Jr. 

Cairo,  Bridge  Road,  East  Molesey,  Sur- 
rey, England. 

Harbor  Impressions. 

I  am  going  to  tell,  if  I  may,  how  some 
of  the  moving-picture  people  look  in  real 
life. 

San  Pedro  is  really  Los  Angeles  har- 
bor, and  consequently  this  port  is  used 
by  most  of  the  studios,  when  they  have 
a  harbor  scene  to  film.  For  that  reason, 
I  have  had  opportunity  to  see  a  few  of 
the  stars  "emoting,"  and  know  how  they 
appear  while  doing  it. 

Reginald  Denny  is  handsome,  boyish, 
and  seems  to  have  the  same  personality  off 
the  screen  as  on.  He  is  really  better  look- 
ing in  real  life.  I  saw  him  making  the 
yacht  scenes  for  "That's  My  Daddy,"  and 
he  was  patience  personified  with  the  lit- 
tle child  actress  used  in  that  picture. 
He  explained  the  action  to  her,  rehearsed 
it  with  her,  and  gave  her  all  the  best  cam- 
era angles. 

_  Robert  Frazer  made  a  picture  here.  He 
didn't  seem  particularly  handsome.  My 
main  impression  was  that  he  must  have  the 
vocabulary  of  a  government  mule  driver. 
The  day  was  warm,  and  the  director  in- 
sisted on  numerous  retakes.  Between  shots 
Robert  mopped  his  brow,  and  remarked 
quite  audibly  that  the  day  was  hot  as — 
well,  anyway,  he  gave  his  impressions  of 
the  movies  in  general,  the  retakes  in  par- 
ticular, and  the  air  took  on  a  sulphuric 
tinge. 

Milton  Sills — well,  I  don't  want  to  say 
much  about  him.  Mr.  Sills  no  doubt  has 
many  admirers,  and  they  might  not  care  to 
know  that  he  looks  a  great  deal  older  off 
the  screen.  And,-  does  he  like  himself? 
And  how ! 

William  Boyd  is  quite  nice  looking.  Of 
course,  most  of  the  fans  know  that  his 
hair  is  really  gray,  not  blond.  My  im- 
pression was  that  he  is  a  regular  fellow. 


Ramon  Novarro  made  scenes  from 
"Across  to  Singapore"  in  this  harbor.  He 
is  handsome,  with  an  olive  complexion — 
not  too  dark — and  that  spiritual  quality 
so  hard  to  describe.  I  know  that  phrase 
is  overworked  by  admirers  of  Ramon,  but 
it  is  the  only  way  to  describe  it.  He 
seemed  rather  shy,  and  not  at  all  the  over- 
confident type  of  actor  so  often  encoun- 
tered. He  seemed  very  considerate  of  the 
others  in  the  company,  and — this  may 
sound  trite,  but  it's  true — he  is  every  inch 
a  gentleman.  Marie  Price. 

San  Pedro,  California. 

A  Fine  Sentiment. 

"Lest  we  forget"  should  be  graven,  on 
our  calendars,  across  the  months  of  May 
and  August.  Each  one  holds  a  day  of 
memory — the  first,  a  happy  anniversary— 
the  birthday  of  Rudolph  Valentino;  the 
second,  a  sad  one — the  date  on  which  he 
left  thousands  of  hearts  to  weep  his  pass- 
ing. Will  you  remember  Rudy,  fans? 
Will  you  stop  every  once  in  a  while  to  re- 
call details  of  an  undying  past — will  you 
not  think,  sometimes,  of  a  story  we  know 
so  well — Valentino's  life  story? 

Once  Rudy  was  a  little,  dark5eyed,  im- 
petuous boy,  laughing,  with  the  sunshine  of 
his  home  in  the  heel  of  Italy.  There  was 
a  gentle  mother  who  held  him  fascinated 
with  stories  of  daring  ancestors — who 
fought,  ever,  for  honor  and  high  ideals. 
There  was  a  father,  stricken  by  death  while 
his  sons  were  yet  young — placing  a  cruci- 
fix in  the  hands  of  little  Rodolpho — tell- 
ing him  to  remember,  always,  "Mother 
and  Italy." 

Then  later — Rome  and  Paris !  Rudy  as 
a  reckless  youth — hitting  the  pleasure  trail, 
dancing  the  tango,  even  as  did  Julio!  And 
one  cold,  ice-bound  night  he  sailed  into 
New  York  harbor,  greeted  the  lights  of  a 
strange,  new  world  with  dauntless  cour- 
age, and  a  gallant  smile  for  Miss  Liberty! 
He  extended  his  love  to  America,  but 
could  he  have  understood,  this  lad  of  sev- 
enteen, that  in  return  there  would  come 
to  him  the  deep  devotion  of  our  millions? 

Struggle  for  years — hardship,  sometimes 
hunger !  Then  a  chance  in  "The  Four 
Horsemen"- — and  with  romance  and  art- 
istry, inimitable  Rudolph  Valentino  swept 
into  the  drab  humdrum  of  our  lives !  A 
sensation,  a  star — and,  finally,  a  beloved 
friend,  whose  place  in  our  hearts  will 
never  be  usurped  by  another. 

There  were  ifive  glorious  years  that  fol- 
lowed— years  of  amazing  success  for  the 
handsome,  black-haired  Rudy.  Disagree- 
ments, discouragements,  harsh  criticism, 
but  over  them  all  he  rode  triumphant ! 
Behind  the  gaudy  press  agentry  he  was 
simple  hearted  and  trustful,  sensitive  and 
cultured,  never  too  famous  to  take  the 
hand  of  an  admirer  and  say,  "I  thank 
you !" 

Can  we  not  commemorate  the  five  years 
Rudy  was  ours,  even  if  only  in  some  small 
way?  Flowers  may  be  sent  to  his  resting 
place.  Letters  can  be  written  to  friends, 
and  managers  of  the  smaller,  second-run 
theaters  are  only  too  glad  to  grant  the 
request  of  showing  one  of  his  films,  now 
and  then.  Rudy  gave  to  his  fans — his  all. 
Now  it  is  our  turn  for  a  gesture  of  grati- 
tude. Gan  we  not  find  some  way  to  say, 
"Rudy — we  thank  you"? 

Trix  MacKenzie. 

Box  443,  Atlanta,  Georgia. 

They've  Been  Kind  to  Her. 

I  read,  with  great  interest,  the  article 
in  a  recent  issue  of  Picture  Play,  "How 
Can  the  Fan  Please  the  Star?"  Writing 
to  stars,  and  receiving  photos  of  them,  is 
as  old  as  moviedom  itself.    It  is  some- 


thing that  never  fails  to  interest,  and  so 
perhaps  the  fans  would  like  to  hear  about 
my  experiences  in  writing  to  stars. 

I  sent  a  water-color  sketch  to  Norma 
Talmadge,  of  herself,  which  I  painted,  and 
in  return  came  a  beautiful  photo,  auto- 
graphed :  "For  Elinor  Garrison.  Thank 
you  for  your  sketch.  It  is  very  charm- 
ing. Sincerely,  Norma  Talmadge."  It  is 
the  third  of  three  photos  from  Miss  Tal- 
madge, autographed  to  me  personally,  with 
messages  in  answer  to  letters  of  mine. 
When  I  was  ill  and  using  crutches,  I 
wrote  to  Mary  Pickford,  and  told  her  how 
much  I  loved  "My  Best  Girl,"  which  I 
saw,  through  the  kindness  of  a  friend. 
She  replied  with  a  lovely,  large  photo,  au- 
tographed: "To  Elinor  Garrison,  with  lov- 
ing gratitude,  Mary  Pickford."  From  the 
indifferent  Barrymore  himself,  in  reply  to 
a  letter  of  mine,  I  received  a  lovely  photo, 
and  his  autograph  for  my  album,  "To 
Miss  Elinor  Garrison.  Sincerely,  John 
Barrymore."  Mary  Pickford  sent  me  an 
enlarged  snapshot  of  herself,  autographed 
to  me,  and  Richard  Dix  replied  to  my  let- 
ter with  a  personal  answer.  John  Gil- 
bert, my  supreme  favorite,  has  sent  me  at 
least  six  large  photos,  all  autographed  to 
me  personally,  and  from  Vilma  Banky 
came  a  beautiful  letter  of  gratitude  for  a 
letter  I  wrote  her.  I  have  autographed 
snapshots  of  Reginald  Denny,  'Mary  Phil- 
bin,  Olive  Borden,  and  Richard  Dix,  'be- 
sides about  fifty  other  snapshots  of  the 
stars — the  newest  one  is  a  lovely  post-card 
snap  of  Dick  Barthelmess,  in  "The  Pat- 
ent-leather Kid,"  taken  here  in  Washing- 
ton, at  Fort  Lewis.  Irene  Rich,  and  our 
own  Myrtle  Gebhart,  sent  me  beautiful 
Christmas  greetings,  and  on  Miss  Rich's 
sheet  in  my  album,  along  with  her  auto- 
graph, is  a  tiny  photo  she  pasted  on  the 
paper.  I  have  the  autographs  of  at  least 
twenty  famous  English  stars,  a  snap  of 
Betty  Balfour  of  England,  and  two  pho- 
tos and  a  note  from  Ivor  Novello ;  auto- 
graphed photos  of  Pauline  Frederick, 
Pearl  White,  Tallulah  Bankhead — remem- 
ber her  years  ago  over  here,  in  the  mov- 
ies?— and,  Betty  Blythe,  sent  to  me  from 
London.  These  are  just  a  few  of  m'y 
wonderful  photos,  and,  by  the  way,  I  have 
tinted  them  all. 

In  my  album  of  famous  autographs  I 
have  the  following:  Elinor  Fair's  signa- 
ture, Lillian  Gish's,  Myrtle  Gebhart's, 
Clifford  Holland's,  Irene  Rich's,  John  Bar- 
rymore's,  Richard  Dix's,  John  Gilbert's, 
Olive  Borden's,  the  following  from  Fran- 
cis X.  Bushman — "This,  dear  Miss  Elinor 
Garrison,  is  an  oath  of  eternal  friendship 
and  gratitude.  Your  lovely  letter  was 
greatly  enjoyed.  Sincerely,  Francis  X. 
Bushman";  Betty  Balfour's,  Charlotte 
Greenwood's,  with  a  personal  message  to 
me,  Ruth  Taylor's,  Ann  Christy's,  Gloria 
Swansons',  the  following  from  Maurice 
Costello — "To  Elinor  Garrison — May  the 
skin  of  a  gooseberry  be  big  enough  for  an 
umbrella  to  cover  up  all  your  troubles, 
is  the  sincere  wish  of  Maurice  Costello" — 
I  am  very  proud  of  that! — and  "For  Miss 
Elinor  Garrison,  the  good  wishes  of  Alice 
Joyce." 

Do  the  stars  answer  their  mail?  They 
have  been  wonderfully  kind  to  me,  and  I 
appreciate  their  kindness  with  all  my  heart. 
Their  very  kindness  has  kept  me  from  be- 
ing discouraged  during  two  years'  illness. 

Elinor  Garrison. 
1105  Olympia  Avenue,  Olympia,  Wash- 
ington. 

Eddie  Cantor's  Daughter  Speaks! 

Perhaps  the  fans  may  be  interested  in 
knowing  more  about  some  favorites  of  the 
screen,  whom  I  have  had  the  pleasure  to 
meet. 


10 


What  the  Fans  Think 


Clara  Bow. — She's  everything  that  we 
might  expect  of  her.  Very  vivacious  and 
enthusiastic.  She  explained  she  was  mak- 
ing a  study  of  the  different  makes  of  cars, 
and  every  automobile  that  passed  was  care- 
fully scrutinized  by  Clara. 

Lew  Cody. — Brown  as  a  berry,  in  light 
array  of  summer  clothes.    Full  of  humor. 

Norma  Talmadge. — Nice  clothes.  Quite 
regular.  Much  shorter  than  she  appears 
on  the  screen.  She  doesn't  speak  as  you 
might  want  her  to,  after  seeing  her  por- 
trayals; her  voice  is  somehow  different. 

Norma  Shearer. — Just  so  charming.  She 
said,  "Do  you  feel  grown  up  if  I  call  you 
'Miss  Cantor'?"      I  am  twelve. 

Larry  Gray. — Beautiful  teeth,  nice  eyes, 
altogether  handsome.  Quiet  and  gentle- 
manly. 

Jobyna  Ralston. — Very  real.  Her  descrip- 
tion of  her  morning's  adventures  in  mak- 
ing "Special  Delivery"  was  made  vivid  by 
her  facial  expressions. 

Adolphe  Menjou. — He  chews  gum  in  the 
most  adorable  manner.    Speaks  quietly. 

Billie  Dove. — Walks  and  skips,  arm  in 
arm  with  my  mother.  Raves  to  us  about 
her  loving  husband,  Irvin  Willat,  the  di- 
rector. 

William  Powell. — Fun-loving.  Dances 
with  every  girl  on  the  lot. 

Bebe  Daniels. — Helps  the  director  figure 
out  certain  sequences,  and  doesn't  merely 
do  as  she  is  told. 

Georgie  Jessel — Outside  of  Eddie  Can- 
tor. I  think  he  is  about  the  most  humor- 
ous man  on  the  stage,  or  in  the  movies. 
And  so  nice !    Oh,  sister ! 

In  closing,  I  want  to  say  that  I'm  mak- 
ing a  collection  of  Alice  White's  pictures. 
I'd  appreciate  any  pictures  of  that  cutie. 

Marjorie  Cantor. 

234  Lakeville  Road,  Great  Neck,  Long 
Island,  New  York. 

An  Interviewer  Unbosoms  His  Private 
Grievances. 

In  writing  interviews  with  stars  and 
players,  I  get  little  chance  to  express  opin- 
ions of  my  own.  Possibly  my  opinions  are 
not  needed.  But  several  things,  of  late, 
have  occurred  and  will  not  float  away  into 
nothingness.  Therefore  I  must  tell  them 
to  some  one.  And  what  better  way  could 
I  say  them  except  in  this  department? 

In  a  recent  interview  in  Picture  Play 
Gloria  Swanson  frankly  stated  that  she 
"felt  like  an  old  shoe,"  when  she  saw 
Janet  Gaynor  in  "Seventh  Heaven."  I  am 
quite  convinced  that  several  other  stars 
realized  they  were  old  shoes,  after  seeing 
Janet's  performance. 

With  "Seventh  Heaven"  still  in  mind,  I 
am  wondering  why  the  silver  cup  was  given 
to  Dolores  del  Rio  at  the  annual  Wampas 
Ball  in  Hollywood.  The  cup  is  supposed 
to  go  to  the  girl  who  has  done  the  best 
work  on  the  screen  throughout  the  previ- 
ous year.  Miss  del  Rio  is  a  pleasing  ac- 
tress. Her  delineation  of  Katusha,  in 
"Resurrection,"  was  worthy  of  note.  Good 
as  it  was,  it  came  nowhere  near  Janet 
Gaynor's  role  of  Diane,  in  "Seventh 
Heaven,"  nor  her  role  of  the  young  wife 
in  "Sunrise." 

Since  William  Fox  presented  the  Gay- 
nor-Farrell  team,  the  other  producers  are 
breaking  their  necks  in  an  effort  to  ob- 
tain "finds."  Paramount  is  creating  a  big 
furore  over  Fay  Wray  and  Gary  Cooper. 
Ruth  Taylor  and  James  Hall  are  also  to 
be  costarred.  It  will  be  interesting  to  see 
if  the  Paramount  children  turn  out  as  well 
as  Mr.  Fox's  proteges. 

This  last  year  has  also  seen  an  amaz- 
ing run  on  the  tropics.  On  the  stage, 
"Rain"  gave  us  an  unpleasant  idea  of  what 
a  damp  climate  can  do   to  individuals 


penned  up  in  a  native  hotel,  miles  from 
nowhere.  Gloria  Swanson  made  "Sadie 
Thompson"  a  glorious  success.  Not  to  be 
outdone,  Paramount  made  "The  Show- 
down," starring  George  Bancroft.  The 
chief  idea  of  the  picture  was  that  all  of 
the  characters  were  animals  under  their 
skin.    They  blamed  it  on  the  tropics,  too. 

Greta  Garbo  is  the  next  to  be  cast  into 
the  tropics.  The  picture  was  first  to  be 
called  "Heat."  It  is  to  be  set  in  Java. 
Recently,  some  monsoon  of  a  conference 
swept  the  idea  away.  But  very  soon  Greta, 
the  one  and  only,  will  be  seen  sweltering 
with  emotion,  d  la  Sadie  Thompson. 

While  still  broadcasting,  I  might  cor- 
rect one  or  two  details  that  appeared  in 
this  department  in  the  June  issue.  One 
fair  lady,  commenting  on  the  players' 
looks,  et  cetera,  said  of  Gilbert  Roland  that 
"He  has  black,  curly  hair  and  black  eyes." 

Now  I  can  tell  you  every  facial  detail 
of  such  dazzling  celebrities  as  Jetta  Gou- 
dal,  Pola  Negri,  and  the  Garbo- — but  the 
men  I  leave  to  the  lady  scribes.  However, 
to  be  informative,  and  since  I  know  Gil- 
bert very  well,  and  often  see  him,  I  wish 
you  to  know  that  his  eyes  are  a  bright 
gray.    They  photograph  black. 

Madeline  Glass,  one  of  my  fellow 
scribes,  tells  me  that  she  finds  them  very 
magnetic  and  disturbing,  on  the  screen.  I 
don't  know,  as  I  have  eyes  only  for  Greta 
Garbo  just  at  this  moment. 

William  H.  McKegg. 

Hollywood,  California. 

Concerning  a  "Coming"  Bald  Spot. 

There  have  been  many  poor  pictures,  but 
never  one  poorer  than  "The  Patent-leather 
Kid."  It  was  lacking  in  any  element  of 
appeal  or  interest.  The  years  have  not 
made  any  change  for  the  better  in  Barthel- , 
mess,  and  unless  my  eyes  deceive  me,  he 
will  soon  be  combing  his  patent-leather 
hair  over  a  bald  spot.  What  a  sadly  ridicu- 
lous figure  he  made  in  his  fighting  togs, 
and  how  impotent  his  puny  muscles  ap- 
peared. His  acting  was  weak  throughout 
the  whole  picture. 

As  if  the  poor  acting  and  appearance 
of  Barthelmess  were  not  enough,  who  must 
they  add  to  the  cast  but  that  most  in- 
capable of  actresses,  Molly  O'Day? 

Oh,  mystery  of  mysteries,  why  is  this 
characterless,  shapeless  girl  allowed  to 
grace  (?)  the  screen?  If  the  homeliest 
girls  in  America  must  be  chosen  for  ac- 
tresses, why  can't  they  choose  one  with  a 
spark  of  ability?  After  seeing  Molly 
O'Day  and  Barthelmess,  I  give  thanks  for 
the  foreign  invasion.    We  need  it  badly. 

Gene  Charteris. 

Benton,  Washington. 

This  Fan  Likes  a  Certain  Ford. 

Month  after  month  I  read  about  the  vir- 
tues of  Gilbert,  Colman,  and  Novarro. 
And,  I  say  "Yes" — to  all  this  raving— "but 
what  of  it?"    For  my  love  is  yet  another. 

Harrison  Ford  may  not  headline  in  let- 
ters several  feet  high,  but  he  has  been 
giving  us  sincere  and  varied  portrayals 
for  many  years. 

I  wonder  if  there  are  other  fans,  like 
myself,  who  are  fed  up  on  these  high- 
powered  romantic  stars,  and  prefer  the 
sincere,  real  actors  who  are  like  the  peo- 
ple we  know.  Louise. 

New  York  City. 

TheMostDivine  Woman  on  theScreen. 

It  is  about  time  some  one  defended  the 
most  divine  woman  on  the  screen — Mae 
Murray.  Miss  Murray  certainly  can  act, 
as  she  proved  to  us  in  "The  Merry 
Widow."  And  I  think  she  has  by  far  the 
loveliest  face  and  figure  on  the  screen.  I 


know  that  "Valencia"  was  sordid,  but 
could  any  actress  have  made  it  better? 
And  in  "Altars  of  Desire"  she  was  the 
most  exquisite  creature  I  ever  saw,  though 
the  picture  was  bad.  S.  E.  Paxton. 

1118  West  Street,  Topeka,  Kansas. 

Even  Interviewers  Have  Defenders. 

I  have  been  reading  this  department  for 
some  time,  and  the  unfair  criticism  of  Mr. 
Malcolm  Oettinger's  articles  has  made  me 
rise  in  his  defense.  Since  when  has  it 
become  unlawful  for  an  interviewer  to 
express  his  honest  opinion  of  the  person 
he  is  interviewing?  I  will  admit  that  Mr. 
Oettinger's  tone  is  rather  sarcastic,  but 
nevertheless  I  enjoy  every  word  that  he 
writes,  for  it  is  a  pleasure  to  read  what 
appears  to  be  the  truth. 

I  am  an  ardent  fan  and  read  all  the 
movie  magazines  and  have  become  fed  up 
on  all  the  stereotyped,  sugary  stories  that 
appear.  Mr.  Oettinger  is  at  least  original 
and  has  courage.      Virginia  Cumings. 

Washington,  D.  C. 

A  Plea  for  Tolerance. 

In  the  department  "What  the  Fans 
Think" — and  how  ! — I  have  found  some  in- 
teresting observations,  some  very  sensible 
criticism,  and  some  very  idiotic  comments. 

I  have  not,  however,  in  one  magazine 
found  so  many  things  that  I  disagree  with, 
as  in  a  recent  issue.  As  it  is  one  of  my 
hobbies  to  disagree  with  people,  and  there 
is  nobody  else  around  just  now,  I  use  this 
opportunity  to  air  my  views. 

Mr.  Livingston  considers  the  movies  as 
entertainment.  He  may  be  right.  But  why 
not  be  earnest  also  about  entertainment, 
why  not  discuss  this  actor  or  that  actress, 
why  not  compare  your  own  ideas  with  the 
ideas  of  the  "expert  critics"?  Why  not 
learn  to  choose  your  entertainment,  to  dis- 
criminate? If  Mr.  Livingston  does  not  feel 
that  "Faust,"  "The  Big  Parade,"  and  "He 
Who  Gets  Slapped,"  to  mention  a  few  of 
the  better  pictures,  are  giving  him  some- 
thing more  than  merely  a  couple  of  hours' 
pastime,  I  recommend  a  burlesque  show 
with  a  dozen  so-called  wise-cracks  as  far 
better  suited  to  him. 

Miss  Perula  just  can't  see  Mr.  Novarro, 
and  it  is  so  sad.  I  am  sure  he  would  be 
dreadfully  sorry  if  he  knew.  However,  a 
man  would  not  have  reached  the  place 
Mr.  Novarro  occupies  to-day  among  so 
many  able  competitors,  without  the  very 
rare  acting  ability  he  undoubtedly  has.  As 
to  his  personality,  his  fans  may  be  "hys- 
terically enthusiastic,"  and  then  again, 
maybe  not.  Still,  it  seems  to  me  that  Mr. 
Novarro  is  getting  far  less  publicity  than 
some  of  the  others,  which  may  account  for 
certain  of  the  fine  qualities  in  his  nature, 
that  Miss  Perula  refuses  to  believe  he  has, 
like  modesty,  natural  aloofness,  shyness, 
and  so  on. 

And  as  for  Miss  Hart,  it  is  really  too 
bad  they  allow  John  Gilbert  to  live,  let 
alone  play  in  pictures,  when  circumstances 
we  know  nothing  about,  brought  forth  a 
divorce  from  his  wife.  Chaplin,  of  course, 
must  also  be  banned.  Let's  get  together 
and  find  out  something  nasty  about  Von 
Stroheim,  Josef  von  Sternberg,  Eleanor 
Boardman,  and  Pola  Negri.  And,  of 
course,  "the  eye-rolling  Greta" — what  an 
intelligent  expression  ! — must  be  sent  back 
to  Sweden,  even  if  her  personality  is  more 
intensely  interesting  than  anybody  else's 
playing  in  pictures  to-day.  Bring  on  the 
ammunition.  Ben  Horne. 

Ossining,  New  York. 

Some  Roses  for  Buster. 

I  would  like  to  offer  my  sincerest  thanks 
to  Miss  Mildred  Anderson  for  her  letter 
about  Buster  Collier,  which  appeared  in 
a  recent  Picture  Play, 


What  the  Fans  Think 


11 


Why  don't  they  star  Buster?  He  has 
undoubted  talent — he  is  one  of  the  few 
young  actors  on  the  screen  who  is  pos- 
sessed of  real  ability — he  is  versatile,  good 
looking,  and  has  a  charming  personality; 
what  more  could  be  required?  Yet,  in 
spite  of  his  fine,  sincere,  and  natural  per- 
formances in  "The  Wanderer,"  and  sev- 
eral other  pictures,  he  is  still  made  to  play 
second  lead  in  some  films,  like  "God  Gave 
Me  Twenty  Cents."  But  whatever  he  does, 
his  performance  is  always  praised  by  crit- 
ics, and  it  always  deserves  praise. 

Miss  Anderson  is  right  in  saying  he  has 
the  spirit  of  Pan.  There  is  an  elusive 
quality,  a  spirit  of  youthfulness  about  him 
that  is  wholly  charming. 

Well,  here's  wishing  you  the  greatest 
possible  success,  Buster,  and  may  you  soon 
be  a  star  in  your  own  right ! 

Penelope  Storey. 

27  Silverdale  Road,  Eastburne,  Sussex, 
England. 

Another  Tribute  to  Valentino. 

Because  I  resent  so  strongly  what  Elinor 
Garrison  says  about  the  sentiments  ex- 
pressed about  Rudolph  Valentino,  I  ad- 
dress these  words  to  her. 

I  wonder,  my  friend,  if  you  have  ever 
heard  it  said  that  if  you  cannot  say  any- 
thing good  of  a  person,  do  not  say  any- 
thing at  all. 

We  all  make  mistakes  as  we  go  through 
life,  which  hurt  no  one  but  ourselves,  but 
it  is  mostly  through  our  desire  for  happi- 
ness that'  we  take  the  wrong  road.  It 
sometimes  happens  that  we  more  than 
atone  for  these  mistakes  by  the  kindness 
we  show  toward  others.  Valentino  was 
noted  for  this  trait,  for  he  was  generous 
to  a  fault.  Then  again  we  should  remem- 
ber that  it  was  due  to  his  honesty  and  jus- 
tice toward  the  public  that  he  was  off  the 
screen  for  so  long.  He  did  not  wish  to 
cheat  us  by  appearing  in  poor  pictures. 

Perhaps  there  are  many  who  have  given 
their  lives  in  the  interest  of  humanity,  and 
yet  are  not  honored  by  a  memorial,  but 
please  remember  that  the  influence  of  Mr. 
Valentino  was  felt  throughout  the  world 
and  he  who  has  lived  to  lighten  the  burden 
of  life  for  others,  has  not  lived  in  vain. 

If  some  of  us  wish  to  honor  his  mem- 
ory by  writing  little  poems,  et  cetera,  that 
is  no  discredit  to  us.  There  are  many  who 
would  like  to  be  able  to  do  the  same,  had 
we  the  ability,  but  as  we  cannot  we  are 
glad  that  some  one  can,  and  we  treasure 
them  accordingly. 

I,  for  one,  am  deeply  grateful  to  Rudy 
for  the  good  influence  he  had  upon  my 
life  and  I  wish  it  had  been  my  privilege 
to  have  known  him  in  reality.  I  know 
there  are  many  who  feel  just  as  I  do  and 
who  are  anxious  to  see  a  memorial  to 
him  that  would  be  a  fitting  tribute  to  his 
memory.  Brookline  Fan. 

Brookline,  Mass. 

Words  of  Praise. 

To  my  mind,  Picture  Play's  "What 
the  Fans  Think"  is  the  most  interesting 
of  any  department  in  any  motion-picture 
magazine.  As  some  one  has  said,  it  has 
so  much  to  agree  and  disagree  with. 

Why  don't  those  who  are  sick  of  the 
Valentino  poems  just  give  them  a  wide 
berth?  That's  the  best  way  to  keep  from 
being  am.  <r  ed. 

As  t  che  Novarro  controversy,  I'm 
very  glad  to  see  that  so  worthy  an  actor 
and  splendid  young  man  has  so  many 
loyal  admirers.  I'm  one  of  them,  my- 
self, and  I  sincerely  hope  that,  with  "The 
Student  Prince"  and  "The  Road  to  Ro- 
mance," he  is  entering  a  new  era  of  suc- 
cessful pictures. 

But  the  person  who  terms  Renee 
Adoree  "just  a  plump  French  peasant  girl" 
gets    my    ire    up.     Hasn't    this  person 


learned  by  now  that  the  exterior  is  the 
merest  detail  of  a  human  being?  It's  the 
soul  that  matters.  And  who  that  has  seen 
"The  Big  Parade"  or  "Mr.  Wu"  can  deny 
that  Renee  has  a  depth  of  soul  and  feel- 
ing that  many  a  more  beautiful  actress 
lacks.  To  me,  Renee  is  beautiful  because 
I  love  her. 

I  recently  saw  a  delightful  picture— 
"Seventh  Heaven" — and  it  was  nothing 
else  but  that  to  me,  compared  with  some 
of  the  would-be  pictures  I  have  seen  lately. 
I  think  Mr.  Fox  deserves  a  vote  of  thanks 
for  making  splendid  pictures  like  this  and 
"What  Price  Glory?"  Each  was  a  direc- 
torial triumph,  showing  that  the  director 
had  a  free  hand.  Some  of  the  other  pro- 
ducers would  do  well  to  notice  this,  and 
think  more  of  the  ultimate  result,  rather 
than  the  ultimate  dollar.  And  then,  as 
these  pictures  prove,  the  dollars  will  take 
care  of  themselves.  F.  W.  Murnau's 
"Sunrise"  is  another  example  of  Fox's 
method. 

Where,  I'd  'like  to  know,  has  Percy 
Marmont  gone,  and  "why?  He  is  a  real  ar- 
tist. And  why  don't  we  see  Ricardo  Cor- 
tez  oftener?  He  is  a  talented  player  and 
a  magnetic  personality — not  to  mention 
those  eyes  and  that  smile. 

Oriana  Kimler. 
1826  Arcade  Building,  St.  Louis,  Mis- 
souri. 

A  Fan's  "Finds." 

"If  these  aren't  finds,  nothing  was  ever 
lost." 

Gary  Cooper — whoever  discovered  him 
ought  to  be  called  the  Columbus  of  the 
movies.  With  a  little  more  acting  expe- 
rience, he  is  sure  to  be  one  of  the  Six 
Best  Stellars. 

Rosalind  Fuller — a  gorgeous  girl,  totally 
wasted  in  "quickies,"  like  a  jewel  in  a 
tawdry  setting.  She  is  a  miniature  Swan- 
son,  with  a  personality  as  rare  as  her 
unusual  beauty. 

Eddie  Quillan — a  comer  as  a  comedian. 
Unusual  because  original.    Watch  him. 

Arlette  Marchal — glorifying  the  French 
girl.  Loveliest  of  all  the  importations, 
and  worth  a  boatload  of  Polas  and  Jettas. 

Molly  O'Day — a  delightful  colleen  who 
rivals  Sister  Sally  O'Neil  in  pep  and 
charm.  They're  undoubtedly  the  cutest 
pair  of  sisters  on  the  screen. 

Earl  McCarthy — sunk  without  a  trace 
in  second-rate  comedies,  but  a  Jack  Mul- 
hall  in  the  making. 

Virginia  Bradford — a  cameo  girl  who 
might  be  a  big  sister  of  Peter  Pan,  so 
much  does  she  resemble  the  bewitching 
Betty  Bronson. 

Frank  Marion — another  Barthelmess. 
Sincere,  and  bound  to  make  the  grade. 

Walter  Pidgeon — hope  he  gets  the 
breaks,  for  he  certainly  deserves  them. 
Talent,  personality,  and  a  smile  you  can't 
forget. 

Reata  Hoyt — a  young  Lillian  Gish,  but 
with  more  poise  and  appeal. 

Joyce  Compton — the  screen's  prettiest 
blonde.  If  only  she  had  been  cast  as 
Lorelei  Lee. 

Just  a  few  others  who  ought  to  see  their 
names  in  Mazdas  some  day — Larry  Kent, 
Sally  Blane,  Martha  Sleeper,  Arthur  Ran- 
kin, Kenneth  Gibson,  Mona  Palma,  Bar- 
bara Kent,  Arthur  Lake,  Donald  Reed, 
Danny  O'Shea,  Eddie  Phillips,  and  those 
two  snappy  collegians,  John  Westwood  and 
John  Stambaugh. 

Good  luck  to  them  all,  and  to  Picture 
Play,  best  of  all  the  fan  magazines ! 

Kathleen  Greer. 

2660  North  Sixteenth  Street,  Philadel- 
phia, Pennsylvania. 

He  Likes  the  Foreigners. 

Many  fans  assume  a  ridiculous  attitude 
toward  the  players  imported  from  Europe. 


I  think  most  of  them  are  excellent.  Two 
of  them  stand  head  and  shoulders  above 
any  of  our  native  players — Greta  Garbo 
and  Emil  Jannings.  They're  different ! 
Between  them  and  other  players  there 
is  no  comparison. 

It  seems  to  me,  too,  that  all  of  the  for- 
eign directors  have  proved  their  worth. 
Erich  Von  Stroheim  is,  of  course,  the 
greatest  of  all  directors,  past  and  pres- 
ent. Victor  Seastrom  never  fails  to  click, 
nor  does  Ernst  Lubitsch. 

Aside  from  Greta  Garbo,  Lillian  Gish 
is  my  favorite  female  star.  "Annie 
Laurie"  was  terrible,  but  "The  Scarlet 
Letter"  and  "La  Boheme"  were  wonderful, 
and  "The  Wind"  and  "The  Enemy"  prom- 
ise much. 

Theodore  Dreiser  is  America's  great- 
est author,  and  if  Paramount  changes  one 
iota  of  "An  American  Tragedy,"  it  will 
deserve  all  the  ridicule  that  is  poured 
down  upon  it.  They  have  at  present  a 
young  man  suited  in  every  way  to  the 
role  of  Clyde  Griffiths.  That  young  man 
is  Donald  Keith.     Harold  F.  Kinney. 

New  York,  N.  Y. 

Hurray  for  Mr.  Oettinger  ! 

A  few  words  of  praise  'for  Malcolm  H. 
Oettinger,  for  his  frank  and  subtle  inter- 
view with  Pola  Negri,  in  a  recent  issue. 

I  was  not  only  surprised,  but  pleased, 
that  he  dared  risk  her  anger.  So  seldom 
is  the  truth  told  in  interviews — and  I  sup- 
pose there  are  usually  good  reasons,  too ! 
But  this  time  I  suspect  we  got  the  truth 
— and  it  was  a  relief  not  to  read  the  usual 
nonsense.  Instead,  the  grand  and  mysteri- 
ous Pola  failed  to  rake  in  another  victim ! 
The  result  was  that  he  was  able  to  collect 
his  wits  sufficiently  to  write  us  something 
very  clever  and  revealing  about  Pola  Negri. 

Since  her  recent  marriage  to  a  prince, 
Pola  has  lost  many  admirers  and  has  not 
gained  what  she  thought  she  would.  As 
an  individual  I  detest  Pola.  As  an  ac- 
tress I  admire  her.  My  admiration  for 
her  ability  to  act  has  somewhat  cooled  since 
her  public  weeping  over  Valentino,  for  it 
was  quite  apparent  that  her  sorrow  was  not 
sincere. 

There  isn't  a  reporter  who  can  write  like 
Malcolm  H.  Oettinger,  and  since  we  al- 
ways throw  so  many  bouquets  to  our  fa- 
vorite stars,  why  not  send  a  few  along  to 
our  favorite  writers? 

There  is  somebody  I  wish  he  would  in- 
terview some  time — Mary  Pickford  !  It 
seems  as  though  nothing  smacking  of  sin- 
cerity has  been  written  about  her  for  so 
long.  Of  course,  we  hear  about  her  busi- 
ness ability,  et  cetera,  but  I  mean  what  is 
she  really  like  in  her  attitude  toward  peo- 
ple. Is  she  a  snob,  as  has  been  suggested, 
or  is  her  reserve  merely  a  natural  longing 
for  solitude?  Believe  me,  if  Mr.  Oettin- 
ger interviews  her,  we  will  get  the  goods 
straight  from  the  shoulder. 

Frances  Smith. 

1853  West  Forty-second  Street, 
Los  Angeles,  California. 

The  Stars  As  I  Know  Them. 

M.  G.  L.'s  letter  has  inspired  me  to  write 
of  the  stars  as  I  know  them.  I  have  had 
the  good  fortune  to  meet  some  of  our 
famous  stars,  among  them  Lillian  and 
Dorothy  Gish,  Pauline  Frederick,  Irene 
Castle,  Kenneth  Harlan,  Marie  Prevost, 
Mary  Thurman,  Florence  Billings,  and  Ty- 
rone Power.  The  Gish  sisters  are  as  de- 
voted to  each  other  in  real  life  as  they 
appear  to  be  when  playing  together  on  the 
screen.  I  was  with  them  backstage  when 
they  made  their  public  appearance  in  "Or- 
phans of  the  Storm,"  with  D.  W.  Griffith. 
Lillian  is  a  wonderful  conversationalist, 
Dorothy  a  little  shy  when  speaking  in  pub- 
lic.   Irene  Castle  is  another  star  I  had  the 


12 


What  the  Fans  Think 


pleasure  of  knowing;  at  the  time  she  was 
Mrs.  Robert  Tremaine.  She  has  a  won- 
derful personality,  very  frank,  and  hesi- 
tated not  at  all  to  speak  of  the  days  when 
she  worked  with  Vernon  Castle  for  twen- 
ty-five dollars  a  week. 

Of  all  the  stars  I  know  personally,  I 
wish  to  say  that  Pauline  Frederick  is  one 
I  will  never  forget.  I  can  never  thank  her 
enough  for  the  wonderful  advice  she  gave 
me  when  I  was  studying  dramatic  art.  My 
interview  with  Miss  Frederick  was  in  her 
dressing  room.  There  were  no  formal- 
ities. Fans,  when  Pauline  Frederick 
shakes  your  hand  and  tells  you  she  is  glad 
to  make  your  acquaintance,  she  means  it, 
for  she  is  real.  I  have  pictures  of  all 
these  stars  I  have  mentioned,  besides  a 
personal  letter  from  Lillian  Gish. 

The  other  movie  people  I  have  men- 
tioned I  met  in  a  business  way.  In  our 
town  there  was  a  picture  studio,  and  these 
stars  came  from  Hollywood  to  take  part 
in  the  picture.  A  number  of  my  friends 
and  myself  were  called  upon  to  play  de- 
butants, and  in  this  way  not  only  met  the 
stars  'but  were  able  to  see  them  act  before 
the  camera.  Now  let  me  say  for  the  benefit 
of  Edwin  Nobs,  whose  letter  was  indeed 
interesting,  that  I  didn't  just  fall  into  the 
part,  either ;  I  had  to  make  the  casting 
director  really  believe  I  was  sincere  and 
could  act,  and  .that  took  one  good  hour  of 
talking  myself  into  a  job.  Florence  Bill- 
ings was  wonderful  to  us  all,  so  generous 
with  her  suggestions.  Kenneth  Harlan  had 
the  lead,  and  Marie  Prevost  came  to  visit 
him,  as  they  were  very  much  in  love  at  the 
time.  Mary  Thurman  also  was  in  the  pic- 
ture, and  she  had  'bright-red  hair — not 
very  pretty.  Tyrone  Power  did  not  mix 
much  with  the  rest  of  the  cast.  It  seems 
that  the  stars  that  have  reached  the  high- 
est pinnacle  are  the  easiest  to  approach  and 
always  willing  to  lend  a  helping  hand.  I 
am  so  glad  that  some  of  the  fans  are  rec- 
ognizing the  ability  of  Richard  Arlen,  who 
is  now  climbing  the  ladder  of  success. 
Both  Richard  Arlen  and  Richard  Dix  hail 
from  my  home  town,  St.  Paul,  Minnesota, 
and  are  known  to  my  friends  out  there  as 
Richard  van  Mattimore  and  Pete  Brimmer. 

A  Struggling  Artist. 

In  the  Name  of  Peace. 

May  I  thrust  my  sword  between  the 
rapiers  of  the  would-be  fighters  and  say  a 
few  words?  I  think  this  squabbling  over 
Valentino  is  unworthy  of  loyal  and  inter- 
ested American  fans.  Valentino  was  a 
foreigner,  but  he  certainly  was  a  fine  one, 
and  a  man  and  gentleman  that  any  coun- 
try could  be  proud  of — and'  he  could  act. 

Now  there  is  nothing  but  a  beautiful 
memory  of  what  was — and  I  hate  to  have 
it  all  mussed  up  with  criticisms  and  un- 
worthy sayings.  Let  Rudolph  lie  in  peace, 
and  you  would-be  disturbers,  who  cannot 
stand  for  a  few  enraptured  fans  saying 
their  say  in  print,  put  blinders  over  your 
eyes  and  wadding  in  your  ears  and  let 
them  have  their  say.  Rudolph  will  never 
be  forgotten,  and  no  matter  how  much 
abuse  is  heaped  upon  his  worshipers,  his 
name  will  be  a  password  to  a  chosen  few. 
Come,  fans!  Don't  be  mean  and  jealous! 
This  column  is  open  to  every  one,  and  be- 
cause a_  few  wish  to  use  it  as  a  means  of 
expressing  their  last  tribute  to  one  gone 
forever,  don't  take  that  as  a  signal  to 
hurl  brickbats.  It  is  like  having  your  best 
friend  laugh  and  jeer  at  you  as  you  ten- 
derly lay  flowers  on  your  mother's  grave. 
Forget  it,  fans,  and  let  Rudolph  rest  and 
his  peace  he  undisturbed. 

If  some  fans  aren't  ugly  minded  I  miss 
my  guess.  I  wonder  if  I  am  far  wrong 
in  saying  this  of  a  fan  who  recently  wrote 
harshly  of  a  certain  star,  because  he  was 
divorced    and    apparently   neglecting  his 


child.  Does  she  search  the  newspaper,  run- 
ning her  finger  carefully  over  each  line, 
smiling  here,  sneering  there — over  the  lat- 
est divorce  scandal  in  her  home  town? 
She  certainly  must  pay  a  great  deal  of  at- 
tention to  such  things,  when  she  can  quote 
quite  glibly  what  certainly  must  never  have 
appeared  anywhere  but  in  a  newspaper.  If 
she  doesn't  like  the  actors'  lives,  or  what 
they  do,  my  advice  is  to  forget  Hollywood 
and  take  up  Red  Cross  work.  John  Gil- 
bert seems  to  be  getting  along  quite  well, 
and  I  know  for  certain  that  he  is  neglect- 
ing no  one  and  that  he  and  Leatrice  Joy 
are  good  friends.  Why  fans  have  to  pick 
on  a  subject  like  that  for  dispute  in  an 
open  column  is  more  than  I  can  see.  I 
wish  some  one  would  pass  a  law  that  would 
compel  these  persons  to  keep  their  odious 
mouths  tightly  shut. 

I  certainly  agree  with  Miss  Dillon  that 
Warner  Brothers  are  not  doing  their  bit 
right  now.  Even  their  smaller  pictures 
are  monotonous  and  dull,  and  if  one  com- 
pany can  produce  bright,  lively  pictures,  I 
don't  see  why  a  company  that  has  been 
good  in  the  past  can't  wake  up  and  buy 
a  few  really  good  things  before  the  other 
producers  wipe  them  up.  Warners  have 
good  players,  and  they  could  be  the  leading 
producers  if  they  would  wake  up  to  the  fact. 
-  Now,  after  .saying  all  I  Can,  I  think  I 
will  close  with  just  a  word  for  a  few  of 
the  younger  -players.  I  think  that  Jose- 
phine Dunn  is  a  little  beauty,  and  that  in 
a  few  years  she  will  be  doing  big  bits. 
I'm  glad  that  some  one  has  noticed  Eddie 
Philips  at  last,  ,for  ever  since  "The  Love 
Light"  I  have  wanted  that  boy  to  succeed, 
and  if  I'm  not  mistaken,  some  one  will 
surely  do  right  by  him  now.  Barry  Nor- 
ton is  another  who  is  fine.  Charles  Far- 
rell,  of  course,  needs  no  boosting,  for  he's 
sure  of  success,  but  just  for  luck  I  can't 
help  hoping  he'll  come  up  big.  And  last 
but  not  least,  Richard  Dix,  whom  every 
one  seems  to  be  forgetting,  seems  to  be 
coming  .on  better  than  ever.  "Shanghai 
Bound"  was  fine,  and  if  I  had  my  way 
Richard  would  romp  through  several  films 
in  the  lieutenant's  uniform  he  displays  in 
the  last  scene;  Just  a  Fan. 

137  Wilson  Street,  Hamilton, 
Ontario,  Canda. 

He  Appreciates  Conrad  Veidt. 

This  is  my  first  attempt  to  write  a  letter 
for  "What  the  Fans  Think,"  and  it  is 
caused  by  the  wonderful  acting  of  Conrad 
Veidt  in  his  first  picture  for  Universal. 

Some  have  knocked  foreign  players,  and 
some  of  us  have  praised  and  defended 
them ;  I  took  my  position  with  -those  of 
the  latter,  but  didn't  voice  it.  Mr.  Veidt 
comes  from.  Germany  and,  like  Ernil  Jan- 
nings,  is  not  an  up-to-the-minute  sheik, 
nor  a  matinee  idol,  but  truly  an  immortal 
actor.  His  great  acting  ability  was  shown 
in  his  first  picture,  "A  Man's  Past."  The 
story  does  not  amount  to  a  great  deal,  but 
Mr.  Veidt  makes  it  interesting  and  walks 
away  with  the  acting  honors. 

John  Barrymore  has  been  said  to  be  a 
great  actor,  while  others  say  that  John 
Gilbert  has  the  edge  on  him,  but  I  am 
sure  that  all  fans  who  are  discriminating 
will  say  that  Emil  Jannings  and  Mr.  Veidt 
are  artists  of  the  rarest  type. 

Erich  F.  O'Brock. 

4221  Woodbridge  Avenue, 
Cleveland,  Ohio. 

Those  Hideous  Talking  Pictures ! 

Oh,  please,  picture-lovers,  join  in  howl- 
ing off  the  screen  those  hideous  talking 
pictures.  Tell  the  producers  that  we  are 
not  all  imbeciles  and  that,  if  we  want 
talking  actors,  we  know  where  to  go  for 
them,  and  where  we  can  get  Ithem  a  lot 
better  than  any  they  can  give  to  us.  Tell 
them  that  we  don't  go  to  the  silent  drama 


simply  because  we  cannot  afford  any  other 
kind. 

Tell  them  that  the  reason  why  pictures 
have  attained  a  popularity  never  achieved 
by  the  speaking  stage  is  not  because  they 
are  cheap,  but  because  we  ourselves  act 
the  parts  in  the  films  we  watch,  supply- 
ing almost  all  the  dialogue  and  the  em- 
phasis and  everything  which  makes  them 
appeal  to  us,  and  that  once  the  actor  does 
this  for  us,  we  cease  to  live  the  films  and 
become  merely  spectators. 

Tell  them  that  pictures  give  us  dreams, 
and  that  we  can  only  dream  to  music  and 
our  own  thoughts,  but  not  when  some  ac- 
tor is  bothering  us  with  talking. 

Tell  them  that  if  they  were  as  feverish 
to  give  us  something  good  as  they  are  to 
give  us  something  new,  they  would  have 
something  more  to  be  proud  of. 

If  you  don't  do  this,  you  will  lose  pic- 
tures as  you  know  them  now.  Please, 
picture-lovers,  help  to  save  our  precious 
silent  drama.  It  is  not  selfish  to  do  so,  for 
there  is  always  the  speaking  stage  for 
those  who  want  talking  actors. 

Talking  films  are  the  enemy  of  both 
stage  and  screen,  a  horrid  mongrel,  dis- 
loyal and  inferior  to  both  the  arts  they 
attempt  to  combine. 

Picture-lovers,  save  our  pictures — save 
our  dreams  !  E.  W. 

London,  England. 

So  the  Movies  Are  Going  to  the  Dogs? 

Letters  like  the  one  written  by  Trix 
MacKenzie  make  me  boil  over  in  exactly 
the  same  way  that  I  boil  over  when  I 
hear  some  old  fogy  cry  for  "the  good  old 
days." 

No  good  movies  since  "The  Four  Horse- 
men"? Perhaps  I  should  not  be  too  hasty 
in  judging  Miss  MacKenzie.  She  may  be 
one  of  those  poor  benighted  beings  like 
myself,  compelled  to  live  in  a  town  where 
movies  are  slashed  beyond  recognition,  and 
accompanied  by  terrible  music.  I  have 
to  depend  upon  my  frequent  visits  to  New 
York  to  see  a  real  movie. 

But  it  seems  to  me  that  any  one  who  can 
sit  through  pictures  like  "The  Big  Pa- 
rade," "Beau  Geste,"  and  "Seventh  Heaven" 
and  then  claim  that  the  movies  are  going 
to  the  dogs,  is  either  incapable  of  telling 
a  good  picture  from  a  poor  one,  or  is  too 
stubborn  to  admit  that  it  is  good. 

I  hope  to  see  all  three  of  the  above- 
mentioned  pictures  for  the  fourth  time. 
I  go  for  the  sheer  joy  of  seeing  acting 
so  real  that  it  isn't  acting  at  all ;  pho- 
tography so  beautiful  that  it  makes  one 
breathless  with  the  wonder  of  it;  and 
direction  that  is  truly  inspired. 

And  four  years  ago  I  was  bored  to  tears  by 
the  mere  mention  of  movies  !  Does  that 
sound  as  though  they  were  deteriorating? 
They  can  never  deteriorate  while  we  have 
sterling  actors  like  Ronald  Colman,  John 
Gilbert,  Clive  Brook  and  those  newly  dis- 
covered jewels,  Janet  Gaynor  and  Charles 
Farrell ;  or  while  we  have  directors  like 
King  Vidor,  Herbert  Brenon  and  Henry 
King;  and  producers  who  know  how  to 
choose  screen  vehicles  not  only  wisely  but 
well. 

Wake  up,  Trix  MacKenzie — you're  back 
in  grandma's  time  ! 

Eugenie  .van  Houten. 
28  McLaren   Street,   Red   Bank,  New 
Jersey. 

Not  Alone  in  Her  Admiration. 

George  K.  Arthur's  acting  has  always 
afforded  me  a  real  kick.  I  think  he  is  a 
fine  actor  and  recently  discovered  I  am 
not  the  only  one  who  thinks  so.  I  have 
attended  performances  where  noted  stars 
were  applauded  at  personal  appearances — 
have  also  heard  fans  applaud  films  at  ex- 
citing and  thrilling  scenes — but  I  was  cer- 
Continued  on  page  115 


Advertising  Section 


13 


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Don't  look  for  highlights  in  this  picture  .  .  .  EVERY 
scene  could  be  THE  BIG  SCENE  in  any  ordinary  produc- 
tion. The  cast  alone  is  worth  the  ticket-price:  DOROTHY 
MACKAILL,  RALPH  FORBES,  ANNAQ.  NILSSON, 
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A  "Jirat  national  Picture 

ij  Takes  the.  Guesswork  Out  of  "Going  to  the  Movies" 


15 


PICTURE  PLAY,  September,  1928 


VOLUME  XXIX 
NUMBER  1 


Photo  by  Euth  Harriet  Louise 


Great  injustice  has  been  done  William  Haines  by  those  fans  who  have  thought  him  only  a  wise-cracking- 
comedian,  and  he  intends  to  show  them  the  error  of  their  ways  by  revealing  his  more  serious  side,  in  "Excess 
Baggage."  Those  who  have  believed  in  him  all  along  will  be  elated  to  know  that  Billy  finds  a  splendid  oppor- 
tunity in  the  role  of  a  vaudeville  performer  whose  wife,  played  by  Josephine  Dunn,  deserts  his  act  to  go  in 

the  movies,  but  returns  at  a  critical  moment. 


16 


The  atiwists 
have  strenu- 
ously protested 
"The  Godless 
Girl," 
because  it 
discredits 
their  belief. 


You 


THE  title  of  this  article  sounds  like  the  admonition 
of  a  nurse  to  an  unruly  child.  Possibly  it  is — I 
don't  know.  Anyway,  it  has  to  do  with  the  movies. 
Hollywood's  famous  stripling  industry  is  always  get- 
ting into  trouble  on  one  score  or  another.  But  perhaps 
the  greatest  of  its  griefs  is  the  "don'ts"  leveled  at  the 
character  of  its  entertainment.  Broadly  considered, 
these  come  under  the  heading  of  censorship. 

Picture  censorship 
to-day  is  a  vastly 
different  thing  from 
what  it  used  to  be. 
For  one  thing,  it  is 
much  more  compli- 
cated. 

Once  upon  a  time, 
a  producer  knew 
that  when  he  sent 
out  a  film  it  would 
be  gently  but  firmly 
stepped  on,  by  a  few 
censorship  officials, 
if  it  happened  to 
contain  any  scenes — 
well,  let  us  say,  a 
bit  extreme.  But 
now,  he  simply  can't 
tell  who's  going  to 
get  mad  about  a  pro- 
duction. 

Not  long  ago  Italy 
was  suddenly  "up 
and  at  'era,"  so  to 
speak.  They  put  a 
ban  on  the  showing 
of  "The  Temptress." 
Now  what  on  earth 
could  Italy  find 
wrong  with  "The  Temptress"?  This  couldn't  seem  to 
be  solved,  for  the  picture  was  laid  partly  in  France, 
and  partly  in  South  America. 

It  developed  that  it  wasn't  Italy  that  objected,  but  the 
Argentine  Republic.  The  political  leaders  of  that  coun- 
try did  not  like  the  way  in  which  the  lives  of  their  people 
were  portrayed  in  "The  Temptress."  They  considered 
it  distasteful.  So,  the  Argentine  ambassador  to  Italy, 
with  which  nation  the  South  American  country  enjovs 


Much  of  the  original  power  of  "Rain"  was  lost  in  the  screen  "Sadie 
Thompson,"  by  the  utilization  of  a  felicitous  ending. 


A  few  years  ago  the  producer 
but  to-day  he  is  faced  with  in 

By  Edwin 


very  friendly  trade  and  diplomatic 
relations,  went  to  see  the  Italian 
government  about  it.  The  film 
was  put  on  the  shelf,  because  of 
the  sympathy  of  Italy  for  Argen- 
tina ! 

The  motion-picture  producer 
wants,  if  possible,  to  please  the 
whole  world,  nowadays.  He  can- 
not legitimately  offend  the  inhabi- 
tants of  any  particular  nation.  It 
means  a  loss  in  dollars  and  cents 
if  he  does.  That  is  the  problem 
that  he  is  up  against,  or  feels  he 
is,  in  any  event. 
A  few  years  ago,  he  didn't  care  so  much  about  this. 
But  the  foreign  profits  on  pictures  have  grown  amaz- 
ingly large  lately,  especially  in  Great  Britain,  Germany, 
and  France.  Some  pictures,  in  fact,  derive  a  forty  to 
fifty  per  cent  income  from  European  distribution.  No- 
table examples  are  the  films  made  by  Emil  Jannings  and 
Pola  Negri,  though  there  are  some  American  stars,  like 
Douglas  Fairbanks,  Harold  Lloyd  and  Tom  Mix,  who 

appeal  to  a  world 
public.  In  addition 
to  Europe,  there  is  a 
very  big  film  trade 
in  Latin-American 
countries. 

Maybe  you  saw 
Norma  Talmadge's 
"The  Dove."  This 
film  involved  very 
peculiar  complexi- 
ties, particularly  for 
those  audiences  who 
knew  the  stage  play, 
from  which  it  was 
adapted. 

In  its  original  ver- 
sion "The  Dove" 
was  laid  just  below 
the  Mexican  border. 
The  characters  were 
much  the  same  as  in 
the  screen  version. 
There  was  the  Amer- 
ican gambler,  the 
ruthless  caballero, 
and  the  heroine,  Do- 
lores. The  caballero 
provided  the  men- 
ace. 

However,  Mexicans  cannot  be  villains,  according  to 
the  accepted  tradition  of  our  neighboring  republic.  If 
they  are  so  depicted,  it  is  an  insult  to  the  people,  com- 
parable to  murder,  arson,  and  like  crimes  in  this  coun- 
try. Americans  did  show  them  as  villains  at  one  time, 
but  more  recently,  diplomatic  steps  have  been  taken  to 
prevent  this.  A  Mexican  must  be  nice  at  all  costs.  If 
villains  are  to  have  any  part  in  a  picture,  they  must  be 
from  some  other  country. 


17 


Can't  Do  That! 

had  only  to  consider  the  reaction  of  a  few  censorship  boards 
numerable  problems  in  making  his  film  profitably  acceptable. 

Schallert 


For  that  reason,  the  setting  of  "The  Dove"  was  changed. 
Instead  of  being  laid  south  of  the  border  it  was  presented  in  a 
locale  called  "Costa  Roja" — meaning  Red  Coast — vaguely  situ- 
ated on  the  Mediterranean. 

For  any  one  who  had  seen  the  stage  play,  the  effect  was 
ridiculous.    And  even  those  who  had  not  viewed  it  must  have 
found  rather  incongruous  the  typical  Western  cacti  flourishing 
on  a  desert,  presumably  in  southern  Europe,  not  to  speak  of 
costumes,  including  sashes,  neckerchiefs,  and  som- 
breros, generally  associated  with  the  Villalike  bandit. 
The  girl,  Dolores,  worked  in  a  dance  hall  operated  by 
an  American,  who  was  one  of  the  story's  villains. 
The  American  youth,  who  was  the  hero,  worked  in  a 
gambling  hall  that  looked  anything  but  European. 

It  is  always  safe  to  make  the  villains  Americans. 
In  fact,  any  character  the  least  bit  shady,  it  would 
seem,  has  to  be  carefully  identified  as  of  the  United 
States,  or  of  some  wholly  indeterminate  region.  That 
is,  if  the  film  production  is  to  be  popular  abroad. 
Americans  are  apparently  good-natured,  and  don't  fuss, 
about  being  portrayed  in  an  unfavorable  light,  in  the 
movies.    However,  I  have 
recently  heard  that  some 
objections  have  come  from 
American  business  men  in 
foreign    countries.  The 
reason   is  that  they  are 
afraid  these  countries,  in 
which  they  are  stationed 
will  soon  begin  to  regard 
us  as  a  nation  of  black- 
jackers  and  marauders. 

There  are  a  few  in- 
stances where  American 
villainy  has  even  become 
sectional.  I  recall  that  in 
"Uncle  Tom's  Cabin"  it 
was  very  carefully  stated 
that  Simon  Legree  was  a 
Northerner. 

Obviously  the  intention, 
in  this  case,  was  to  smooth 
the  way  for  the  film's  re- 
ception in  the  South.  It 
was  nothing  but  a  conven- 
tional sop,  to  a  portion  of 
the  public. 

A  short  time  ago,  pic- 
tures of  the  racial  type 
came  in  for  no  small  share 
of  difficulties.   The  one  to 
suffer  most  was,  perhaps, 
"The  Callahans  and  the 
Murphys."    Very  drastic 
action  was  taken  against  it 
by  various  Irish  organiza- 
tions. They  contended  that 
it  disclosed  the  American- 
Irish  people  in  a  most  unfavorable  light,  because  of  the 
vulgarity  of  certain  episodes.    So,  these  were  duly  elim- 
inated.   In  some  places,  the  picture  encountered  so  much 
trouble  that  it  was  withdrawn  altogether. 


The  picture  version  of 
"Chicago"  failed  utterly 
in  its  attempt  to  make 
RoxiE'S  husband  a  "sym- 
pathetic" character. 


In  "Uncle  Tom's  Cabin,"  Simon  Legree  was  pointedly  referred 
to  as  a  "Northerner,"  in  order  to  pacify  the  South. 


No  end  of  objections 
were,  of  course,  raised  to 
certain  portions  of  "The 
King  of  Kings"  by  the 
Jewish  public.  Quite  a 
few  changes  were  made, 
from  the  original  biblical 
version,  to  conform  with 
these  demands,  before  the 
picture  was  presented,  and 
still  more  were  required 
after  it  was  shown. 

For  a  time,  too,  it  ap- 
peared as  if  this  picture 
would  not  be  exhibited  in 
England,  but  for  a  differ- 
ent reason.  The  objection 
there  was  to  using  any 
semblance  of  The  Christ 
on  the  screen.  Indeed, 
England  has  a  law  against 
this,  but  the  showing  fi- 
nally went  ahead,  because 
the  law  did  not  cover  any 
theaters  but  those  limited 
to  pictures.  The  picture 
could  be  shown  in  music 
halls.    Imagine  it ! 

Strange  is  the  opposi- 
tion which  "The  Godless 
Girl"  has  evoked.  This 
picture  has  been  protested 
by  the  American  Associa- 
tion for  the  Advancement 
of  Atheism,  Inc.    It  was 
contended    that    no  film 
should  contain  propaganda  to  discredit  atheism.  How- 
ever, this  did  not  meet  with  very  hearty  encouragement 
from  the  Hays  office,  to  whose  attention  most  such  mat- 
ters are  brought.    DeMille  finished  the  film  as  a  chal- 


18 


You  Can't  Do  That'! 


Drastic  action  was  taken  against  "The  Callahans  and  the  Murphys,"  by  various  Irish  organizations. 


lenge  to  disbelief  in  a  Supreme  Being,  depicting  a  change 
in  the  character  of  the  heroine,  under  the  influence  of 
tragedy  and  adversity,  brought  about  through  her  at- 
tacks on  the  faiths  of  others. 

So  involved  have  the  demands  of  various  organiza- 
tions, countries  and  peoples  become,  that  the  producers 
are  often  at  their  wits'  ends  regarding  what  they  can 
make  safely.  One  director  told  me,  not  long  ago,  that 
very  soon,  every  place,  person,  or  thing  in  a  picture 
would  have  to  be  "anonymous."  Another  mentioned 
facetiously  that  the  best  thing  the  movies  could  do  to 
get  around  the  villain  complex, 
would,  be  to  set  up  and  dedicate 
an  island,  out  in  the  Pacific,  to  the 
propagation  of  the  necessary  "bad 
men"  for  the  screen. 

A  great  many  pitfalls  have  been 
covered  by  rules  laid  down  among 
the  producers  themselves,  as  to 
what  may  or  may  not 
be  filmed.  There  are 
eleven  rules  covering 
"what  shall  not  be 
shown  on  the  screen." 
These  naturally  include 
scenes  of  a  licentious  or 
suggestive  nature,  pro- 
fanity— either  by  title 
or  lip — and  a  willful  of- 
fense to  any  nation, 
race,  or  creed.  Special 
care  has  to  be  used  with 
twenty-six  other  sub- 
jects, including  the  use 
of  the  flag,  various 
crimes  like  theft,  ar- 
son, smuggling,  brand- 
ings— whether  of  ani- 
mals or  people — though 
to  be  sure,  the  former 
is  not  strictly  a  crime. 

Hangings  and  elec- 
trocutions also  have  to 


be  carefully  treated,  and  those  scenes  which  show  law 
enforcement,  or  law  enforcement  officers,  in  action. 
The  word  "booze"  cannot  be  generally  used  in  sub- 
titles. In  "The  Noose"  one  title,  "I'm  off  the  booze 
trail,"  was  reduced  to  "I'm  off  the  trail."  An  interest- 
ing rule  reads  as  follows :  "Excessive  kissing  is  forbid- 
den, particularly  when  one  character  or  the  other  is  a 
'heavy.'  "  Only  heroes  and  heroines  can  therefore 
give  an  enthusiastic  demonstration  of  their  affection. 
Which,  perhaps,  is  what  is  logically  expected. 

"Chicago,"  to  my  mind,  was  a  curious  instance  of 
how  a  picture  can  go  all  wrong  morally,  seemingly 
through  having  had  to  obey  certain  censorship  restric- 
tions, or  more  probably  through  a  desire  to  cater  to 
what  is  deemed  the  popular  fancy. 

In  this  film,  you  may  remember,  the  husband  stole 
money  to  save  his  wife  from  prison.    The  excuse  was 

,     :  given    that    it  was 

In  order  to  ap- 
pease the  Mexi- 
cans, the  locale 
of  "The  Dove" 
was  changed 
Jrom  "below  the 
Rio  Grande,"  to 
mythical  "Costa 
Roja. " 


tainted  money, 
which  he  took  from 
the  attorney  who 
was  defending  her, 
and  who  charged  an 
enormous  fee.  I  sup- 
pose many  people  in 
law  suits  feel,  when 
they  get  the  lawyer's 
bill,  that  such  a  pro- 
ceeding was  justi- 
fied. Still,  theft,  no 
matter  what  its 
form,  is  not  consid- 
ered, according  to 
strict  principle,  to  be 
justified.  It  hardly 
was  in  "Chicago," 
especially  when  the 
husband,  instead  of 
returning  the  surplus 
cash,  after  he  had 
paid  for  the  trial, 
dumped  it  into  the 
Continued  on  page  106 


19 


Oyez!  Oyez! 

Hear  ye!  Hear  ye!  The  head  of 
the  House  of  Barrymore  passes 
judgment  on  stage  and  screen. 

By  Helen  Louise  Walker 

JOHN  BARRYMORE  is  a  funny 
man,  a  really  amusing  person. 
This  is  surprising,  somehow,  he- 
cause  one  does  not  expect  a  Barry- 
more  to  be  funny.  He  does  not  look 
in  the  least  funny.  He  looks,  on  the 
contrary,  very  tall,  handsome,  and  ro- 
mantic— just  as  he  looks  on  the  screen. 
His  eyes  burn  and  flash  occasionally, 
just  as  Hamlet's  eyes  should  do. 

But  he  is  funny,  nevertheless.  His 
outlook,  his  views  on  life,  and  the  pic- 
ture business,  are  amusing.  He  has 
an  amusing  sort  of  mind. 

For  instance,  he  thinks  it  is  very 
impertinent  of  people  who  make  mo- 
tion pictures,  to  try  to  "instruct"  their 
audiences,  or  to  cram  "art"  down  their 
throats.  "Whatever  on  earth  do  thev 
mean  by  'art'  ?"  he  adds.  "Personally, 
I  haven't  the  least  idea !" 

One  anticipates  that  a  Barrymore 
would  be  on  intimate  terms  with  art ! 

"People  come  to  pictures  to  be 
amused,"  he  goes  on,  "to  be  made 
happy.  If  they  are  courteous  enough 
to  pay  fifty  cents  to  see  us  act,  then 
we  should,  in  all  decency,  be  courteous 
enough  to  considei 
their  wishes  in  these 
matters ! 

"Those  who  make 
motion  pictures — par- 
ticularly the  ones  who 
profess  to  know  what 
'art'  is — t  a  1  k  very 
loudly  and  earnestly 
about  'realism.'  And 
this  seems  to  be  inter- 
preted—rightly, per- 
haps— as  misery  and 
degradation. 

"I  feel  sure  that  the 
people  who  go  to  see 
pictures  do  not  want 
to  see  a  lot  of  misery. 
They  can  see  that  at 
home.  Or  if,  per- 
chance, they  haven't 
any  misery  in  their 
homes  at  the  moment, 
they  can  see  it  next 
door. 

"You  wouldn't,  you 
know,  pay  fifty  cents 
to  the  people  next 
door,  to  be  allowed  to 
go  in  and  gaze  on 
their  misery! 


Mr.  Barrymore' s  cartoon 
of  himself  in  ''Tempest." 


John  Barrymore  says  he  has  no  idea  of 
what  art  on  the  screen  means. 

"I  am  all  for  the  happy  endings 
—whatever  they  may  be !  The 
thing  which  seems  to  be  considered 
a  happy  ending  on  the  screen,  is 
'  where  two  people  embrace  at  the 
end  of  a  picture,  with  the  supposi- 
tion on  the  part  of  the  audience  that 
they,  are  going  to  marry,  and  try  to 
live  together  for  the  rest  of  their 
lives. 

"This,  I  think,  is  a  very  optimis- 
tic and  altruistic  attitude  on  the 
part  of  audiences.  I  should  con- 
sider it,  in  most  cases,  the  begin- 
ning of  a  very  sad  story.  These 
people  may  not  be  suited  to  each 
other.  After  they  are  married,  they 
will  have  to  begin  dealing  with 
grocery  bills,  a  depressing  propin- 
quity, leaky  faucets,  burned  beef- 
steaks and  trumping  one  another's 
aces  at  bridge — all  the  unpleasant 
things  which  go  with  marriage. 

"The  happiest  ending  I  can  re- 
member was  the  one  in  'Flesh  and 
the  Devil,'  where  the  lady  fell 
through  the  ice.    It  was  the  best 


20 


Oyez!  Oyez! 


thing-  possible  for  both  the  lovers.  They  had  had  their 
great  passion,  and  there  would  have  been  all  kinds  of 
explosions  if  two  such  people  had  tried  to  marry  and 
live  together. 

"Of  course,  there  was  a  subsequent  ending — some- 
body knitting,  I  believe,  and  a  demure  flapper  to  solace 
Jack  Gilbert's  loneliness.  But  that  did  not  count.  The 
story  was  over  when  the  lady  fell  through  the  ice,  and 
the  bubbles  came  up. 

"Of  course,  if  you  can  really  wring  tears  from  people 
— give  them  a  good,  thorough,  old-fash- 
ioned cry,  as  Emil  Jannings  does — that  is 
a  luxury  which  is  worth  fifty  cents  !  That 
is  making  them  happy ! 

"  'Romeo  and  Juliet'  has  a  happy  end- 
ing, really.    Two  lovers  have  their  great 
moment,  and  then  die.     That  is  rather 
glorious,    even    though  it 
would  be  considered  a  trag- 
edy on  the  screen. 

"Of  course,  the  story  of 
that  play  is  an  absurd  one, 
according  to  present-day 
standards.  It  could  not  be 
taken  seriously  now.  In  the 
first  place,  its  initial  premise 
is  one  that  no  one  in  the 
world  would  believe  to-day. 
These  two  young  people 
obeyed  their  parents ! 

"That  simply  is  not  done. 
One's  first  impulse  is  to  say, 
'Why  doesn't  this  bird,  Ro- 
meo, get  himself  a  good 
horse  and  elope  with  the 
lady?'    And  so  he  should." 

He  discussed  the  differ- 
ence between  screen  and 
stage  "technique." 

"It  is  much  more  difficult 
to  sustain  an  illusion  upon 
the  screen,  than  upon  the 
stage,"  he  said.  "On  the 
stage  the  chambermaid,  or 
somebody,  says,  'Here  comes 
the  Prince  of  Denmark.' 
You  enter,  looking  as  Swed- 
ish as  you  can.  The  audi- 
ence plays  the  game  with 
you.  They  pretend,  for  the 
time  being,  to  believe  you 
are  the  Prince.  You  make 
a  few  remarks  in  a  synthetic 
Swedish  dialect,  and  exit. 

"On  the  screen  you  are 
before  the  camera  almost 
every  minute — at  least,  if 
you  are  a  star. 

"The  damn  camera  is  like 
an  X-ray  machine.  It  shows 
everything  about  you — all 
the  things  inside  your  mind. 
After  two  hours  of  constant 
inspection  of  you,  the  audi- 
ence begins  to  be  skeptical.  They  begin  to  think,  'This 
guy  never  saw  Sweden  in  his  life!'  And  they  cease  to 
believe  in  you.    It  is  very  much  harder. 

"I  did  Peter  Ibbetson  on  the  stage.  He  was  a  dreamy 
sort  of  bird — not  so  difficult  to  characterize.  But  I 
should  never  try  to  do  it  on  the  screen.  I  could  not 
make  him  real. 

"On  the  stage  an  actor,  who  is  an  actor,  can  play 


Photo  by  Albin 


John  Barry  more  as  Hamlet,  his  most 
famous  role. 


almost  anybody.  You  can  portray  Romeo  when  you 
are  sixty.  You  can't  do  that  in  pictures !  The  camera 
gives  you  away.  That  is  why  we  always  have  young 
girls  play  young  girls,  and  old  men  cast  for  old  men's 
roles  in  pictures.  You  cannot  take  liberties  with  ap- 
pearances ! 

"Your  stage  character  is  before  the  audience  such  a 
short  time,  compared  to  the  time  a  screen  star  occupies 
the  center  of  attention. 

"Hamlet,  for  instance,  is  on  the  stage  more  than  al- 
most any  other  character  in  Shakespeare.  And 
yet  his  time  before  the  footlights  is  short — com- 
pared to  the  time  he  would  spend  before  the  cam- 
era. 

"I  have  always  thought  that  Shakespeare  liked 
the  chap  who  played  Hamlet,  and  arranged  the 
play  so  he  could  come  off  stage  now  and  then,  for 
a  chat — and  maybe  a  drink — with 
the  author!" 

Mr.  Barrymore  speaks  familiarly 
Shakespeare,  as  one  would  speak 
an  old  friend,  metaphorically,  if 
t  actually,  calling  him  "Bill." 
T  like  pictures,"  he  averred,  ear- 
;tly.    "I  like  them  so  much  that  I 
have   bought  a  house 
out  here,  and  am  pre- 
paring  to    spend  the 
rest  of  my  life  in  Hol- 
lywood. 

"I  am  anxious  to  find 
a  'type'  to  play  on  the 
screen  —  something 
which  will  strike  public 
fancy,  and  which  I  can 
continue  to  do,  over  a 
long  period.  Chaplin, 
you  know,  and  Harold 
Lloyd,  have  each  cre- 
ated a  character  the 
public  likes.  And  they 
can  present  this  same 
character  in  various  sit- 
uations, enduring  vari- 
ous vicissitudes,  times 
without  number.  I 
should  like  to  do  that. 

"Don't  think  for  a 
moment  that  it  is  easy 
to  play  one  character 
over  and  over,  and 
make  him  interesting. 
Chaplin,  I  am  sure, 
could  play  any  role  he 
chose  to  play,  with 
equal  success.  He  is  a 
very  fine  actor. 

"People  said  that 
my  uncle,  John  Drew, 
played  just  one  char- 
acter all  through  his 
career.  He  was  a  ca- 
pable actor,  for  all 
that ! 

"I  hope  I  can  hit  upon  something  similar — some  time!" 

Mr.  Barrymore  has  not  always  been  an  actor.  He 
asserted,  with  pride,  that  he  was  once  a  newspaper  man, 
and  a  cartoonist.  To  prove  the  latter,  he  drew  a  car- 
toon of  himself,  as  he  appears  in  "Tempest."  It  was 
not  very  flattering,  but  James  Montgomery  Flagg 
strolled  into  the  bungalow  just  in  time  to  do  Mr.  Barry- 
more real  justice,  with  a  sketch.         [Continued  on  page  110] 


21 


The  Girl  Grows  Older 


It's  a  different  and  more  radiant  Mary 
Brian,  picture  dbelow,  than  the  Mary 
the  screen  has  known  in  the  past. 


The  dance  frock, 
left,  is  unusual  by 
reason  of  the  cir- 
cular h  a  n  d  k  e  r- 
chiefs  which  cover 
the  entire  skirt  and 
give  a  c  a  p  e  1  i  k  e 
effect. 


The  wrap  Mary 
Brian  wears, 
left,  is  made  of 
pieces  of  gowns 
worn  in  the  past 
by  famous  Para- 
mount stars. 


The  evening  gown, 
right,  is  of  stiff, 
heliotrope  -  colored 
taffeta.  The  pan- 
nier effect  is  dis- 
tinctly novel,  as 
are  the  cartridge 
plaits. 


my 


Mary,  above,  wears  the 
snappiest  of  sport  cos- 
tumes— a  black  foulard 
skirt,  with  polka  dots  of 
gray,  and  a  jumper  of 
pale-gray  pique,  with  a 
black,  velveteen  jacket. 


The  evening  frock, 
right,,  is  of  white  mous- 
seline  de  soie.  It  is 
worn  over  a  silver-cloth 
strip. 


-J 





22 


T  h 


S  t 


r  o 


1  1 


e  r 


Random    observations   of   Hollywood    by   a    humorous  saunterer, 


By  Carroll  Graham 


Illustrations    by    Lui  Trugo 


SOME  day  there  is  likely  to  be  a  series  of  astounding 
murders  in  Hollywood,  which  will  be  reflected  in 
screaming  headlines  all  over  the  world.  And  they 
will  be  caused  by  the  indiscriminate  inflicting  of  pre- 
views on  unsuspecting  citizens  of  Los  Angeles  and  en- 
virons. 

One  may  still  retain  his  sanity  by  attending  one  fea- 
ture-length picture,  but  when  stumbling  onto  a  second 
one,  in  the  same  evening,  one's  reason  is  likely  to  totter 
on  the  brink  of  insanity. 

Of  course,  you  argue,  you  don't  have  to  stay.  But  too 
often  you  do.  You  perhaps  have  taken  a  wife,  a  mother- 
in-law,  or  both — or  a  sweetie  to  that  show.  I  have  never 
seen  a  woman  who  could  resist  getting  two  shows  for 
the  price  of  one,  no  matter  what  the  quality  of  either 
might  be. 

The  other  night  I  dropped  into  a  neighborhood  house, 
at  the  behest  of  friends,  to  see  "The  Legion  of  the 
Condemned."  Now  "The  Legion  of  the  Condemned" 
is  not  my  idea  of  a  very  good  picture,  but  I  am  a  person 
of  some  balance,  and  I  had  steeled  myself  in  advance. 

What  did  I  discover  but  another  picture,  very  bad 
to  begin  with,  and  much  too  long  for  human  inspection 
in  the  state  in  which  it  was  being  exhibited.  I  had  to 
sit  through  this  preview  to  see  the  second  picture — 
which  I  did  not  want  to  see,  but  was  forced  to — and 
I  left  the  theater  muttering  to  myself. 

In  my  little  way,  I  am  doing  what  I  can.  I  am  writ- 
ing indignant  letters  whenever  a  preview  is  foisted  upon 
me,  and  signing  fantastic  and  fictitious  names  to  them. 
Knowing  studio  politics  as  I  do,  I  am  almost  certain 
they  will  fall  into  the  hands  of  some  enemy  of  the  man 
who  wrote  or  directed  the  picture,  and  thus 
gain  considerable  circulation. 

Some  studios,  moreover,  have  a  habit  of 
handing  out  post  cards  to  preview  audiences, 
with  a  request  for  opinions  of  the  new  picture. 

I  generally  manage  to  get  three  or  four 
of  these  at  every  pre- 

In  the  gold  -  rush 
scenes  of  "The  Trail 
of  '98,"  Ralph 
Forbes  looked  as 
out  of  place  as  a 
trout  riding  a  bi- 
cycle. 


view,  and  mail  deroga- 
tory observations  in 
varied  handwritings. 

It  is  a  distressing 
fact — distressing,  both 
from  the  attitude  of  the 
public  and  the  film  in- 
dustry —  that  while 
"The' Trail  of  '98"  was 
being  given  its  world 
premiere  in  Sid  Grau- 
man's   usual  unctuous 


manner,  "The  Crowd"  was  being  kicked  around  neigh- 
borhood houses  by  dubious  exhibitors  who  wished  they 
had  not  booked  it. 

Both  pictures  were  made  by  Metro-Goldwyn  and 
both,  I  understand,  cost  upward  of  a  million  dollars. 

"The  Crowd,"  despite  the  opinions  of  a  great  many 
critics,  is  a  thoroughly  fine  picture. 

There  has  never  been  a  picture  either  resembling,  or 
approaching  it.  King  Vidor  is  the  only  director  in 
Hollywood,  I  ever  heard  of,  who  could  have  directed, 
or  even  thought  of  "The  Crowd."  And  I  know  a  lot 
of  them. 

"The  Crowd"  played  two  rather  unsuccessful  weeks 
at  a  downtown  Los  Angeles  theater,  and  then  wandered 
hopelessly  about  the  smaller  theaters,  at  one  of  which 
I  chanced  to  see  it. 

The  only  comparison  that  can  be  made  between  the 
two  pictures  is  that  both  cost  a  great  deal  of  money. 
Clarence  Brown  is  a  very  good  director,  but  even  he 
could  not  make  an  epic  out  of  a  lot  of  roughnecks  going 
up  to  Alaska  in  the  hope  of  digging  up  a  fortune.  The 
picture  contains  a  notorious  bit  of  miscasting,  moreover. 
Ralph  Forbes  looked  as  out  of  place  in  a  gold  rush  as — 
to  borrow  a  simile  from  Richard  Connell — a  trout  on  a 
bicycle. 

As  a  concrete  example  of  my  honest  opinion  of  Vidor's 
"The  Crowd,"  I  might  state  that  the  day  after  I  had 
seen  it  I  wrote  him  a  fan  letter.  And,  from  the  manner 
in  which  his  picture  is  being  received,  I  venture  to  say 
he'll  get  precious  few. 

years  ago,  when  the  movies  and  myself  were 
both  going  through  our  infancy,  I  had 
one  particular  film  idol,  whose  name 
courtesy  forbids  my  mentioning. 

I  followed  him  through  any  number 
of  thrilling  fifteen-episode  serials,  and 
to  me  he  was  the  last  word  in  heroes. 
He  slew  innumerable  villains, '  saved 
homesteads  and  valuable  documents, 
rescued  and  preserved  chaste  heroines 
and,  in  short,  acted,  as  I  was  convinced, 
no  other  person  could  have  done. 

I  see  him  almost  every  day 
now.  He  does  not  know  me, 
but  I  know  him  by  sight.  His 
hair  is  generously  silvered,  and 
his  face  is  lined,  though  he  is 
not  much  past  middle  age.  He 
seems  to  be  lame,  for  I  saw 
him  walking  with  a  cane  the 
other  day. 


HBBBMBnannnHB 


J 


The  Stroller 


23 


Although  I  have  no  information  on  the  subject,  I 
suspect  that  he  is  rather  broke  and  chronically  out  of  a 
job,  for  I  see  him  lurking  about  casting  offices. 

There  does  not  seem  to  be  much  point  to  this  item, 
except  that  I  wish  some  director — who  was  probably  an 
upstart  when  he  was  a  star — would  give  him  a  job.  He 
undoubtedly  needs  one,  and  he  is  probably  as  good  an 
actor  as  many  another  man  of  his  age,  who  is  working 
constantly  in  character  roles. 

I  suppose  if  I  were  a  good  Samaritan  I  would  do 
something  personally,  for  he  gave  me  dozens  of  hair- 
raising  evenings.  The  finest  picture  in  the  world  will 
never  entertain  me  as  thoroughly  as  those  cheap  se- 
rials did. 

Los  Angeles,  the  capital  of  the  movies,  is  taking  to 
the  legitimate  stage  in  a  manner  which  should  be  alarm- 
ing to  the  cinema  barons. 

Formerly  regarded  as  a  poor  town  for  legitimate  at- 
tractions, Los  Angeles  is  now  supporting  the  spoken 
drama  as  it  has  never  done  before,  and  consequently  is 
getting  more  good  plays,  and  better  productions,  than 
ever  before. 

Personally,  I  think  it  is  a  revolt  against  the  objection- 
able orchestra  leaders  and  masters  of  ceremonies,  whom 
the  movie-theater  managers  seem  to  regard  as  indis- 
pensable. 

The  town  seems  to  have  gone  mad  over  these  comic 
orchestra  kings,  and  no  leading  theater  is  without  one. 
Their  names  are  often  advertised  more  flamboyantly 
than  the  pictures  themselves,  and  their  acts  take  up 
a  great  deal  of  time  that  audiences  might  be  spending 
more  profitably  elsewhere. 

I  have  gone  to  some  length  to  interview  various  per- 
sons on  their  attitude  toward  this  strange  clan,  and  have 
yet  to  find  a  vote  in  their  favor. 

One  friend  of  mine,  indeed,  declares  that  if  he  ever 
becomes  more  mentally  unbalanced  than  he  is  now,  he 
intends  to  oil  up  his  Winchester  and  take  it  to  one  of 
the  leading  theaters  with  the  express  purpose  of  doing 
away  with  the  performing  band-leaders. 

He  is  convinced  it  will  start  a  general  uprising,  and 
the  hysterical  mob  will  save  him  from  the  police. 

The  "titular  bishops"  is  Hollywood's  latest  organi- 
zation. 

It  is  a  group  of  the  nine  leading  title-writers  of  the 
industry,  banded  together,  supposedly,  for  reasons  both 
social  and  professional. 

The  titular  bishops  is  now  a  closed  organization,  the 
agreement  being  that  nine  is  enough,  and  no  others  will 
ever  be  taken  into  the  circle. 

Title  writing  has  become  quite  a  profession  in  Holly- 
wood within  the  last  four  or  five  years.  Formerly  the 
subtitles  were  written  by  the  office  boy  or  the  producer's 
cousin,  which  accounted  for  much  of  the  eccentric  spell- 
ing and  stop-and-go  method  of  punctuation. 

Then  producers  discovered  that  good  titles  often  saved 
a  bad  picture  and  that,  conversely,  bad  titles  often  made 
a  good  one  mediocre. 


Writing  sub-titles  used  to  be  a  job 
for  the  office  boy  or  the  producer's 
cousin,  but  now  it's  a  profession. 


Some  day  there  will  be  a  series  of 
murders  in  Hollywood,  due  to  the 
previews  inflicted  on  unsuspecting 
audiences. 


Ralph  Spence,  I  believe,  was 
the   original  star  title-writer 
of   the  indus- 
try, and  others 
soon  began  to 
attract  atten- 
tion.   Now  the 
woods  are  full 
of  them,  intent 
on  making 
easy  money 
at  what  is 
act  u  al  l<y 
dif  f  icult 
and  pains- 
taking 
work. 

The  membership 
of  the  titular  bishops 
includes  Ralph 
Spence,  Malcolm 
Stuart  Boylan, 
George  Marion,  Jr., 
Julian  Johnson,  Her- 
man Mankiewicz — 
dictated,  but  not  read 
— Joseph  Farnham, 
Garrett    Graham  — 

he's  my  brother,  but  I  really  write  all  his  good  titles  for 
him— Walter  Anthony,  Randolph  Bartlett. 

Without  exception,  all  have  been  newspaper  men  at 
one  time,  which  statement,  I  trust,  will  not  prompt  all 
the  journalists  of  the  land  to  come  to  Hollywood.  Most 
of  them  have  also  contributed  to  magazines,  two  or 
three  have  written  plays,  one  was  a  former  music  critic, 
and  another  a  dramatic  reviewer.  Farnham  was  once 
a  director,  I  believe,  but  has  since  lived  it  down. 

Some  one  suggested  recently  it  would  be  something 
of  a  quip  to  get  all  nine  together  some  time  for  a  private 
screening  of  "The  Last  Laugh." 

The  mania  for  changing  the  names  of  well-known 
stories,  when  they  are  made  into  movies,  seems  to  con- 
tinue unabated. 

I  observe  that  "The  Little  Shepherd  of  Kingdom 
Come,"  which  has  been  read  by  millions,  as  a  novel, 
has  become  "Kentucky  Courage"  on  the  screen. 

And  while  Universal  has  not  actually  changed  the 
title  of  "Uncle  Tom's  Cabin,"  they  have  come  as  near 
to  it  as  possible.  All  their  advertisements  bear  "South- 
ern Love"  in  bold,  black  letters,  and,  beneath  it,  words 
to  the  effect  that  it  is  to  be  seen  in  large  quantities 
in  "Uncle  Tom's  Cabin." 

The  most  startling  change  in  some  months,  however, 
was  "Annie  Laurie."  Suddenly,  one  day,  I  was  con- 
fronted with  screaming  billboards  everywhere  announc- 
ing Lillian  Gish,  in  "Ladies  From  Hell,"  which  is  about 
as  incongruous  a  title  as  one  could  imagine  for  a  Gish 
picture.  Critics,  inclined  to  be  Pecksniffian,  might  also 
point  out  that  "Ladies  From  Hell"  was  a  slang  ex- 
pression growing  out  of  the 
World  War,  many  years  after 
the  period  in  which  the  film  story 
was  supposed  to  have  occurred. 
However,  I  didn't  see  it,  so  it's 
all  right  with  me. 

Hollywood  has  broken  out  into 
a    rash    of    new    Fords,  after 
months  of  breathless  expectancy. 
Billie    Dove,    Colleen  Moore, 
Continued  on  page  115 


24 


I       m  M 

1  H 
■  ■ 

I  I 

m: 


Research  revealed  that  Noah's  Ark  was  as  large  as  an  ordinary  transatlantic  liner,  and  the  producers  set  about  to  reproduce 

it  accordingly. 

And  Now  the  Deluge ! 

In  "Noah's  Ark"  the  screen  finds  another  biblical  epic  to  film  with  all  the 
resources  of  advanced  technique  and  skill,  and  it  also  includes  a  modern 
sequence  which  is  said  to  dovetail  perfectly  with  the  incidents  from  the  Bible. 

By  A.  L.  Wooldridge 


NEW  YORK'S  Broadway  was  immersed  in  rain. 
The  city,  from  the  Battery  to  the  Bronx,  was 
in  the  throes  of  one  of  those  occasional  down- 
pours, which  drive  all  pedestrians  to  shelter.  Taxicabs 
sloshed  and  skidded,  as  their  drivers  struggled  to  get 
through  the  sea  of  water.  Men,  women,  and  children 
grouped  in  doorways,  or  roamed  idly 
through  stores,  waiting  for  the  deluge 
to  cease.  Although  it  was  only  mid- 
afternoon,  electric  lights  were 
switched  on  in  order  to  dispel  the 


In  an  office,  high  above  the  street, 
H.  M.  Warner,  motion-picture  pro- 
ducer, stood  at  his  window,  looking 
down  upon  the  rain-drenched  scene. 

"  'And  the  rain  was  upon  the  earth 
forty  days  and  forty  nights,' "  he 
mused,  recalling  verses  from  the 
Bible.  "  'And  every  living  substance 
was  destroyed.'  " 

He  stood  contemplating  the  picture 
before  him.  "If  the  residents  of  New 
York  run  to  cover,  and  are  annoyed 
by  a  two-hour  rain,'-.,  he  meditated, 
"what  must  have  been  the  sensation 


Noah  Beery  plays  the  ruthless  Nephilim, 
a  oagan  king. 


experienced  by  all  creatures  of  the  world  when,  for 
forty  days  and  forty  nights,  'the  windows  of  heaven 
were  opened,'  and  water  descended  in  torrents,  in  cas- 
cades and  cataracts,  until  'every  living  substance  was 
destroyed'  ? 

"What  a  picture  it  would  make !"  he  pondered. 

He  sat  down  at  his  desk  and  con- 
tinued his  musing  while  the  rain 
splashed  on  the  pavement. 

"Why  not?"  he  philosophized. 
"Modern  skill  can  reproduce  Noah's 
Ark.  Modern  methods  can  supply 
and  control  water.  Modern  science 
can  rebuild  pagan  temples." 

The  more  he  thought  it  over,  the 
more  enthusiastic  he  became.  The 
idea  grew.  It  was  not  impossible ; 
nothing  is  impossible  in  the  movies. 

Thus  was  conceived,  nearly  two 
years  ago,  the  idea  for  one  of  the 
most  pretentious  efforts  ever  at- 
tempted in  motion  pictures.  Since 
then,  research  has  been  made  into  the 
histories  and  legends  of  the  entire 
world — digging,  scraping,  assembling 
ideas  which  might  bring  the  proper 


And  Now  the  Deluge! 


25 


authenticity  to  a  picturization  of  the  Great 
Deluge.  From  thirty  nine  Bibles  the  story 
of  the  Ark  was  translated.  From  a  hun- 
dred age-worn  volumes  references  to  the 
inundation  were  culled.  From  all  of  these, 
scientific  deductions  were  made. 

As  nearly  as  can  be  estimated,  the  re- 
search workers  found  that  the  flood  oc- 
curred approximately  ten  thousand  years 
before  the  birth  of  Christ.  It  followed  the 
Stone  Age,  and  just  preceded  the  Baby- 
lonian. Noah  was  pictured  as  a  man  six 
hundred  years  old,  at  the  time  he  built  the 
Ark.  Most  Bibles  say  that,  in  following 
the  mandates  of  the  Lord,  he  took  seven 
specimens  of  each  bird  and  beast  into  his 
sanctuary— four  good,  and  three  bad.  The 
Ark,  according  to  the  King  James  version, 
was  constructed  of  gopher  wood,  and 
chinked  with  pitch,  within  and  without.  It 
was  three  hundred,  cubits  long — something 
more  than  four  hundred  and  seventy-five 
feet — fifty  cubits  broad,  thirty  cubits  high, 
and  contained  three  decks.  It  was  larger 
than  most  of  the  ocean  liners  of  to-day, 
though  only  barely  half  as  large  as  the 
Leviathan,  or  the  Majestic.  Each  of  these 
latter  exceeds  in  length  the  greatest  of 
other  modern  steamships. 

When  all  available  data  on  the  Ark  and 
the  Flood  had  been  collected,  Warner 
Brothers  delegated  Darryl  Zanuck  to  write 
the  story.  It  was,  in  a  measure,  "passing 
him  the  buck,"  with  the  declaration, 
"Here's  the  material.  Make  it  big,  but 
not  too  big  to  be  filmed."  Michael  Curtiz 
was  advised  that  he  would  direct  pro- 
duction. 

What  an  assignment!  "Reproduce  the 
inundation  of  the  world.  Show  the  vener- 
able Noah  gathering  into  the  Ark  speci- 
mens of  all  the  birds,  beasts  and  reptiles 

The  Deluge  could  only  be  filmed  once,  because  the 
entire  set  was  destroyed. 


Dolores  Costello  plays  the  heroine,  in  both  the  biblical  and  modern 

sequences. 


that  inhabited  the  globe. 
Weave  into  the  picture  a  love 
story,  which  will  appeal  to 
modern  minds.  Let  the  action 
be  fast.  Avoid  stately,  slow- 
moving  spectacles.  Drive  home 
the  biblical  lesson,  which  un- 
derlies the  world's  greatest 
holocaust." 

Monster  sets  had  to  be  built, 
a  veritable  sea  of  water  im- 
pounded. An  ark,  apparently 
as  large  as  an  ocean  liner,  had 
to  be  constructed.  From  ani- 
mal farms,  menageries,  "zoos," 
aviaries,  public  parks,  and  pri- 
vate estates,  all  manner  of 
beasts,  fowls,  rodents,  and 
"every  living  thing  inhabiting 
the  earth"  had  to  be  obtained, 
then  photographed  "on  the 
way  to'  the  Ark,"  which  was 
to  house  them — as  the  only 
surviving  creatures  of  the  uni- 
verse. An  enormous  temple 
had  to  be  built,  in  which  might 
be  celebrated  a  great  pagan 
festival,    and    which  would 


And  Now  the  Deluge! 


burst  a  mighty  rush 
of  waters,  which 
swept  souls,  it  ap- 
peared, into  eternity. 
The  Flood  had  come. 

This  was  the  first 
great  spectacle  filmed 
for  the  picture.  From 
points  of  vantage,  one 
hundred  and  fifty 
sun-arcs  poured  their 
brilliant  light  upon  the 
scene.  These  were 
augmented  by  ninety- 
two  rotaries,  one  hun- 
dred and  twenty-eight 
side-arcs,  and  a  mis- 
cellaneous array  of 
lesser  incandescent 
equipment.  Fourteen 
cameras,  in  the  hands 
of  skilled  men  drawn 
from  almost  every 
studio  in  Hollywood, 
photographed  the  epi- 
sode from  every  ad- 


vantageous 


angle 


Guinn  Williams,  Louise  Fazenda,  and  Dolores  Costello  in  a 

of  "Noah's  Ark." 

crumble  beneath  the  impact  of  tumultuous  waters.  Pagan 
idols,  twenty,  thirty,  forty  feet  in  height,  had  to  come 
from  the  hands  of  craftsmen. 

The  company  went  to  work.  Paul  McAllister,  veteran 
actor  of  the  stage  and  screen,  was  selected  for  the  role 
of  Noah.  The  beautiful  Dolores  Costello  was  assigned 
the  part  of  Miriam,  leading  feminine  character  in  the 
play,  and  George  O'Brien  was  borrowed  for  the-  role 
of  Japhet,  the  son  of  Noah.  The  part  of  Nephilim,  the 
pagan  king,  was  given  to  Noah  Beery.  Louise  Fazenda, 
Guinn  Williams,  and  William  V.  Mong  were  cast  in 
outstanding  roles.    Then  the  cameras  began  to  click. 

One  Sunday  morning  not  many  weeks  ago,  four  thou- 
sand extras  journeyed  out  to  the  old  Vitagraph  studio, 
in  the  northern  section  of  Hollywood.  Young  men,  old 
men,  young  women,  old  women,  boys  and  girls  went  to 
participate  in  the  great  "Festival  of  Jaghut,"  given  by 
the  king  preceding  the  flood.  Inside  the  gates,  their 
clothing  'was  removed  and  their  bodies  sprayed  with  a 
brown  liquid,  to  give  them  the  appearance  of  the  swarthy 
peoples  of  antiquity.  Some  were  supplied  with  girdles, 
and  to  others  went  gorgeous  costumes  of  jewels  and 
beads,  together  with  silken  wigs.  The  occasion  was  to 
mark  the  exotic  sacrifice  of  a  girl — Dolores  Costello — - 
to  the  gods. 

Weird  music  was  played.  Barbaric  weapons  appeared. 
All  the  pomp  and  ceremony  incidental  to  pagan  worship 
entered  into  the  gorgeous  spectacle.  Miss  Costello, 
borne  to  the  temple  in  a  canopied  litter;  King  Nephilim 
on  his  jeweled  throne;  armed  warriors,  palm  bearers, 
cutlass  wielders,  trumpeters,  slaves,  dancing  girls — a 
strange  gathering.  And  then,  at  the  height  of  revelry  

A  human  sacrifice  stood  upon  the  altar,  before  the 
king.  A  distant  rumble  became  audible,  slowly  increas- 
ing in  volume.  It  became  a  roar.  Suddenly  there  was 
a  crashing  of  beams,  the  temple  walls  swayed,  and  there 


scene  from  the  modern  sequence 


There  could  be  no  re- 
takes, because  the 
flood  would  reduce 
the  set  to  a  shamble. 
It  was  estimated  that 
this  sequence  of  the 
production  cost  War- 
ner Brothers  ten 
thousand  dollars  an 
hour.  A  wet  and  bedraggled  mass  of  humanity  crawled 
from  the  scene,  when  the  shots  were  finished. 

"The  Ten  Commandments"  had  its  hosts  marching 
into  the  sea.  "The  Big  Parade"  has  its  contending  ar- 
mies struggling  with  weapons  of  modern  warfare.  "Old 
Ironsides"  pictured  a  terrible  naval  conflict.  But,  for 
sheer  massing  and  handling  of  living  bodies  in  one 
brief,  awe-inspiring  scene,  this  bit  of  "Noah's  Ark" 
becomes  a  precedent.  Later  on,  the  terrified,  hopeless 
souls  huddled  on  the  peaks  of  the  highest  hills,  watching 
the  steady  rise  of  waters,  and  facing  their  doom,  were 
photographed.  This  continued  until  "every  living  sub- 
stance was  destroyed." 

In  another  section  of  the  lot,  the  great  Ark  was 
under  construction,  in  preparation  for  scenes  which 
would  be  reached  within  a  very  few  days. 

One  mystery  surrounds  the  making  of  the  picture — 
one  which  the  producers  have  elected  to  keep  secret, 
until  the  picture  is  ready  for  release  this  fall.  The  story 
switches  from  the  Deluge  to  events  transpiring  in  the 
great  World  War.  Just  why,  no  one  but  the  studio 
executives  know. 

"It's  something  we  do  not  care  to  give  out,"  said 
Mr.  Zanuck.  "I  know  the  transition  seems  strange,  and 
yet  the  war  sequences  dovetail  so  perfectly  with  the 
biblical  episodes,  that  the}-  seem  to  be  an  essential  part 
of  the  production." 

In  the  modern  sequences  of  the  picture  there  is  a 
romance,  with  Miss  Costello  and  George  O'Brien  as 
its  principals.  Noah  Beery  plays  roles  in  both  sequences. 
Action  switches  from  the  Flood  to  the  canteens  in 
France,  where  Miss  Costello  is  seen  again,  as  an  enter- 
tainer, dancing  and  singing  before  the  doughboys. 
Louise  Fazenda,  as  an  innkeeper's  daughter,  and  Guinn 
"Big  Boy"  Williams,  as  a  rookie,  lend  comedy  relief. 
Continued  on  page  104 


27. 


Hot-weather  Cures 


There  are  at  least  five  stars 
who  know  what  to  do  when 
Summer  days  come  around 


Leatrice  Joy,  above,  enjoys  play- 
ing golf  no  matter  how  high  the 
temperature  rises,  but  Dorothy 
Dwan,  below,  has  an  electric-driven 
boat  that  serves  her  purpose  best. 


Robert  Armstrong,  above,  finds  that  the  old  lawn  hose 
has  uses  outside  the  realm  of  gardening. 

Vera  Reynolds,  left,  wears  something  akin  to  rompers 
when  days  grow  warmer, 

and  Marie  Prevost,  below,  is  evidently  looking  for  a 
ship  to  take  her  away  from  the  dock  on  which  she  is 

perched. 


28 


There  is  a  medley  of  Spanish,  Italian,  and  French  furniture  in  the 
living  room,  pictured  above,  yet  the  result  is  supremely  comfortable. 

THIS  is  about  a  house  that  blissfully  disregards 
the  conventions  of  period  and  type.  A  house 
that  was  planned  and  furnished,  with  details  that 
are  "a  little  bit  of  everything."  This  is  a  dangerous 
procedure,  unless  the 
ultimate  aim  is  for 
comfort.  When  this 
is  the  underlying  fea- 
ture of  every  device, 
the  result  is  individual 
and  delightful. 

An  example  is 
found  in  the  home  of 
Esther  Ralston, 
planned  throughout  by 
herself  and  George 
Webb,  her  husband. 
Esther  admittedly 
knows  nothing  of  pe- 
riods, and  such.  In 
doing  the  house,  she 
chose  anything  that 
caught  her  fancy  and 
suited  her  needs.  The 
result  might  have  been 
terrible,  but  for  her 
instinctive  understand- 
ing of  color  combinations,  and  what 
line  looks  best  in  what  wood.  De- 
void of  ostentation,  it  yet  has  an 
element  of  surprise,  in  the  very 
unexpectedness    of    the    carefully    planned  details. 

One  of  the  technical  artists  at  the  Paramount  studio 
asked  to  see  it. 

"Come  right  ahead,  but,"  Esther  warned,  "your 
esthetics  will,  probably  be  terribly  offended.  .  In  my 


There's  No 


The  dining  room  is  entirely  Italian  with 
massive,  beautifully  carved  pieces. 


Inspection  of  Esther  Ralston's  home  proves  that  money 

By  Mar 

French  pieces.  If  any 
type  of  furniture  is 
missing  there,  you'll 
be  sure  to  see  it 
somewhere  else  in  the 
house." 

Which  is  literally 
true,  but  in  such  a 
manner,  that  the  es- 
thetic sense  is  far 
from  offended. . 

On  their  decision  to 
establish  a  permanent 
home,  Esther  and  her 
husband  resolved  not 
to  build.  Instead, 
they  investigated  the 
merits  of  all  the 
Hollywood  architects, 
selected  one  of  the 
best,  and  looked  at  the 
houses  he  already  had 
under  construction, 
choice  was  a  spacious, 
twelve-room  house,  within  a  quarter 
of  completion.  All  the  practical 
construction  was  complete,  so  that 
they  could  go  over  it  leisurely,  adding  incidental  rooms 
and  features  to  suit  their  taste.  The  result  has  proved 
most  satisfactory,  and  Esther  Ralston  and  George  Webb 
have  every  cause  to  be  proud  of  their  self-planned  home. 
The  house  is  of  Italian  architecture.    In  passing,  men- 


Their  final 


living  room  you  will  find  Spanish,  Italian,  English,  and     tion  must  be  made  of  the  fact  that  in  Italian  houses 


29 


Place  Like  Home 

may  be  prodigally  expended  without  sacrifice  of  good  taste. 

garet  Reid 


there  is  allowed  consider- 
able license  in  furnishing. 
It  is  of  smooth,  gray 
stucco,  unrelieved  by  any 
color.  On  a  hilltop  within 
five  minutes  of  the  boule- 
vard, it  is  among  hills  that 
are,  as  yet,  more  sparsely 
populated  than  most  of 
the  picturesque  sections 
about  town.  The  sur- 
rounding houses — all  im- 
posing and  generously 
landscaped — are  set  far 
apart,  giving  the  view  a 
restful,  suburban  atmos- 
phere, a  rare  characteristic 
in  Hollywood  homes. 

Miss  Ralston's  house  is 
high  above  the  winding 
road.  A  high,  graystone 
wall  encircles  and  sup- 
ports the  property.  At 
the  road,  a  massive, 
wrought-iron  gate  is  the 
entrance  to  three  flights  of 

stone   steps,   leading  to  the   upper    Esther  RaUfon  sW         fl  dock 

level.    Here  is  a  flat  sweep  of  lawn,  „          ,,       .                 ...  .X 

,                      ,  .         ,,     K ,    ,        '  yellow  marble  and  gold,  a  wedding  gift 

from  the  top  of  the  wall  to  the  house,  f              .,  „    ...  „ 

,  .  ,   .      1       .            ,             -  r    ■  from  the  Neil  Hamiltons. 
which  is  severe  m  aspect,  except  for 

the  elaborate   stone   carving  which 

frames  the  wide  door. 

Inside  is  a  large,  circular  entrance  hall,  with  a  tall, 


The  tiled  pool  allows  for  privacy,  and  is  different,  in  this  respect, 
from  many  of  the  pools  of  Hollywood  homes. 

stained-glass  window  in  its  outer  arc.  This  hall  is  two 
stories  high,  and  the  staircase  rises  along  three  quarters 
of  its  circle.  Hung  from  the  ceiling  is  a  mammoth 
crystal  chandelier.    Against  the  wall,  near  the  door,  is 

a  V enetian  console,  and  a 
mirror  of  black  onyx-and- 
gold  filigree.  In  a  niche 
on  the  other  side  of  the 
hall  is  a  marble  statue, 
which  belonged  to  Mr. 
Webb's  mother.  Thrown 
over  the  iron  railing,  along 
the  gallery  at  the  top  of 
the  stairs,  is  a  Persian 
prayer  rug  of  incalculable 
antiquity. 

Breaking  one  side  of  the 
hall  is  the  broad  arch,  un- 
der which  three  low  steps 
lead  into  the  living  room. 
This  is  long,  and  in  its 
left  wall  a  wide  window, 
reaching    from    floor  to 
ceiling,    faces    the.  front 
lawn.    The  right  wall  is 
composed  of  French  win- 
dows, opening  on  the  gar- 
den and  swimming  pool. 
At  the  far  end  of  the  room 
is  a  stone  fireplace,  carved 
in  the  same  manner  as  the  entrance 
door.     The  fire  screen,  tongs,  and 
wood  box,  all  of  pewter,  were  made 
by  a  German  craftsman  discovered  by 
Esther  on  her  shopping  explorations. 
Above  the  fireplace  is  a  portrait  in  oils  of  Esther  and 
her  husband,  painted  by  Maillard  Kesslere.    On  the 


30 


There's  No  Place  Like  Home 


Frequent  wall  brackets  and  lamps  supply  the  light.  One 
lamp,  standing  by  the  piano,  has  a  shade  made  of  exquisite 
petit-point,  a  piece  which  took  the  prize  at  an  exposition. 

In  opposite  corners  of  the  room  are  two  widely  divergent 
forms  for  the  protection  of  music.  One,  an  electric  panatrope 
victrola  and  radio  incased  in  Jacobean  design.  The  other, 
an  old  music-box,  made  in  Switzerland  as  a  wedding  gift  to 
Mr.  Webb's  grandmother,  its  tinkling  repertoire  comprising 
her  favorite  songs.  It  looks  like  a  rosewood  table,  with 
inlays  of  delicate  workmanship.  Its  top  lifts  up,  disclosing 
its  remarkable,  fragile  mechanism. 

A  high,  dark  Spanish  desk  affords  space,  on  top,  for  two 
Italian  marble  vases  which  are  lit  from  the  inside,  and  -below, 
space  for  an  old  piece  of  Holland  pottery.  An  incidental 
table  in  Spanish,  contrasting  woods  inlaid  in  its  polished  top. 
Over  the  grand  piano  is  thrown  an  embroidered  scarf  and 
on  one  corner  of  it  stands  a  charming  Lalique  figure.  On 
the  wall,  in  one  corner,  is  a  little  Dutch  -bric-a-brac  shelf, 
holding  Dresden  and  Sevres  figurines. 


The  beautiful  gate,  pictured  above,  is  one  of  the'special 
prides  of  its  owners. 

mantel,  flanked  by  two  yellow-marble  vases,  is 
a  French  clock  of  yellow  marble  and  gold,  the  set 
a  wedding  present  from  the  Neil  Hamiltons. 

The  walls  and  ceiling  are  a  neutral,  fawn 
plaster.  In  the  thick  Turkish  carpet  the  pre- 
dominating color  is  a  deep  rose,  verging  on  mul- 
berry. Wisely,  Esther  did  not  attempt  the  pre- 
carious matching  of  this  shade  in  the  upholstery 
and  draperies.  The  big  divan,  the  long  bench 
fronting  the  fireplace,  and  three  of  the  armchairs 
are  upholstered  in  deep-blue  velvet.  One  of  the 
room's  salient  features  are  the  draperies  at  the 
windows  and  entrance  arch.  These  are  of  gen- 
erous proportions,  trailing  the  floor  gracefully, 
and  are  stiff  with  unusual  embroidery,  in  which 
the  same  blue  predominates. 

Incidental  armchairs  are  French  in  design,  up- 
holstered in  brocades  of  mellow,  indeterminate 
tones.  All  the  chairs  as,  indeed,  all  the  furniture 
in  the  house,  are  wide,  deep,  luxuriously  com- 
fortable. 

"My  principal  excuse  for  mixing  periods  so," 
Esther  explains,  "is  that  I  adore  comfort,  and 
consider  it  the  first  requisite  of  furniture.    I  love 
Spanish  desks,  so  we  have  two ;  but  I  don't  like  Spanish 
divans  and  chairs,  so  we  haven't  any.    That  is  the  gen- 
eral theme  of  how  the  house  is  furnished." 

In  the  big  front  window  stands  a  tabouret  on  which 
is  a  small  Spanish  leather  chest  with  nail  heads  in  de- 
sign. This  is  used  as  a  humidor.  By  each  chair  is  a 
wronght-iron  ash  tray  and  cigarette  box.  By  the  divan 
is  a  tiled  coffee  table,  holding  a  huge  brass  bowl,  filled 
with  cigarettes  of  a  dozen  different  brands. 


hall  in  the  Ralston  home  is  two  stories  high,  with  one  of  the  most 
beautiful  stairways  in  Hollywood. 

To  the  right,  as  one  enters  the  living  room,  is  a  glass 
door  at  the  top  of  three  steps  leading  into  a  small  sun 
,  room.  One  side  of  this  room  describes  a  semicircle  of 
French  windows,  opening  onto  the  garden  and  swimming 
pool.  The  walls  and  ceiling  are  painted  a  pale  gray,  with 
festoons  in  wistaria,  rose  and  green.  The  curtains  are 
a  light  rose,  the  wicker  furniture  is  gray,  upholstered 
in  cretonne,  patterned  in  wistaria,  rose  and  green.  Low 
tables  old  books,  magazines,  and  candy  boxes,  cushions 


There's  No  Place  Like  Home 


31 


strew  the  chairs  and  divan,  the  sun  streams  in, 
and  its  reflection  in  the  swimming  pool  outside 
gives  even  the  ceiling  a  shimmering  glow  in  the 
daytime. 

Outside,  a  strip  of  garden  is  parallel  to  the  living 
room.  The  house  is  shaped  like  a,  reversed  L, 
the  living  room  forming  the  short  end.  Running 
the  length  of  the  L  is  the  swimming  pool.  On  a 
higher  level,  opposite  the  house,  a  rose  garden 
forms  a  bank  of  color.  At  the  far  end  of  the 
pool,  a  little  loggia  runs  the  width  of  the  garden. 
Opening  on  it  are  two  dressing  rooms.  One  is 
painted  red,  with  black  woodwork,  two  chairs  are 
red  trimmed  in  black,  a  dressing  table  with  black- 
lacquered  top  and  red  oilcloth  valance,  holds  a 
round  mirror  encircled  with  red  oilcloth,  and  in 
the  lower  corner,  black  oilcloth  is  pasted  in  mod- 
ernistic designs.  The  other  room  is  done  in 
precisely  the  same  manner,  except  that  the  color 
scheme  is  orchid  and  green.  Esther  and  her  hus- 
band are  proud  of  these  delightful  rooms,  for  Mr. 
Webb  painted  the  furniture,  and  his  wife  devised 
and  executed  the  dressing  tables. 

Beyond  the  dressing  rooms,  the  loggia  ends  in 
steps  leading  up  to  servants'  quarters,  above  and 
beyond  them. 

In  the  house  again,  we  come  to  a  small  hallway, 
back  of  the  sun  room  and  entrance  hall.  Opening 
off  it  is  a  main-floor  bath  and  dressing  room. 
Farther  on,  a  stairway  leads  -down.  Halfway 
down  is  a  landing — the  continuation  of  the  stairs 
barred  by  an  iron  gate  leading  down  to  the  garages. 
Turning  to  the  left,  on  the  landing,  we  follow  the 
direction  of  an  electric  globe,  with  "Bar"  painted 
on  it,  and  descend  the  stairs  to  a  small  anteroom 
that  is  a  real,  old-fashioned  bar  in  every  detail. 
The  brass  footrail,  the  high  cupboards  for  glasses 
and  bottles  behind  it;  none  of  the  familiar  fea- 
tures  are  lacking. 

On  the  left,  a  ,  — - — - — 

door  opens  into  a 


long,  low-ceilinged 


room  used  for 
dancing.  Its  pol- 
ished floor  is  un- 
carpeted,  and  across 
the  end  of  the  room 
is  a  low  platform 
for  the  orchestra. 
The  divans,  chairs, 
lamps,  and  mirrors 
around  the  walls 
are  all  in  the  ultra- 
modern  mode. 
Chairs  and  divans 
are  low,  broad  and 
deep— silver-leafed 
wood  and  pale- 
green  satin  uphol- 
stery predominat- 
ing. Water  lamps, 
with  plaited  shades, 
cast  varicolored 
light,  reflected  in 
wall  mirrors.  A 
very  1  o  w  coffee 
table  has  a  mirror 
top,  and  on  it  is  a 

water  lamp,  a  black-and-silver  cigarette  chest,  a  Czecho- 
Slovakian  ash  tray,  and  a  red,  blown-glass  dancing  fig- 
ure. On  the  platform,  the  piano  is  pale  green,  with 
silver  lightning  on  the  music  rack.    One  of  the  most  at- 


Estlier  Ralston's  bedroom  is  done  in  her  favorite  colors,  orchid  and  green 


Miss  Ralston's  win- 
dow takes  in  all  Holly- 
wood, with  a  glimpse 
of  the  ocean,  fifteen 
miles  away. 

tractive  rooms  in 
the  house,  this. 

On  the  main 
floor  again,  the  en- 
trance hall  leads 
into  a  smaller, 
semicircular  hall, 
where  the  telephone 
desk  stands.  To  the 
right,  up  three 
steps,  is  a  smaller 
anteroom,  in  the 
end  of  which  is  a 
stained-glass  win- 
dow sending  a  dull, 
yellow  light  over 
the  formal  tapestry 
divan  facing  the 
curtained  arch  into 
the  dining  room. 

The  dining  room 
is    purely  Italian, 
in    dark,  carved 
wood,  combined  with  dully  painted  leather.    The  fur- 
niture is  massive,  and  the  chairs  are  tall  backed.  Giv- 
ing the   room  color,  are  the  heavy  curtains  at  the 
Continued  on  page  108 


32 


Reginald  Denny  feels  he  has  reached  the  crisis 
of  his  career. 

Reginald's  Lament 

The  vicissitudes  of  uncertain  star- 
dom are  turning  buoyant,  noncha- 
lant Reginald  Denny  into  a  man  of 
cares  and  frowns.  One  wonders 
what  he's  going  to  do  about  it. 

By  Myrtle  Gebhart 

IN  Hollywood,  when  a  day  passes 
without  a  new  squabble  between 
Reginald  Denny  and  Universal,  we 
wonder  what's  wrong.  One  week  he  de- 
clares an  open  breach.  There  are  con- 
ferences. The  smoke  of  battle  clears 
away  with  the  setting  sun,  only  to  pour 
forth  again  with  its  rising. 

In  the  calms  between  hostilities,  he 
works,  and  makes  films  that  do  not  ful- 
fill the  things  expected  of  him  a  few 
years  ago. 

Why,  I  wondered,  should  this  very  nice 
and  conservative  Englishman,  whom  I 
had  known  as  a  nonchalant  and  good- 
humored  chap,  develop  temperament  ?  He 
is  not  the  militant  or  excitable  type,  but, 
is  clean-cut,  terse,  arid  amiable. 


Photo  by  Freulich 


On  one  of  the  many  armistice  days,  I  talked 
with  him  and  found  him  considerably  more 
serious  than  he  was  a  year  ago.  Very  likely 
his  divorce  has  contributed  to  this.  We  did 
not  mention  it,  however.  There  was  in  his 
manner  a  more  authoritative  air  and,  too,  that 
look  of  one  who  carries  worries. 

"I  want  to  make  better  pictures,  that's  all," 
he  began.  We  were  having  lunch  at  the  Ath- 
letic Club.  "If  I  were  a  mechanic,  I  would 
want  to  do  my  work  well.  If  I  were  an  artist, 
I  would  want  to  paint  good  oils. 

"Acting  is  our  family's  business.  Great- 
grandfather, grandmother,  parents,  all  before 
me  have  been  theatrical  people.  I  played  my 
first  role  at  seven.  I  have  never  worked  at  any- 
thing else.  I  have  written  and  produced  plays. 
I  should  know  something  about  it.  Universal 
has  some  confidence  in  me,  because  they  prac- 
tically give  me  my  own  organization.  That  is, 
I  do  not  have  too  much  supervision.  However, 
they  do  not  give  me  the  material  with  which  to 
work. 

"Bad  stories  are  my  first  complaint.  Uni- 
versal buys  'Broadway'  for  $225,000,  and  then 
they  don't  know  what  to  do  with  it.  They 
spoke  of  Tvanhoe'  for  me.  Everything  in  'Ivan- 
hoe'  has  been  done.  Instead  of  stories,  they 
give  me  a  gag  and  expect  me  to  develop  it  into 
an  enjoyable  film.  They  allow  four  weeks  in 
which  to  go  over  the  thing  with  the  director, 
write  the  story,  and  make  the  picture.  They 
allow  for  the  whole  production  about  $160,000, 
dollars,  and  when  my  salary  is  taken  out,  there 
isn't  enough  left  to  make  a  really  good  pro- 
duction. 

"Occasionally  I  have  an  experienced  and  pop- 
ular girl  for  my  leading  lady — Marian  Nixon 

for  instance — but  too 
often  they  give  me 
young  newcomers, 
whom  they  wish  to  train 
and  develop.  Even  the 
biggest  stars  now  real- 
ize that  they  can't  carry 
a  picture  alone.  I'm 
supposed  to,  however, 
and  I'm  blamed  if  my 
pictures  are  no  good." 

At  this  writing,  there 
is  a  possibility  that  one 
of  the  largest  organiza- 
tions may  buy  Reg's 
contract,  and  make  him 
an  independent  unit  on 
a  par  with  the  top- 
notchers.  That  would 
mean  more  money  on 
production,  better  sto- 
ries, and  features  in- 
stead of  program 
quickies.  Of  course,  it 
sounds  so  good  he  is 
afraid  it  will  never  ma- 
terialize. 

"What  Happened  to 
Jones"  he  selected  as 

He  finds  opportunity,  occa- 
sionally, to  pull  in  the  anchor 
of  his  steam  launch,  and 
leave  his  worries  behind. 


Reginald's  Lament 


33 


Denny's  mountain  lodge  is  typically  a  man's  retreat,  and  he  spends  as  much  time  there  as  possible. 


his  best  picture,  though  "The  Leather  Pushers"  and 
other  fight  yarns  appealed  to  him. 

"They  had  action  and  thrill,  and  a  definite  characteri- 
zation. I  want  variety, 
though.  I  don't  care  par- 
ticularly what  I  play,  so 
long  as  it  has  a  story  and 
an  interesting  character. 
But  I  cannot  do  slapstick 
comedy,  such  as  I  have 
had  to  do.  My  face  isn't 
funny.  My  comedy  must 
be  of  situation,  and  not 
dependent  upon  my  face 
or  personality." 

A  nerve-racking,  uncer- 
tain business  is  this  sort 
of  stardom.  It  demands, 
leechlike,  an  actor's  all. 
There  is  compensation  for 
some,  perhaps,  in  the  fi- 
nancial reward  and  fame. 
But  these  cost  the  actor  in 
the  coin  of  worry. 

His  worries,  though,  do 
not  compare  to  those  of 
the  star-producer,  which 
is  virtually  the  position  al- 
lotted to  Denny  by  Uni- 
versal. He,  not  the  com- 
pany, supervisor  or  direc- 
tor, is  held  responsible 
for  the  caliber  of  his  films. 
He  has  the  final  say-so  on 
all  matters,  with  the  ex- 
ception that  he  must  ac- 
cept the  staff,  the  troupe, 
the  story  and  the  budget 
given  to  him. 

An  expert  flyer  himself,  Regi- 
nald Denny  owns  numerous 
planes  which  he  rents  out  to 
various  film  companies. 


It  is  like  telling  a  small  boy,  "This  is  Saturday,  you 
can  do  just  exactly  as  you  please.  You  can  mow  the 
lawn,  feed  the  chickens,  or  do  your  arithmetic.  Suit 

yourself."  An  actor  so 
placed  is  given  the  respect 
due  to  a  producer,  but  not 
the  latitude.  He  has  the 
name,  and  the  labor,  but 
he  lacks  the  wherewithal 
to  do  what  is  expected  of 
him. 

Is  it  any  wonder  that 
the  vicissitudes  of  a  ca- 
reer, under  such  peculiar 
conditions,  have  turned 
this  buoyant,  nonchalant 
fellow  into  a  man  of  cares 
and  frowns? 

"But,  Reg,"  I  asked, 
when  after  luncheon  we 
had  driven  to  his  house, 
and  were  looking  out  on 
the  rambling  gardens, 
"aren't  all  actors  more  or 
less  discontented  ?  They 
kick,  everywhere.  Why  ?" 

"We  are  egoists,"  he 
admitted,  "a  fault  which 
grows  out  of  public  ac- 
claim. Few  people,  placed 
in  the  center  of  the  spot- 
light, could  remain  hum- 
ble and  forget  self.  Self 
is  our  stock  in  trade.  Any 
actor  is  prone  to  over- 
rate himself  a  little,  and 
to  feel,  when  this  fame  is. 
given  to  him,  that  he  de- 
serves more  respect  from 
his  employers  than  he  gets. 
Still,  in  cases  where  the 
actor  is  held  responsible, 
there  arc  grounds  for  com- 
plaint." _  [Cont'd  on  page  105] 


A 


Photo  by  Ruth  Harriet  Louisa 

Joan  Crawford  lives  furiously,  completely,  seizing  at  everything,  for  fear 
she  may  miss  something  worth  while. 

Portrait  of  a  Wow 

Joan  Crawford  is  found  by  the  interviewer  to  possess 
smashing  vitality,  animation  and  sparkle,  without 
any  pose  to  detract  from  these  high-voltage  virtues. 

By  Malcolm  H.  Oettinger 

NO  man  looks  at  Joan  Crawford  without  looking 
twice. 

That  is  a  nine-word  portrait  of  a  wow. 

And  that  must  serve  as  description :  the  usual  giddy 
parade  of  adjectives  would  be  too  routine.  One  might 
catalogue  the  red  hair  and  the  challenging  smile,  the 
confident  eyes  and  the  impudent  chin,  the  miniature  ears 
and  the  amazing  row  of  freckles  chasing  across  the 
bridge  of  the  nose;  one  might  go  into  statistical  ecsta- 
sies over  the  figure,  matching  it  against  that  of  the  Milo 
contest  winner  on  a  smaller,  more  graceful  scale ;  one 
might  go  to  such  ends,  and  still  it  wouldn't  be  enough. 

No  description  of  the  mad,  mercurial  Crawford  would 
be  adequate.  She  is  young  and  irresponsible.  She  is 
gay  and  daring.  If  the  mood  were  upon  me,  I  should 
say  that  she  was  a  flaming  iris  waving  in  the  wind, 
drinking  in  the  sun,  graceful,  slender,  alive  with  color. 

She  lives  furiously,  completely,  seizing  at  everything 
life  offers,  for  fear  she  may  miss  something  worih 
while.  This  entails  taking  the  bitter  with  the  sweet 
upon  occasion  ;  but  that,  she  would  tell  you,  is  the  breaks. 


She  is  Broadway  in  Hollywood. 
That  plunges  one  into  biography.  For  Joan 
Crawford  was  Lucille  LeSeur,  no  less,  when 
she  kicked  high,  wide,  and  fancy  at  the  Silver 
Slipper.  This  is  no  Cinderella  fable;  the  Sil- 
ver Slipper  is  one  of  Broadway's  hey-hey  caba- 
rets, where  Cinderella  would  be  out  of  luck, 
because  things  barely  begin  to  look  up  at  the 
witching  hour  of  midnight.  Joan  was  one  of 
the  ponies.  She  had  nothing  special  to  do,  yet 
she  attracted  attention.  People  singled  her 
out  immediately. 

It  was  no  great  surprise  to  the  management 
when  Lucille  said  she  was  leaving  to  elevate 
the  drama  at  the  Winter  Garden.  That  was  a 
step.  Lucille  had  more  than  it  takes  to  make 
good  in  a  white-light,  song-and-sip  joint. 

Then  came  the  night  when  a  Hollywood 
producer  saw  the  show.  And  he,  too,  singled 
out  Lucille  LeSeur.  There  was  a  contract 
offered  her — a  contract  that  took  her  to  Hol- 
lywood, paid  her  enough  to  live  on,  and  gave 
her  a  chance  to  show  her  stuff. 

Hollywood  didn't  bat  an  eye.  When  it  was 
introduced  to  Joan  Crawford  it  said,  "Greet- 
ings, baby.  Have,  a  good  time!"  That  was 
all.  But  Joan,  loving  a  good  time,  took  it  seri- 
ously. She  proceeded  to  dance,  swim,  and  be 
merry. 

Diplomacy  was  not  the  least  of  her  talents. 
She  was  a  regular  fellow,  without  straining  to 
please.  She  had  the  gift.  The  publicity  de- 
partment found  that  out  quickly  enough,  and 
before  you  could  say  Metro-Goldwyn-Mayer 
she  was  in  every  picture  magazine  in  the  coun- 
try, racing  whippets,  autos,  and  trains ;  reading 
papers,  poetry  and  pamphlets ;  fondling  dogs, 
dolls  and  diaries.  She  was  photographed  do- 
ing the  waltz,  the  polka,  the  Charleston,  and 
the  Black  Bottom ;  :  kissing  visiting  royalty, 
congratulating  "Babe"  Ruth,  waving  to  Will 
Hays ;  christening  battleships,  adopting  regi- 
ments, joining  the  marines.  Joan  was  "sold" 
before  she  was  screened  at  all. 

This  might  have  wrecked  a  less  clever  girl. 
It  only  served  to  put  the  Crawford  soubrette 
on  her  toes.  They  immediately  took  a  pic- 
ture of  her  that  way.  She  had  the  break  in 
publicity,  she  figured.  Good !  Now  she  was 
going  to  show  something. 

"Sally,  Irene,  and  Mary"  was  the  first  pic- 
ture, after  months  of  waiting.  It  was  enough.  "Paris," 
"The  Understanding  Heart,"  and  "The  Taxi  Dancer" 
followed  in  gatling-gun  succession.  In  each  story  the 
Crawford  part  stood  out  with,  increasing  vividness.  Ex- 
hibitors wrote  incoherent  letters  inquiring  about  her; 
fans  rallied  round  the  new  figure. 

Joan  was  cast  opposite  Lon  Chaney  in  "The  Un- 
known," and  proved  that  she  could  act.  Her  work 
opposite  Gilbert  in  "Twelve  Miles  Out"  served  as  proof 
positive.  Then  she  was  teamed  with  Bill  Haines,  and 
Metro-Goldwyn,  et  cetera,  had  found  the  ideal  combina- 
tion. With  Haines  she  made  "Spring  Fever"  and 
"West  Point."  With  Haines  she  is  likely  to  play,  off 
and  on,  until  stardom  claims  her  for  its  own.  The 
Crawford-Haines  alliance  is  particularly  happy.  They 
are  youth  personified ;  they  are  verve  itself ;  they  are 
snap  and  zip  and  springtime.  They  are  what  the  public 
wants. 

All  this  was  not  extraordinary,  in  its  way.  Dozens 
of  girls  have  been  sighted  in  choruses  by  astute  pro- 
Continued  on  page  105 


Photo  by  Roth  Harriet  Lotriae 

Y 

NO  description  of  mad,  mercurial  Joan  Crawford  would  be 
adequate,  Malcolm  H.  Oettinger  surprisingly  confesses  on 
the  opposite  page ;  but  he  succeeds,  nevertheless,  in  capturing  for 
the  fans  much  of  the  recklessness  and  allure  that  make  her  vital. 


36 


POURING  his  long  illness,  Geor6--  Hackathorne's  place  as  un- 
»-J  disputed  leader  of  the  younger  character  actors  has  never 
been  usurped.  And  now  that  he  is  returning  to  the  screen,  to 
play  in  "The  Stool  Pigeon,"  there  is  cause  for  rejoicing. 


Photo  by  Rath  Harriet  Looise 


WEN  LEE  is  progressing  so 


she  played  bits  seem  very  dis- 
tant indeed.  And  if  you  think 
she  is  only  a  comedienne,  we 
advise  you  to  see  her  as  a  sinu- 
ous and  provocative  siren,  in 
"Laugh,  Gown,  Laugh,"  and  it 
is  by  no  means  too  early  to 
whisper  that  she  will  one  day 
be  a  star. 


Photo  by  Eocene  Robert  Richee 

CLARA  BOW  forsakes  her  tantalizing  expression  that  you 
may  be  devastated  by  her  soulful  one.  It  is  all  in  prepara- 
tion for  her  next  picture,  succinctly  entitled  "The  Fleet's  In" — 
and  can't  you  guess  what  Oara  will  do  to  the  gobs? 


Photo  by  Melbourne  Spurr 

PITY  poor  Anna  Q.  Nilsson — and  then  shout  for  joy! 
Through  an  accident  she  lost  a  splendid  role,  but  gained  an- 
other by  recovering,  which  proves  that  no  horse  can  throw  Anna 
Q.  far  from  good  luck.    The  role?    In  "Tropic  Madness." 


Pboto  by  Eugene  Koberc  Kicbee 

AS  a  graduate  of  the  Paramount  School,  Josephine  Dunn 
>•  started  brightly  on  a  career  which  came  suddenly  to  a  stand- 
still— no  one  knew  why.  Now  friendly  Kleigs  are  shining  upon 
her  in  two  pictures,  "Excess  Baggage"  and  "The  Singing  Fool." 


DON  ALVARADO  always  adds  to  his  personal  success,  no 
matter  in  what  picture  he  appears,  this  .being  admitted  both 
by  his  fellow  actors  and  his  fans — though  with  dissimilar  enthu- 
siasm.  His  next  chance  ?   In  "The  Battle  of  the  Sexes." 


42 


RICHARD  BARTHELMESS  is  essentially  the  aristocrat  and 
is  proud  and  mildly  imperious,  says  Madeline  Glass  in  the 
story  opposite,  the  result  of  three  attempts  to  interview  the  star, 
who  protests  that  interviewers  write  fiction  instead  of  facts. 


43 


The  Interviewers'  Waterloo 

In  spite  of  having  had  every  educational  and  cultural  advantage,  and  successful  years  in  a  colorful  pro- 
fession, Richard  Barthelmess'  remarks  are  guarded,  trivial  and  hyphenated  by  periods  of  profound  silence* 

By  Madeline  Glass 


CLASSIFIED  according  to  their  behavior  in  the 
presence  of  interviewers,  there  are  five  types  of 
actors :  natural,  unnatural,  exotic,  pseudo-exotic, 
and  Richard  Barthelmess. 

Barthelmess  is  the  most  reticent  of  all  the  stars.  He 
is  the  writers'  Waterloo.  Easily  one  of  the  most  indi- 
vidual members  of  his  profession,  he  stands  alone  in  his 
own  particular  niche.  In  retrospect,  one  can  follow  his 
progress  down  through  the  years  of  a  brilliant  career, 
firm,  aloof,  determined,  satis  pair  et  sans  reproche, 
lauded  by  the  critics  and  respected  by  the  fans. 

Of  the  myriad  stories  about  him,  none  has  yet  re- 
vealed the  true  soul  and  char- 
acter of  this  unusual  man. 
Superficial  pen  pictures,  un- 
important quotations,  routine 
life  stories,  yes.  But  the  real, 
comprehensive  analysis  is  yet 
to  be  written.  Perhaps  it 
never  will  be.  Certainly  not 
if  the  writer  depends  on  the 
actor  to  reveal  it  in  the  form 
of  an  interview.  He  is,  I  re- 
gret to  say,  an  annoyingly 
poor  conversationalist.  More- 
over, he  is  not  particularly 
fond  of  press  interrogations. 

"The  trouble  with  inter- 
viewers," he  told  me,  impa- 
tiently, "is  that  they  so  often 
write  fiction,  when  the  facts 
are  far  more  interesting." 

Tut,    tut,    Dick.  Them's 
harsh  words ! 

I  have  interviewed  this  gen- 
tleman three  times,  and  three 
times  the  laboriously  written 
articles  have  gone  into  the 
wastebasket.  Not  one  was 
worth  the  paper  it  was  typed 
on. 

It  is  odd  indeed  that  this 
brilliant  actor  should  be  so 
difficult  to  draw  out,  so  im- 
possible to  plumb.  In  spite 
of  having  had  every  educa- 
tional and  cultural  advantage, 
extensive  travel,  and  many 
years  of  success  in  a  fantas- 
tically colorful  profession,  he 
is  distinctly  dull  copy.  His 
remarks  are  guarded,  trivial, 
and  hyphenated  by  embarrassing  periods  of  profound 
silence.  One  does  not  know  whether  to  attribute  his 
attitude  to  modesty,  fear  of  misquotation,  or  what. 

One  very  rainy  day,  many  months  ago,  I  called  on 
Mr.  Barthelmess  at  the  First  National  studio.  The 
chauffeur  remarked  that  it  was  good  weather  for  ducks  ; 
unfortunately,  it  was  not  good  weather  for  actors.  In 
those  days  I  was  a  rabid  Barthelmess  fan.  For  years 
my  admiration  for  him  had  steadily  increased,  until  it 
had  become  an  acute  form  of  hero  worship.  I  devoutly 
and  foolishly  idolized  him,  as  many  another  girl  has 
done. 


Richard  Barthelmess  is  home-loving,  exclusive  and  de- 
votedly parental,  but   his  extreme  sensitiveness  often 
makes  him  intolerant. 


The  star  was  telephoning  when  I  entered  the  office, 
and  after  finishing  his  conversation,  he  greeted  me  cor- 
dially enough,  then  entrenched  himself  behind  a  desk 
in  an  attitude  at  once  expectant,  but  uncompromising. 
A  bit  self-conscious  in  the  presence  of  my  own  private 
deity,  I  couldn't  think  of  any  bright  questions  to  ask. 
The  fact  that  the  conversation — if  I  may  call  it  that — 
was  languishing,  didn't  seem  to  bother  him  any.  When 
he  grew  weary  of  toying  with  the  desk  fixtures,  he  un- 
hurriedly took  up  the  telephone  and  made  a  couple  of 
calls.  The  next  time  I  go  to  talk  with  him  I  shall  take 
along  a  pack  of  cards,  and  indulge  in  a  little  solitaire 

during  lulls  in  the  interview. 

It  was  shortly  after  that, 
that  I  saw,  for  the  first  and 
only  time,  the  Barthelmess 
mask  of  suave  repression  torn 
aside  and  trampled  under  foot. 
At  that  time  his  artistic  affairs 
were  in  a  precarious  state. 
Good  stories  seemed  unobtain- 
able, and  the  star  was  ob- 
viously uninspired.  Critics, 
who  had  previously  offered 
only  praise,  were  changing 
their  tune.  Perfectly  con- 
scious that  he  was  slipping  be- 
hind in  the  procession,  I  wrote 
an  article  about  him,  chasten- 
ing him  and  his  producers 
gently  for  what  seemed  to  be 
sheer  carelessness.  I  might 
add  that  I  did  it  "for  his  own 
good." 

Barthelmess  eventually  read 
the  story,  and  there  followed 
several  days  of  ominous  si- 
lence. Then  his  press  agent 
called  me  on  the  phone  and 
invited  me  to  lunch  with  the 
star  at  his  palatial  Beverly 
Hills  home.  I  went,  vaguely 
apprehensive,  but  thrilled  at 
the  prospect  of  seeing  my  fa- 
vorite again. 

Now  I  can  look  back  upon 
the  episode  with  a  smile — a 
wry  smile,  to  be  sure,  but  a 
smile  nevertheless.  At  the 
time  it  occurred,  the  incident 
assumed  the  proportions  of  a 
tragedy. 

Barthelmess  strode  into  the  room  where  I  was  wait- 
ing,- courteous,  informal,  offering  a  friendly  hand.  It 
was  like  the  preliminary  amenities  of  boxers  before  the 
initial  bell.  Then,  taking  up  the  offending  article,  he 
tapped  it  across  his  palm. 

Alas  for  sweet,  lavender-scented  illusions !  The  atti- 
tude of  my  beloved  idol  suddenly  changed,  and  he 
looked  at  me  as  if  he  would  have  enjoyed  throwing  me 
off  Lick  pier.  His  fine,  brown  eyes  flashed  angrily. 
Too  pained  and  astonished  to  think  coherently,  I  sat  si- 
lent while  he  snowed  me  under  with  reproaches  and 
Continued  on  page  119 


44 


Marion 
Nixon's  free- 
lance career 
started 
gloriously 
when  she 
was  cast 
opposite 
Richard 
Barthehness. 

Photo  by  Frculich 


JUST  remember  me  as  an  old-fashioned 
girl,"  Fanny  the  Fan  counseled,  "and 
don't  expect  me  to  trail  along  with  you 
young  folks.  I  knew  and  loved  the  movies 
when  they  were  quiet,  but  now  they  are 
getting  articulate  I  can  spend  quiet  evenings 
only  among  my  books." 

She  could,  she  really  meant,  if  she  would 
remember  to  get  some  books. 

"It  used  to  be  a  reproach  to  call  a  screen 
player  'beautiful  but  dumb,'  but  now,  to  me, 
it  is  the  highest  tribute.  I'll  never  like  these 
talking  movies.  I  can't,  because  there  is 
only  one  Lionel  Barrymore.  Except  when 
he's  speaking,  I,  always  want  to  plug  my 
ears." 

Fanny's  "but-thev-will-never-supplant-the- 
horse"  attitude  toward  talking  pictures  isn't 
going  to  help  her  a  bit.  The  whole  mo- 
tion-picture industry  has  gone  crazy  on  the 
subject  of  filming  noises,  and  even  the  Con- 
stitution is  on  their  side.  It  says  something 
or  other  about  guaranteeing  free  speech. 
But,  try  as  I  will  to  be  open-minded  about 
this    new    development,    I    can't    be,  if 


(ftander 


producers  insist  on  digging  up  all  the  forgotten  relics  of 
vaudeville  to  feature  on  their  sound  programs.  Almost 
any  day  now,  I  expect  to  go  f  into  a  motion-picture  palace 
and  hear  "Uncle  Josh  at  the  Dentist's." 

"One  lucky  feature  about  living  in  Los  Angeles,"  Fanny 
suggested — and  .the  Chamber  of  Commerce  will  please  note 
—"is-  that  you  can  sometimes  see  previews  of  pictures  be- 
fore the  noise  is  recorded.  None  of  the  companies,  except 
Warner's,  are  committed  to  making  dialogue  pictures.  The 
others  are  just  picking  the  pictures  that  look  like  big  win- 
ners and  adding  sound  effects  and  music.  And,  if  they 
already  look  like  winners,  I  can't  see  the  necessity. 

"The  obvious  candidates  for  stardom  in  talking  pictures 
are  Helen  Ferguson,  Mae  Busch,  and  Lois  Wilson,  because 
they  have  made  hits  on  the  Hollywood  stage.  And  Shannon 
Day.  Particularly  Shannon  Day,  because  her  voice  was 
glorious  when  she  did  'Kongo'  on  the  stage.  Lois  has 
already  made  one  Vitaphone  playlet,  but  let's  not  go  into 
that  any  further. 

"Incidentally,  what  do  you  want  to  bet  that  Estelle  Taylor 
and  Jack  Dempsey  get„an  offer  to  do  a  talking- picture,  if 
their  stage  play  is  a  success  in  New  York  this  -fall?" 

As  though  any  one  would  be  so  foolish  as  to  bet  against 
a  foregone  conclusion  like  that ! 

"If  any  of  Estelle's  fears  for  the  first  night  of  the  show 
come  true,  it  would  be  well  worth  a  trip  across  the  country 
to  see  it.  Estelle  says  that  when  she  gets  nervous,  her 
voice,  which  is  naturally  low,  gets  lower.  When  Jack  gets 
rattled,  his  voice  slides  up  to  a  giddy  falsetto.    The  only 

way  out,  that  I 


Photo  by  Seely 


can  see,  is  for 
them  to  study 
ventriloquism  and 
speak  each  other's 
lines ! 

"Two  more  can- 
didates for  talk- 
ing-movie honors 
are  Winston  Mil- 
ler and  his  sister, 
Patsy  Ruth.  They 
have  gone  in  vio- 
lently for  com- 
munity spirit,  and 
have  joined  the 
Beverly  Hills" 
Community  Play- 
ers. They  played 
t  he  leads  in 
'Kempy*  the  other 
night,  and  covered 
themselves  with 
glory.  I'll  never 
be  really  satisfied, 

Jacqueline  Logan's 
new  contract  with 
DeMille  eliminates 
the  possibility  of  her 
being  lent  to  others. 


45 


Fanny  the  Fan  unburdens  herself 
of  a  few  harsh  words  on  the  sub- 
ject of  talking  movies,  and  elects 
her  favorites  for  the  coming  year. 


though,  until  I  see  Winston  and  Pat  in  a 
show  where  they  do  their  burlesque  Apache 
dance,  which  is  the  main  feature  of  the 
nightly  after-dinner  vaudeville  at  the  Miller 
home." 

"For  one  who  refuses  to  take  any  interest 
in  talking  pictures,"  I  chided  her  mildly,  "it 
seems  to  me  that  you  are  showing  a  lot  of 
interest  in  digging  up  candidates  for  them." 

"Oh,  well,  who  ani  I  against  the  whole  in- 
dustry?" Fanny  granted  generously. 

"I  suppose  you  have  heard  that  Alma 
Rubens  has  been  signed  by  Universal  for 
'Show  Boat'?  They  are  still  looking  for  a 
juvenile  team  for  it,  but  they  grabbed  Alma 
and  signed  her  to  a  contract,  so  as  to  be  sure 
of  one  player  they  wanted.  While  waiting 
for  production  to  start,  she  is  taking  vocal 
lessons.  So  are  a  lot  of  other  people.  It 
may  be  hard  on  us,  but  it  is  a  banner  year 
for  teachers  of  singing  and  elocution. 

"Of  course,  Dolores  del  Rio  has  stolen  a 
march  on  all  the  other  stars  by  becoming  a 
singer  of  recognized  ability.  Her  phonograph 
records  of  'Ramona,'  and  a  little  Mexican 
song,  have  had  a  tremendous 
sale.  Even  if  the  picture 
'Ramona'  hadn't  been  a  hit — 
it  wasn't  with  me,  but  I  seem 
to  be  a  minority  of  one — the 
royalties  from  the  song  and 
the  record  would  have  pulled 
it  out  of  the  debit  ledgers. 

"And  while  we  are  on  the 
subject  of  singing — Milton 
Sills  and  Doris  Kenyon  should 
have  been  teamed  in  a  talking 
picture  that  gave  them  both  a 
chance  to  sing.  I  say  'should 
have  been,'  because  it  is  a  lit- 
tle late,  now.  Doris'  contract 
with  First  National  has  ex- 
pired, and  she  has  announced 
that  she  will  not  renew  it. 
They  didn't  seem  to  have  any- 
thing for  her  to  do  out  at  the 
First  National  lot,  except  play 
opposite  her  husband,  and  her 
salary  was  so  big  that  it  left 
little  for  story,  direction,  and 
what  not.  Also,  it  meant  little 
glory  for  Doris." 

brought  up 
how  Doris 
free  lance. 


Virginia  Valli  will  appear  in  a  Reginald 
Barker  special. 

Photo  by  Hesser 


Naturally,  that 
the  question  of 
would  fare  as  a 
You  never  can  tell,  when  a  girl 
steps  out  of  a  long  and  lucra- 
tive contract,  whether  she  is 
just  around  the  corner  from 


Photo  by  Autrey 


Olive  Borden 
is  making  a 
picture  for 
Columbia. 


fame  and  glory,  or  oblivion. 
Virginia  Valli  holds  the  long- 
est and  most  consistent  record 
of  good  engagements  for  a 
free-lance  player,  and  Mar- 
garet Livingston  holds  the 
nonstop  record  for  the  greatest 
number  of  films.  Patsy  Ruth 
Miller  can  hardly  be  classed  as 
a  free-lance  player,  because 
she  has  an  agreement  to  be 
featured  in  a  number  of  Tif- 
fany-Stahl  features  in  the  next 
two  years ;  and  as  fast  as  she 
finishes  a  picture  there,  she 
rushes  over  to  Universal  to 
make  a  costarring  comedy  with 
Glenn  Tryon,  or  a  Universal 
special.  Olive  Borden  is  the 
horrible  example  of  how  com- 
pletely a  former  star  can  be 
ignored  by  producers. 

"Olive's  working  now," 
Fanny   announced,    "so  her 


46 


Over  the  Teacups 


jinx  may  have  'been  routed.  She's  not  up  to  anything 
grand  and  glorious,  from  all  accounts.  Just  a  picture 
for  Columbia,  but  that  is  better  than  resting  between 
film  tests. 

"The  very  newest  free-lance  player  is  starting  out 
auspiciously.  Marian  Nixon  got  a  release  from  her 
contract  with  Universal,  and  was  signed  right  away  to 
play  opposite  Richard  Barthelmess  in  'Out  of  the  Ruins.' 
She  is  a  lovely  child.  Every  time  I  see  her  I  like  her 
better,  even  if  it  is  a  shock  to  hear  such  a  fragile  child 
talk  so  knowingly  about  the  stock  market. 


Photo  by  Hesser 

Lupe  Velez  is  Fanny's  favorite  for  the  coming  year. 

"Marian  is  one  of  those  lucky  individuals  who  doesn't 
have  to  work  any  more  unless  she  wants  to.  She  has 
invested  very  wisely  and  has  a  good,,  steady  income 
from  her  coupons. 

"The  old  criticism  that  motion-picture  players  could 
talk  about  nothing  but  movies  can  now  be  disposed  of. 
On  sets  nowadays  they  talk  about  nothing  -but  the  stock 
market.  Tickers  will  have  to  be  installed  in  studios  soon, 
in  order  to  keep  players  on  the  set.  Some  day,  when 
there  is  a  terrific  drop  in  the  market,  great  reputations 
will  be  made  for  tragic  performances." 

While  Fanny's  mind  was  apparently  on  serious  things, 
her  eyes  were  not.  They  were  roving  around  Mont- 
martre,  taking  in  the  details  of  the  costumes  there.  Evelyn 
Brent,  just  returned  from  a  trip  to  New  York,  looked 
even  smarter  than  usual,  and  Pauline  Garon  was  a 
childish  figure  in  a  shell-pink  sports  outfit.  Estelle 
Taylor  was  hostess  at  a  large  luncheon — and  dominated 
it  by  virtue  of  a  huge  pansy-colored  hat,  bought,  no 
doubt,  to  match  the  new  Rolls-Royce  touring  car  which 
was  a  present  from  her  husband.    Or  perhaps  she  got 


Photo  by  Kichee 

Lois  Moran  will  costar  with  Edmund  Lowe,  in  "Making 
the  Grade." 

the  car  to  match  the  hat.  Carmelita  Geraghty  was 
there  in  a  chic  sports  outfit,  Hedda  Hopper  in  one  of 
those  perishable,  summery  dresses  with  a  big  hat,  and 
Julanne  Johnstone  looking  more  like  New  York  than 
a  New  Yorker. 

"Julanne  has  a  big  part  in  Colleen  Moore's  new  pic- 
ture, 'Oh  Kay,'  "  Fanny  fairly  burst  with  enthusiasm. 
"She  is  going  to  be  utterly  lovely  in  it.  She  has  some 
charming  costumes.  And  speaking  of  costumes — who 
do  you  suppose  designed  Colleen's  ?" 

Knowing  Colleen's  charitable  tendencies,  I  was  pre- 
pared to  suspect  any  one  from  the  night  watchman  to 
some  fan  in  Timbuktu.  But  this,  it  appears,  was  not 
one  of  her  charitable  impulses,  but  a  lucky  break  for 
Colleen. 

"Diana  Kane  Fitzmaurice  designed  them.  You  know, 
long  ago,  before  Diana  went  into  pictures,  she  used  to 
design  her  own  clothes.  Well,  since  she  married  George 
Fitzmaurice,  she  has  had  nothing  to  do  but  run  a  big 
house,  entertain  a  lot  of  guests,  and  play  tennis  four  or 
five  hours  a  day.  So,  when' Colleen  started  wailing  about 
her  difficulties  in  getting  original  costumes  for  'Oh  Kay,' 
Diana  sat  down  and  designed  some  for  her.  Colleen 
spends  all  her  spare  time,  if  any,  visiting  other  sets  in 
the  studio,  proudly  displaying  Diana's  creations. 

"Incidentally,  Colleen  appeared  at  the  studio  the  other 
day  in  an  authentic  Russian  costume  that  was  so  ador- 
able, it  will  have  to  be  written  into  one  of  her  pictures. 
It  was  brought  to  her  by  Lucita  Squier,  who  used  to 
write  some  of  Mickey  Neilan's  scenarios,  but  who  has 
been  living  in  Russia  the  last  few  years." 

In  Hollywood,  any  mention  of  Russia  brings  to  mind 
a  disaster  that  hit  all  our  hearts,  to  say  nothing  of  the 
less  romantic  portions  of  our  anatomy.    The  Russian 


Over  the  Teacups 


oo 


49 


Sea  Hawk.'    'The  Divine  Lady'  is  bound  to  bk 
in  Hollywood,  even  if  only  the  people  who  appv. 
go  to  see  it. 

"I've  got  my  mind  all  made  up  over  my  favorite 
star  for  next  year.  It  is  Lupe  Velez.  That  girl  fascinates 
me.  Even  if  she  weren't  going  to  have  Sam  Taylor 
direct  her  first  starring  picture  for  United  Artists,  I'd 
expect  her  to  be  good. 

''She  is  always  interesting-looking,  and  I  am  con- 
stantly hearing  nice  things  about  her.  Only  the  other  day 
I  ran  into  a  girl  who  works  for  United  Artists,  and  I 


Photo  by  Spurr 

Margaret  Livingston  wins  the  nonstop  film  player's  prize. 

Eagle,  our  new  cafe  that  was  the  joy  of  the  colony,  was 
set  on  fire  a  few  weeks  ago.  Lots  of  picture  people 
were  dining  there  that  night,  as  usual,  but  several  of 
them  had  gone  home  before  the  fire  broke  out.  The 
heroes  of  the  fire  were  Charlie  Chaplain,  Eddie  Suther- 
land, and  Harry  Crocker,  who  sought  to  prevent  a  gas 
explosion,  and  who  got  a  garden  hose  from  near  by, 
and  fought  the  fire  until  the  engines  arrived. 

"Chaplin  threatens  to  start  a  new  picture  almost  any 
day  now,"  Fanny  announced,  "but  that  doesn't  mean 
that  we  will  get  to  see  it  before  we  are  old  and  gray. 
I  wish  somebody  could  interest  him  in  making  quickies, 
for  a  while.  I'm  sure  they  would  be  good.  In 'fact,  I 
had  the  feeling  all  the  while  I  was  watching  'The  Circus,' 
that  it  would  have  been  better  if  he  had  spent  less  time 
pondering  over  every  move  in  it. 

"But  one  blessing  is  all  you  can  expect  in  a  year. 
And  we  have  that  one.  Von  Stroheim  has  signed  a 
contract  with  Gloria  Swanson,  whereby  he  promises  to 
direct  her  in  a  picture  to  be  made  within  a  few  months ! 
You  couldn't  possibly  think  of  a  greater  combination 
than  Von  Stroheim  and  Gloria!" 

"Not  without  adding  John  Gilbert,"  I  offered  feebly. 

"Mickey  Neilan  is  going  to  direct  Bebe  Daniels.  That 
is  worth  waiting  for.  In  fact,  I  think  I'll  begin  saving 
my  pennies  for  future  pictures.  There's  nothing  on  the 
immediate  horizon. 

"Corinne  Griffith's  'The  Divine  Lady'  promises  to  be 
magnificent.  The  company  is  over  on  the  Isthmus,  at 
Catalina,  filming  the  Battle  of  Trafalgar.  Some  ex- 
travagant sum,  over  the  hundred-thousand  mark,  was 
spent  just  on  building  the  superstructure  on  the  boats  that 
participate  in  the  battle.  When  those  gorgeous  boats 
come  streaming  up  toward  the  Isthmus,  it  will  remind 
one  of  the  prodigal  days  when  Frank  Lloyd  made  'The 


Photo  by  Chidnoff 

Bessie  Love  is  winning  ovations  for  a  song-and-dance  act 
she  is  doing. 


found  that  she  was  hurrying  home  because  Lupe  had 
offered  to  come  over  and  make  a  dress  for  her.  It 
appears  that  Lupe  is  quite  a  dressmaker,  and  that  she 
is  always  willing  to  spend  a  quiet  evening  basting  and 
pinning  her  friends  into  clothes.  I  don't  want  to  detract 
from  her  violent  reputation  as  a  siren,  but  that  does  make 
the  girl  human  and  ingratiating. 

"Another  picture  I  want  to  see" — the  tide  of  Fanny's 
ramblings  could  never  be  stemmed,  now,  though  I  did 
want  to  ask  her  a  question — "is  Madge  Bellamy  in 
'Mother  Knows  Best.'  She  has  never  been  a  favorite 
of  mine — quite  far  from  it,  in  fact — but  that  is  a  gor- 
geous story,  and  I  hear  the  most  glowing  reports  of  the 
picture.  Madge  does  a  series  of  impersonations  in  it, 
and  I  hear  that  she  is  amazingly  clever  in  them.  If  she 
can  stand  comparison  with  Marion  Davies  in  'The 
Patsy,'  she  will  have  to  be  good!" 

"Is  it  really  true  " 

At  least,  I  got  that  far  before  she  interrupted  me. 
"Yes,  evidently  you  have  heard  about  Jetta  Goudal," 
Continued  on  page  114 


46 


Over  the  Teacups 


jinx  may  have  teen  routed.  She's  not  up  to  anything 
grand  and  glorious,  from  all  accounts.  Just  a  picture 
for  Columbia,  but  that  is  better  than  resting  between 
film  tests. 

"The  very  newest  free-lance  player  is  starting  out 
auspiciously.  Marian  Nixon  got  a  release  from  her 
contract  with  Universal,  and  was  signed  right  away  to 
play  opposite  Richard  Barthelmess  in  'Out  of  the  Ruins.' 
She  is  a  lovely  child.  Every  time  I  see  her  I  like  her 
better,  even  if  it  is  a  shock  to  hear  such  a  fragile  child 
talk  so  knowingly  about  the  stock  market. 


Photo  by  Hesser 

Lupe  Velez  is  Fanny's  favorite  for  the  coming  year. 

"Marian  is  one  of  those  lucky  individuals  who  doesn't 
have  to  work  any  more  unless  she  wants  to.  She  has 
invested  very  wisely  and  has  a  good,  steady  income 
from  her  coupons. 

"The  old  criticism  that  motion-picture  players  could 
talk  about  nothing  but  movies  can  now  be  disposed  of. 
On  sets  nowadays  they  talk  about  nothing  -but  the  stock 
market.  Tickers  will  have  to  be  installed  in  studios  soon, 
in  order  to  keep  players  on  the  set.  Some  day,  when 
there  is  a  terrific  drop  in  the  market,  great  reputations 
will  be  made  for  tragic  performances." 

While  Fanny's  mind  was  apparently  on  serious  things, 
her  eyes  were  not.  They  were  roving  around  Mont- 
martre,  taking  in  the  details  of  the  costumes  there.  Evelyn 
Brent,  just  returned  from  a  trip  to  New  York,  looked 
even  smarter  than  usual,  and  Pauline  Garon  was  a 
childish  figure  in  a  shell-pink  sports  outfit.  Estelle 
Taylor  was  hostess  at  a  large  luncheon — and  dominated 
it  by  virtue  of  a  huge  pansy-colored  hat,  bought,  no 
doubt,  to  match  the  new  Rolls-Royce  touring  car  which 
was  a  present  from  her  husband.    Or  perhaps  she  got 


Photo  by  Bichee 

Lois  Moran  will  costar  with  Edmund  Lowe,  in  "Making 
the  Grade." 

the  car  to  match  the  hat.  Carmelita  Geraghty  was 
there  in  a  chic  sports  outfit,  Hedda  Hopper  in  one  of 
those  perishable,  summery  dresses  with  a  big  hat,  and 
Julanne  Johnstone  looking  more  like  New  York  than 
a  New  Yorker. 

"Julanne  has  a  big  part  in  Colleen  Moore's  new  pic- 
ture, 'Oh  Kay,'  "  Fanny  fairly  burst  with  enthusiasm. 
"She  is  going  to  be  utterly  lovely  in  it.  She  has  some 
charming  costumes.  And  speaking  of  costumes — who 
do  you  suppose  designed  Colleen's?" 

Knowing  Colleen's  charitable  tendencies,  I  was  pre- 
pared to  suspect  any  one  from  the  night  watchman  to 
some  fan  in  Timbuktu.  But  this,  it  appears,  was  not 
one  of  her  charitable  impulses,  but  a  lucky  break  for 
Colleen. 

"Diana  Kane  Fitzmaurice  designed  them.  You  know, 
long  ago,  before  Diana  went  into  pictures,  she  used  to 
design  her  own  clothes.  Well,  since  she  married  George 
Fitzmaurice,  she  has  had  nothing  to  do  but  run  a  big 
house,  entertain  a  lot  of  guests,  and  play  tennis  four  or 
five  hours  a  day.  So,  when'  Colleen  started  wailing  about 
her  difficulties  in  getting  original  costumes  for  'Oh  Kay,' 
Diana  sat  down  and  designed  some  for  her.  Colleen 
spends  all  her  spare  time,  if  any,  visiting  other  sets  in 
the  studio,  proudly  displaying  Diana's  creations. 

"Incidentally,  Colleen  appeared  at  the  studio  the  other 
day  in  an  authentic  Russian  costume  that  was  so  ador- 
able, it  will  have  to  be  written  into  one  of  her  pictures. 
It  was  brought  to  her  by  Lucita  Squier,  who  used  to 
write  some  of  Mickey  Neilan's  scenarios,  but  who  has 
been  living  in  Russia  the  last  few  years." 

In  Hollywood,  any  mention  of  Russia  brings  to  mind 
a  disaster  that  hit  all  our  hearts,  to  say  nothing  of  the 
less  romantic  portions  of  our  anatomy.    The  Russian 


Over  the  Teacups 


47 


Sea  Hawk.'  'The  Divine  Lady'  is  bound  to  be  a  success 
in  Hollywood,  even  if  only  the  people  who  appear  in  it 
go  to  see  it. 

"I've  got  my  mind  all  made  up  over  my  favorite  new 
star  for  next  year.  It  is  Lupe  Velez.  That  girl  fascinates 
me.  Even  if  she  weren't  going  to  have  Sam  Taylor 
direct  her  first  starring  picture  for  United  Artists,  I'd 
expect  her  to  be  good. 

''She  is  always  interesting-looking,  and  I  am  con- 
stantly hearing  nice  things  about  her.  Only  the  other  day 
I  ran  into  a  girl  who  works  for  United  Artists,  and  I 


Photo  by  Spun 

Margaret  Livingston  wins  the  nonstop  film  player's  prize. 


Eagle,  our  new  cafe  that  was  the  joy  of  the  colony,  was 
set  on  fire  a  few  weeks  ago.  Lots  of  picture  people 
were  dining  there  that  night,  as  usual,  but  several  of 
them  had  gone  home  before  the  fire  broke  out.  The 
heroes  of  the  fire  were  Charlie  Chaplain,  Eddie  Suther- 
land, and  Harry  Crocker,  who  sought  to  prevent  a  gas 
explosion,  and  who  got  a  garden  hose  from  near  by, 
and  fought  the  fire  until  the  engines  arrived. 

"Chaplin  threatens  to  start  a  new  picture  almost  any 
day  now,"  Fanny  announced,  "but  that  doesn't  mean 
that  we  will  get  to  see  it  before  we  are  old  and  gray. 
I  wish  somebody  could  interest  him  in  making  quickies, 
for  a  while.  I'm  sure  they  would  be  good.  In  fact,  I 
had  the  feeling  all  the  while  I  was  watching  'The  Circus,' 
that  it  would  have  been  better  if  he  had  spent  less  time 
pondering  over  every  move  in  it. 

"But  one  blessing  is  all  you  can  expect  in  a  year. 
And  we  have  that  one.  Von  Stroheim  has  signed  a 
contract  with  Gloria  Swanson,  whereby  he  promises  to 
direct  her  in  a  picture  to  be  made  within  a  few  months ! 
You  couldn't  possibly  think  of  a  greater  combination 
than  Von  Stroheim  and  Gloria!" 

"Not  without  adding  John  Gilbert,"  I  offered  feebly. 

"Mickey  Neilan  is  going  to  direct  Bebe  Daniels.  That 
is  worth  waiting  for.  In  fact,  I  think  I'll  begin  saving 
my  pennies  for  future  pictures.  There's  nothing  on  the 
immediate  horizon. 

"Corinne  Griffith's  'The  Divine  Lady'  promises  to  be 
magnificent.  The  company  is  over  on  the  Isthmus,  at 
Catalina,  filming  the  Battle  of  Trafalgar.  Some  ex- 
travagant sum,  over  the  hundred- thousand  mark,  was 
spent  just  on  building  the  superstructure  on  the  boats  that 
participate  in  the  battle.  When  those  gorgeous  boats 
come  streaming  up  toward  the  Isthmus,  it  will  remind 
one  of  the  prodigal  days  when  Frank  Lloyd  made  'The 


Photo  by  Cludnoff 

Bessie  Love  is  winning  ovations  for  a  song-and-dance  act 
she  is  doing, 

found  that  she  was  hurrying  home  because  Lupe  had 
offered  to  come  over  and  make  a  dress  for  her.  It 
appears  that  Lupe  is  quite  a  dressmaker,  and  that  she 
is  always  willing  to  spend  a  quiet  evening  basting  and 
pinning  her  friends  into  clothes.  I  don't  want  to  detract 
from  her  violent  reputation  as  a  siren,  but  that  does  make 
the  girl  human  and  ingratiating. 

"Another  picture  I  want  to  see" — the  tide  of  Fanny's 
ramblings  could  never  be  stemmed,  now,  though  I  did 
want  to  ask  her  a  question — "is  Madge  Bellamy  in 
'Mother  Knows  Best.'  She  has  never  been  a  favorite 
of  mine — quite  far  from  it,  in  fact — but  that  is  a  gor- 
geous story,  and  I  hear  the  most  glowing  reports  of  the 
picture.  Madge  does  a  series  of  impersonations  in  it, 
and  I  hear  that  she  is  amazingly  clever  in  them.  If  she 
can  stand  comparison  with  Marion  Davies  in  'The 
Patsy,'  she  will  have  to  be  good!" 

"Is  it  really  true  " 

At  least,  I  got  that  far  before  she  interrupted  me. 
"Yes,  evidently  you  have  heard  about  Jetta  Goudal," 
Continued  on  page  114 


48 


The  World  is  Upside 

But  then  you  can't  expect  these  stars  to  be 


Marceline   Day,   left,  looks 
as  though  she  might  be  go- 
through   the    paces  at 
Atlanta  or  Ossining. 


Nancy  Carroll,  below,  indulges  in 
some  pretty  difficult  exercises  in 
order    to    work   off   her  surplus 
enthusiasm. 


Sally  Blane,  above,  seems  entirely 
satisfied  with  her  position!  Watch 
out !    Stars  have  been  known  to  fall. 


The  secret  of  Esther 
Ralston's  slimness  is 
revealed,  above,  but 
just  you  try  the  bicy- 
cle exercise  and  see 
what  happens ! 


Doris  Hill,  right,  has 
placed  herself  in  this 
position,  and  what 
we're  wondering  is, 
how  she  intends  to  set 


Down  to  Them 


serious  and  dignified  all  the  time,  can  you? 


Come,  come,  Janet 
Gaynor,  left,  that's 
no  way  for  Diana, 
or  Angela,  to  act 
in  public. 


Frankie  Darro,  be- 
low, was  born  in  a 
circus  tent,  and  so 
being  upside  down 
means  nothing  in 
his  young  life. 


Don't  be   frightened,  little  girl.  It 
won't  bite.    It's  just  Raymond  Hat- 
ton,  above,  looking  at  the  world  from 
a  new  angle. 


50 


Photo  by  Louise 

Why  does  Lillian  Gish,  though  a  great  actress,  appeal  less  than 
some  of  her  untalented  rivals  ? 

THE  editor  of  Picture  Play  sat  at  his  desk,  reading. 
It  was  the  fan-mail  hour,  and  the  top  of  his  head 
could  just  be  seen  from  behind  a  barricade  of  let- 
ters.   He  was  feeling  the  pulse  of  the  people,  finding  out 
what  enthusiastic  followers  of  the  screen  had  to  say. 

The  familiar  song  with  variations.  The  wording  dif- 
ferent, the  opinions  expressed  with  emphasis  or  not,  but 
usually  with  the  inevitable  refrain. 

"Buddy  Rogers  is  a  marvelous  actor." 
"I  think  Janet  Gaynor's  acting  is  simply  wonderful." 
"Oh,  boy,  how  Greta  Garbo  can  act!" 
"Ramon  Novarro  is  my  favorite  actor,"  "Clara  Bow 
is  the  greatest  actress  on  the  screen  to-day,"  "Why  doesn't 
William  Haines  get  dramatic  roles,,  he's  such  a  fine 
actor?"  "John  Gilbert  is  a  much  better  actor  than  John 
Barrymore."    Or  it  might  be  Richard  Barthelmess,  Rich- 
ard Dix,  or  somebody  else. 
Acting — acting — acting ! 
What  do  they  mean,  these  fans? 

What  is  this  word  they  toss  so  lightly,  as  incense  to- 
ward chosen  shrines  ?  Once  the  words  "marvelous  actor" 
were  sacred  syllables,  to  be  chosen  with  great  care. 

Is  Buddy  Rogers  a  marvelous  actor,  or  just  a  charming 
personality?  This  youngster,  just  out  of  school,  whose 
smile  and  "I-think-you're-just-wonderful"  expression 
has  given  the  whole  fan-world  writer's  cramp  in  its 
earnest  effort  to  express  unqualified  admiration 
for  him. 


Is  Baddy 
Rogers  an 
actor,  or  a 
personality? 


Just  What  is  Act 

Once  a  player  becomes  a  favorite,  the 
actor.  Do  they  really  mean  it,  or  is  it  per 
article  presents  interesting  speculations  on 

By  Kath 


It  isn't  his  eyes,  his  curly  hair,  or  his  smile 
they  write  about — it's  his  acting.  "He's  great 
— that  boy  can  act,"  they  say.  A  few  years 
ago,  Buddy  wouldn't  have  been  proclaimed  an 
actor  after  so  short  a  career.  He  would  simply 
have  been  considered  an  engaging  youngster 
with  a  high-powered  personality,  who  showed 
promise  of  great  things  to  come. 

There  seemed  to  be  nothing  for  me  to  do, 
in  order  to  get  at  the  secret  of 
acting,  but  to  question  some  of 
those  who  are  accused  of  it.  So, 
presently,  I  was  cross-examining 
Buddy  himself. 

He    squirmed    in    his  chair. 
"Gee,  I  don't  know !    I  used  to 
think  it  meant  something  wonder- 
ful— great  dramatic  ability,  long 
years  of  training.  But  now — well, 
you  see,  they  say  /  can  act,  and 
that  isn't  true,  is  it?    I  haven't 
been  on  the  screen  long  enough. 
Everything    has  been 
handed    to    me — stardom 
and  everything.  Then,  too, 
they    are   always  saying 
that  girls  like  Clara  Bow 
and  Greta  Garbo  are  great 
actresses,  but  I  can't  see 
them  at  all.     But  Billie 
Dove — why,  she's  a  real 
actress.    The  whole  thing 
confuses  me." 

Not  a  meaty  explana- 
tion! He  was  as  uncertain 
as  I.  So  was  Janet 
Gaynor,  the  lovely  little 
Janet  whom  the  fans  re- 
gard with  almost  reveren- 
tial awe.  Stopping  work 
for  a  day  on  "The  Four 
Devils,"  she  had  time  to 
say  "Hello  !"  Frowning  in 
deep  thought  she  finally 
admitted  she  "didn't 
know." 

"I  really  think  acting  is 
a  fine  ability  which  is  de- 
veloped by  training,  study 
and  hard  work ;  but  things 
seem  to  work  otherwise 
in  pictures  nowadays,  don't 
they  ?" 

To  Clara  Bow,  the  ques- 
tion evoked  an  expressive 
shrug  of  the  shoulders, 
and,  "Why,  I  guess  it's 
just  having  the  stuff,  isn't 
it?  But  I  think  it's  a 
funny  question  to  ask  a 
star." 

With  the  same  question 


51 


ing,  Anyhow? 

fans  take  for  granted  that  he  is  a  great 
sonality  that  influences  them  most?  This 
the  subject,  by  people  who  should  know. 

erine  Lipke 


on  my  lips,  I  made  the  rounds  of  the  studios 
without  a  real  answer,  until  I  found  Jack  Gil- 
bert on  location  in  Laurel  Canyon,  for  "The 
Cossacks."  His  fuzzy  headgear  was  on  one 
side,  and  his  face  was  hot  and  ruddy  and 
gleamed  with  vitality.  Jack  stepped  into  my 
picture  with  a  bang,  for  he  was,  as  usual, 
brimming  with  opinions. 

"Acting  on  the  screen  to-day  means  being 
vital.  Success  seems  to  rest  entirely  on  whether 
you  are  positive  or  negative.  The  half-positive 
boys  and  girls  get  so  far,  and  then  stop,  and 
the  negative  players  are  soon  out — that's  all. 

"I've  thought  a  lot  about  it.  Take  those 
who  had  big  names  a  few  years  ago.  We 
thought  them  great  actors,  but  many  of  them 
are  deadwood  at  the  box  office  to-day.  Some- 
thing else  is  required  now.  They  may  be  the 
world's  handsomest  men,  and  the  sweetest, 
loveliest  girls  the  camera  ever  turned  on,  but 
if  they  don't  'click'  the  public  won't  have  them. 

"Wallie  Reid,  if  he  were  alive  to-day,  would 
be  as  great  a  success  as  he  was  years  ago. 
He  was  so  vivid,  vital.  Every  boy  in  pic- 
tures, who  is  said  to  look  like  Wallie,  has 
tried,  and  failed,  to  imitate  him.  But  it  wasn't 
Ms  good  looks  or  his  pleasing  smile  alone — it 
was  the  whole  dynamic  something  which  made 
him  'click'  inside  you,  whenever  you  saw  him. 
No  wonder  he  was  popu- 
lar— no  wonder  his 
memory  lived.  In  a  half- 
positive  age  in  pictures, 
he  was  old  man  positivity 
himself. 

"Janet  Gaynor  is  the 
screen  sensation  of  to- 
day. One  of  the  finest, 
natural-born  actresses  I 
have  ever  seen.  Her 
curls  and  big  eyes  aren't 
a  third  of  it.  She's  vital 
— that's  -the  thing. 

"When  she  cries,  you 
feel  as  if  something  were 
tearing  inside  you.  Her 
appeal  isn't  insipid — it's 
strong.  She  does  natu- 
rally, without  knowing 
it,  all  the  things  the  rest 
of  us  sweat  for,  and 
then  don't  get.  She  has 
just  about  everything 
any  one  needs  for  suc- 
cess on  the  screen,  but 
the  main  thing  which 
gets  over  with  me  is  her 
vitality. 

"The  other  day  I  saw 


Acting  depends  on  individual 
vitality,  says  John  Gilbert. 


Alice  White  clicks  like  castanets,  but 
can  she  act? 


a  picture  which  introduced  a 
girl  very  much  of  Miss  Gay- 
nor's  type.  It  was  a  rotten 
picture — didn't  give  her  a  de- 
cent break — but  somehow  I 
kept  thinking  that  if  Janet  had 
been  in  that  picture,  something, 
somewhere,  would  have 
'clicked' ;  her  appeal  would  have 
filtered  through,  at  least  for  a 
moment,  and  would  have  been 
stronger  than  the  picture.  As 
it  was,  this  girl  went  down  for 
the  third  time.  Only  half- 
positive. 

"Take  Garbo,"  announced 
Jack,  gathering  momentum, 
"take  Garbo,  for  instance.  It 
doesn't  make  a  bit  of  differ- 
ence whether  you  like  her  on 
the  screen  or  whether  you  don't 
— you  know  she's  there.  You 
don't  forget  her,  and  that's  the 
main  thing.  She  never  lets  you 
down.  She  is  never  half-vital. 
You  can  get  out  all  your  rules 
for  an  actress,  and  she  may 
break  them  all,  but  what  of  it? 
You  feel  her,  go  away  and  re- 


52 


Just  What  is  Acting,  Anyhow? 


Photo  by  Autrey 

Acting  can  be  acquired  gradually,  when  a  personality  as  positive  as  Nick 
Stuart's  has  been  accepted  by  the  fans. 


member  her,  and  come  back  in  order  to  feel  her  personality 
again.    Do  you  get  what  I  mean?" 

It  was  easy  to  see  what  he  meant,  for  Jack  had  apparently 
figured  out  the  logical  answer.  Himself  the  keynote  of  every- 
thing that  is  positive  on  the  screen  and  off,  Gilbert  was  about 
the  only  person  I  met  who  could  tell  me  much  about  acting — 
or  screen  personality,  if  you  prefer. 

In  supplementing  what  he  said,  I  remembered  a  conversation 
with  Clarence  Brown,  a  director.  "A  positive,  interesting  per- 
sonality is  practically  the  whole  thing  in  acting  for  the  screen," 
said  he,  "for  it  is  almost  certain  that  the  player  with  a  definite, 
pleasing  personality,  will  speedily  learn  to  act. 

"A  positive  personality  means  an  Phct0  h?  Bowiey 

alert  brain,  and  so  before  the  public     Nancy  Carroll  is  doubly  for- 
has  had  time  to  get  over  its  enthusiasm 
for  a  new  and  arresting  player,  and 
can  settle  down  to  be  coldly  critical, 
that  person  has  had  time  to  absorb  technique,  and  learn 
how  to  act. 

"Greta  Garbo  is  an  excellent  example  of  this.  She 
couldn't  act  at  all  when  she  first  came  to  America. 
Everything  she  did  was  wrong — she  was  ignorant  of 
the  first  rudiments  of  the  art.  But  her  personality 
hit  the  public  between  the  eyes,  and  while  they  were 
exclaiming  over  her  magnetic  appeal,  Greta  learned  how 
to  act. 

"That  seems  to  me  the  reason  why  the  fans  talk  so 
carelessly  about  the  marvelous  ability  of  this  star  or  that 
player.  They  can't  analyze  the  moment  when  a  per- 
sonality ceases  to  be  just  that,  and  becomes  a  real  actor 
or  actress.  They  get  the  effect — that's  all — and  to  them 
personality  means  acting." 


tunate  in  having  personality 
and  acting  ability. 


Given  a  vital,  interesting  personality — plus 
a  break  in  pictures — and  the  result  seems  to 
be  immediate.  It  is  the  positive  personality 
which  counts.  The  names  which  recur  most 
often  in  the  fan  mail  are  a  proof  of  this.  Greta 
Garbo,  Clara  Bow,  Janet  Gaynor,  Vilma  Banky, 
Dolores  del  Rio,  John  Gilbert,  Ramon  Novarro, 
Charles  Farrell,  Bill  Haines,  Richard  Dix, 
Richard  Barthelmess — and  apparently  above, 
about,  and  between  all  the  others,  at  this  writ- 
ing, Buddy  Rogers ! 

Buddy  seems  now  in  the  formative  stage, 
between  being  merely  an  interesting  personality 
and  an  interesting  actor.  In  "Wings"  he  was 
immensely  popular — partly  because  of  the  pic- 
ture, but  a  great  deal  because  of  Buddy.  After 


"Wings"  came  "My  Best  Girl,"  with  Mary  Pickford, 
and  then  "Abie's  Irish  Rose."  With  three  splendid 
breaks  like  these,  and  a  personality  like  his,  Buddy's 
resultant  stardom  was  to  be  expected.  The  fans  wanted 
it,  and  their  shouts  brought  it  about. 

Buddy  thinks  it  is  too  soon  to  star,  but  that  means 
he  is  going  to  dig  in  just  a  little  harder,  so  that  the 
world  won't  echo  with  his  fall — so  that  he  won't  hear, 
read,  and  feel  that  "Buddy  Rogers  was  just  a  flash  in 
the  pan,  a  personality,  but  not  an  actor."  The  result 
will  be  worth  watching,  for  he  is  vital  to  the  ends  of  his 
devilishly  tempting,  curly  hair. 

With  him,  in  "Wings,"  was  Richard  Arlen,  an  entirely 
different  type.    Dick  is  vital,  too,  but  seems  destined  to 
Continued  on  page  112 


A  Girl  Comes  to  Hollywood 

The  latest  installment  of  our  fascinating  serial  finds  Malcolm  Allen  still  unable  to  penetrate  the 
mystery  of  "Miss  Smith,"  and  Lady  Gates  entangled  in  the  plot  of  Marco  Lopez  and  his  confederate. 

By  Alice  M.  Williamson  Illustrated  by  Modest  Stein 


CHAPTER  VII. 

THE  VEILED  PROPHETESS. 

MALCOLM  remembered 
the  look  in  Lady  Gates' 
eyes  when  she  had  first 
seen  Marco  Lopez.  This  look 
of  Miss  Smith's  was  different. 
There  had  been  open  admiration 
in  the  old  woman's  eyes.  There 
was  something  suggestive  of  hate 
in  those  of  the  young  woman. 
Yet — was  it  hate  ?  Well,  anyhow, 
it  was  a  strong  emotion,  which 
she  wished  to  hide. 

Suddenly  Malcolm  asked  him- 
self— or  rather  he  heard  the 
question  as  if  spoken  aloud  in 
his  brain — -"Is  this  the  reason  she 
was  so  bent  on  working  at  Mont- 
parnasse  ?  Has  she  come  to  be 
near  Lopez?" 

The  thought  was  disquieting, 
even  humiliating.  He  couldn't 
get  it  out  of  his  mind,  though 
Lopez  apparently  paid  no  atten- 
tion at  all  to  the  presence  of  a 
new  cigarette  girl  in  the  restau- 
rant. So  little  interest  did  the 
professional  dancer  seem  to  feel 
in  the  new  beauty  that  he  got 
leave  from  Pierre  to  quit  a  few 
minutes  before  his  usual  hour. 

As  he  started  for  the  Ambas- 
sador, the  Latin  smiled  to  think 
how  little  Malcolm  Allen  guessed  where  he  was  going. 
Could  he  suspect  already  how  deep  was  the  old  lady's 
interest  in  her  Marco? 

He  had  noticed  the  new  girl  in  the  green-gold  em- 
broidered satin  and  spangled  gauze.  Her  beauty  and 
the  glory  of  her  red  hair  had  attracted  his  eyes  and 
vaguely  stirred  his  curiosity,  but  not  his  heart.  He 
hadn't  missed  seeing  that  the  new  vender  of  cigarettes 
appeared  to  be  intrigued  by  him,  and  if  she  had  been  a 
client  of  the  restaurant  he  would  certainly  have  invited 
her  to  dance.  That  would  have  been  business.  But 
j  Miss  Smith's  face  was  not  familiar  to  Lopez,  and  it  did 
not  occur  to  him  that  his  might  have  another  attraction 
for  her  than  the  usual  one  with  women — his  good  looks. 

He  had  not  deceived  himself  when  he  pictured  Lady 
Gates  offering  him  tea.  "Ask  him  to  come  straight  up 
to  my  suite,"  was  the  message  when  her  telephone  an- 
nounced that  Mr.  Marco  Lopez  had  arrived.  And  there 
sat  her  ladyship,  rather  terrible  to  behold,  her  bulk  lightly 
draped  in  orchid  georgette.  She  reclined  among  rain- 
bow cushions  on  a  sofa  faced  by  an  elaborate  tea-table, 
and  Lopez,  ushered  in  by  a  bell  boy,  hurried  to  save 
his  large  hostess  from  struggling  up  to  give  him  welcome. 

"Dear  lady,  do  .not  rise  for  me!"  he  said  in  the  husky 
voice  Katherine  Gates  had  found  so  alluring. 

She  invited  him  to  sit  beside  her,  and  rang  for  tea. 
They  chatted  of  Montparnasse ;  of  Hollywood  in  gen- 

*  Copyright,  1928,  by  Alice  M.  Williamson. 


eral,  and  of  Mr.  Marco  Lopez  in 
particular,  a  subject  always  wel- 
come to  the  gentleman  concerned, 
when  able  to  keep  it  free  from, 
too  much  questioning.  Lady 
Gates  waited  until  tea  was  over, 
and  Lopez  was  smoking  one  of 
the  best  brands  of  cigarettes  ob- 
tainable at  the  Ambassador,  be- 
fore she  mentioned  the  dancing 
lesson. 

Lady  Gates  did  not  smoke. 
"I'm  afraid  I'm  old-fashioned," 
she  said,  "and  that  makes  me  a 
little  sad.  I  didn't  realize  how 
sad,  until  I  came  here,  though 
I'd  begun  to  be  a  bit  restless 
about  myself  in  Paris  and  Lon- 
don. I'm  telling  you  all  this,  be- 
cause I  have  to  explain  why  I 
feel  as  I  do  about  the  dancing 
lessons.  When  you  came  up  and 
asked  me  to  dance  that  night  I 
wanted  to  do  it — yes,  almost 
more  for  a  minute,  than  I  can 
remember  ever  wanting  any- 
thing! But  the  next  minute  I 
knew  I  mustn't  make  myself  a 
laughingstock.  I  had,  to  refuse. 
I  haven't  danced  for  many  years. 
But  where  could  I  ever  dance 
nowadays,  except  here,  in  this 
drawing-room  maybe — a  woman 
of — my  age  and  size  ?  What's  the 
good  of  learning  an — an  art 
that  I  can  never  have  an  opportunity  to  use?" 

Some  men  might  have  been  touched  by  so  piteous 
a  confession  from  an  elderly  lady,  who  had  everything 
in  the  world  except  the  three  things  most  important 
to  women ;  looks,  love,  and  youth.  But  the  Argentinean's 
emotion  was  not  pity. 

"Dear,  charming  lady!"  he  soothed  her.  "You  judge 
yourself  cruelly.  I  do  understand — I  sympathize.  But 
you  are  wrong.  You  may  not  be  a  young  girl,  yet 
there  are  many  women  of  your  years  in  Hollywood 
who  pass  as  beauties,  and  look  like  flappers,  or  not  much 
older.  Why,  you  can't  be  more  than  fifty,  if  that,  and 
there  are  stars  still  on  the  screen  who  have  reached  that 
age,  though  few  know  it  except  themselves!" 

Katherine  Gates  was  vaguely  comforted.  "Still,  I'm 
afraid  /  could  never  pass  for  a  beauty !"  she  sighed. 

"Yet  that  is  not  impossible — in  Hollywood,"  Lopez 
gently  ventured. 

"What  do  you  mean — in  Hollywood?"  she  questioned, 
hope  and  curiosity  rising  together.  "Why  in  Hollywood 
of  all  places,  where  every  one  is  so  dazzlingly  young  and 
handsome  ?" 

"May  I  make  a  suggestion,  madame?"  Lopez  asked. 
"Do,  please!" 

"It  is  this :  a  very  wonderful  lady  has  her  studio  at- 
tached to  my  little  bungalow.  She  uses  it  on  certain 
afternoons  and  evenings.  To-morrow  is  one  of  her 
days.    I  should  like  to  advise  that  you  consult  her." 


Synopsis  of  Previous  Chapters. 

Malcolm  Allen,  a  young  English  novelist,  has 
been  brought  to  Hollywood  by  Peerless  Pic- 
tures to  write  a  scenario.  At  the  Restaurant 
Montparnasse,  his  attention  is  attracted  to  a 
beautiful  girl  who,  after  dining  expensively 
and  alone,  attempts  to  escape  without  paying 
her  check.  Malcolm  goes  to  her  rescue,  pre- 
tends to  the  proprietor  that  it  was  a  bet  which 
he  has  lost  and  "Miss  Smith"  has  won,  and  is 
dumfounded  to  learn  that  the  girl  wishes  to 
be  employed  as  a  cigarette  vender,  in  prefer- 
ence to  the  chance  he  is  willing  to  give  her 
in  the  movies. 

Fault  is  found  with  Malcolm's  work  by  his 
employers,  and  eventually  his  contract  proves 
to  be  nothing  but  a  scrap  of  paper.  Lady 
Gates,  Malcolm's  rich  aunt  from  Leeds,  Eng- 
land, appears  almost  without  warning  for  a 
visit.  Dazzled  by  the  youth  and  beauty  in 
Hollywood,  Lady  Gates  deplores  her  double 
chin  and  unwieldy  figure.  Her  vanity  and 
wealth  make  it  clear  that  she  will  go  to  almost 
any  ends  to  make  a  place  for  herself  in  the 
glittering  procession  of  youth.  Dining  at 
Montparnasse,  she  is  attracted  by  Marco  Lopez, 
a  professional  dancer,  whose  eyes  meet  hers, 
lingeringly,  significantly,  but  when  he  asks  her 
to  dance,  self-consciousness  compels  her  to  re- 
fuse. He  suggests  private  lessons,  and  Lady 
Gates  is  enchanted  Marco  describes  Lady 
Gates,  with  emphasis  on  her  pearls  and  dia- 
monds, to  a  woman  accomplice  who  is  in  love 
with  him,  and  according  to  a  plan  familiar  to 
both,  she  arranges  to  receive  Lady  Gates  as 
the  first  step  in  a  plot  to  despoil  her. 

Meanwhile,  Miss  Smith  is  a  great  success 
as  a  cigarette  girl.  Watching  her  pass  from 
table  to  table,  Malcolm  is  startled  to  see  her 
smile  give  way  to  a  strange,  fixed  expression. 
He  follows  her  eyes  and  sees  them  riveted  on 
Marco  Lopez. 


54 


A  Girl  Comes  to  Hollywood 


"What  about?"  inquired.  Lady  Gates,  puzzled  but  in- 
terested. 

"The  lady  is  a  very  accomplished  astrologer  and 
scientific  palmist.  She  also  reads  the  crystal,"  explained 
Lopez.  "She  is  not  strong  in  health,  or  she  would  make 
a  fortune,  for  she  could  have  all  Hollywood  as  her 
clients.  As  it  is,  she  refuses  most  people.  And  I  must 
ask  you  to  mention  her  to  no  one.  But  I  am  privileged 
to  become  her  friend  since  she  took  my  studio,  and  those 
I  beg  her  as  a  favor  to  see,  she  sees." 

"What  is  her  name?"  Lady  Gates  wanted  to  know. 

Lopez  smiled  and  let  lowered  lids  give  him  an  air. of 
secr.etiveness,  or  mystery.  "If  I  could  tell  you  that,  you 
would  know  she  is  very  famous,", he  said.  "But  I  am 
not  allowed  to  speak  out.  The  lady  names  herself  here, 
Madame  Blank.  And  because  she  always  wears  a  veil 
when  she  receives  clients,  people  sometimes  call  her  the 
'Veiled  Prophetess.'  You 
see,  she  truly  is  a  proph- 
etess !  And  not  only  does 
she  foretell  what  is  likely 
to  happen,  but  she  gives 
advice  how  to  avoid  the  - 


"Oh,  do!" 

After  Lopez  had  bowed  himself  out,  the  fat  woman 
in  the  orchid  tea-frock  stood  gazing  pensively  at  the 
dimpled,  much-ringed  hand  which  the  "wonderful  man" 
had  respectfully  kissed. 

She  was  dazed  by  rose-colored  dreams  of  youth  and 
beauty  in  Hollywood.  Foolish  dreams  for  her,  she  told 
herself,  since  they  couldn't  become  realities.  And  yet — 
and  yet — how  strangely  Marco  Lopez  had  talked — and 
hinted ! 

She  could  hardly  tear  her  thoughts  from  to-morrow 
at  five  o'clock — and  the  Veiled  Prophetess.  But  what 
remained  of  to-day  had  to  be  lived  through.  Luckily 
she  would  have  the  interest,  to-night,  of  looking  over 
that  cigarette  seller  at  Montparnasse.  An  awful  cre- 
ature, Lady  Gates  was  almost  sure,  but  she  would  see 
and  talk  to  her — for  Malcolm's  sake. 


bad  happenings  which  hover 
over  the  future  like  dark  birds 
of  prey;  she  counsels  how  to 
fight  them  off." 

"Nobody   can   change  the 
future!"  spoke  the  sensible  side  of  Lady  Gates  from 
Leeds. 

"All  I  suggest  is  that  you  let  me  make  an  appoint- 
ment for  you  to  talk  with  Madame  Blank,"  persisted 
Lopez.  "She  may  be  able  to  help  you  in  ways  of  which 
•  you  would  not  dream.  As  for  the  dancing  lessons,  do 
not  even  think  of  them  again  till  you  have  been  advised 
by  this  lady.  It  has  been  a  pleasure  for  me  and  an 
honor  to  come  here.  I  am  a  man  before  I  am  a  profes- 
sional !  Would  you  like  an  appointment,  if  I  can  arrange 
it,  for  to-morrow  afternoon — say  at  this  hour?" 

"I  would,"  exclaimed  Lady  Gates,  her  eyes  tearful  no 
more,  but  sparkling  with  vague,  mysterious  hopes  and  a 
very  definite  excitement.  "I  think  you  are  a  zvonderful 
man!" 

"You  will  find  Madame  Blank  wonderful,"  amended 
Lopez.    "May  I  call  and  take  you  to  her?" 


"Oh,  if  it  could  come  true!"  breathed  Lady  Gates,  with  the 
almost  agonized  earnestness  of  prayer,  as  she  saw  herself  slim, 
young  and  in  love. 

CHAPTER  VIII. 
"the  crystal  never  lies." 

"My  only  friend  in  Hollywood — the  only  one  in  all 
the  West!"  the  girl  called  "Miss  Smith"  spoke  in  her 
heart  of  Malcolm  Allen,,  as  from  across  the  room  she 
looked  at  him  under  her  eyelashes. 

She  yearned  toward.  Allen,  for  she  was  more  lonely 
than  she  had  expected  to  be  in  this  place  of  light,  and 
if  it  were  not  for  the  thought  of  his  friendly  protection 
she  would  have  been  afraid,  of  Pierre. 

Not  afraid  physically !  The  girl  would  not  have  come 
to  Hollywood  at  all,  and  especially  on  the  errand  which 


A  Girl  Comes  to  Hollywood 


55 


had  brought  her,  if  she'd  been  any- 
thing like  a  coward. 

"What  is  your  name  besides  Smith, 
mademoiselle?"  Pierre  had  asked, 
after  her  arrival  to  take  up  her  new 
duties,  while  the  restaurant  was  still 
empty  of  clienrs. 

"That  is  my  Hollywood  name — 
Miss  Smith,"  the  girl  insisted  firmly 
but  gently.  "Or  Mary  Smith,  if  you 
wish,  Monsieur  Pierre."  And  Pierre 
hadn't  looked  pleased. 

But  to-night  she  longed  to  tell  Mal- 
colm Allen  all  the  details  of  her 
strange  story,  watching  his  face  to 
see  if  he  believed  she  spoke  the  truth. 
She  wanted  to  say  to  him :  "I  am 
Madeleine  Standish.  Did  you  ever 
read  that  name  in  the  newspapers, 
and  do  you  remember 
in  what  connection  ?" 

Malcolm  Allen  had 
been  chivalrous  to  her 


mild.  What  do  you  recom- 
mend ?" 

Madeleine  suggested, 
something  mentholated ;  and 
as  he  paid,  Malcolm  said: 
"I've  been  talking  to 
Lady  Gates  about 
you,  Miss  Smith.  At 
least,  I've  been  tell- 
ing her  you're  a  prin- 
cess in  disguise,  and 
that  interests  her 
very  much.  Doesn't 
it,  Aunt  Kate?" 


as  men  are  in  books  and  plays 
and,  she  had  been  warned,  very 
seldom  are  in  real  life.  Yes,  he 
was  her  one  friend;  but  she 
must  do  without  his  advice  and 
keep  her  secret  for  a  time,  at 
least. 

Besides,    she   was  probably 
doomed  to  lose  his  friendship,  because 
here   was   this   stout,   old  lady,  "all 
dolled  up,"  as  Nora  Casey  put  it;  his 
aunt,  it  seemed.    She  had  the  air  of 
being  "rich,  and  fond  of  her  nephew. 
As  she  had  followed  him  to  Holly- 
wood, she  was  most  likely  alone  in  the 
world,  and  intended  to  leave  him  heaps  of  money  when 
she  died.    Madeleine  Standish,  alias  Mary  Smith,  was 
still  so  young — not  quite  twenty-two — that  if  a  woman 
were  fifty,  she  might  as  well  be  seventy-five  and  have 
done  with  it.    So  Madeleine  thought  of  Lady  Gates  as 
a  doddering  old  thing,  who  might  be  of  any  age  up  to 
eighty,  and  old  enough  to  drop  dead  to-morrow. 

When  Malcolm  had  seated  Lady  Gates  facing  all  the 
"human  interest"  of  the  softly  lighted,  attractive  room, 
Madeleine  didn't  glide  in  her  Moorish  slippers  to  his 
table,  smiling  her  lovely,  friendly  smile,  and  proffering 
her  tray  of  cigarettes.  If  Mr.  Allen  wanted  her,  he 
could  beckon,  or  ask. 

But  Malcolm  did  beckon.    He  took  pains  to  catch 
Miss  Smith's  glance  when  it  wandered  in  his  direction, 
and  eye  and  hand  both  invited  the  girl  to  serve  him. 
"Cigarettes,  Mr.  Allen?"  she  asked. 
"Yes,  thanks,"  he  replied.    "Egyptians  for  me,  and 
I'm  going  to  teach  my  aunt  to  smoke  something  very 


"Yes,  of 
course,"  re- 
turned Lady 
Gates,  s  m  i  1- 
ing  pleasantly, 
though  she 
was  not  de- 
void of  inte- 
rior cattiness. 

"I'm  quite 
i  n  t  e  r  e  sted, 
and    I'd  like 
to  see  something  of  you.  But 
I  suppose  we  mustn't  keep  you 
talking  too  long  here,  or  the 
proprietor     will    be  vexed. 
Maybe  he'd  be  disagreeable  to 
So  I've  been  thinking. 
Let's  see.  what  times  of  the  day  or  evening  are  you 
off  duty?" 

"I  come  on  at  half  past  ten  in  the  morning,"  Made- 
leine told  her.  "At  least,  I  have  to  be  here  then,  to 
get  into  this  dress.  And  every  other  night  I'll  be  off 
at  nine.  To-night's  one  of  them,  because  they  don't 
have  dancing.  The  other  girl,  Miss  Casey,  will  be  on 
to-night  till  twelve.  To-morrow,  I'll  be  here  till  mid- 
night." 

"Dear  me !"  exclaimed  Lady  Gates, 
sound  like  what  they  call  union  hours." 

"I  don't  belong  to  any  union,"  said  Madeleine.  "And 
I'm  only  too  glad  to  work  at  Montparnasse,  no  matter 
how  late  I  have  to  stay." 

Malcolm  wondered  if  she'd  asked  Pierre  to  let  her 
stay  on  dancing  nights,  for  the  sake  of  Lopez,  at  whom 
he  had  seen  her  stare  with — with  that  almost  greedy 
look !  Another  stab  of  jealousy  and  dislike  of  the  pro- 
fessional gave  him  a  sharp  pang. 

"Well,  I'm  going  to  the  opening  of  a  picture  with 
my  nephew  tonight,  as  soon  as  we  finish  dinner,"  said 
Lady  Gates.  "He  has  excited  me,  telling  about  the 
crowd  that  collects  to  see  the  stars  get  out  of  their 
grand  limousines  in  front  of  the  theater,  and  how  the 
photographers  turn  on  floods  of  calcium  or  something, 
to  take  their  pictures.  Why,  Malcolm  is  such  a  celeb- 
rity, I'm  afraid  they  may  snap  me  along  with  him. 
That's  the  one  reason  I'm  scared  to  go !" 

Madeleine  imagined  that  "scared"  ought  to  read  "I 
hope."  But  in  this  she  misjudged  Katherine  Gates.  The 
stout,  elderly  woman  was  scared.  If  there  were  indeed 
a  chance  of  reducing  her  size,  and  improving  her  elderly 
self,  in  any  desperate  way  in  this  clever  Hollywood, 
Continued  on  page  92 


'That  doesn't 


Photo  by  Wide  World  Studio 


Greta  Nissen  will  be  starred 
in  a  stage  play  this  fall. 


Pola  Negri  arrived  in  town 
with  a  retinae  nearly  as  large 
and  impressive  as   that  of 
Queen  Marie. 


Photo  by  Bichee 


No  self-respecting  steamer  leaves  New  York  for 
Europe  these  days  without  a  stellar  passenger,  so 
New  Yorkers  are  seeing  Hollywood's  children  more  frequently. 


POLA  NEGRI  passed  through  New  York,  on  her  way  to  Europe,  in 
what  might  be  called  regal  splendor.    In  fact,  I'll  be  big,  I  shall  call 
it  regal  splendor !    And  after  all,  why  not,  Pola  being  a  princess  ? 
She  traveled  with  her  husband,  Prince  Serge  Mdivani,  and  one  of  those 
royal  retinues  that  we  read  about  in  books— a  secretary,  a  maid,  a  valet 
for  the  prince,  a  police  dog,  a  motor  car,  six  trunks  and  ten  pieces  of  hand 
uggage.    How  glad  I  am  that  the  He  dc  France,  on  which  she  sailed,  is 
such  a  large  boat ! 

Pola  was  just  as  beautiful,,  and  as  charming,  as  ever.  She  has  left 
Paramount,  of  course,  and  from  now  on  intends  to  have  a  great  deal  to 
say  about  the  stories  she  films.  She  will  make  two  pictures  a  year — two 
good  ones,  she  emphasizes — one  costume,  one  modern.  She  wants  to  film 
some  of  the  classics  which  so  far  have  been  left  comparatively  untouched 
by  producers. 

Miss  Negri  did  not  know  at  the  time  of  her  sailing  whether  she  would 
work  in  Europe  or  America.  She  had,  she  said,  two  American  offers  from 
big  companies,  and  two  European — English  and  French.    If  she  worked 

in  Europe  she  would 
bring  over  her  own 
camera  men  and  elec- 
tricians from  America. 
Her  lawyer,  Nathan 
Burkan,  is  to  follow 
her  to  Paris  shortly, 
with  a  contract,  after  he 
has  investigated  and 
determined  which  of 
her  four  offers  she  had 
best  accept. 

In  the  meanwhile, 
Pola  has  been  having 
her  first  vacation  in 
three  years.  In  her 
spare  moments  she  has 
been  writing  her  mem- 
oires,  in  French,  which, 
she  says,  will  tell  every- 
thing !  We're  to  know 
the  real  Pola  Negri  at 
last.  It  is  really  her 
second  book;  the  first 
one,  also  written  in 
French,  was  translated 
into  half  a  dozen  lan- 
guages. 

Speaking  of  lan- 
guages, those  of  you 
with  linguistic  ambi- 
tions can  sit  back  and 
envy  Pola.  She  speaks 
six,  one  as  fluently  as 
another.  Polish,  of 
course,  her  native 
tongue ;  Russian,  Ger- 
man, French,  Italian, 
and  English.  I  don't 
know  how  that  im- 
presses you,  but  as  for 
me,    I'm  impressed 


something  awful. 


57 


d/eV 


^znima  TalleS  t 

Think,  in  these  aviating"  days,  what  fun  it  would  be  just  dropping 
down  into  any  old  country,  knowing  the  language,  and  starting  right 
out  as  one  of  the  girls.  Though  of  course  it  would  be  just  our  luck, 
yours  or  mine,  if  we  knew  so  many  languages,  to  find  that  our 
parachutes  had  fallen  right  among  the  Eskimos. 

Does  Lon  Chaney  Like  Interviewers?  No! 

Lon  Chaney  slipped  into  New  York  with  his  usual  air  of  mystery 
and  discreet  privacy.    Lon  is  very  shy  of  interviewers. 

"Would  you  like  to  see  Lon  Chaney  when  he  arrives?"  the  Metro- 
Goldwyn  publicity  department  asked  interviewers.  To  a  man — and 
to  a  woman,  too,  for  that  matter — they  answered,  "Yes ;  but  would 
he  like  to  see  us?  No!" 

They  guessed  right.    Metro-Goldwyn's  representatives,  going  to 
the  train  to  welcome  Lon  in  a  big  and  noble  fashion,  discovered  no 
Mr.  Chaney.    They  could  not  find  him  at  any  of  the  hotels  later, 
and  they  don't  know  yet  how  he  managed  to  elude  them  in  getting 
off  the  Twentieth  Century.    That  man's  so  full  of  disguises  he 
probably   came  in 
as  his  maiden  aunt, 
or  his  young  niece 
from  the  convent, 
or  even  wearing  a 
set  of  bushy  whis- 
kers,   like  Trader 
Horn. 

Despite  all  his 
efforts  to  keep  him- 
self a  dark  secret, 
however,  Lon  was 
recognized  in  New 
York.  It  happened 
one  day  while  he 
was  riding  some- 
where, in  a  taxicab. 
They  were  stopped 
by  the  traffic,  when 
the  driver  of  an  ad- 
jacent cab  leaned 
over  and  recog- 
nized the  actor. 
"Well,"  he  said  to 
Lon's  chauffeur,  as 
the  traffic  started 
again,  "better  step 
on  it.  It  is  Lon 
Chaney !" 

Janet  Gaynor  Is 
Feted. 

Janet  Gaynor, 
with  a  new  shade 
of  hair — she  has 
now  joined  the  as- 
sociation of  cinema 
redheads  — -made 
her   first    visit  to 

Janet  Gaynor  had  a 
wonderful  time  in  New 
York.         Photo  by  Autrey 


When  Adolphe  Menjou,  and  his  bride, 
Kathryn  Carver,  arrived  in  London,  they 
were  called  on  by  George  Bernard  Shaw. 

New  York.  It  was  just  a  vacation; 
she  came  from  California  by  way 
of  the  Panama  Canal,  a  seventeen- 
day  trip. 

She  had  a  beautiful  time  in  the 
big  city,  going  to  the  theater,  being- 
feted.  Fox  gave  a  large  party  for 
her  at  the  studio  of  Emil  Fuchs,  the 
artist.  It  was  a  tea,  buffet  supper, 
and  dance,  all  combined,  and  a  good 
time  was  had  by  all,  as  they  say  in 
the  social  notes. 

Janet  attended  the  New  York 
opening  of  Charlie  Farrell's  new 
picture,  "Fazil,"  and  what  a  fuss 
was  made  over  her!  Just  before  the 
performance  began  a  man  stopped 
at  Janet's  seat  to  say  hello.  "Ah," 
he  said  in  a  very  loud  voice,  "my 
favorite  star."  All  the  audience 
looked  around  to  see  who  the  star 
was,  and  the  rush  for  autographs 
began. 

Such  is  the  life  of  a  film  ce- 
lebrity ! 


58 


Manhattan  Medley 


Photo  by  Louise 

Marie  Dressier  has  friends  everywhere  on  earth,  that  she  can  visit  when  her 
roving  disposition  gets  the  better  of  her. 


Tom's  "Tony"  Doesn't  Care  for  Travel. 

Tom  Mix,  in  all  his  glory  and  his  diamond  belt 
buckle,  had  a  triumphant  fling 
at  vaudeville  before  settling 
down  to  more  picture  making 
for  F.  B.  O.  Everywhere  he 
went  there  was  a  gala  reception. 
Isn't  it  fun  to  be  so  popular ! 

On  his  arrival  in  New  York, 
he  was  met  at  the  train  by  thou- 
sands of  adoring  kids.  F.  B. 
O.'s  publicity  department  ar- 
ranged that,  and  most  cleverly, 
too,  if  you're  asking  me — which 
of  course  you're  not.  Before 
Tom's  arrival,  thousands  and 
thousands  of  buttons  were 
passed  around  among  the  school 
children :  "This  entitles  the 
wearer  to  serve  on  the  Tom 
Mix  welcoming  committee." 
Well,  you  can  just  imagine  how 
the  kids  felt  about  that.  It  was 
just  like  being  invited  to  shake 
the  hand  of  President  Coolidge. 
So  they  poured  into  Grand  Cen- 
tral Station,  wearing  their  but- 
tons, and  there  was  an  excited,  squealing,  tumultuous 
reception  when  the  cowboy  star  got  off  the  train. 

A  luncheon  was  given  for  him  at  the  Hotel  Astor, 
with  newspaper  writers  and  exhibitors  much  in  evidence. 


Never  say  that  Tom  doesn't  know  how  to 
make  a  dramatic  entrance.  He  came  in  wear- 
ing his  usual  eccentric  costume — cafe-au-lait- 
colored  suit,  big,  white  sombrero — and  rid- 
ing Tony  right  into  the  hotel  dining 
room.  Tony,  I  might  add,  has  been  in  all 
the  best  hotels ! 

That  horse  is  getting  spoiled,  too,  from 
too  much  attention.  Tom  had  quite  a  time 
with  him,  on  this  hectic  vaudeville  tour. 
Perhaps  Tony  doesn't  care  for  traveling. 
And  I'm  quite  sure  he  cares  even  less  for 
the  quaint  custom  of  the  souvenir  hunters 
who  pull  hairs  out  of  his  tail.  After  all, 
even  the  best-tempered  horse  might  think  that 
was  carrying  affection  just  a  little  too  far. 
I'd  like  to  know,  boys  and  girls,  just  what 
you  could  do  with  a  hair  from  a  horse's  tail 
after  you  had  it? 

Tony  would  like  to  know  too,  probably. 
He  was  very  cro^s  about  it,  and  cross  at  Tom, 
who  really  wasn't  the  guilty  party  at  all.  The 
result  was  that,  during  their  "turn"  on  the 
stage,  Tony  was  always  trying  to  bite  his 
beloved  master.  And  much  of  the  time  dur- 
ing the  vaudeville  act,  Tom  had  to  pry  the 
horse's  jaws  open  with  his  fist.  And  what  fun 
is  that,  doing  an  act  on  the  stage,  with  your 
fist  in  a  horse's  mouth  ?  Tom  received  crowds 
of  interviewers  and  others  every  day  back-stage 
at  the  Hippodrome  in  his  dressing  room. 

Greta  Nissen  Deserts  Hollywood — 
Temporarily. 

Perhaps  you  wonder  where  Greta  Nissen 
has  been  hiding  these  past  two  years.  She 
recently  played  the  heroine  in  "Fazil,"  and 
in  "Hell's  Angels,"  but  even  the  slowest  worker 
can't  keep  very  busy  for  two  years,  making 
only  two  pictures !  Greta,  she  says,  has  turned 
down  innumerable  roles,  because  she  didn't  like  them. 
She  thinks  that  poor  roles  are  even  worse  for  her,  in 

the  eyes  of  the  public,  than 
no  roles  at  all. 

But  it  turns  out  that  she 
hasn't  been  so  idle  all  this 
time,  after  all.  She's  been 
learning  English,  really  learn- 
ing it.  She  knew  a  little  Eng- 
lish before,  but  her  accent  in- 
cluded the  Scandinavian  so 
thoroughly,  you  couldn't  un- 
derstand a  word  she  said.  But 
now!  Well,  she  speaks  our 
language  so  clearly  that  she 
has  even  been  engaged  for  a 
role  in  a  Broadway  stage  play 
this  fall. 

"Double  Exposure"  it  is 
called,  at  this  writing,  but 
don't  you  blame  me  if  the  pas- 
sion for  changing  titles  gets 
hold  of  that  one.  There 
couldn't  have  been  a  better 
role  for  Greta,  if  the  play  had 


Raymond  Hatton  came  East  to  collect  antique  furniture.  '  been  written  for  her  especial 

benefit.  She  plays  a  Nor- 
wegian girl  in  America,  or  maybe  it's  in  England.  And 
there's  a  Norwegian  man  in  the  play  also.  Every  time 
he  and  Greta  are  alone  on  the  stage  together  they  burst 
into  their  native  tongue,  and  let  the  audience  wonder 


Manhattan  Medley 


59 


just  what  it's  all  about.  Unless,  of  course, 
you're  luck}'  enough  to  be  a  Norwegian.  So 
"few  of  us  are.  Anyhow,  you  suspect  all  the 
time  that  the  man  is  her  lover,  but  you  get 
fooled  in  the  end.    He's  really  her  father. 

It's  one  of  those  trick  ideas  that  may  work 
out  very  cleverly,  or  may  turn  out  to  be  just 
terrible,  and  we  won't  know  until  we  see  the 
play. 

Miss  Nissen  herself  is  all  enthusiasm.  The 
one  thing  that  worries  her,  though,  is  that  she 
has  to  sign  a  run-of-the-play  contract.  Sup- 
pose the  play  runs  a  year  ?  Where  will  her 
movie  career  be  then,  poor  thing?  She's  been 
off  the  screen  so  much  lately,  she's  afraid  that 
in  another  year  the  public  will  have  forgotten 
her  entirely. 

But  if  you'd  ever  met  her,  with  her  blond 
beauty  and  charm,  you  can  just  take  my  word 
for  it  that  you,  who  are,  after  all,  her  public, 
would  never,  never  forget  her ! 

Mr.  Henry  Ford  Obliges. 

Raymond  Hatton  and  his  wife  were  in  New 
York  only  four  days,  seeing  shows.  Shows 
every  performance.  Mr.  Hatton  has  left  Para- 
mount, and  his  sigh  of  relief  at  not  having  to 
play  in  any  more  team  pictures  quite  drowned 
out  the  noise  of  the  riveting  in  the  big  city. 

He  was  all  excited — as  who  in  movies  isn't 
these  days? — at  the  idea  of  talking  pictures  be- 
ing taken  up  in  a  big  way.  Mr.  Hatton  is  one 
of  those  who  might  be  said  to  be  sitting  pretty. 
He  has  stage  training  and  a  stage  voice.  But 
where  are  the  poor  little  beauty-contest  win- 
ners going  to  come  in,  now  that  every  word 
they  say  may  be  used  against  them  ? 

The  Hattons  had  just  come  from  Boston, 
where  they  had  been  searching  for  early  Amer- 
ican antiques.  They  went  there  very  quietly, 
just  as  sight-seers,  and  told  no  one  they  were 
coming.  But  how  these  things  do  get  about !  Hardly 
had  they  got  their  luggage  in  at  the  Ritz  when  the  place 
was  filled  with  reporters  yelling, 

"Surprise,  surprise,"  or  words  7~ 
to  that  effect. 

The  Hattons  had  a  lovely 
time  in  Boston.  At  least  they 
enjoyed  it,  though  it's  not  my 
idea  of  a  really  eventful  week. 
They  looked  at  old  tombstones, 
and  historic  spots  marked  "Here 
is  about  where  the  Battle  of 
Such-and-Such  was  fought." 
Sorry,  I  don't  remember  what 
battle  was  fought  where  they 
looked. 

Mr.  Henry  Ford  gave  them  a 
big  surprise.  He  sent  a  car,  with 
a  chauffeur,  for  their  disposal, 
to  take  them  around  the  city. 

"Oh,  you  know  Mr.  Ford?" 
I  asked  Raymond  Hatton.  Very 
foolishly,  perhaps ;  plenty  of 
people  do  know  Mr.  Ford. 

"Well,  I've  met  him,  and  I've 
bought  several  cars  from  him." 

Now  I  call  that  discrimina- 
tion. If  it  comes  down  to  it,  who 
hasn't  bought  cars  from  Mr.  Ford?  But  does  he  send 
limousines  and  chauffeurs  around  to  all  the  rest  of  us 
who  have  helped  support  his  company?    He  does  not! 


Photo  by  Freulich 


Jean  Hersholt,  his  wife  and  thirteen-year-old  boy  visited  New  York  for  the 

first  time. 


Phoning  from  Hollywood  to  England  about  a  "Green  Hat." 

Blanche  Sweet  was  on  her  way  back  to  Hollywood 

from  England.    She  had  been 
England   several  months, 


m 


Photo  by  Alberts 

Tom  Mix  was  given  a  royal  welcome  at  the  station 
by  thousands  of  school  children. 


making  a  film  called  "The 
Lady  in  White"  for  Herbert 
Wilcox,  the  best-known  pro- 
ducer there.  And,  on  her  re- 
turn to  California,  she  was  to 
start  work  with  her  husband, 
Marshall  Neilan,  on  "The 
Green  Hat."  Of  course  that 
was  banned  once  by  Will 
Hays,  along  with  "Rain"  and 
several  other  stories,  wherein 
the  heroine  wasn't  really  what 
is  known  as  a  "nice  girl." 

But  the  ban  has  evidently 
been  managed  somehow,  and 
Marshall  Neilan  and  Blanche 
are  going  ahead  on  the  picture. 
In    fact,    she   hurried  home 
from  England  in  her  eagerness 
to  do  her  best  by  Iris  March. 
She  wasn't  very  sure  about  all 
the  plans  as  yet.  because  all 
the  negotiations  had  been  con- 
ducted by  cable  and  telephone. 
Yes,  by  telephone.   You  know  all  the  trouble  the  poor 
phone  company  has  been  having  to  make  that  trans- 
Continued  on  page  98 


60 


High-hatting  the  Fans 

But  who  would  object  to  being  high-hatted 
by  any  one  of  the  six  charming  ladies  below? 


Nancy  Carroll,  above,  is  a 
big  "ad"  for  her  new  fad 
of  carrying  a  cane  and  sporting  a 
high  hat  for  dancing 


61 


Mothers  Boy  Grows  Up 


Barry  Norton,  whom  the  fans  remember  for 
his  bit  in  "What  Price  Glory?"  is  now  being 
given  roles  in  keeping  with  his  sophistication. 


A 


By  William  H.  McKegg 

YOUNG  English  aviator,  with  a  somewhat  angelic 
expression  on  his  erstwhile  sophisticated  face,  stood 
before  a  German  firing  squad.    He  gazed  at  a 
bird  wheeling  aloft.    The  command  was  given.    He  fell. 

There  were  more  sniffles  during  this  pathetic  episode 
in  "The  Legion  of  the  Condemned,"  than  any  other  part 
of  the  picture.  In  fact,  Barry  Norton's  performance  was 
the  high  light  of  the  production. 

Maybe  you  saw,  and  shed  a  tear  or  two,  over  the 
death  scene  of  Mother's  Boy,  in  "What  Price  Glory?" 
It  will  not  be  held  against  you  if  you  did,  for  the  scene 
was  meant  to  have  that  effect.  A  smaller  picture,  "The 
Canyon  of  Light, "  presented  Barry  Norton  once  again 
in  a  sentimental  role.  And,  sure  enough,  to  stress  the 
sentimentality,  he  was  forced  to  repeat  his  death  scene. 
It  seems  that,  at  this  moment,  no  one  can  die  on  the 
screen  like  Barry. 

Paramount  realized  this  when  they  borrowed  him  from 
Fox  for  "The  Legion  of  the  Condemned." 

If  you  ha've  not  seen  this  picture  you  should,  if  only 
to  see  how  pathetically  Barry  can  expire.  Besides  this  sen- 
timental attribute,  he  achieves  some  excellent  acting,  too. 

"My  luck  has 
changed,"  he  ex- 
claimed recently,  as 
if  freed  from  slav- 
ery. "In  nearly  every 
picture  I've  played 
in,  I've  had  to  die. 
I'm  killed  off  before 
I  can  see  the  girl,  let 
alone  stay  alive  long- 
enough  to  get  her. 
Now,  in  'The  Four 

Devils'  " 

This  change  of 
luck  occurred  when 
Barry  was  cast  in 
"Fleetwing."  It  is 
about  the  desert,  and 
in  it  Barry  is  a 
young  Arabian 
prince,  or  what  not. 

Sentimental  roles 
are  O.  K.,"  Barry 
admitted.  "I  hope 
it  means  I  am  ver- 
satile when  I  put 
them  over  all  right, 
but  to-day  I  have  a 
chance  to  branch  out 
into  other  parts. 
Now  in  'The  Four 

Devils'  " 

Three  years  ago 
Barry  came  to  Hol- 
lywood, after  a  two 
years'  stay  in  New 

Alfredo  de  Biraben — the  name  he  was 


Barry  Norton,  right,  with  his  brother,  Marcel,  in  the  breakfast 
room  of  their  childhood  home  in  the  Argentine. 


No,  not  Barry  in  the  role  of  Lord  Faunt- 
leroy,  but  Barry  at  six  years  of  age. 

is  still  energetically  fulfilling  it. 
His  real  name  was  never  meant 
for  electric  lights,  so  Fox  changed 
their  newcomer  to  Barry  Reid.  No 
sooner  had  this  appeared  on  the  bill 
boards  outside  the  studio,  than  it 
was  altered  to  Barry  Norton.  As 
such  you  know  him  to-day. 

For  five  years  Barry  has  been  in 
America. 

"My  life  in  the  Argentine  helped 
me  a  terrific  lot  in  pictures,  do  you' 
know,"  he  has  explained  more  than 
once,  sounding  very  English.  "My 
constant  riding,  in  the  country  down 
there,  made  me  a  good  rider.  I 
can  fence" — one  has  but  to  regard 
his  thick  wrists  to  know  it — "and 
twice  I  went  by  airplane  from 
Buenos  Aires  across  the  Plata  to 
Uruguay,  to  attend  the  national 
football  match.  So  one  might  say 
I  had  good  training  for  pictures,  in 
my  native  land.  Now  in  'The  Four 
Devils,'  for  instance- 


York.    He  was  then 


known  as 
en  at  his 


christening,  in  his  native  Argentina.  Several  months 
in  the  film  Mecca  finally  earned  him  a  sudden  break  of 
surprising  luck.     Fox  gave  him  a  contract,  and  he 


Until  his  seventeenth  year  he  did 
have  good  training.  He  went  to  an 
English  school  down  there  and 
naturally,  speaks  English  as  fluently  as  Spanish  and 
French.  At  seventeen,  he  sailed  with  some  friends  for 
New  York,  but  failed  to  return  when  they  did. 

His  adolescence  was  spent  in  absorbing  the  wisdom 
of  the  Great  White  Way.    So  it  really  is  a  remarkable 


62 


Mothe?~'s  Boy  Grows  Up 


Photo  by  Ball 

Barry  never  alters  his  regard  for  the  few,  intimate  friends, 
though  acquaintances  come  and  go. 

test  of  versatility  to  see  Barry  dying,  on  the  screen, 
like  a  St.  Sebastian. 

He  is  now  going  on  twenty-four,  and  is  being 
groomed  for  romantic  leads.  Notice  how  sophisti- 
cated and  romantic  he  really  is. 

It  seems  to  me,  as  I  look  back  to  his  advent  to 
Hollywood,  that  Barry  came  with  the  fixed  idea  of 
rising  to  the  top.  His  chance  with  Fox  did  not  drop 
out  of  the  sky,  as  one  interview  stated.  It  had  to 
be  worked  for,  and  Barry  was  not  picked  out  of  the 
street.    Nevertheless,  it  was  a  most  propitious  event. 

When  working  in  his  first  role,  in  "The  Lily," 
Barry  would  drive  around  to  our  place,  in  make-up 
and  tuxedo,  at  something  like  seven  in  the  morning. 
While  partaking  of  breakfast  at  my  bedside,  he  would 
discourse  on  all  the  interesting  topics  of  studio  life. 
Then,  still  eating  a  last  mouthful,  he  would  dash  away 
from  the  levee  in  a  whirlwind  of  speed,  to  be  on  the 
set  at  eight  thirty. 

Acquaintances  are  always  necessary  to  Barry's  peace 
of  mind ;  yet  they  all  fade  away,  one  after  the  other. 
Photographs  lie  in  stacks  on  a  table  in  his  room.  Scrawl- 
ing signatures  from  such  as  "Annabelle,"  "Sybil,"'  or 
"Rita,"  each  have  their  turn  on  top  of  the  heap.  Grad- 
ually they  disappear,  their  place  taken  by  new  ones. 

Barry  knows  all  the  tricks  of  the  trade,  and  how  to 
add  fuel  to  a  girl's  admiration.  He  never  keeps  ap- 
pointments, never  answers  telephone  messages  left  by 
ardent  devotees  and,  if  he  does  arrive  at  all,  turns  up 
an  hour  or  two  late. 

Boys  wishing  to  follow  this  course  may  do  so  at  their 
own  risk.    Girls  may  also  try  it. 


At  times,  Barry  believes  he  should  read  something  good. 
Pierre  Louys  does  pale  the  senses,  when  overdone. 

"Have  you  ever  read  this?"  he  once  asked,  handing  me 
a  French  edition  of  "Anna  Karenina." 

"Just  about  half.  You  won't  finish  it,  either.  You 
would,  though,  had  you  lived  forty  years  ago." 

"Don't  be  silly.  It's  a  wonderful  book.  One  of  the 
greatest."  Whereupon  Barry  started  to  tell  me  about 
Tolstoy.  But  even  poor  Anna's  history  failed,  like  his 
many  acquaintances,  to  hold  him. 

Music  is  one  thing  that  does  arrest  Barry.  He  has  a 
genuine  liking  for  certain  operatic  compositions.  "La 
Boheme"  is  the  favorite.  Puccini  scores  have  to  be  locked 
up  when  Mr.  Norton  calls.  For  even  kind-hearted  friends 
tire  of  "Butterfly,"  "Tosca,"'  and  "The  Girl  of  the  Golden 
West,"  when  heard  too  often.  Though  they  cannot  pre- 
vent records  from  being  played. 

He  has  achieved  tremendous  popularity  down  in  his 
native  country.  He  is  well  known  up  here,  getting  quite 
famous,  really;  but  nowhere  do  his  pictures  arouse  so 
much  excitement  as  in  the  Argentine. 

Barry's  father  and.  I  correspond  regularly.  In  fact,  I 
would  make  a  more  dutiful  son  than  Barry,  when  it  comes 
to  letter  writing.  Letters  are  something  Barry  regards 
as  fetters. 

It  rests  with  me,  occasionally,  to  rouse  him  out  of  his 
Hollywood  self-sufficiency,  and  force  him  to  write  a  letter 

to  prove  that  he 
still  lives  on  earth. 
This  he  will  do,  as- 
suring his  father 
that  he  is  still  "su 
hijo  que  t'ania  mas 
que  aver.'1' 

In  his  many  epis- 
tles, Mr.  De  Bira- 
ben  has  expounded 
upon  the  great  no- 
tice his  famous  son 
— "who  loves  him 
more  than  yester- 
day "  —  attracts, 
whenever  he  ap- 
pears in  a  film 
down  there. 

Such  leading 
newspapers  as  La 
Nation,  La  Prcnsa, 
and  La  Critica,  all 
went  into  raptures 
over  "The  Lily," 
"The  Heart  of  Sa- 
of  Light,"  just  because  a 

is  the  first  Argentinian  to 


In  the  uniform  he  wears  as  a  Russian 
officer  in  "The  Red  Dance." 


lome,"  and  "The  Canyon 
native  son  was  in  the  cast. 

Barry,  be  it  understood, 
attain  prominence  in  American  pictures. 

"What  Price  Glory,"  rocked  all  Buenos  Aires.  What 
will  happen  when  his  latest  films,  in  which  he  plays 
leads,  get  there  ? 

On  the  strength  of  this  present  furore,  enthusiastic 
shopkeepers  have  capitalized  on-  our  hero's  name.  One 
insistent  merchant  patriotically  urges  his  fellow  citizens 
to  patronize  his  store,  by  displaying  a  sign  written : 
"Use  Camisas  Barry  Norton" — "Wear  Barry  Norton 
Shirts." 

"The  Legion  of  the  Condemned,"  "Fleetwing,"  and 
'The  Four  Devils"  will  probably  cause  cigarettes,  choco- 
lates, and  drug-store  articles  to  be  named  after  him.  On 
the  street  cars  Argentinians  become  further  acquainted 
with  their  young  genius,  as  they  gaze  at  "Barry  Norton," 
looking  down  at  them  "en  una  de  sus  mas  carateristicas 
Continued  on  page  108 


63 


Hollywood  High  Lights 

Relaying  the  news  and  gossip  of  the  studio  world  and  .its  active  personalities. 

By  Edwin  and  Elza  Schallert 


MICHAEL  ARLEN'S  celebrated  apothegm— if  we 
may  be  permitted  to  use  this  word — to  the  effect 
that  he  had  come  to  Hollywood,  as  the  home  of 
the  silent  drama,  and  found  it  a  place  dedicated  primarily 
to  talk,  is  apparently  about  to  experience  a  new  and 
different  realization  from  that  which  the  famous  author's 
bon  mot  inferred,  when  originally  made  in  that  city. 

We  speak  decidedly  in  the 
present  tense.  There  is  a  terrific 
hullabaloo  about  the  pictures 
synchronized  with  sound,  some- 
times known  as  "speakies."  The 
old-time  stage  actors  have  given 
three  rousing  cheers,  while  the 
rest  of  the  colony,  with  a  few 
exceptions,  has  emitted  one 
short— "Oh,  heck!"  The  war 
is  on,  so  to  say. 

It  is  asserted  rather  generally 
that  the  movies  are  on  the  verge 
of  an  upheaval.  How  great  it 
wall  be,  nobody  seems  willing  to 
conjecture.  Some  people  still 
don't  believe  in  talking  pictures. 
They  say  "talkies"  are  merely 
a  passing  fad  and  fancy,  and 
that  the  silent  film  is  too  well 
established,  as  an  art  and  en- 
tertainment, ever  to  be  dis- 
placed by  this  hybrid  efferves- 
cence. 

Nevertheless,  there  is  this 
much  to  be  remarked — namely, 
that  practically  every  large  com- 
pany in  the  business  is  now 
definitely  interested  in  sound 
devices.  A  majority  of  them 
are  already  building  noise-proof 
stages,  and  will  have  these  in 
operation  before  the  end  of 
summer.  Various  actors  and 
actresses  have  admitted  their 
concern  over  the  new  develop- 
ment to  such  an  extent  that 
there  is  almost  a  panic  in  some 
quarters. 

Speaking  likenesses  of  every- 
body, who  is  anybody,  in  the 
films,  will  probably  be  seen  all 
over  the  country  within  the 
next  twelve  months.  Some  of 
our  favorite  stars  may  soon 
chortle,  if  they  do  not  also  sing, 
and  there  is  no  question  that 
the  elocutionary  powers  of 
every  one  will  soon  be  called  to  account — whether  in 
English,  broken  English,  cinemese,  Holly woodese,  or 
any  of  the  other  well-known  dialects  that  prevail  in  the 
land  of  permanent  wave  and  the  home  of  the  Kleig. 

Emil  Will  "Speakie." 

One  of  the  first  of  the  foreign  players,  whose  voice 
will  come  forth  from  the  silence,  is  Emil  Jannings. 
Plans  to  this  end  have  been  made  in  conjunction  with 


Marjorie   Beebe's  potentialities  as  a  comedienne 
have  so  intrigued  Fox — and  with  good  cause— 
that  she  is  to  vbe  starred  in  "The  Farmer's 
Daughter." 


the  showing  of  "The  Patriot,"  which  Ernst  Lubitsch 
directed.  Jannings  will  have  only  one  word  to  say,  and 
it  is  a  Russian  name.  So,  unfortunately,'  Emil  will  have 
no  chance  to  exercise  his  recently  acquired  English  for 
the  delectation  of  the  fans.  Emil  had  a  hard  time  learning 
the  language,  but  he  lias  it  now,  with  an  occasional 
"nein,"  and  "dock"  for  emphasis.    "I  make  some  time 

a  comedy,  with  a  German  try- 
ing first  time  to  sprcch  Eng- 
leesh,"  he  told  an  interviewer 
recently.  "It  will  be  good,"  he 
assured. 

"The  Patriot"  will  be  ex- 
hibited with  numerous  sound 
effects — galloping  of  horses, 
ringing  of  bells,  firing  of  shots 
—and,  of  course,  incidental 
musical  effects.  This  will  be  one 
of  the  largest  Paramount  pro- 
ductions of  the  year  to  be 
shown  with  their  new  device, 
which  in  an  early  form  was  in- 
troduced in  "Wings." 

More  Come  Out  of  Silence. 

The  curiosity  to  hear  some 
people's  voices  should  be  enor- 
mous— especially  in  the  case  of 
stars  who  have  been  on  the 
screen  for  years.  No  definite 
plans  have  been  announced  by 
most  of  these,  but  it  is  pre- 
sumed that  Douglas  Fairbanks 
and  Mary  Pickford  cut  short 
their  stay  in  Europe,  because  of 
the  unsettled  condition  which 
the  new  era,  so-called,  has 
brought  about. 

The  United  Artists  studio, 
where  they  work,  is  erecting  a 
sound  stage,  and  the  first  trial, 
with  effects  and  with  dialogue, 
is  to  be  made  in  Vilma  Banky's 
"The  Awakening."  Vilma  her- 
self may  speak  in  this,  and 
Ronald  Colman's  voice  will 
probably  be  heard  in  "The  Res- 
cue," in  which  he  is  starring. 
Colman  should  register  exceed- 
ingly well  in  "the  talkies." 
Strangely  enough,  he  is  not 
especially  enthusiastic  about 
them. 

He  told  us  he  always  felt 
that  the  charm  of  the  screen 
was  its  silence,  and  always  would  be. 


Kathleen  Also  Has  a  Voice. 

Sound  films  are  seemingly  going  to  bring  the  return 
of  many  players,  who  have  been  overlooked  by  producers 
in  casting  their  features,  of  late.  Two  who  took  part 
in  a  short  Movietone  subject  recently  were  Raymond 
McKee  and  Kathleen  Key.  They  did  unusually  well, 
and  scored  a  hit  at  the  premiere  given  at  the  Carthay 


64 


Hollywood  High  Lights 


Circle  Theater.  McKee  was  not  in  attendance,  but 
Kathleen  won  a  big  hand  when  she  was  brought  on 
the  stage  after  the  evening's  performance,  which  had 
included  the  dull  and  stupid  "Fazil." 

We  met  Kathleen  during  the  intermission,  and  had 
to  profess  we  hardly  knew  her,  it  was  so  long  since 
we  had  seen  her  in  a  picture.  "Heavens,  have  a  heart ! 
I  haven't  grown  as  old  as  all  that,  have  I  ?"  Kathleen 
exclaimed,  with  her  delightfully  peppery  accent.  We 
noticed  that  she  received  congratulations  from  everybody 
present,  indicative  of  her  personal  popularity. 

War's  Alarms  Abate. 

The  unbelievable  has  happened.  Dolores  del  Rio  and 
Lupe  Velez  met,  talked,  and  were  photographed  together 
— and,   strangely   enough,   there    were  no   casualties ! 

These  two  girls  look  so  much  alike  that 
some  people  have  chosen  to  nominate 
them  rivals,  and  that  is  far  from  the 
surest  way  to  induce  two  players  to  be- 
come friendly.  Naturally  Dolores  is  far 
more  famous  than  Lupe,  and  can  afford 
to  be  gracious.  And  it  is  said  that  she 
extended  the  hand  of  greeting  more  than 
befittingly,  when  they  were  first  intro- 
duced to  each  other. 

The  occasion  of  their  encounter  was  a 
Spanish  celebration,  with  which  they 
were  both  identified.  Lupe  sang  and 
danced,  which  she  does  exceptionally 
well,  and  Dolores  gave  an  impromptu  talk, 
in  her  native  language. 

Lupe,  the  Irrepressible. 

Lupe  still  affords  no  end  of  mirth  for 
everybody.  She  is  always  up  to  some 
new  trick  that  sets  the  studio  agog. 

Before  she  learned  English  as  well  as 
she  knows  it  now,  she  was  an  endless  joy 
to  prop  men.  They  had  fun  teaching  her 
slang,  and,  incidentally,  a  few  rather 
lively  expressions  somewhat 
than  slang. 

The  studio  executives  became  rather 
excited  about  this,  because  Lupe,  in  her 
innocence,  used  the  expressions  at  rather 
inauspicious  times,  occasionally  when  vis- 
itors were  on  the  set.  Finally  one  of  the 
executives  called  her  into  his  office  to  give 
her  some  kindly  advice  about  it.  Lupe 
listened  and  was  duly  contrite  and  under- 
standing. Then  she  started  out  of  the 
studio,  and  accidentally  tripped  over  the 


stronger 


rug.  ''Oh,  bing-bing,"  she  said,  before 
she  realized  it.  She  looked  up  shyly  at  the 
studio  executive,  and  a  bit  shamefacedly. 
But  though  he  tried  hard  to  conceal  a 
smile,  he  was  unable  to,  and  Lupe  ex- 
claimed triumphantly : 

"You  see,  I  bad  girl,  but  even  you 
laugh  at  me  !   You  not  so  good  yourself  !" 

Lupe,  by  the  way,  has  had  as  her  escort  to  various 
functions  lately  none  other  than  George  Jessel,  who  is 
starring  in  Tiffany-Stahl  pictures.  We  should  mention, 
too,  that  she  scored  an  enormous  success  not  long  ago, 
when  she  appeared  on  the  stage  at  the  United  Artists 
Theater.  Her  singing  and  impersonations  were  com- 
pared with  those  of  Raquel  Meller. 

Not  Up  on  Classic  Art. 

Al  Jolson  always  entertains  us,  and  he  invariably 
vouchsafes  some  clever  bit  of  patter. 


No,  George  O'Brien  is  not  play- 
ing the  role  of  Little  Jack 
Horner,  who  for  no  reason 
cried,  "What  a  good  boy  am 
— he  is  just  throw  'ng  out  per- 
sonality for  everybody 's  good. 


"These  girls  in  Hollywood  are  smart,"  said  Al, 
"they're  smart  as  can  be.  Just  the  other  day  there  was 
one  of  these  fellows — an  art  director,  very  much  on 
the  up-and-up,  very — oh,  very  highbrow.  He  was  out 
on  the  set,  and  his  eyes  rested: — rested,  that's  the  word — 
on  one  of  those  very,  very  beautiful  girls,  and  he  went 
up  to  her  and  he  said: 

"  'Do  you  know,  my  dear,  do  you  know  what  you 
remind  me  of  ?  Why,'  he  said,  'you  remind  me  of  an 
old  Rembrandt.' 

"  'Well,'  she  answered,  'dog-gone  it,  you're  not  so 
young  yourself  !'  " 

All  in  the  Family,  Anyway. 

Norma  Shearer  and  Mary  Astor  are  now  related — 
only  it's  by  marriage! 

You  see,  it's  this  way.  Some  months 
ago,  Mary  espoused  a  scenarist  and  super- 
visor by  the  name  of  Kenneth  Hawks,  and 
just  recently  Norma's  sister,  Mrs.  Athole 
Ward,  was  wed  to  Hawks'  brother,  How- 
ard. We  don't  know  just  what  relationship 
that  creates  between  Norma  and  Mary,  but 
there  must  be  some  sort. 

Norma  Shearer  was  matron  of  honor 
for  her  sister.  Douglas  Shearer,  her 
I  brother,  Howard  Hawks,  and  another 
brother  of  the  bridegroom,  were  best  men. 
Norma's  sister  was  divorced  from  her  first 
husband,  and  has  been  living  in  Hollywood 
for  more  than  a  year. 


Fan  Mail  Competition. 

The  fan  mail  score  grows  more  and 
more  interesting  from  month  to  month,  be- 
cause of  the  quick  rise  of  certain  newer 
stars. 

Clara  Bow  reputedly  still  leads  the  field, 
with  a  total  of  nearly  thirty-four  thousand 
letters  a  month. 

Billie  Dove  is  now  reported  to  be  high 
on  the  list,  with  approximately  twenty 
thousand. 

Buddy  Rogers  is  one  of  the  oncoming 
favorites,  with  a  total  of  nearly  the  same 
number,  by  actual  count.  He  is  now  sup- 
posed to  be  ahead  of  even  Jack  Gilbert. 

This  all  reveals  a  remarkable  change 
from  a  few  years  ago,  when  Rudolph  Va- 
lentino, then  the  reigning  favorite,  was 
happy,  with  twelve  thousand  five  hun- 
dred. 

The  amount  of  mail  received  by  stars 
has  increased  enormously  in  a  few  years. 
We  thought  movies  weren't  doing  so  well 
lately,  but  this  demonstrates  the  contrary. 


Another  Vamp  Divine. 

We  hear  the  most  enthusiastic  comments 
about  Mary  Duncan's  portrayal  of  a  vamp- 
[ish  role  in  "The  Four  Devil's,"  the  F.  W. 
Murnau  picture.  Miss  Duncan,  we  should  say,  is  not 
one  of  the  "devils,"  they  all  being  acrobats.  She  acts, 
instead,  as  the  seductress  who  casts  her  lure  over  Charles 
Morton,  one  of  the  members  of  this  happy  professional 
family,  much  to  the  discomfiture  of  Janet  Gaynor. 

The  film  will  be  both  spectacular  and  tragic.  Miss 
Gaynor  and  Morton  are  both  killed,  in  a  fall  from  a 
trapeze,  at  the  finish.  It  occurs  because  Janet  happens 
to  see  her  rival  in  the  circus  audience. 

There  is  something  both  peculiarly  elusive  and  pecu- 
liarly ecstatic  about  Miss  Duncan.  She  is  a  stage  actress, 


(Hollywood  High  Lights 


65 


who  played  the  terrific  role  of  the  Eurasian  girl  in  "The 
Shanghai  Gesture."  Fox  had  her  under  contract  for 
nearly  a  year  before  she  was  given  anything  of  con- 
sequence to  do,  and  now  they  have  her  slated  for  fea- 
tured roles  in  a  series  of  new  pictures,  the  first  of  which 
will  be  "The  River,"  with  Charles  Farrell. 

May  Be  Pola's  Successor. 

These  new  dramatic  actresses  the  studios  are  discover- 
ing prove  more  than  interesting.  For  instance,  the  lethal 
and  sinister  Olga  Baclanova.  Have  you  seen  her  in 
"The  Man  Who  Laughs,"  "The  Street' of  Sin,"'  or  any 
of  her  other  appearances? 

Paramount  has  evoked  decided  attention  by  letting  it 
be  noised  about  that  they  expect  Olga  to  fill  the  place 
vacated  on  their  program  by  Pola.    We  can't  see  any 
resemblance   between   their  work,  though 
they  are  both  great  actresses. 


Lois  Gets  the  Applause. 

Lois  Wilson  has  been  working  sixteen 
hours  a  day  lately.  She  has  been  playing 
the  role  of  a  princess  in  "The  Queen's  Hus- 
band" at  the  Vine  Street  Theater;  and  at 
one  of  the  studios  she  lias  been  portraying 
a  sedate  village  miss,  in  a  picture.  Lois' 
friends  have  all  been  congratulating  her  on 
her  success  as  a  stage  actress,  and  Edward 
Everett  Horton,  who  is  starred,  had  this 
impressed  on  him  not  long  ago. 

He  drove  Lois  to  the  theater  one  evening,  I 
and  for  fun  thought  he  would  ask  the. 
garage  man,  where  he  parked  his  car,  what  = 
others  who  left  their  cars  there  thought  of 
the  performance.  t* 

"What  do  you  hear  about  our  show?"  he 
asked  the  man. 

"Oh,  everybody  likes  it,"  was  the  answer. 

"Do  they  talk  about  it  much?"  queried 
Eddie. 

"Oh  yes,"  was  the  reply,  "they  certainly 
do."  - 

"I  don't  suppose  they  say  very  much  about  Miss 
Wilson,"  ventured  Eddie. 

"Oh,  don't  they?"  sniffed  the  garage  man. 
"Huh,  they  talk  about  her  more  than  they  do 
about  you."  Whereupon  Eddie  stepped  right  out 
of  the  picture,  and  Lois  vowed  that  never  would 
she  park  her  car  any  place  else,  when  she  came 
to  the  theater,  except  at  this  particular  station. 


fortable,  particularly  when  in  her  dressing  room,  by 
resurrecting  some  old  dress  of  inconspicuous  aspect. 

But  the  other  day  she  dropped  in,  wearing  a  brand- 
new  outfit  of  very  modish  design.  "The  effect  was  most 
dismaying,"  Norma  told  us.    "Everybody  stopped  me, 


and  said :   'What's  the  matter? 
Who  died?    You  must  be 
funeral.'  " 


Who's  getting  married  ? 
ing  to  a  wedding  or  a 


Lina  and  June  Chums. 

First  prize  for  being  the  most  devoted  friends 
in  Hollywood  goes  this  month  to  Lina  Bas- 
quette  and  June  Collyer.    They  seem  to  go 
everywhere  together. 

Lina  and  June  didn't  know  each  other 
before  they  became  Wampas  stars  a  few 
months  ago,  but  their  liking  for  each  other  developed 
almost  immediately.  They  have  a  common  interest  in 
that  they  both  spent  much  time  in  New  York.  June, 
of  course,  was  born  there,  and  Lina  lived  there  for  sev- 
eral years,  following  her  marriage  to  the  late  Sam 
Wrarner. 

Wherever  June  goes  she  seems  to  win  admirers.  Not 
long  ago,  she  was  introduced  at  a  circus  benefit,  and 
everybody  chanted  her  praises.  She  is  a  tall,  willowy 
type,  with  just  a  slight  resemblance  to  Julanne  Johnston. 

Norma  Disturbs  Studio. 

Norma  Talmadge  simply  can't  dress  up  around  the 
studio.    It  is  her  habit,  you  know,  to  make  herself  com- 


A  Hermitage  De  Luxe. 

William  S.  Hart  may  live  in  solitude  and  isolation, 
but  it  is  a  solitude  and  isolation  of  grandeur.  We  hear 
more  about  Bill's  place  in  the  country  than  about  any 
other,  and  we  are  going  up  to  visit  him  very  soon,  on 
his  express  invitation,  and  will  tell  you  about  it  when 
we  manage  to  make  the  hegira. 

.  Meanwhile,  we  hear  that  Bill  has 
a  gorgeous  Spanish-Aztec  living 
room,  fifty-five  by  thirty  feet,  :and  a 
swimming  pool  encircled  by  Roman 
columns.  The  house  is  built  with 
wooden  pegs  instead  of  nails,  in  true 
primitive  style,  and  is  filled  with 
huge  bear-rugs,  choice  Navajos,  and 
other  inspiring  suggestions  of  the  old 
wild  and  woolly,  rather  than  the  new, 
effete  West. 


A  Fashionable  Equipage. 

We  haven't,  seen  it  yet.  But  it 
must  be  a  sight.  Jack  Gilbert  and 
Greta  Garbo  ensconced  in  the  extra 
rear  seat  of  a  new  Ford  coupe,  while 
a  chauffeur  drives  them ! 

This  is  occasionally  their  means  of 
locomotion  about  the  Metro-Goldwyn 
lot,  when  they  are  in  a  particularly 
larkish  mood.  The  Ford,  by  the  way, 
belongs  to  Jack. 


Casting  "The  Bridge." 

The  literary  plum  of  the  season 
has  been  captured  by  Metro-Goldwyn.  Natu- 
rally, it  is  "The  Bridge  of  San  Luis  Rey,"  by 
Thornton  Wilder.  Who'll  play  Uncle  Pio? 
Who'll  be  the  Abbess?  Who  the  two  brothers? 
Who  the  old  Peruvian  solitary — the  mother,  un- 
loved of  the  girl  who  goes  to  Spain  to  be  mar- 
ried ?    Who  the  actress  ? 

It  may  be  strange,  but  we  can  hardly  visualize 
anybody  now  on  the  screen,  in  these  .  various 
roles.  Dolores  del  Rio  or  Lupe  Velez — perhaps 
the  latter — might  be  able  to  impersonate  the 
actress.  Possibly  Alice  Joyce  could 
be  the  Abbess.  The  two  brothers  are 
less  easy  to  visualize,  although  there 
are  a  number  of  actors  who  might 
qualify,  by  virtue  of  their  Latin- 
American  antecedents.  It  will  take  a  skillful  actor  to 
portray  Uncle  Pio. 

The  book  contains  one  item  of  striking  pictorial  in- 
terest— the  falling  of  the  bridge.  It  would  seem  to  be 
a  film  for  a  Victor  Seastrom  to  direct — although  again, 
Fred  Niblo  might  do  it  with  just  the  right  touch. 

Joan  Herself  Again. 

After  experimenting  with  various  extravagances  in 
the  matter  of  coiffure,  Joan  Crawford  finally  decided  to 
go  back  to  her  own  hair.  She  seized  the  occasion  of  an 
illness  to  allow  it  to  grow  out  naturally.  Most  of  her 
friends  expressed:  satisfaction  over  the  fact  that  she 
finally  eliminated  the  rather  feverish  blond-red  that  she 


Alberta  Vaughn  is  up  to  her  old 
tricks  again,  for  F.  0.  B.,  after 
naughtily  playing  hooky  in  a  yearn 
for  great,  big  serious  roles. 


66 


Hollywood  High  Lights 


affected  for  a  while.  Lest  it  might  be  forgotten,  the 
natural  color  is  inclined  to  auburn,  and  all  in  all  we  feel 
that  it  suits  her  best. 

Joan  seems  to  have  no  end  of  trouble  lately  over  being 
named,  by  wives,  in  divorce  complaints.  "If  I  have  just 
the  merest  speaking  acquaintance  with  a  man,  it  appears 
to  be  justifiable  cause,  in  the  minds  of  their  spouses,  for 
accusing  me  of  disturbing  their  marital  happiness,"  she 
said  warmly.  "I  am  tired  of  being  made  a  target  for 
discontented  ladies,  who  are  at  odds  with  their  husbands. 
It's  getting  to  be  a  regular  habit." 

Amazing  Professional  Union. 

Eric  Von  Stroheim  and  Gloria  Swanson !  A  strange 
companionship  assuredly!  "Von,"  you  know,  will  direct 
Miss  Swanson  in  "The  Swamp."  He  is  also  writing 
the  story  for  the  screen. 

Von  expects  to  make  this  film  in  ten  weeks.  What 
if  he  should  surprise  everybody  and  do  it  ?  "The  Wed- 
ding March"  is  now  two  years  old,  and  not  released 
yet.  It's  been  in  the  cutting  room  for  months.  -  It  was 
still  there  when  we  last  asked  about  it,  and  before  he 
started  work  on  Gloria's  picture,  Von  had  to  do  a  few 
more  scenes  in  the  hope  of  bringing  it  to  completion. 

A  Crime  Rewarded. 

She  stole  too  many  scenes  when  she  played  with  stars 
on  the  Fox  lot.  That's  why  the  name  of  Marjorie  Beebe 
will  go  up  in  the  bright  lights  when  "A  Farmer's 
Daughter"  is  shown.  Marjorie  is  a  somewhat  roly-poly 
comedienne,  with  hair  of  flaming,  bricklike  hue.  Not 
her  own  natural  shade,  of  course,  but  becoming  enough. 
She  has  a  snappy  personality  to  accompany  the  acquired 
hue.  She's  a  little  like  Mabel  Normand,  though  not  so 
attractive. 

If  you  want  a  glimpse  of  her,  she's  in  "Love  Hun- 
gry," featuring  Lois  Moran  and  Lawrence  Gray. 


A  Fortunate  Investor 

A  picture  costing  more  than  a  mi 
supreme  rarity  this  season.  There  is 
know  of,  which 
exceeds  that 
sum,  and  it  is 
"Hell's  An- 
gels." The "an- 
gels"  are — 
guess  who  ? 
Well,  to  be 
sure,  war  avi- 
ators.  Ben 
Lyon  is  the 
hero,  and  Greta 
Nissen  the 
heroine. 

There  is  an 
interesting 


llion  dollars  is  a 
only  one  that  we 


Tut,  tut!  this  is  no 
way  for  an  under- 
world queen  like 
Evelyn  Brent  to 
spend  her  time, 
but  it  does  show 
you  a  brilliant 
actress  au  naturel. 


story  behind 
this  picture,  for 
the  chap  who 
is  making  it  is 
reputedly  very 
wealthy.  He 
only  ventured 


into  the  films  about  a  year  or  so  ago,  and  the  first  produc- 
tion with  which  he  was  concerned  was  "Two  Arabian 
Knights" — one  of  the  best  money-makers  of  the  year. 

The  chap's  name  is  Howard  Hughes,  and  he  is  appar- 
ently due  to  become  very  active  in  the  picture  game. 
He  has  produced  one  Thomas  Meighan  starring  feature, 
called  "The  Racket,"  and  is  to  make  another,  "The 
Mating  Call,"  from  the  Rex  Beach  novel.  "Hell's 
Angels"  discloses  his  biggest  investment,  for  it  is  said 
to  run  close  to  $2,000,000  in  cost. 

If  he  is  as  lucky  with  these  as  with  his  first,  he'll  only 
augment,  rather  than  reduce,  his  personal  fortune,  by 
his  venture  into  Hollywood.  And  that  doesn't  happen 
every  day,  in  the  case  of  an  independent  producer ! 

Censorship  Less  Awesome. 

We  listened, to  the  story  of  "A  Woman  of  Affairs" 
not  long  ago,  in  which  Greta  Garbo  may  be  starred,  and 
from  all  we  could  gather,  it  sounded  very  much  like 
"The  Green  Hat."  This  is  further  borne  out  by  the 
rumor  that  Michael  Aden  is  the  author. 

"The  Green  Hat"  was  at  one  time  banned  by  Will 
H.  Hays,  but  since  Gloria  Swanson  discovered  a  loop- 
hole for  the  filming  of  "Sadie  Thompson,"  producers 
are  possibly  growing  less  fearsome  about  bans  on  books 
and  plays. 

Skill  in  treatment  of  stories  has  evaded  censorship  in 
several  instances  lately,  and  besides  some  censorship  re- 
strictions do  not  seem  to  be  as  severe  as  formerly. 
Whether  for  good  or  ill  is  another  question. 

Chaplin  Plays  Fireman. 

A  vision  of  Charlie  Chaplin  fighting  a  cafe  fire  with 
a  garden  hose  must  have  been  a  rare  treat,  and  we  are 
sorry  not  to  have  been  on  hand  to  see  it. 

It  happened  when  the  Russian  Eagle,  a  favorite  resort, 
was  destroyed  by  flames  of  reputed  incendiary  origin. 
The  establishment  was  subsequently  completely  destroyed 
by  an  explosion,  caused  by  an  accumulation  of  illuminat- 
ing gas,  which  had  leaked  between  the  walls  and  about 
the  foundation. 

Chaplin,  the  Marquis  de  la  Falaise,  Lili  Damita, 
Estelle  Taylor,  Colleen  Moore,  Richard  Dix,  Renee 
Adoree,  and  Marceline  Day  were  among  those  in  the 
cafe  when  the  blaze  started,  but  they  all  escaped  before 
the  explosion  occurred.  Chaplin  and  his  companions 
attempted  to  conquer  the  flames,  until  the  arrival  of  the 
fire  department. 

The  only  person  seriously  injured  was  a  former  Rus- 
sian general,  proprietor  of  the  cafe,  who  has  occasionally 
appeared  in  pictures. 

Prognosticator  Required. 

Wanted — an  astrologer!     Somebody  to  foretell  the 
future  brightness  of  newer  stars  for  the  benefit  of  the 
picture-maker ! 

Producers  seem  frequently  to  lack  this 
prophetic  faculty,  and  occasionally  let  a 
player,  just  on  the  verge  of  a  hit,  slip 
away  from  their  studios. 

There  is  Paramount,  for  instance,  in 
the  case  of  Josephine  Dunn.    Her  con- 
tract was  allowed  to  lapse  a  few  months 
ago,  which  indicated  that  the  com- 
pany did  not  look  sanguinely  upon 
her  talents.      [Continued  on  page  100] 


67 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Street  Angel"  —  Fox.  Beautifully 
done,  but  lacking  the  vitality  of  the  sis- 
ter film,  "Seventh  Heaven."  Yet  Janet 
Gaynor  and  Charles  Farrell  reach 
heights  of  great  appeal. 

"Speedy"  —  Paramount.  Rollicking 
comedy  with  kaleidoscopic  New  York 
as  locale.  Harold  Lloyd  expertly 
comic  and  sympathetic  performance. 

"Circus,  The"  —  United  Artists. 
Charles  Chaplin  reverts  to  slapstick. 
While  inspiration  of  his  last  film  is 
lacking,  this  should  be  seen.  Because 
his  ladylove  likes  a  tight-rope  walker, 
Charlie  decides  to  learn.  The  humor 
and  pathos  of  this  episode  are  inimita- 
ble.   Merna  Kennedy. 

"Crowd,  The"— Metro-Goldwyn.  An 
epic  of  the  middle  classes.  You  share 
the  joys  and  sorrows  of  John  and 
Mary  from  their  first  meeting,  through 
marriage,  parentage,  failure  and  suc- 
cess. Eleanor  Boardman  and  James 
Murray. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Last  Command,  The" — Paramount. 
Emil  Jannings  does  some  magnificent 
work  as  a  Russian  grand  duke,  who  is 
stripped  of  his  power  and  ends  his 
life  as  an  extra  in  Hollywood.  Wil- 
liam Powell  and  Evelyn  Brent. 

"Sadie  Thompson" — United  Artists. 
Gloria  Swanson  stages  a  triumphant 
comeback  in  the  role  of  an  outcast, 
who  is  temporarily  reformed  by  a  fa- 
natic. Lionel  Barrymore  shares  hon- 
ors with  Miss  Swanson. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Two  Lovers" — United  Artists.  Tale 
of  a  sixteenth-century  maiden  whose 
treacherous  uncle  negotiates  a  mar- 
riage for  reasons  of  state,  and  her 
eventual  love  for  her  husband.  Vilma 
Banky  and  Ronald  Colman. 

"Tempest,  The"— United  Artists.  A 
story  of  the  Russian  Revolution.  Mo- 
ments of  great  pictorial  beauty.  John 
Barrymore  excellent.  Camilla  Horn, 
Boris  De  Fas,  and  Louis  Wolheim. 

"Blue  Danube,  The"— Pathe-DeMille. 
Leatrice  Joy  splendid  and  Nils  Asther 
does  really  fine  work.  Settings  are 
beautiful  and  true.  Joseph  Schildkraut 
will  amaze  those  who  have  never  seen 
him  in  a  character  role. 


"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
its  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  De  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

FOR  SECOND  CHOICE. 

"Legion  of  the  Condemned,  The" — 

Paramount.  Exciting  story  of  five  avi- 
ators who  court  death  with  romantic 
recklessness.  Fay  Wray,  Gary  Cooper, 
Barry  Norton,  and  Lane  Chandler. 

"We  Americans"  —  Universal.  A 
Ghetto  heroine,  in  love  with  a  blue- 
blooded  hero,  scorns  the  family  hearth 
for  a  studio.  But  the  old  people  go  to 
night  school  and  blossom  forth  as  true 
Americans,  with  nothing  for  the  hero- 
ine to  be  ashamed  of.  Patsy  Ruth  Mil- 
ler, George  Sidney,  and  John  Boles. 

"Skyscraper"— Pathe-DeMille.  Gust- 
ily humorous  chronicle  of  two  steel  riv- 
eters, a  chorus  girl  and  a  visit  to  Coney 
Island.  William  Boyd,  Alan  Hale,  and 
Sue  Carol  are  all  good. 

"Red  Hair" — Paramount.  Pleasing 
film  of  Clara  Bow  as  a  manicurist,  who 
wins  the  heart  of  a  millionaire,  only  to 
find  that  her  three  "papas"  are  her 
fiance's  guardians.  Climax  comes  when 
they  object  to  her  marriage,  where- 
upon she  strips  herself  of  the  "bor- 
rowed clothes." 

"Ladies'  Night  in  a  Turkish  Bath"— 

First  National.  Humorous  and  wise- 
cracking film,  with  the  Turkish  bath  as 
a  climax.  Jack  Mulhall,  Dorothy 
Mackaill,  Guinn  Williams  and  Sylvia 
Ashton  give  excellent  characterizations. 

"Love  Hungry" — Fox.  Pleasant  little 
comedy  of  chorus  girl  who  brings  chum 
to  mother's  boarding  house,  who,  in 
mother's  absence,  is  treated  as  pros- 
pective roomer  by  a  boarder.  Lois 
Moran,  Lawrence  Gray,  and  Marjorie 
Beebe. 

"Cheating  Cheaters" — Universal.  Ex- 
cellent and  amusing  tale  of  crooks 
masquerading  as  idle  rich  to  loot  their 
supposedly  rich  neighbors — who  turn 
out  to  be  crooks,  too.  Betty  Compson 
at  her  best;  others  are  Kenneth  Har- 
lan, Lucien  Littlefield,  and  Sylvia  Ash- 
ton. 

"Chicago"— Pathe-DeMille.  The  play, 
which  was  a  clever  satire  on  a  murder 
trial,  is  made  into  a  sentimental  melo- 
drama. While  there  ?.re  some  clever 
bits  of  acting  by  Phyllis  Haver  and 
Victor  Varconi,  the  film  fails  to  click. 


"Cohens  and  Kellys  in  Paris,  The"— 

Universal.  Boisterous  adventures  of 
the  now  famous  movie  family  abroad, 
with  actors  who  could  have  utilized 
their  talents  to  better  advantage.  Far- 
rell MacDonald,  George  Sidney,  and 
Vera  Gordon. 

"Dove,  The"— United  Artists.  A  tame 
version  of  the  play.  Norma  Talmadge 
makes  an  elegant  prima  donna  out  of 
what  should  have  been  a  cheap  cabaret 
singer.  Noah  Beery's  best  role  since 
"Beau  Geste."    Gilbert  Roland  the  hero. 

"Dressed  to  Kill"— Fox.  Unusual 
and  exciting  crook  film,  with  Edmund 
Lowe  as  the  crook,  and  a  girl  who  is 
seeking  to  recover  bonds  for  which 
her  sweetheart  is  in  prison.  The  crook 
dies  defending  her  from  his  confeder- 
ates. 

"Drums  of  Love" — United  Artists. 
Not  up  to  the  usual  D.  W.  Griffith 
standard.  Tale  of  two  brothers  and 
the  tragic  love  of  one  for  the  other's 
wife.  Mary  Philbin,  Lionel  Barry- 
more, and  Don  Alvarado. 

"Enemy,  The"  —  Metro-  Goldwyn. 
Moderately  interesting  story  of  the 
Austrian  side  of  the  late  war.  Lillian 
Gish  is  excellent,  but  hasn't  nearly 
enough  to  do.  Ralph  Forbes,  Frank 
Currier,  and  George  Fawcett. 

"Finders  Keepers" — Universal.  Laura 
La  Plante,  an  excellent  comedienne, 
who  attempts  to  disguise  herself  as  a 
soldier  to  be  near  her  sweetheart,  and 
her  discovery  ty  her  father,  who  is  the 
colonel.    John  Harron. 

"Girl  in  Every  Port,  A" — Fox.  Lively 
tale  of  a  sailor  who  sets  out  to  "get" 
his  rival,  but  both  men  discover  the 
unworthiness  of  the  girl  and  end  by 
swearing  eternal  friendship.  Victor 
McLaglen  excellent  in  his  first  star- 
ring film — Robert  Armstrong  and  Lou- 
ise Brooks. 

"High  School  Hero,  The"— Fox.  Gay 
comedy  of  high-school  life,  featuring 
youngsters  who  really  look  like  high- 
school  girls  and  boys.  Nick  Stuart  and 
Sally  Phipps. 

"Love" — Metro-Goldwyn.  Superficial 
and  unsatisfying.  However,  the  beauti- 
ful sets  and  romantic  situations  will 
make  it  a  box-office  attraction.  The 
principals  are  John  Gilbert,  Greta 
Garbo,  George  Fawcett,  and  Brandon 
Hurst. 

"Love  and  Learn"  —  Paramount. 
Esther  Ralston  clever  in  the  role  of 
a  girl  who  gets  into  amusing  situations 
to  distract  her  parents  sufficiently  to 
avoid  a  divorce.  Lane  Chandler  is  the 
hero. 

"Love  Me  and  the  World  Is  Mine"— 

Universal.  Moderately  interesting  pic- 
ture of  Vienna  before  the  war.  Mary 
Philbin,  Norman  Kerry  and  Betty 
Compson. 

"Man  Power" — Paramount.  Richard 
Dix  in  implausible  but  interesting  tale 
of  a  tramp  who  arrives  in  a  small  town, 
wins  an  heiress — Mary  Brian — and 
saves  the  town  from  a  bursting  dam. 

(Continued  on  page  120) 


68 


Charles  Farrell  and  Greta  Nissen  are  the  principals  in  "Fazil," 
tragic  story  of  an  Arab's  love  for  a  European. 

IF  you  are  so  constituted  that  whatever  you  see  on 
the  screen  is  real  and  true  because  it  is  there,  then 
"Fazil"  will  please  you  mightily.  If,  alas,  your  mind 
functions  as  well  as  your  eye,  there  will  be  an  aching- 
void  in  your  intelligence  as  you  view  this  highly  pic- 
torial but  hollow  attempt  to  revive  interest  in  the  love  life 
of  a  sheik.  The  sands  of  the  desert  have  long  been  cold, 
I  fear,  and  there  is  not  enough  hot  air  even  in  Holly- 
wood to  warm  them  back  to  life,  now  that  sheiks  have 
become  comic,  instead  of  romantic  figures  by  reason 
of  too  much  kidding.  And  though  Charles  Farrell  is 
earnest  and  sincere  in  any  role,  and  convincing  enough 
as  a  Frenchman  or  an  Italian,  his  Prince  Fazil  is  hardly 
more  than  what  you  would  expect  a  new  Englander  to 
be,  when  he  dons  dark  make-up  and  submits  his  locks  to 
the  curling  iron.  It  is,  therefore,  too  much  to  expect 
him  to  be  mysterious,  inscrutable,  and  terrifying.  And 
he  isn't,  though  his  eyes  are  supposed  to  frighten  the 
heroine  by  their  intensity. 

Prince  Fazil  is  a  Europeanized  sheik,  who  is  able  to 
wear  tweeds  and  turbans  with  equal  style.  In  Venice 
he  meets  Fabienne,  who  is  described  by  a  subtitle  as 
"a  child  of  caprice."  To  the  knowing  this  paves  the 
way  for  her  romance  with  the  Arab.  And  because  the 
locale  is  Venice,  gondola  scenes  must  of  necessity  be  a 
hectic  detail  in  the  courtship  that  follows  their  meeting 
at  a  Hollywood — no,  Venetian — ball.  And  because  the 
picture  is  a  confection  and  not  a  drama,  there  must  be 
scenes  in  Paris,  where  they  spend  their  honeymoon — 
and  where  both  the  sheik  and  the  society  girl  spend 
far  more  time  in  changing  their  clothes  than  in  learn- 
ing to  know  each  other.  That  is,  except  by  straining 
embraces,  and  what  are  vulgarly  described  as  "tonsil 
kisses."  No  one  so  describes  them  on  the  screen.  Far 
from  it.  The  kisses,  embraces,  and  carnal  manifestations 
are  committed  in  the  name  of  love.  A  great,  great  love. 
Have  you  ever  noticed  how  rarely  real  love  finds  its 


the 


way  to  the  screen,  and  how  often  liaisons  are 
offered  in  place  of  tenderness,  sympathy,  sacri- 
fice? Be  this  as  it  may,  Fazil  and  Fabienne 
quarrel.  It  is  inevitable.  A  surfeit  of  kisses  al- 
ways brings  about  mental  illness,  just  as  too 
much  candy  sickens  a  Pomeranian.  Fazil  returns 
to  his  native  sands  and — oh,  horrors! — his  harem, 
from  which  he  remains  coldly  aloof,  because  he 
is  the  hero  of  the  picture  and  must  not  be  sullied, 
and  thus  lose  that  distorted  thing  known  in 
Hollywood  as  "sympathy."  These  harem  scenes 
warrant  another  chapter,  but  as  they  are.  the  old, 
familiar  version  of  what  a  director  thinks  goes 
on  in  a  seraglio — or  perhaps  only  what  he  thinks 
the  public  thinks  goes  on  in  such  places — it  is  as 
well  to  forgive  them — and  him.  But  some  day, 
somewhere,  somehow  a  director  will  brave  the 
conventions  by  forgetting  this,  and  actually  em- 
ploy some  one  who  has  been  inside  a  harem, 
to  show  picturegoers  that  the  Mohammedan  re- 
ligion does  not  tolerate  the  looseness  of  burlesque 
shows.  Fabienne  comes  in  upon  all  this,  and 
ensuing  events  end  in  an  attempted  Romeo  and 
Juliet  tragedy  when  both  die,  thanks — I  said  thanks — 
to  a  poison  ring. 

Mr.  Farrell  is  a  thoroughly  nice  young  man,  no  matter 
what  role  he  essays,  and  Greta  Nissen  is  capricious 
enough  to  warrant  the  subtitle.  Being  capricious — 
prettily — is  no  small  art.  John  Boles  and  Mae  Busch 
play  minor  characters,  and  there  is  faint,  though  dis- 
tressing, comedy  from  Tyler  Brooke.  All  this  being  the 
inspiration  for  an  expensive  and  beautiful  production. 

The  Tragedy  of  a  Clown. 

There  is  nobility,  and  beauty  of  thought  and  feeling, 
in  "Laugh,  Clown,  Laugh,"  even  though  the  spectacle 
of  a  punchinello  who  must  caper  while  his  heart  breaks, 
is  not  among  the  season's  novelties.  But  vividly  sincere 
acting  is  a  novelty  in  any  season,  and  here  we  see  a 
great  deal  of  it,  combined  with  exquisite  photography, 
vigorous  yet  sympathetic  direction,  and  a  fascinating 
study  of  character.  The  result  is  a  notable  picture,  and 
one  of  Lon  Chaney's  finest  portrayals.  It  is  dependent 
on  no  disguise,  save  that  of  the  traditional  white-faced 
clown,  and  many  of  the  most  effective  moments  come 
when  Tito,  away  from  the  circus,  is  without  any  make-up 
at  all. 

The  story  begins  with  Tito's  adoption  of  a  foundling 
while  he  and  his  partner,  Simon,  are  strolling  players. 
As  the  little  girl,  Simonetta,  grows  up,  success  comes  to 
the  two,  and  presently  she  attracts  the  attention  of 
Luigi,  a  profligate  young  nobleman,  almost  at  the  mo- 
ment Tito  discovers  that  he  loves  her.  The  two  men 
meet  in  the  reception  room  of  a  nerve  specialist,  from 
whom  each  seeks  a  cure  for  his  malady.  Tito's  manifests 
itself  in  uncontrollable  tears  when  he  is  under  any  emo- 
tional strain,  while  Luigi  gives  way  to  paroxysms  of  wild 
laughter  under  similar  conditions.  The  doctor  shrewdly 
surmises  that  each  suffers  from  suppressed  love.  With- 
out knowing  they  are  in  love  with  the  same  girl,  count 


69 


Lon 

Lau° 


A  critical  eye  is  turned  on  the  new 
films,  with  the  result  that  some  excel- 
lent pictures  are  discovered  and  some 
brilliant    performances   are  praised. 


and  clown  become  friends,  united  in  the  desire  to 
be  of  help  to  each  other.  In  the  end  Tito,  aware 
that  he  is  standing  in  the  way  of  Simonetta's 
happiness,  performs  for  the  last  time  the  stunt  that 
has  brought  him  fame,  with  intentionally  fatal  re- 
sults, as  a  group  of  children  look  on,  laughing 
gleefully  at  what  they  think  is  their  idol's  comic 
simulation  of  death. 

The  above  is  scarcely  more  than  an  inkling  of 
the  story,  but  it  is  enough  for  the  imaginative 
reader  to  realize  that  Mr.  Chaney  and  Herbert 
Brenon,  the  director,  find  in  it  material  to  inspire 
them  to  do  their  best — which  past  performances 
testify  is.  superlative.  Mr.  Chaney's  performance 
is  tender,  true,  and  appealing.  His  Tito  is  a  real 
Italian,  which  means  that  he  does  not  resort  to 
gestural  excesses  or  grimaces  to  make  him  so,  and 
the  inherent  simplicity  of  the  character  is  never 
lost  sight  of.  Loretta  Young,  who  I  am  told  is 
but  fifteen  years  old,  plays  Simonctta  with  a  heart- 
breaking quality  which  could  only  come  from  an 
actress  unconscious- of  her  youth,  and  never  from 
one  who  tried  .to  achieve  adolescence  by  any  expe- 
dient of  the  actor's  craft.  Perhaps  even  more 
surprising. is  .Nils  Asther,  as  Luigi,  especially  to  those 
who  have  not  seen  him  in  "The  Blue  Danube."  Here 
is  a  young  man  who  is  quite  alone  in  playing  young 
aristocrats  with  sinister  or  cynical  overtones,  but  who 
contrives  to  awaken  and  hold  one's  sympathy  neverthe- 
less. To  me  his  Luigi  is  arresting,  perfect.  Nor  must 
Bernard  Siegel,  as  old  Simon,  be  dismissed  with  slight 
praise.    He,  too,  is  a  perfect  gem  in  a  perfect  cast. 

The  Vitaphone  Improves. 

The  future  of  the  sound  or  talking  picture  is  so  great, 
that  the  latest  example  must  be  considered  more  seriously 
than  if  it  were  but  a  stray  experiment.  "The  Lion  and 
the  Mouse,"  then,  though  far  from  an  artistic  milestone, 
or  satisfying  entertainment,  is  the  best  picture  with 
dialogue  yet  screened.  Yet  it  is  neither  a  good  picture, 
nor  anything  but  an  inkling  of  the  part  sound  will 
eventually  play  in  the  production  of  films.  But  it  is 
important,  in  view  of  improvements  yet  to  come.  For 
one  thing,  there  is  more  dialogue  than  in  any  previous 
attempt,  and  the  material  is  in  better  taste  and  is  more 
credible.  So  far  as  I  am  concerned,  dramatic  interest 
slumps  when  in  long  sequences  the  characters  stand  still 
and  talk ;  whereas  it  is  my  contention  that  the  drama 
of  Shirley  Rossmore's  conflict  with  John  Ryder,  and 
their  counteraccusations,  would  have  been  far  more 
dynamic  had  they  acted  only  to  the  accompaniment  of 
the  usual  subtitles.  But  the  elements  of  curiosity  and 
novelty  hold  the  spectator  in  spite  of  this,  even  though 
the  reappearance  of  the  old-time  soliloquy  causes  one 
to  fear  if  this  long-outmoded  means  of  setting  forth 
the  plot  is  to  become  a  permanent  feature  of  the  "talkies." 
Let  us  pray  not. 

"The  Lion  and  the  Mouse"  is  a  rather  old-fashioned 
story  of  a  great,  grasping  capitalist,  who  brings  financial 
ruin  to  others  for  the  sheer  joy  of  it.    One  of  his 


Chaney  has  one  of  his  most  effective  roles  in  "Laugh,  Clown, 
h,"  and  Loretta   Young  is  established  as  a  newcomer  of  dis- 
tinction. 

victims  is  Judge  Rossmorc,  whose  daughter,  Shirley, 
falls  in  love  with  the  capitalist's  son  without  being  aware 
of  his  identity,  and  who  becomes  a  member  of  Ryder's 
household — she  is,  conveniently  enough,  a  sculptress — 
for  the  purpose  of  possessing  the  inevitable  papers  which 
shall  prove  Judge  Rossmorc  guiltless  of  unlawful  stock 
manipulations.  Out  of  this  come  Ryder's  discovery  not 
only  of  her  identity,  but  of  what  he  calls  her  thievery, 
his  pact  with  her  to  give  up  his  son  if  he  will  withdraw 
his  charges  against  her  father,  and  so  on  until  the  col- 
lapse of  all  in  the  face  of  the  happy  ending. 

Lionel  Barrymore,  as  Ryder,  gives  the  outstanding 
performance,  and  his  is  the  voice  most  interesting  to 
listen  to.  Though  not  always  distinct,  it  has  "color," 
range,  and  eloquence,  which  is  more  than  can  be  said 
of  May  McAvoy  and  William  Collier,  Jr.  The  latter's 
voice  as  recorded  does  not  coincide  with  his  sensitive, 
"fine"  personality,  and  Miss  McAvoy's  tones  are  flat, 
commonplace,  and  uncultivated — a  complete  disillusion- 
ment. Alec  B.  Francis,  as  the  Judge,  is  as  effective  in 
speech  as  in  silence.  There's  no  denying  it,  a  revolution 
impends  in  Hollywood,  and  players  must  somehow 
acquire  a  voice  that  harmonizes  with  their  visual  present- 
ment, in  order  to  keep  their  places — or  any  place  at  all 
— in  the  new  technique  of  acting,  and  the  new  screen 
personality,  which  is  about  to  supplant  the  old. 

Better  Than  "Underworld." 

For  a  rattling,  gatling  melodrama  of  the  underworld, 
"The  Dragnet"  is  recommended  with  enthusiasm.  It 
moves  swiftly,  its  characters  are  interesting,  and  it  holds 
the  spectator  tense.  Perhaps  it  is  not  so  unusual  as 
its  predecessor,  "Underworld,"  but  by  any  count  it  is 
far  from  ordinary  and  should  be  seen,  if  you  have  a 
flair  for  the  gang  pictures  which  are  now  popular.  This 
time  George  Bancroft  stands  for  the  law  instead  of 


70 


The  Screen  in  Review 


against  it.  He  is  Two-gun 
Nolan,  chief  of  detectives,  and 
his  consuming  purpose  is  to 
bring  to  justice  the  malefactors 
headed  by  William  Powell,  as 
Dapper  Frank  Trent.  He  is 
spurred  to  renewed  action  when 
Trent  is  on  trial  for  murder, 
and  a  stool  pigeon  who  is  tes- 
tifying against  him  is  killed  on 
the  witness  stand-  The  shot  is 
fired  by  a  gunman  stationed  in 
a  hotel  window  opposite.  This 
man,  however,  known  as  "The 
Sniper,"  is  admirably  played  by 
Francis  McDonald,  who  is 
quite  as  effective  in  his  way  as 
any  member  of  the  cast.  He  is 
a  laughing  gunman  to  whom 
everything  is  a  joke,  even  his 
own  eventual  murder  by  Trent 
for  talking  too  much.  Evelyn 
Brent,  without  whom  no  picture 
of  underworld  life  would  be 
complete,  is  present  as  The 
Magpie,  Trent's  girl.  She  and 
Nolan  are  attracted  to  each 
other  in  spite  of  mutual  de- 
fiance, but  not  until  Nolan  is 
"framed"  by  the  gunmen  for 
the  murder  of  a  young  detective 
is  a  crisis  reached.  Nolan  re- 
signs from  the  force  and,  tor- 
tured by  conscience,  goes  from 
bad  to  worse  until  he  is  reduced 
to  the  gutter.  To  humiliate 
Nolan  and  flaunt  his  own  vic- 
tory, Trent  exhibits  the  former 
detective  at  a  celebration  at- 
tended by  the  underworld,  and 
from  The  Sniper  The  Magpie 
learns  that  Nolan  is  innocent. 
She  brings  about  his  regenera- 
tion, and  it  is  needless  to  say 
what  Nolan  himself  brings  about. 

Conspicuous  among  the  ex- 
cellent actors  is  Leslie  Fenton, 
as  the  young  detective,  and  with 
the  addition  of  Fred  Kohler,  the 
cast  leaves  nothing  to  be  de- 
sired. 

The  Dregs  of  Humanity. 

After  "The  Way  of  All 
Flesh"  and  "The  Last  Com- 
mand," Emil  Jannings  disap- 
points in  "The  Street  of  Sin." 
Good  though  his  performance 
of  "Basher"  Bill  is,  it  is  with- 
out the  brilliant  hidi  lights 
found  in  his  previous  roles,  and 
^he  picture  itself  is  uncompro- 
misingly sordid  and  sentimental. 
Bill  is  a  Limehouse  bully,  a 
crook,  and — er — worse.  Part 
of  his  livelihood  comes  from 
Annie,  who  spends  most  of  her 
time  on  <he  streets.  Their  do- 
mestic sc^es  are  startlingly 
frank,  but  one  recognizes  the 
honesty  of  them  at  least.  As 
much  cannot  be  said  of  Bill's 


The  Street  of  Sin. " 


'The  News  Parade  " 


Fools  for  Luck." 


infatuation  for  Sister  Elisabeth, 
a  spirituelle  Salvation  Army 
lassie.  With  no  good  intentions 
he  breaks  into  her  room,  but 
Elizabeth  is  equal  to  the  emer- 
gency. She  prays  him  out  of 
his  evil  mood,  whereupon  Bill 
"gets  religion"  and  one  is 
treated  to  the  doubtful  spectacle 
of  the  burly  tough  bathing  the 
slum  babies  left  in  Elizabeth's 
care.  But  this  cannot  go  on. 
With  her  discovery  of  Bill's 
reformation,  Annie  betrays  him 
to  the  police,  and  in  the  ensu- 
ing gunplay  Bill  is  mortally 
wounded.  Dying,  he  consigns 
Annie  to  Elizabeth's  care  and 
guidance  and  mournfully  ad- 
monishes her  to  go  straight. 

All  this  is,  of  course,  splen- 
didly acted,  and  the  direction 
yields  the  maximum  of  sus- 
pense, particularly  in  Annie's 
treachery  and  Bill's  efforts  to 
warn  his  pals  of  the  onrushing 
police;  but  the  role  is  not 
worthy  of  the  great  Jannings, 
nor,  for  that  matter,  is  the  story, 
with  its  unrelieved  squalor,  de- 
pravity, and  ugliness.  How- 
ever, there  is  Olga  Baclanova. 

In  this  simple  statement  is  a 
torrent  of  admiration.  Behind 
that  name  is  a  torrential  per- 
sonality and  a  gift  for  acting  so 
great  that  I  fear  it  must  be 
called  art,  if  not  genius.  Annie, 
in  her  hands,  becomes  a  marvel- 
ous creation,  with  more  shift- 
ing moods,  piercing  thoughts 
and  electrifying  action  than 
most  players  manage  to  convey 
in  a  laborious  lifetime  of  acting 
under  frantic  direction.  And 
this,  mind  you.  is  only  her  third 
role  in  Hollywood.  If  you 
withhold  your  verdict  of  Bacla- 
nova until  the  last  scene,  it  is 
sure  to  agree  with  mine.  You 
will  see  Annie  repentant,  as  Bill 
counsels  her  to  mend  her  ways. 
But  though  you  see  her  chas- 
tened and  sorrowful,  willing 
enough  to  let  Elizabeth,  her 
rival,  stand  ready  to  reform  her, 
the  glorious  Baclanova  tells  the 
knowing  spectator  that  she  has 
no  lasting  thought  of  reform. 
As  well  expect  a  tigress  to  be 
domesticated  by  a  mouse.  Annie 
will  be  herself  always! 

Starring  the  Younger  Generation. 

Almost  the  best  picture  of  the 
month  is  "Walking  Back."  As 
often  happens,  it  is  one  of  the 
most  unpretentious.  Another 
arraignment  of  the  younger 
generation,  with  a  title  that 
means  neither  that  nor  anything 
else ;  but  if  the  younger  genera- 


The  Screen  in  Review 


71 


tion  will  please  stand  by  and 
let  more  good  pictures  like  this 
be  made  at  the  expense  of  its 
failings,  then  I  am  all  in  favor 
of  the  jazz  age  and  its  iniquities 
— the  more  deep-dyed  the  bet- 
ter. But  think  of  some  of  the 
awful  pictures  of  youthful  pec- 
cadilloes we've  had  to  look  at 
before  "Walking  Back"  came 
along !  So  it's  better,  I  suppose, 
for  the  flappers  to  reform  and 
become  uninteresting,  so  there 
will  be  no  chance  of  lessening 
our  pleasant  memories  of  this 
film. 

The  story,  though  simple, 
conveys  considerable  suspense, 
and  the  admirable  acting  of 
Richard  Walling  supplies  pro- 
nounced human  interest  which 
might  otherwise  be  missing. 
"Smoke"  Thatcher,  still  at 
school,,  is  infatuated  with  Patsy 
Schuyler — an  entirely  believable 
circumstance,  because  she  is  Sue 
Carol.  Against  his  father's  or- 
ders, he  takes  out  the  family 
car,  and  at  a  party  quarrels  with 
"Pet"  Masters  over  Patsy.  The 
boys  fight  it  out  in  a  surprising 
manner,  by  chasing  and  bump- 
ing into  each  other  in  their  cars. 
,  This  is  exciting  and  novel. 
Smok'e  drives  away  with  Patsy, 
his  father's  car  virtually  demol- 
ished. Eager  to  get  money  for 
repairs,  he  consents  to  drive  a 
party  of  crooks  without  asking 
questions.  In  the  bank  robbery 
which  ensues,  Smoke's  father  is 
shot  and— but  that's  enough. 
The  end  will  surprise  you. 

All  this  is  set  forth  most  in- 
terestingly to  the  accompani- 
ment of  excellent  direction  and 
first-rate  acting.  In  fact,  young 
Mr.  Walling  does  more  than 
that,  as  Smoke.  He  is  boyish, 
spontaneous,  but  restrained,  and 
is  a  composite  of  a  hundred 
thousand  youths  of  to-day.  In 
fact,  his  is  the  best  performance 
by  a  juvenile  that  I  have  seen  in 
months.  Arthur  Rankin,  as 
Pet,  is  likewise  conspicuously 
good,  and  so  are  Robert  Edeson 
and  Ivan  Lebedeff,  while  Sue 
Carol  stifles  all  attempt  at  crit- 
icism by  her  magnetic  and 
piquant  beauty. 

Pep,  Personality  and  Push. 

"The  News  Parade"  is  the 
first  of  what  promises  to  be  a 
minor  epidemic  of  films  glorify- 
ing the  exploits  of  news-reel 
camera  men.  It  is  an  agreeable 
comedy,  made  more  so  by  Nick 
Stuart,  as  Nick  Naylor,  and  or- 
namented by  Sally  Phipps,  who 
has  far  too  little  to  do  to  suit 


'Chicken  a  la  King." 


'Walking  Back." 


most  of  us.  A  prettier  and  less 
obvious  ingenue  would  be  hard 
to  find,  therefore  her  meager 
role  approaches  a  calamity.  No 
such  fault  can  be  found  with 
the  opportunities  given  Mr. 
Stuart,  who,  you  may  remem- 
ber, fared  none  too  well  in 
"Why  Sailors  Go  Wrong."  So 
there  is  some  justice  in  the 
world  of  the  cinema  after  all. 
He  gives  thoroughly  ingratiat- 
ing and  naive  performance  of  a 
youth  who  forces  himself  into  a 
job,  and  is  assigned  to  photo- 
graph a  millionaire  whose  vio- 
lent antipathy  for  cameras  is  a 
tradition  in  the  "profession." 
Nick's  pursuit  takes  him  to 
Lake  Placid,  Palm  Beach,  and 
Havana  before  he  gets  the 
photograph — and  the  million- 
aire's daughter,  to  the  accom- 
paniment of  much  liveliness, 
some  laughs,  and  at  least  one 
thrill,  when  Nick  perches  high 
above  New  York's  traffic  and 
proceeds  to  be  informal  about 
it.  Brandon  Hurst,  as  the  mil- 
lionaire, is  especially  amusing  as 
a  skater  at  Lake  Placid,  and 
Earle  Foxe  is  a  subordinate  vil- 
lain. But  it  is  really  Nick 
Stuart's  picture. 

Blithe  and  Gay. 

Inconsequential  and  obvi- 
ously designed  as  pastime, 
"Don't  Marry"  nevertheless  has 
moments  of  charm  and  fun,  as 
well  as  deft  performances  by 
Lois  Moran  and  Neil  Hamilton. 
This  I  think  is  enough  to  rec- 
ommend it  to  those  with  a  care- 
free hour  at  their  disposal,  or 
those  in  quest  of  one.  For 
charm  and  fun  and  deftness  are 
all  too  rare  on  the  screen.  The 
picture  gives  Lois  Moran  what 
might  be  called  a  twofold  op- 
portunity, for  it  enables  her  to 
be  an  old-fashioned  girl  as  well 
as  a  modern  flapper.  Now,  there 
is  no  one  more  exquisite  than 
Miss  Moran  when  she  dons 
trailing  skirts  and  assumes  a 
shocked  expression.  And  when 
she  seats  herself  at  a  harp  and 
twangs  silent  strings,  the  im- 
aginary music  is  more  grateful 
to  the  ear  than  a  symphonic  out- 
burst from  Movietone  and,  Vita- 
phone  combined.  Her  role  is 
that  of  Louise  Bowen,  a  mod- 
ern girl  who  masquerades  as 
her  sedate  cousin  in  order  to 
win  Henry  Willoughby,  who 
has  been  repelled  by  flapper 
tactics.  The  plot  is  simplicity 
itself,  and  some  of  the  complica- 
tions are  hardly  more,  but  the 
Continued  on  page  94 


We've  Heard  of 


And  these  stars  demonstrate  the  vogue  in  parasols 


Norma    Shearer,    left,    uses  her 
parasol    to    artistic   advantage  in 
"The  Actress." 


w 


Sally     O'Neil,  above, 
goes  down  to  the  sea 
to    swim,    taking  her 
parasol  with  her. 

Loretta    Young,  upper 
right,  succeeds  in  look- 
ing very  decorative, 

and  Karl  Dane,  right, 
is  about  to  protect  his 
fatal  beauty   from  the 
sun's  rays. 


Gwen   Lee,  left,  has 
forty  ribs  in  her  para- 
sol—count 'em. 


California  Sunshine 


which  keep  the  sun's  heat  from  being  too  unbearable 


Louise  Lorraine,  right,  seems  to  possess 
only  a  parasol  and  a  smile. 


74 


Money,  But  No  Airs 

Estelle  Taylor  has  plenty  of  the  former  and  none  of  the  latter,  as  you  will  agree 
when  you  read  this  somewhat  rambling,  but  intimately  pleasant  impression  of  her. 

By  Myrtle  Gebhart 


F 


OUR  days'  vacation!    I'm  getting  worried." 


Thus  spoke  last  year's  lady  of  leisure,  and  this 
year's  maid-of -all- work,  Estelle  Taylor.  No 
sooner  had  the  New  .Year's  bells  chimed  her  release 
from  the  United  Artists'  contract — -which  held  her  to  a 
salaried,  but  worthless  engagement  for  a  futile  year — 
than  she  plunged  into  a  round  of  labors. 

"The  roles  I  am  ambitious  to  play?"  A  sharp  glance 
out  of  the  corners  of  brown  eyes — eyes  that  can  be  so 
shrewd,  fiery,  humorous,  or  disgusted — rebuked  me. 
"Have  a  heart.  You  know  I  never  get  'em.  Didn't  I 
long  to  play  the  role  in  'The  Barker'  that  Betty  Compson 
got?  Am  I  not  wild  to  portray  Iris  March,  in  'The 
■Green  Hat'  ?  'The  Mud  Turtle'  is  a  cherished  dream — 
to-day.  But  it  is  likely  that  another  actress  will  get  it. 
It's  a  tempestuous  role.  She  starts  a  family  revolution, 
and  sees  it  through,  winning  out  determinedly  in  the  end. 

Estelle  would  do  just  that. 
Fight  to  the  last  scratch,  get  the 
last  word — and  then  turn  sud- 
denly tender  and  tearful.  To 
know  her  is  to  know  her,  with  no 
half  measures,  and  either  to  like 
her  superlatively,  or  to  dislike 
her  strongly.  Most  of  the  ones 
who  don't  like  her  are  the  flat- 
terers, the  very  artificial  ac- 
tresses, or  the  gossips  whom  her 
sarcasm  has  flayed.  I  would  pre- 
fer to  face  a  whole  regiment  of 
soldiers,  bent  on  execution,  than 
face  Estelle  in  an  angry  mood. 

A  few  days  after  our  luncheon 
together,  Estelle  went  to  New 
York,  that  she  might  be  with 
Jack,  and  have  a  long-delayed 
honeymoon  at  Niagara — just  be- 
cause her  mother  and  grand- 
mother had  had  their  honeymoons 
there.  While  in  the  East,  David 
Belasco  offered  her  costardom 
with  Jack  in  a  stage  play  to  be 
produced  this  fall,  "The  Big 
Fight."  Though  they  have  ac- 
cepted, Estelle  will  have  a  sum- 
mer of  picture  work. 

No  one,  with  any  sense,  attempts  to  "interview"  her. 
It  can't  be  done.  You  lunch  with  her  at  Montmartre. 
She  wears  a  soft,  black  frock,  a  purple  hat,  and  a  huge 
shoulder-corsage  of  wax  flowers.  She  is  the  essential 
feminine,  in  rouged  lips  and  lambent  eyes,  and  trailing, 
mysterious  scent.  A  luxurious,  almost  sensuous,  at- 
mosphere surrounds  her.  In  ceremonious  manner  you 
are  seated.  Thereafter  she  holds  court,  having  such  a 
good  time  herself,  that  she  scarcely  realizes  she  is  the 
center  of  attention. 

You  talk  in  snatches.  "Like  these  gloves?  Dirt 
cheap.  Isn't  Billie  Dove  the  most  beautiful  creature? 
If  I  had  a  face  like  that,  I'd  stand  and  look  at  myself 
in  the  mirror  all  day." 

Carl  Van  Vechten  talked  with  her  for  a  few  mo- 
ments, mere  chitchat,  and  called  her  the  most  clever 
and  interesting  woman  in  Hollywood.  It  isn't  brilliance 
so  much  as  quickness  of  repartee. 


Estelle  is  one  of  our  fashion  plates.  I  wondered, 
audibly,  where  she  had  acquired  the  nicety  of  distinction 
which  characterizes  the  clothes  she  wears. 

"By  window  shopping,"  she  flashed.  "Even  as  a  child 
I  window  shopped  for  candy.  The  kind  I  liked  cost 
thirty  cents;  I  couldn't  have  it  then,  because.  I  didn't 
have  the  thirty  cents;  I  can't  have  it  now  because  I'm 
always  reducing. 

"I  spent  hours,  week  after  week,  with  my  nose  stuck 
against  the  shop  windows  of  New  York,  wondering 
why  the  things  at  the  more  expensive  places  were  sim- 
pler. I  began  to  study  them — line,  cut,  everything.  At 
first,  my  idea  of  an  elegant  lady  was  that  of  one  dressed 
in  silk  flounces,  plumed  headgear,  and  strung  with  many 
necklaces.  The  instinct  for  correctness  was  developed 
by  window  shopping,  until  finally — even  before  I  could 
afford  the  paste  pearls — I  knew  why  I  wanted  the  tailored 

frock,  or  the  tiny  bit  of  jade." 

New  York,  to  Estelle,  means 
rhythm.  "I  went  there  from 
Wilmington,  Delaware,  to  study 
at  the  Sargent  dramatic  school," 
she  said,  as  we  drove,  after 
luncheon,  to  a  shop  where 
she  was  to  have  fittings.  The 
four  idle  days  had  been  spent 
sleeping,  shopping,  and  enter- 
taining. That  is,  the  afternoons 
and  evenings.  When  she  isn't 
working,  getting  Estelle  up  be- 
fore noon  is  almost  impossible. 

Perhaps  you  can  picture  the 
home  of  a  prize  fighter,  and  a 
high-spirited  vamp  actress,  who 
delights  in  hard-boiled  roles? 
Lurid,  red  posters ;  maybe  a  yel- 
low davenport,  or  a  gold  deco- 
rated and  hand-painted  piano, 
such  as  another  Hollywood  star 
is  proud  of  ? 

The  red-brick  house,  set  back 
amid  sunken  gardens,  might  be 
the  country  home  of  an  English 
gentleman.  You  may  search  it 
from  basement  to  attic,  and  find 
not  one  thing  to  indicate  that 
You  see  no  pictures  of  movie 
Their  business  affairs  are  con- 
ducted at  the  hotel  which  Jack  owns. 

Most  of  the  furniture  is  English  Chippendale,  which 
indicates  gentility.  One  of  the  rarest  pieces  of  orna- 
mentation is  a  sixteenth-century  cope.  The  draperies  are 
all  hand-blocked  linens  of  quiet,  English  patterns.  On 
one  side  of  the  grounds  is  an  ostentatious  "lodge,"  for 
entertainments.  Roses  spill  their  fragrance  everywhere. 
Estelle  takes  pride  in  her  garden,  and  particularly  in 
her  roses.  No,  she  doesn't  spade  it  herself,  but  she 
bosses  every  bit  of  it. 

Her  bedroom  is  Venetian,  of  blue,  ivory,  and  rose, 
with  a  touch  of  gold  leaf  on  the  furniture.  The  mirrors 
and  the  candlesticks  were  imported,  of  delicate  design. 
This  room  seems,  at  first  glance,  a  trifle  florid,  but  it  is 
beautiful,  and  it  bears  the  imprint  of  a  contradictory 
Continued  on  page  110 


In  Hollywood,  Jack  and  Estelle  are  loved  for  their 
geniality,  humor  and  sincerity. 


professionals  live  there, 
stars,  nor  of  pugilists. 


83 


Gimme  a  Lift?" 


This  is  the  cry  that  assails  the  Hollywood  motorist,  whose  experiences  in  giving  rides  to  strangers  are 
many  and  varied. 

men  who  have  cars,  and  extras,  likewise,  often 
get  rides  from  other  extras. 

Occasionally  a  pedestrian  gets  a  ride  from  a 
well-known  player,  without  realizing  the  iden- 
tity of  his  benefactor.  A  theater 
usher  was  picked  up  by  a  certain 
rather  conceited  actor,  and  soon 
got  to  talking  about  actors.  He 
fell  to  criticizing  his  actor-host. 
"That  fellow  can't  act — he  gives 
me  a  pain — they  ought  to  keep 


By 

H.A.Woodmansee 


Illustrated  by 

Lui  Trugo 


DECENTRALIZED  Hollywood,  with  its  studios 
sprawling  out  all  over  the  map,  is  a  town  of  mag- 
nificent' distances — magnificent  to  those  who  have 
automobiles  to  get  them  around.  To  the  pedestrian 
dependent  on  trolleys,  buses,  and  his  own  feet,  the  dis- 
tances from  studio  to  studio  and  from  the  Boulevard  to 
many  a  lodging,  are  appalling. 

Consequently  the  countrywide  pastime  of  begging 
lifts  from  motorists,  flourishes  in  Hollywood  as  it  does 
nowhere  else.  The  huge  number  of  automobiles  and 
the  genial,  free-and-easy  attitude  of  most  of  their 
drivers,  makes  it  a  simple  matter  for  the  earless  one  to 
get  a  free  ride.  Pedestrians  wait  at  the  intersections  of 
many  an  important  Hollywood  thoroughfare,  waiting 
for  a  "catch"  as  patiently  as  fishermen  on  the  edge  of  a 
stream. 

A  favorite  fishing  ground  is  Cahuenga  Avenue,  the 
highroad  to  the  studios  of  the  San  Fernando  Valley,  and 
the  thoroughfares  leading  to  the  production  centers  of 
Culver  City.  Early  every  morning  scores  of  studio 
workmen  and  extras  line  these  roads,  waiting  for  a  free 
ride  to  work.  Young  and  old,  dressed  in  working 
clothes  and  in  immaculate  attire,  wait  under  the  over- 
hanging pepper  trees. 

"Going  over  the  pass?  Gimme  a  lift?"  they  say  in 
pantomime,  for  this  is  the  town  of  pantomime.  Sooner 
or  later  they  get  their  rides. 

Every  free  ride  means  a  bus  fare  saved,  and  bus 
fare  is  high  in  Hollywood.  Many  studio  workers  who 
ride  around  a  good  deal  on  other  people's  gasoline  save 
enough  to  pay  for  their  tobacco,  their  laundry,  and  a 
substantial  part  of  their  rent.  Others  do  not  consider 
the  money,  and  ask  free  rides  because  they  find  the  bus 
schedules  inconvenient,  or  merely  for  the  sake  of  so- 
ciability. 

Often  the  driver  as  well  as  the  volunteer  passenger 
benefits,  for  the  latter  is  usually  a  voluble  source  of 
information  and  will  sometimes  reveal  interesting  facts 
and  rumors  that  are  flying  about  the  studios. 

Usually  those  asking  for  rides  use  judgment  in  the 
selection  of  their  cars.  They  get  more  rides  in  Fords 
than  in  Rolls-Royces,  and  with  lone  drivers  -than  with 
drivers  who  have  their  girl  friends  to  keep  them  com- 
pany.  Workmen  frequently  get  rides  from  other  work- 


him  off  the  screen !"  he  declared,  while  the  player  got 
red  in  the  face  but  didn't  reveal  his  identity.  When  the 
car  arrived  at  the  studio  the  usher  suddenly  realized 
his  blunder.    Imagine  his  confusion! 

Usually,  however,  the  big  actor  or  director  is  rec- 
ognized at  once.  A  certain  easy-going  director,  in  a 
misguided  moment,  picked  up  a  bright-looking  young 
man  on  his  way  to  the  studio.  The  young  man  promptly 
informed  him  that  he  was  an  extra  working  in  the  very 
picture  that  the  director  was  then  making.  He  wanted 
a  big  part !  Yes,  he  deserved  it,  and  nothing  else  would 
do !  The  poor  director  couldn't  break  loose  without 
throwing  his  passenger  out  in  the  road,  and  so  the  am- 
bitious extra  talked  his  ear  off  all  the  way  to  the  studio, 
begging — demanding— a  big  role  in  the  next  picture. 
It  was  the  only  time  the  young  player  had  succeeded  in 
getting  a  director  where  he  couldn't  ignore  him,  and 
he  made  the  most  of  it!  It  was  a  proud  moment  when 
he  drove  into  the  studio  yard  before  the  other  extras, 
and  a  prouder  one  when  he  assured  them,  one  by  one, 
that  now  he  was  riding  around  with  the  director,  big 
things  were  in  store  for  him.  To  the  director,  however, 
it  meant  just  another  pest  to  bother  him. 

Occasionally  salesmen,  promoters,  and  others  whom 
players  and  directors  are  trying  to  dodge,  will  "acci- 
dentally" happen  to  be  at  the  corner  where  their  cars 
pass.  They  know  it  is  hard  for  a  prospect  to  get  away 
from  them  under  such  circumstances.  That  is  one  of 
the  reasons  why  producers,  stars,  and  directors  are  very 
skeptical  about  giving  lifts  to  strangers — and  seldom  do. 

Often  it  is  the  driver,  and  not  the  pedestrian,  who 
broaches  the  subject  of  a  lift.  Hollywood  has  more 
than  its  quota  of  flivver  sheiks,  who  urge  the  girls  to 
save  their  French  heels  and  take  a  little  ride.  Many 
an  extra  who  has  a  car  but  no  job  whiles  away  his  idle 
hours  in  this  fashion.  Usually  he  draws  upon  his  imagi- 
nation and  assures  his  fair  passenger  that  he  is  a  big, 
important  figure  in  some  studio.  Sometimes  the  sheik, 
who  is  fond  of  telling  how  he  put  across  "The  Big 
Parade"  or  "Wings,"  has  never  been  inside  a  studio. 

One  girl,  who  sells  box  lunches  to  passing  motorists, 
was  repeatedly  accosted  by  one  of  these  sheiks.  He 
told  her  that  he  was  a  camera  man  at  one  of  the  big 
Continued  from  page  109 


84 


Dorothy  Dwan's  earliest  memory  is  that  of  being  set 
upon  the  back  of  a  horse  to  watch  it  eat. 

WHAT  is  your  first  memory? 
Mine,  a  roly-poly  towhead  whose 
shady  nook  on  the  lawn  was  invaded 
by  the  sun — stubbornly  insisting  that  the  sun 
should  move,  because  "I  dot  here  fust" — 
sticking  it  out  all  afternoon  until  the  sun  did 
move — and  getting  tanned,  two  ways. 

As  our  thoughts  trail  back  across  the  shad- 
ows, ecstasies  and  dull  monotonies  of  those 
misty,  childhood  days,  what  happenings  fling 
themselves  across  memory's  path?  We 
smile,  now,  at  hurts  that  seemed  quite  tragic 
— those  embarrassments  of  childhood  dig- 
nity. The  time  I  saved  my  pennies  to  buy 
the  little  rich  girl  a  Christmas  present,  and 
she  said  she  had  one  for  me,  and  I  waited 
breathlessly  every  morning  at  school  for 
weeks — but  she  never  brought  it. 

The  stars,  too,  look  backward  to  experi- 
ences that  conjure  a  chuckle  now.  Perhaps 
in  some  we  see  the  embryonic  characters  of 
to-day. 

Certainly  Estelle  Taylor  evinced  a  dra- 
matic spirit  in  the  first  event  of  her  life 
that  she  can  recall.  She  got  mad,  and  was 
bent  on  suicide. 

"My  mother  had  placed  a  bottle  of  iodine 
on  a  shelf,  cautioning  me  never  to  touch  it," 
her  reply  to  my  question  flashed  instantly. 
"One  day  she  had  to  punish  me,  and  as  I 


Far  Away 

The  stars  look  back  upon  their 
some  of  them  poignant,  some  of 

By  Myrtle 


went  crying  downstairs  I  thought  of  the  iodine. 
I  got  a  chair  and  clambered  up  to  the  shelf  to  get 
the  bottle.  Climbing  down,  I  spilled  it  all  on  the 
floor.  Just  then  mother  came  downstairs.  I  held 
up  the  empty  bottle  and  said,  'Now  you'll  be  sorry. 
I've  killed  myself  !'  " 

Louise  Fazenda's  earliest  memory  is  of  adven- 
ture. It  was  an  experiment  in  rapid  locomotion. 
She  lived  on  a  steep  hill,  now  in  the  center  of  the 
Los  Angeles  business  district.  She  made  a  con- 
veyance out  of  a  soap  box  and,  with  a  neighbor 
boy  as  passenger  and  herself  as  pilot,  started  down 
to  see  the  world.  The  nails  holding  the  improvised 
brake  pulled  out,  the  rear  wheels  came  off,  the  boy 
bounced  out,  but  Louise  was  too  busy  steering  to 
notice.  Miraculously  missing  passing  vehicles,  she 
slid  across  the  street  at  the  bottom  of  the  hill  and 
hit  a  wagon.  She  was  thrown  under  the  horse's 
hoofs,  but  he  was  too  busy  sleeping  to  notice.  So 
her  only  marks  were  skinned  knees  and  a  few 
bruises — until  she  got  home. 


The  setting  was  one  of 


the  Vatican  chapels 
where  the  laity  is 
admitted  for  the 
Easter  services. 
The  altars  were 
beautiful  with  lilies 
— white  flowers  ev- 
erywhere- — and 
from  some  hidden 
place  music  swelled 
from  soft  tones  in- 
to a  paean  of  song. 
Kneeling,  a  tiny, 
dark-haired  three- 
year-old,  her  reason 
developed  by  home 
training  to  the 
point  of  under- 
standing, bowed 
her  head  in  rever- 
ential awe.  And 
when  the  Pope  ap- 
peared in  his  beau- 
tiful white  robe, 
her  heart  filled  with 
an  ecstasy  of  hap- 
piness. The  little 
child  was  Dolores 
Asunsolo,  now  Do- 
lores del  Rio. 

Douglas  Fair- 
banks' earliest 
memory  would  be 
of  a  stunt,  his  first. 
And  a  failure,  too. 
He  was  about  four 

Milton  Sills'  studious 
habits  were  fully  devel- 
oped at  thirteen  years. 


85 


and  Long  Ago 

childhood  and  recall  their  first  memories, 
them  gay,  and  all  of  them  intensely  real. 


Gebhart 


when  he  conceived  the  idea  of  climbing  onto  the  roof  of  a 
shed.  The  feat  was  achieved.  After  satisfying  his  curi- 
osity, he  decided  to  jump  down.  This  also  was  accom- 
plished— but  his  expectations  of  landing  on  his  feet  were 
not.  He  lit  on  his  head,  which  bears  the  scar  of  his  first 
stunt  to  this  day. 

Norma  Shearer's  first  definite  memory  is  of  a  perform- 
ance of  "Lohengrin."  That  afternoon  her  mother  had  no 
one  with  whom  to  leave  her  and,  though  she  was  only  four, 
took  her  along,  thinking  she  might  go  to  sleep.  But  she 
was  completely  enthralled,  not  by  the  music  but  by  the 
beauty  of  it  all. 

"I  remember  almost  every  detail  of  the  swan's  entrance," 
Norma  said.  "For  days  afterward  it  seemed  that  the 
world  was  all  wrong.  I  wanted  my  mother  and  her  friends 
to  wear  clothes  like  Elsa  had  worn.  I  wanted  swans  to 
float  down  rivers,  drawing  boats  with  princes  in  them." 

No  wonder  Pola  Negri  is  such  a  tragic  lady.  Her  first 
meeting  with  life  was  one  to  disturb  any  child's  equilib- 
rium. It  was  a  wild  ride 
on  a  pony.  As  she  was  be- 
ing led  around  a  farm  in 
Poland,  the  pony  jerked 
the  reins  from  the  attend- 
ant's hand  and  deposited 
the  future  dramatic  queen 
on  a  wheat  stack,  with  a 
long  gash  over  her  right 


Elinor  Fair's  enjoyment  of  stick 
candy  was  always  spoiled  when 
her  father  took  it  away  from  her. 


The  return  of  Blanche  Mehaffey's  mother 
from  the  road  stands  out  in  her  memory 
to-day. 

eye.  Pola  still  carries  the  scar  of 
that  joy  ride. 

Curled  hair !  A  starched  dress ! 
Best  little  black  slippers !  Of 
course,  that  means  only  one  thing 
— having  one's  picture  taken.  Joan 
Crawford  was  a  very  small  per- 
son then,  but  quite  an  actress. 

"The  light  fascinated  me.  When 
I  saw  how  purple  my  mother's 
lips  looked,  I  began  to  cry,  be- 
cause I  thought  she  had  changed 
permanently.  Then  I  became  en- 
grossed in  posing.  It  was  all  very 
wonderful,  and  I  talked  and 
thought  about  it  for  weeks." 

Little  Eva  flying  to  heaven,  is 
Colleen  Moore's  earliest  memory. 
The  illusion  of  the  scene  made  so 
deep  an  impression  on  the  four- 
year-old  that  she  was  led  shriek- 
ing from  the  theater.  The  man- 
ager and  her  mother  led  her  back- 
stage to  meet  the  actress,  to  prove 
to  her  that  Eva  was  only  playing,  but  still  she  was  neither  con- 
vinced nor  consoled. 

Every  Saturday  an  Italian  organ-grinder  used  to  come  to  the 
neighborhood  in  which  Lina  Basquette  resided.  The  monkey 
would  perch  on  her  shoulder  to  chatter  and  collect  coins. 
One  day  a  passing  automobile  back-fired.  The  monkey 
scurried  up  a  tall  scaffolding.  Lina,  being  a  tomboy,  vol- 
unteered to  capture  him,  and  shinned  up  to  where  he 
clung.    Suddenly  glancing  down,  she  saw  the  ground  far 


Colleen  Moore,  here  seen  with 
her  brother,  left,  remembers 
little  Eva  flying  to  heaven. 


86 


Far  Away  and  Long  Ago 


Estelle  Taylor  pretended 
to  commit  suicide  for 
the  sake  of  dramatic 
effect. 


carried  her  at  least  ten  feet  in  the  air — so  her  elders  said— 
and  landed  her  gently  on  the  ground. 

When  he  was  about  six,  Reginald  Denny,  then  living  in  a 
suburb  of  London,  decided  to  disobey  his  parents  and  go 
swimming  in  a  small  tributary  of  the  River  Thames.  As  he 
stood  in  shallow  water,  one  of  the  boys  gave  him  a  shove  into 
water  fifteen  feet  deep.  Another  lad  hauled  him  back  to  safety. 

Constance  Talmadge's  curiosity !  A  saga  could  be  written 
around  that  theme.  One  Christmas  a  beautiful,  blond  doll 
with  eyes  that  opened  and  shut,  and  a  red  tongue  protruding 
from  its  little  mouth,  fascinated  her.  She  was  filled  with  the 
enthusiasm  of  the  investigator.  So  she  pulled  off  the  wig, 
poked  in  the  eyes  and  succeeded  in  yanking  the  tongue  out. 
Frightened  then,  she  began  to  yell.  Her  mother  put  the  doll 
where  she  would  see  it  constantly,  so  that  she  was  less  de- 
structive with  the  next  one. 

Virginia  Valli  was  the  proud  owner  of  a  two-room  play- 
house, the  envy  of  her  companions.  It  pleased  her  particu- 
larly that  a  little  boy  "crush"  should  find  it  so  attractive.  -But 
one  day  Edward  looked  to  the  future  and  decided  to  burn  some 
papers  in  the  playhouse,  in  order  to  start  his  training  as  a 
fireman.  He  would  arrive  with  his  wagon  and  the  garden" 
hose  and  prove  the  gallant  hero,  rescuing' the  dolls  and  putting 
out  the  blaze.  But  before  the  junior  fire  department  appeared, 
the  house  was  in  flames.  And  Edward  proved  a  disappoint- 
ment as  a  fireman — he  was  afraid'  to"  go  in  after  the  dolls. 
Virginia  lost  her  playhouse,  her  dolls  and  her  faith  in  gentlemen.' 

A  man  figures  in  Lilyan  Tashman's  earliest  memory.  And 
clothes.  '  And  bills.  And  excitement.  Lilyan'  had  seen  an 
itinerant  photographer  taking,  pictures  of  people 
in  the  neighborhood,- and  longed  to  pose;  ~  She 
took  the  matter  up  with  him.  /'Sure,"  he  said, 
"I'll  take  your  picture  for  nothing.    Dress  up 


below  and  was  rather 
fearful  of  starting- 
down.  They  sent  for 
a  ladder.  It  proved 
too  short,  and  it 
wasn't  until  the  fire 
company  reached 
the  scene  that  she 
was  rescued.  ■ 

Two  girls  remem- 
ber when  they  were 
great  actresses  — 
Janet  Gaynor  and 
Sue  Carol,  who 
played  together  in 
Chicago  ten  years 
ago.  The  basement 
of  Sue's  home  was 
their  theater.  Aided 
by  her  mother's 
chauffeur,  they  lined 
up  two  dozen  chairs. 
"Supported"  by  a 
couple  of  boys  and 

by  the  chauffeur,  who  played  a  harmonica,  they  staged  their 
gala  performance,  Sue  and  Janet  doing  a  black-face  act. 
Afterward  they  couldn't  get  the  charcoal  off  their  faces  in 
time  for  dinner.   You  can  imagine  the  sequel. 

Thanksgiving  Day  always  brings  back  to  Norma  Talmadge 
a  memory  of  her  grandfather's  farm  in  Connecticut,  and  of 
a  small  girl  proud  of  her  bright-red  stockings.  Going  out  to 
feed  the  chickens,  ducks  and  turkeys  one  memorable  day,  a 
gobbler  sighted  the  red-clad  legs  and  headed  for  them,  followed 
by  an  exciting  race  when  Norma  barely  got  through  the  kitchen 
door  in  time  to  avoid  a  peck. 

May  McAvoy  flew  high  in  the  first  event  to  limn  itself  on 
her  mind.  When  playing  "jacks"  with  other  children,  a  ter- 
rific wind  suddenly  blew  up,  lifted  her  from  the  ground  and 


Arthur  Stone,  at  four,  discovered  an  unusual  way  to 
ruin  his  new  drum. 


Billie  Dove  was  fascinated  by  the  mystery 
of  a  music  box. 


Far  Away  and  Long  Ago 


87 


while  I  get  ready."  Lilyan  donned  her  big  sister's  best  dress 
and  slippers,  and  posed.  She  kept  the  matter  secret,  intending 
to  surprise  the  family.  The  surprise  came  from  another 
quarter.  With  the  pictures,  the  photographer  also  brought  a 
bill,  and  dad  had  to  pay  it.  And  the  experience  that  followed 
— with  dad — was  heart-rending. 

Clara  Bow's  tresses  caused  not-  the  slightest  ruffle  in  her 
harum-scarum  childhood  until  the  advent  of  a  doll  with  bright- 
red  hair.  She  hadn't  had  a  doll  before,  and  wasn't  keen  about 
it  anyhow,  much  preferring  to  play  baseball  with  the  boys,  but 
dutifully  took  it  out  for  its  airing.  The  boys'  jeers,  and  the 
smiles  of  passers-by,  ruined  her  day  and  turned  her  into  more 
of  a  doll-hater  than  ever. 

Evelyn  Brent — like  Estelle  Taylor — had  malicious  inten- 
tions in  the  first  event  to  impress  her  child  mind.  Having  been 
reprimanded,  she  decided  to  run  away — her  parents  would 
miss  her  and  be  sorry.  Surprisingly,  her  mother  agreed  to  the 
plan  and  even  helped  her  pack  the  little  suit  case,  put  her  coat 
and  hat  on  her  and  bade  her  good-by.  Evelyn  got  as  far  as 
the  corner,  and  then  reconsidered. 

John  Barrymore's  childhood  was  spent  in  dark  and  mys- 
terious caverns,  peopled  with  grotesque  figures  that  emerged 
and  disappeared  as  if  by  magic.    Everything  was  very  ex- 
citing, and  he  never  knew  just  what  to  expect. 
Gradually. it. alL  became  familiar,  and  resolved 
into  backstage  life  in  the  theater. 

Esther  Ralston,  too,  was  almost  born  in  the 
wings  of  a  theater.    The  first  object  that  im- 
pressed her  was  a  glittering  costume  that  her 
mother  wore.    It  fascinated  the  three-year- 
and  she  would  play  with  it  and  fondle  it 
and  pick  sequins  off. 

George  Bancroft's  mother  told  him  so 
often,  "Don't  play  near  the  lake,"  that  his 
interest  in  the  lagoon  was  aroused.  So  ^ 
many  were  the  threats,  that  he  ventured 
forth  to  find  out  about  this  forbidden  ter- 
ritory. He  found  the  mud  banks  delight- 
ful to  dig  in,  and  stole  closer.  The  water 
didn't  reach  out  to  hurt  him.    Some  chil- 


Vera  Reynolds  remembers  nothing  more  distinctly 
than  constantly  being  told  to  "pick  things  up." 


Louise  Fazenda  has  good  cause 
to  remember  the  exciting  end 
of  a  soap-box  ride. 


dren  were  wading  in  the 
shallow  water.  He 
waded.  He  became 
braver  and  went  in  to 
his  waist,  then  to  his 
neck.  A  shriek  from 
shore — his  mother  there, 
frightened — caused  him 
to  step  backward  into 
water  over  his  head. 
When  he  awoke  he  was 
in  his  mother's  arms. 
But  instead  of  punish- 
ment, he  got  only  kisses. 
It  was  all  very  bewilder- 
ing. 

A  doting  aunt  brought 
Charles  Rogers  a  huge 
egg  one  Easter  morning. 
White,  with  flowers  and 
writing  in  candy  on  it, 
and  at  one  end  a  tiny 
glass  through  which  one  eye  could  see  a  Biblical  scene  in  colors. 
For  hours  the  boy  thought  them  real  people.  He  even  got  to 
telling  the  people  in  the  egg  his  worries  and  joys,  until  they 
became  closer  than  his  own  family,  so  vivid  was  the  child's 
imagination.  One  day  a  playmate  grabbed  it — and  the  fas- 
cinating egg  became  glittering  debris  on  the  floor.  He  was 
horror-stricken.  His  "fairy  people"  would  be  hurt.  Scram- 
bling among  the  pieces,  he  found  a  penny  picture  with  his 
"people"  just  painted  on.    Disillusioned,  he  wept  bitterly. 

In  his  fourth  year,  Emil  Jannings  was  given  a  glass  of 
Pilsener  beer  by  his  good-humored  father,  as  a  joke.  Little 
Emil  sputtered  and  cried,  and  thought  it  was  medicine.  How- 
ever, he  assures  us  that  his  dislike  for  beer  was  overcome  in 
later  years. 

Jobyna  Ralston  had  never  seen  a  goose,  though  she  was 
well  acquainted  with  chickens.  On  a  visit  to  her  uncle,  she 
obtained  permission  to  go  out  to  the  barnyard  to  see  a  new 

Contioued  on  page  104 


Dolores  Costello's 
mosf.vivid  memory 
is  her  visit  to  Bom- 
bay, India. 


88 


Reverting  to  Type 


The  dauntless  Christie  girls  show 
why  it  is  much  more  fun  to  dig 
gold  from  Mother  Earth  than  from 
gentlemen's  pockets,  and  apparently 
there  is  far  less  suspense. 


Helen  Fairweather,  at  top  of 
page,  chooses  her  own  way  to 
make  Marie  Francis,  Betty 
Whitmore,  and  Anne  Cornwall 
work. 

So  Anne  Cornwall,  left,  center, 
sharpens  her  pick,  the  better  to 
dig,  while  Marie  Francis  and 
Betty  Whitmore,  above,  break  the 
rules  by  resting  some  more. 

Marie  Francis,  Betty  Whitmore, 
and  Helen  Fairweather,  left,  be- 
gin the  long  struggle  in  earnest. 


89 


There  Are  Styles 
in  Stars,  Too 

You  have  only  to  read  this  interesting 
article  to  recall  the  enormous  influence 
exerted  by  popular  types  of  the  past, 
and  to  wonder  what  the  next  will  be. 


F 


By  Ann  Sylvester 

ASHIONS  in  stars  change  as  often 
and  almost  as  seasonally  as  styles  in 
gowns,  skirt  lengths,  and  bobs.  First 
it  is  one  thing  and  then  another.  Or  per- 
haps it  would  be  more  to  the  point  to  say, 
'first  one  type  and  then  another. 

Those  boys  and  girls  who  have  fol- 
lowed the  screen  for  years  will  have  little 
difficulty  in  remembering  the  curly-headed 
ingenues,  who  reigned  supreme  in  the  in- 
fancy of  the  silent  drama.    And  they  will 
have  even  less  difficulty  in  remembering 
how  quickly  they  were  succeeded  by  the 
Theda  Bara  vamps,  who  in  turn  were  re- 
placed by  the  Norma  Talmadge-Blanche 
Sweet  dramatic 
waves.  So  on  down 
through  movie  his- 
tory it  has  been. 
Each  queen  of  the 
screen,  during  her 
brief  reign,  has  not 
only    swayed  the 
destiny  of  the  in- 
dustry, but  has  also 
set  the  personality 
style   for  flappers 
of   every  country. 
They  led — and  the 
rest  copied  as  best 
they    could,  until 
another  charmer 
came  along. 

Just  for  the  fun 
of  it,  we  might 
start  at  the  begin- 
ning and  review  a 
few  of  the  ladies 
of  the  screen  who 
have  been  most 
outstanding  in  de- 
termining a  popu- 
lar type. 

Mary  Pickford — 
she  was  the  first. 
The  first  lady  of 
the  screen,  and  the 
first  idol  to  be  imi- 
tated in  its  sincerest  form  of  flat 
tery.    When  Mary  was  actively 
queen    of    the    screen,  schoolrooms 
throughout  the   country   were  dotted 
with   Pickford   curls.     Ladies  every- 
where made  a  point  of  looking  as  sweet 
and  wistful  as  possible,  and  rather  like 
little  girls  all  alone 

in  the  world.  In  Norma  Talmadge pop- 
keeping  with  this  ularized  sweet  sad- 
tyPe>   gowns   were       ness  for  a  while. 


Photo  by  Spurr 


Photo  by  Richee 

Pola  Negri  started  the  vogue  for  dead-white  make- 
up and  crimson  lips. 

simple — and  organdie  and  ruffles  were  in 
their  heyday.  The  girl  who  sold  you  per- 
fume did  so  with  a  Pickford  pout.  The 
sweet  girl  graduate  who  won  the  elocution 
medal,  spoke  in  a  husky,  childish  tone,  be- 
cause she  had  heard  that  Mary's  voice  was 
like  that.  Hair  was  long  and  curly  and 
blond — if  possible — and  often  where  it 
wasn't.  Speaking  as  a  popular  type,  every- 
thing was  as  sweet  and  romantic  as  a  lace 
valentine  when  Mary  set  the  style.  No  one 
had  even  heard  of  companionate  marriage. 

Next  in  importance  to  Mary  on  the  screen 
was  Norma  Talmadge,  but  Norma  was 
never  a  particularly  outstanding  personality- 
setter,  for  the  chief  reason  that  her  greatest 
appeal  lay  in  her  humanness,  and  she  was 
not  sufficiently  typed  to  start  an  individual 
vogue.  Norma  was  loved,  but  not  imitated 
nearly  to  the  extent  of  Mary  Pickford. 
Theda  Bara,  another  outstanding  figure  of 
that  day,  had  a  few  spit-curl,  beaded-eyed 
followers,  but  her  type  was  too  exotic  and 
her  reign  too  brief,  to  set  her  down  as  an 
influence. 


90 


There  Are  Styles  in  Stars,  Too 


Mary  Pickford's  curls  and  organdies  were  not  only  copied  by  girls  every- 
where, but  she  set  the  style  for  screen  heroines. 

Irene  Castle  was  something  else  again !    Irene  was  the  styLe- 
setter  de  luxe,  whose  vogue  had  not  been  equaled  before  or 
since.    Consider  what  Irene  started — bobbed  hair,  sway  backs, 
Pekingese  dogs,  Dutch  caps,  and  dancing  contests !    She  was 
the  last  word — and  the  first.    Her  slightest  preferences  were 
fashion  mandates.    Quick  to  follow  her  lead  in  everything, 
the  ladies  cashed  in  sweetness  for  chic  as  a  popular  motif. 
The  village  queen  of  every  town  was  the  girl  who  dressed  as 
Irene  dressed,  walked  as  Irene  walked,  danced  as  Irene  danced. 
In  place  of  the  cute-little-girl  type,  the  tall,  slender  brunette 
mounted  the  pedestal  as  queen  of  the  hour.    It  was  a  Castle 
year.    In  fact,  several  Castle  years.    Following  Irene's  long  and 
brilliant  reign,  there  was  more  or  less  of  a  lull  in  screen  style-setting. 
True,  popular  ladies  came  and  went,  but  few  of  them  were  re- 
sponsible for  a  vogue  until  along  came  Gloria  Swanson. 

As  a  feminine  idol  Gloria  became  the  rage.  Even  more  so  than 
Pickford,  and  almost  equal  to  Irene.  If  nine  tenths  of  the  women 
had  had  any  choice  in  the  matter,  they  would  have  had  themselves 
done  over  in  exact  duplication  of  the  Swanson  mold.  Tilted  noses, 
previously  despised,  became  the  profile  outline  supreme.  Bizarre 
coiffures  were  the  mode.  If  Gloria  wore  her  hair  frizzy  and  curled, 
so  did  eveiy  shopgirl  in  the  country.  If  she  slicked  it  down  in  a 
nice,  smooth  bob,  so  did  the  rest  of  femininity.  Pink-and-white 
skin  went  out  of   style   and  sun-burned 

brown  replaced  it  with  a  vengeance.  Girls  Then  came  the  flapper,  in- 
who  weren't  naturally  dusky  went  in  for     troduced  by  Colleen  Moore. 


deep-ocher  powder,  and  some  even  took' 
dye  baths  to  tint  themselves  the  popular 
shade.  Where  Irene  had  introduced  chic, 
Gloria  sponsored  sophistication.  Little 
girls  around  sixteen  spoke  in  blase  drawls, 
and  looked  on  the  world  with  unsurprised 
eyes.  Ladies  with  "pasts"  became  inter- 
esting and  popular.  Ladies  who  had  no 
"pasts"  invented  one  or  two.  Some  one 
once  asked  Mack  Sennett  when  bobbed 
hair  would  go  out  of  style.  "When  Gloria 
Swanson  decides  to  let  hers  grow,"  he  re- 
plied. And  Mack  was  right.  When 
Gloria  decided  to  let  hers  nestle  in  a  low 
knot  on  the  back  of  her  neck,  so  did  a  lot 
of  other  women  in  Hollywood  and  points 
north,  south,  east,  and  west. 

Gloria's  chief  rival  in  her  heyday  was 
Pola  Negri,  and  while  Pola  never  equaled 
Gloria's  vogue  as  a  personality,  she  was 
responsible  for  the  dead-white  make-up 
that  swept  the  country  for  a  few  months. 
The  smart  color  scheme  of  the  moment 
was  to  drain  one's  face  of  all  natural  color, 
blanket  it  with  dead-white  lotions  and  pow- 
ders, and  carmine  the  lips.  The  whole 
effect  was  of  a  slash  in  a  white  mask — ■ 
but  it  got  over,  thanks  to  Pola.  She  wore 
her  face  that  way. 

The  style  set  by  Gloria 
and  Pola  was  so  extreme 
that  a  lot  of  girls  could 
not  follow  it,  so  F.  Scott 
Fitzgerald   and  Colleen 
Moore  got  together  and 
introduced 
the  raging 
type  of  a  few 
years  ago — 
the  flapper. 
She  was  cute, 
was  the  flap- 
per. That  was 
all  that  was 
necessary, 
She   did  not 
have   to  be 
pretty,  or  exotic,  or 
extreme.      All  she 
needed  to  do  was  to 
show  her  knees,  tip 
|     her  hat  back  on  her 
I     head,  smoke  a  ciga- 
rette,  cart  a  flask, 
and  talk  back  to  her 
parents.  All  the  kids 
tried    to'    look  like 
Colleen  and  talk  like 
Fitzgerald  heroine. 
Necking  became  the  pop- 
ular pastime,  supplant- 
ing  any   form   of  ro- 
mance.   Clara  Bow  was 
a  runner-up  on  Colleen 
as  queen  of  the  flappers, 
and  between  the  two  of 
them  they  kept  the  style 
in  fashion  for  a  much 
longer  time  than  it  de- 
served.   But  everybody 
got  a  lot  of  fun  out  of 
Continued  on  page  107 


"We  can  get  seats  for  that  picture  across  the  street" 
"I'D  RATHER  STAND  ON  LINE  AND  SEE  THIS 
METRO -GOLDWYN- MAYER   PICTURE  — 
THEY'RE  ALWAYS  GOOD." 


ISN'T  IT 


1  _1_ ,  iiSM.  J 

JOHN  GILBERT 

in 

"The  Cossacks" 


MARION  DAVIES 

in 

"Her  Cardboard 
Lover" 


JOHN  GILBERT 

in 

"Four  Walls" 


THE 
TRUTH! 

YOU'RE  always  sure 
OF  seeing 
THE  biggest  stars 
THE  finest  stories 
WHEN  your  theatre 
SHOWS  you 
M-G-M  pictures 


WILLIAM  HAINES 


"Telling  the  World" 


rip 


is  \ 


WHITE  SHADOWS 
IN  THE  SOUTH  SEAS 
WITH 
MONTE  BLUE  and 
RAQUEL  TORRES 


METRO-G 

"More  Stars  than  there  are  in  Heaven'* 


LEO'S 

QUESTION 

CONTEST 


Leo,  the  Metro  -  Goldwyn  -  Mayer  Lion,  is 
staging  a  question  contest  of  his  own.  He 
offers  two  $50  prizes  —  one  to  the  cleverest 
man,  one  to  the  cleverest  woman,  for 
the  best  answers  to  his  questions.  ^ 
And  furthermore  Leo  will  present  JP™| 
autographed  photographs  of  him- 
self for  the  fifty  next  best  sets  of 
answers. 


Leo, 
his  mark 

LEO'S  QUESTIONS 

Name  three  famous  animals  in  Metro-Goldwyn- 
Mayer  pictures  and  Hal  Roach  comedies. 
What  popular  song  bears  the  same  name  as  a 
current  M-G-M  picture? 

Which  M-G-M  fearured  player,  not  yet  starred, 
do  you  consider  most  worthy  of  stardom?  Tell 
why  in  not  more  than  75  words. 

Name  three  famous  M-G-M  "teams"  of  actors. 


5  What  are  five  of  Bill  Haines1  picture  successes? 
Write  your  answers  on  one  side  of  a  single  sheet  of 
paper  and  mail  to  Question  Contest,  3rd  Floor, 
1540  Broadway,  New  York.  All  answers  must  be 
received  by  September  15th.  Winners'  names  will  be 
published  in  a  later  issue  of  this  magazine. 
Note:  If  you  do  not  attend  the  pictures  yourself  you 
may  question  your  friends  or  consult  motion  picture 
magazines.  In  event  of  ties,  each  tying  contestant 
will  be  awarded  a  prize  identical  in  character  with 
that  tied  for. 

Winners  of  Contest  of  June,  1928 
Mrs.  John  D.  Jesk,  214  E.  51st  Street,  New  York  City 

Charles  Churchill,  P.  O.  Box  316 
Carson  City,  Nevada 


N-MAYER 


i 


/?ic/i  or  Poor? 

"\V7HEN  George  lost  all  his  money,  the  frivolous  "debs" 
*    who  had  vied  for  his  favor  did  not  desert  him.  He 
became  a  guide  on  a  sight-seeing  bus  and  all  the  girls 
fought  for  the  seat  beside  him. 


§l!IIIIIllllllllllll!illl^ 


This  fascinating  serial 


"George,  Who  Believed  in  Allah" 

By  RUBY  M.  AYRES 


will  begin  soon  in 


LOVE  STORY  MAGAZINE 


Ask  your  news  dealer 


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HllllllllllllllllilllllllllllllllllllllllllllllllllllllllllllllllH 


]  Co 


91 


Second  Fiddle 

Though  relatives  of  certain  screen  celeb- 
rities have  decided  abilities  the  fans 
seldom,  if  ever,  hear  of  them.  Introducing — 


Jack  Stone,  left, 
is  a  good-look- 
ing fellow,  as 
well  as  cousin 
to  Colleen 
Moore. 


Beth    Laemmle,    right,    is    a  popular 
dancer,  and  Uncle  Carl  Laemmle  is 
proud  of  her. 


Eleanor   Ames,    below,    who  appears 
in  "The  Battle  of  the  Sexes,"  is  really 
the  sister  of  Betty  Bronson. 


Nancy  Kenyon,  above,  in  "The  Butter  and 
Egg  Man,"  won  nice  comment,  though  few 
know  she  is  Doris  Kenyon's  niece. 

You'd    probably    not    guess    that  David 
Tearle,  below,  in  "Celebrity,"  is  cousin  to 
Conway  Tearle,  but  he  is. 


92 


A  Girl  Comes  to  Hollywood 


Continued  from  page  55 

where  all  women  not  beauties  stayed 
out  of  sight,  she  would  have  liked 
to  lie  low  till  after  the  metamor- 
phosis. Still,  she  couldn't  resist  ac- 
cepting Malcolm's  invitation  to  the 
preview,  one  of  the  season's  best, 
with  a  long-run  film  at  a  gorgeous 
new  theater. 

"In  a  day  or  two,"  she  went  on, 
"I'll  ask  you  to  come  on  one  of  your 
early  nights  and  have  supper  in  my 
drawing-room  at  the  Ambassador, 
with  Malcolm  and  me.  Then  you 
can  tell  me  about  yourself !" 

Malcolm  frowned  at  this,  but  didn't 
speak;  and  the  girl,  thanking  Lady 
Gates  politely,  inwardly  resolved  to 
reveal  less  than  nothing  of  her  own 
affairs. 

"I  wonder  what  he  has  said  to  her 
about  me?"  the  girl  asked  herself. 
She  knew  in  her  heart  that  Malcolm 
admired  her,  but  she  hadn't  gone 
quite  so  far  as  to  dwell  on  the  thought 
of  love.  She  was  hardly  aware  that 
some  such  emotion  for  him  was  hov- 
ering, like  a  butterfly  over  a  flower 
in  a  strange  garden,  in  the  region  of 
her  heart. 

If  she  had  known,  she  would  have 
scolded  herself  for  a  fool,  because 
her  errand  in  Hollywood  was  the  one 
important  thing  in  her  life,  and  it 
would  perhaps  prevent  her  from 
dreaming  of  happy  love — ever. 

The  next  afternoon  was  that  of 
Lady  Gates'  appointment  with  the 
Prophetess. 

Lopez  was  prompt  in  arriving  at 
the  Ambassador,  and  Lady  Gates, 
who  had  hardly  slept  for  thinking  of 
what  she  might  be  told,  was  ready 
and  waiting.  Her  car  carried  the 
two  smoothly  to  that  "wrong  side" 
of  Hollywood,  where  the  professional 
dancer  lived.  But  even  the  wrong 
side  of  Hollywood  has  charm.  The 
bungalow  which  Lopez  had  rented,  as 
the  best  he  could  afford,  was  in  a 
gay  little  street  of  many  other  bunga- 
lows, each  utterly  different  from  its 
neighbor,  all  shaded  by  palms  or 
pepper  trees  and  possessing  unfenced 
lawns.  Lopez's  dwelling — not  so 
near  his  neighbor's  as  to  hear  them 
brushing  their  teeth,  or  taking  a  bath 
— was  the  best  in  the  street.  It  was 
larger  than  the  rest;  that  is,  it  must 
have  contained  at  least  five  fair-sized 
rooms ;  and  it  had  the  semidetached 
studio  which  he  had  described  to 
Lady  Gates.  The  architecture  was 
Spanish  Mexican,  as  he  explained 
now. 

"We  .are  expected,"  Lopez  said, 
"so  I  can  take  you  straight  in  to 
Madame  Blank.  She  will  receive  no 
one  else  this  afternoon.  Your  car 
will  have  to  wait  for  you  perhaps  an 
hour." 

He  opened  the  door  with  a  key, 


and  they  entered  a  vestibule  hung 
with  brocades,  and  a  mirror  with 
a  carved  frame. 

A  knock  at  an  inner  door  brought 
the  answer,  "Come  in !"  spoken  in  a 
low  and  somehow  impressive  voice. 

Katherine  Gates'  heart  began  to 
thump,  she  hardly  knew  why.  Even 
in  the  vestibule  there  was  a  faint 
fragrance  of  incense.  As  Lopez 
gently  opened  the  door,  a  wave  of 
amber-scented  smoke  poured  out 
from  a  mysterious  region  of  blue 
dusk. 

For  a  moment  the  lady  from  Leeds 
felt  that  she  was  half  blind  and  com- 
pletely dazed  in  this  perfumed  twi- 
light; but  presently  a  few  pieces  of 
furniture  took  shape,  and  she  saw 
a  reclining  form  swathed,  rather  than 
draped,  in  white ;  a  long,  lazy,  grace- 
ful shape  on  a  divan  of  deep  purple 
or  black.  Behind  its  head  were  piled 
dark,  velvety  cushions,  on  which  eyes, 
accustoming  themselves  to  dimness, 
caught  here  and  there  a  gleam  of  gold 
and  silver  embroidery. 

Over  the  face  of  the  woman  in 
white  was  fastened  a  white  veil  which 
left  her  eyes  uncovered,  and  was 
draped  over  the  head,  completely 
covering  the  hair. 

The  eyes  that  looked  up  to  hers, 
thought  Lady  Gates,  were  wells  of 
ink ;  and  the  hand,  half  revealed  un- 
der a  flowing  sleeve,  as  it  reached  for 
her  own  plump,  gloved  fingers,  was 
white  as  the  sleeve  itself ;  long,  thin 
rather  than  slender,  and  with  polished 
nails  that  were  like  pale  coral  on 
ivory. 

Lopez  invited  the  guest  to  be  seated 
in  a  chair  already  placed  in  front  of 
the  divan. 

"This  is  Lady  Gates,  of  whom  you 
have  told  me,  Marco,"  announced  the 
low,  contralto  voice.  "I  do  not  ask 
you  the  question,  for  I  know  from 
the  touch  of  her  hand  it  is  so.  Now, 
Lady  Gates,  take  off  your  gloves — 
both  gloves.  I  wish  to  read  not  one, 
but  the  two  hands.  Each  tells  some- 
thing different." 

"Don't — won't — you  need  more 
light?"  stammered  her  ladyship. 

"No,"  answered  the  voice ;  "this 
place  is  light  for  me." 

The  figure  on  the  divan  sat  up,  bent 
over  the  extended  hands — first  one, 
then  the  other,  and  studied  them. 

Lady  Gates  was  informed  that  she 
had  "never  known  love ;  never  known 
real  happiness,"  and  that  a  message  to 
her  soul  from  beyond  had  brought 
her  here  to  the  sunshine  to  find  both." 

"It's  too  late  for  me  to  have  love, 
or  the  kind  of  happiness  that  goes 
with  it,  Madame  Blank,"  she  sighed, 
more  freely  than  she  might  have 
spoken  had  not  Lopez  slipped  dis- 
creetly out  of  the  room. 


"No,"  replied  the  Veiled  Proph- 
etess. "What  you  have  come  to  find, 
you  can  find,  if  you  know  how." 

But  I  don't  know  how!"  expostu- 
lated Lady  Gates.  "Can  you  tell  me 
how  to  perform  miracles  ?" 

"Let  us  see,"  said  Madame  Blank. 
"The  time  has  come  to  consult  my 
crystal.  You  will  give  me,  before 
you  leave,  the  date  of  your  birth  and 
other  details,  so  that  I  can  consult 
the  stars  for  you.  But  to-day  it  shall 
be  the  crystal." 

She  did  not  rise  from  the  divan, 
but  pressing  a  buttonlike  ornament  on 
the  wall,  a  small  door  opened,  and 
she  drew  out  a  swinging  shelf.  This 
was  covered  with  black,  and  throw- 
ing aside  a  piece  of  black-velvet 
drapery,  a  crystal  ball  on  a  black 
stand  was  revealed.  Into  the  gleam- 
ing globe  she  gazed,  her  eyes  above 
the  veil  more  like  wells  of  ink  than 
ever,  in  their  concentration. 

"I  see  you,"  she  almost  whispered. 
"Yes,  it  is  you !  But  the  image 
is  different  from  you  as  you  are  now. 
I  see  a  figure,  not  slight  as  a  girls's, 
no,  yet  shapely  and  slender  enough 
to  be  attractive.  You  are  dressed  for 
a  dance.  It  must  be  a  dance,  for  you 
tap  your  foot  as  if  keeping  time  to 
music  !  You  have  on  a  peach-colored 
gown  patterned  with  brilliants.  A 
princess  might  wear  it !  You  have 
on  beautiful  jewels.  Your  hair  is  cut 
short  and  waved  " 

"Gray  hair  like  mine — short?'" 
groaned  Lady  Gates. 

"Hush!  Do  not  speak.  It  breaks 
the  continuity.  Your  hair,  in  the 
crystal,  is  not  gray.  It  is  the  color 
of  copper — beautiful.  Your  eyebrows 
and  lashes  are  black,  your  eyes  large 
and  bright.  You  have  not  a  line  on 
your  face.  You  have  a  full  chin,  but 
it  is  young.  You  seem  not  more  than 
thirty,  or  thirty-five  at  most.  Men 
ask  you  for  dances.  You  are  very 
happy.  One  man  comes — dark,  hand- 
some, like  Marco  Lopez.  You  trust 
him,  as  well  you  may,  for  I  feel  that 
he  is  fine  and  noble,  though  not  un- 
derstood or  appreciated  by  many 
men,  because  of  his  profession.  You 
go  with  him.  You  dance  lightly  and 
beautifully.  He  is  much  interested  in 
you.  His  eyes  show  it.  He  speaks. 
You  listen.  You  are  so  gay  !  Ah,  now 
the  crystal  is  clouded.  That  means 
nothing  of  unhappiness.  But  the  pic- 
ture is  complete." 

"Oh!  If  it  could  be  a  true  one!" 
breathed  Lady  Gates,  with  the  almost 
agonied  earnestness  of  prayer. 

"Of  course  it  can  be  a  true  picture. 
The  crystal  never  lies,"  said  Madame 
Blank.  "I  can  tell  you  precisely  what 
to  do,  so  that  what  seems  like  magic 
illusion  may  become  real." 

TO  BE  CONTINUED. 


93 


"Talking"  Bathing  Outfits 


Marceline   Day,    above,   achieves  an 
odd.  effect  with  a  striped-flannel  bath- 
ing-suit ensemble,   with  plain  jersey 
jumper. 


Mary  Brian,  right,  goes  in  for  the 
latest  in  modernistic  design,  done  in- 
brilliant  colors. 


Agnes  Franey,  top,  has  an  attractive 
wrap    of    Terry    cloth,  distinctively 
colored  with  orange  and  blue. 


Polly    Ann    Young,    center  above, 
glories  in  wearing  a  red-and-white- 
striped  suit,  with  a  red  plaid  cape  and 
head  scarf. 


1 


94 


The  Screen  in  Review 


Continued  from  page  71 

general  effect  is  piquant.  Neil  Hamil- 
ton, as  Henry  Willoughby,  is  quietly 
droll,  and  again  proves  himself  an 
engaging  light  comedian  whose 
humor  has  the  saving  grace  of  re- 
ticence. 

A  Bilious  Blossom. 

"The  Yellow  Lily"  is  the  name  of 
a  Hungarian  waltz,  to  the  strains  of 
which  Billie  Dove  and  Clive  Brook 
dance  in  the  picture  of  that  name. 
He  is  a  naughty  archduke  and  she  is 
a  girl  of  the  people  who,  first  repuls- 
ing his  crude  advances,  later  learns 
to  love  him.  He  pursues  her  with 
such  inpetuosity  that  her  brother 
shoots  him,  for  which  he  goes  with 
his  sister  to  prison.  Whereupon  the 
archduke,  suddenly  become  ennobled, 
defies  parental  authority  and  marries 
the  girl  he  insulted.  Most  of  this  is 
played  at  a  lethargic  tempo,  with  a 
superfluity  of  lingering  looks  in  or- 
der, I  suppose,  to  show  the  develop- 
ment of  hate  into  love.  Neither  ex- 
treme is,  however,  convincing,  and 
the  proceedings  are  vaguely  unpleas- 
ant through  the  studied  efforts  of 
every  one  to  be  passionate,  yet  remain 
within  the  law. 

A  Date  with  a  Duchess. 

"His  Tiger  Lady"  is  more  amusing 
in  theory  than  in  fact.  That  is,  the 
possibilities  of  the  picture  are  more 
interesting  than  the  performance, 
though  Adolphe  Menjou  has  set  such 
a  high  standard  in  recent  films,  it 
would  be  next  to  impossible  to  main- 
tain it  without  an  occasional  lapse. 
Certainly  he  is  as  excellent  in  this  as 
in  any  picture,  and  Evelyn  Brent  is 
glamorous  and  magnetic,  but  the 
story  wanders  a  bit  after  the  first 
part.  Mr.  Menjou  is  Henri,  a  super 
at  the  Folies  Bergeres  in  Paris,  whose 
sole  duty  it  is  to  ride  in  on  an  ele- 
phant. Night  after  night  he  gazes 
from  his  perch  at  The  Duchess  in  a 
box,  until  he  falls  in  love.  Finally, 
in  his  resplendent  costume  of  a  maha- 
rajah,  he  stalks  The  Duchess  to  a  res- 
taurant where  she  is  dining  with 
wealthy  admirers,  and  his  magnificent 
deportment  leaves  no  doubt  in  the 
minds  of  the  quartet  that  he  is  a  real 
potentate.  Furthermore,  he  captivates 
The  Duchess  to  such  an  extent  that 
she  takes  him  home  with  her.  And  so 
it  goes  until  his  deception  is  exposed, 
but  The  Duchess  has  lost  her  heart 
in  the  meanwhile.  Backstage  life  is 
amusingly  pictured,  and  Mr.  Men- 
jou's  bluff  is  acted  with  his  usual 
finesse. 

An  Epic  of  the  Peanut. 

The  silly  season  opens  appropriately 
v/ith  "How  to  Handle  Women,"  a 
farce  of  the  kind  called  goofy  in 


Hollywood,  or  quite,  quite  mad  in 
more  sedate  communities.  Which  is 
to  say  it  is  a  concoction  of  absurdity, 
implausibility,  and  harmless  lunacy, 
with  the  willing  sacrifice  of  every- 
thing for  a  laugh.  But  the  sacrifice 
does  not  bring  the  laugh  as  often  as 
ic  is  made,  and  in  spite  of  a  robust 
attempt  to  be  funny,  the  picture  is 
too  often  dull.  Then  again  it  is  not, 
especially  when  Bull  Montana  gives 
Glenn  Tryon  a  "royal"  message.  Mr. 
Tryon,  in  his  usual  role  of  irrepres- 
sibly  bumptious  youth,  impersonates 
a  visiting  prince  and  restores  pros- 
perity to  the  royal  domain  by  exploit- 
ing its  only  resource,  the  peanut.  This 
he  does  by  means  of  a  publicity  cam- 
paign which  takes  many  forms,  all 
of  them  unconventional  and  some  of 
them  amusing.  Mr.  Tryon's  popu- 
larity, which  is  probably  enormous 
on  the  other  side  of  my  horizon,  will 
insure  his  success  in  this  role,  and 
there  are  also  Marian  Nixon,  Ray- 
mond Keane,  and  others  to  be  reck- 
oned with. 

Soup  Meat. 

If  you  concentrate  and  invoke  the 
gods  of  the  cinema,  you  may  discover 
what  "Chicken  a  la  King"  is  about. 
It  isn't  a  lesson  in  cooking,  that's  cer- 
tain, and  as  there  are  two  chorus  girls 
in  it,  you  will  infer  that  the  humor 
is  not  Barriesque,  but  Sennettian. 
After  some  research,  I  learn  that  it 
involves  a  comedian  named  Horace 
Trundle,  who  discovers  that  his 
brother-in-law  is  about  to  marry  a 
gold-digger.  So  Horace  goes  to  warn 
the  girl  of  her  mistake,  and  is-  clas- 
sified as  a  sap  by  the  girl  and  her 
side  kick — they  always  operate  in 
pairs,  you  know — with  the  result  that 
they  decide  to  trim  him.  His  wife, 
who  has  been  unsuccessful  in  extract- 
ing money  from  her  husband,  is  de- 
lighted by  the  fleecing,  and  even  joins 
in  the  conspiracy  and  shares  the  prof- 
its. Arthur  Stone,  an  excellent  co- 
median, is  the  brother-in-law.  His 
role  is  given  some  claim  to  novelty 
by  his  habit  of  having  dizzy  spells,  in 
which  he  speaks  what  is  on  his  mind. 
Ford  Sterling,  as  Horace,  is  Mr. 
Eisman  of  "Gentlemen  Prefer 
Blondes,"  with  a  different  name. 
Nancy  Carroll  and  Frances  Lee  are 
the  girls.  The  most  generous  esti- 
mate is  that  the  picture  is  passably 
amusing,  the  most  critical  is  that  it 
is  cold  storage. 

Mr.  Fields  and  Mr.  Conklin. 

"Fools  for  Luck"  is  another 
"team"  picture,  the  comedians  being 
W.  C.  Fields  and  Chester  Conklin.  1 
found  it  quite  amusing,  without  being 
of  the  button-bursting  variety.  But 
who  wants  noisy  mirth  in  this  hot 
weather,  anyway?     Highly  skillful 


performances  are  given  by  the  co- 
stars,  as  usual,  Mr.  Fields  as  a  com- 
ically unscrupulous  oil  promoter  and 
Mr.  Conklin  as  his  small-town  victim. 
The  promoter  first  beats  his  victim, 
the  local  champion  at  that,  at  pool. 
Then,  on  being  invited  to  his  home 
by  the  irate  victim's  family,  the  crook 
is  assigned  to  his  host's  room.  This 
paves  the  way  for  a  merry  scene, 
when  Mr.  Conklin  discovers  Mr. 
Fields  in  his  bed.  The  slight  love 
story  is  carried  by  Jack  Luden  and 
Sally  Blane,  and  the  distinguished 
Mary  Alden  is  the  wife.  The  whole 
is  made  amusing  by  the  cleverness  of 
individual  performances,  rather  than 
by  the  picture  itself. 

A  Vestal's  Sacrifice. 

Hark  ye,  Ramon  Novarro  fans ! 
Your  idol  appears  in  a  sentimental 
farce  called  "A  Certain  Young  Man," 
of  which  the  more  knowing  in  the 
legion  have  already  heard.  For  it  is 
the  picture  filmed  some  time  ago  un- 
der the  title  of  "Bellamy  the  Mag- 
nificent," and  as  editor  of  Picture 
Play,  many  is  the  letter  that  has  come 
to  me  protesting  against  the  injustice 
done  Ramon  in  so  long  delaying  its 
release.  But  now  I  wonder.  Truly 
I  wonder.  But  ever  eager  to  discern 
a  silver  lining  in  the  darkest  cloud,  I 
am  quick  to  grant  that  the  more  rev- 
erential followers  of  Mr.  Novarro 
will  find  addedi  proof  of  his  versatil- 
ity in  the  role  of  Lord  Gerald  Brins- 
ley — and  not  hold  the  picture  against 
him.  Lord  Gerald,  you  see,  is  a  gay 
philanderer.  Henrietta,  the  wife  of 
his  valet,  and  Mrs.  Crutchley,  of 
Mayfair,  are  his,  with  all  femininity 
between  the  two  extremes  apparently 
eager  to  be  loved  and  then  cast  aside. 
All  but  Phyllis,  as  ingenue.  And  one 
is  not  so  sure  that  Phyllis  would  have 
waited  for  a  wedding  ring,  if  Lord 
Gerald  had  not  been  made  polite  by 
his  great  love.  The  pursuit  of  Lord 
Gerald  by  Mrs.  Crutchley  brings 
about  a  climax  that  would  have  been 
perfectly  shocking  in  1883.  Mr. 
Crutchley  finds  Mrs.  Crutchley's 
beaded  bag  in  Lord  Gerald's  rooms, 
and  is  about  to  search  the  innermost 
chamber,  when  dear  little  Phyllis  un- 
expectedly appears  and  claims  it,  to 
save  Lord  Gerald— -from  what  I  do 
not  know.  Certainly  not  scandal,  for 
he  lived  for  liaisons.  Anyhow,  every- 
thing's lovely  after  that.  Marceline 
Day,  Carmel  Myers,  and  Renee 
Adoree  are  the  ladies. 

Strange,  But  Not  True. 

"The  Strange  Case  of  Captain 
Ramper"  is  a  German  film,  uneven, 
indifferently  directed,  and  only  pas- 
sably acted,  but  with  the  merit  of 
an  unusual  story.    The  whole  thing 

Continued  on  page  96 


95 


Painless  Scars 


The  studio  make-up  man  is  a  thorough 
artist,  and  can  mold  the  characters 
of  men  in  an  incredibly  short  time. 


Richard     Barthelmess,  above, 
utilizes  an  ugly  scar  to  heighten 
the  contrast  in  the  dual  role  he 
plays  in  "Wheel  of  Chance." 


All  good  gang 
leaders  should  have 
scars,  so  Robert 
Armstrong,  left, 
provides  himself 
with  one  in  "The 
Cop." 


We  suspect  that  the  scar  on 
Lane  Chandler's  forehead, 
lower  left,  isn't  detracting 
from  his  happiness  in  "The 
Legion  of  the  Condemned." 

Monte  Montague,  below,  dis- 
plays a  barroom  scar  in  a  pic- 
ture entitled  "Silks  and  Sad- 
dles." 


96 


The  Screen  in  Review 


Continued  from  page  94 

might  have  been  sensationally  good, 
but  it  is  only  mediocre.  Captain 
Romper,  a  middle-aged  explorer,  is 
marooned  in  the  Arctic  seas  when  his 
airplane  crashes.  There  he  remains 
ten  years,  time  and  the  elements  turn- 
ing him  into  a  monster,  half  man  and 
half  animal,  his  mind  only  dimly 
functioning,  his  memory  of  civiliza- 
tion gone.  Eventually  he  is  captured 
and  brought  back  to  Germany,  where 
he  becomes  a  freak  in  a  side  show, 
loved,  if  you  will  believe  it,  by  Tony, 
the  sister  of  his  owner,  who  seems  to 
be  a  girl  of  sixteen  or  less.  This 
role  is  rather  charmingly  played  by 
Mary  Johnson,  the  Swedish  actress. 
A  great  physician  becomes  interested 
in  the  case,  and  restores  the  mon- 
ster's mind.  With  it  returns  his  nor- 
mal appearance  and  his  disgust  for 
the  baseness  of  human  nature.  A  sub- 
title tells  us  he  longs  to  return  to  the 
"nobility  and  purity  of  the  animals." 
Toriy  is  willing  enough  to  forsake  her 
sweetheart  and  go  with  him  to  per- 
manent exile  in  the  North,  but  Cap- 
tain Romper  will  not  permit  her  to 
sacrifice  herself,  so  he  turns  over  to 
her  sweetheart,  as  a  wedding  present, 
the  fund  that  had  been  subscribed  for 
himself,  and  Tony  presumably  finds 
compensation  in  cash.  Now  I  ask 
you  

Eve  Southern  Reappears. 

Eve  Southern  is  too  strange  and 
illusive  a  personality  to  be  found  in 
a  picture  reminiscent  of  another's  suc- 
cess, but  that,  unfortunately  is  what 
happens  in  "Clothes  Make  the 
Woman,"  plainly  inspired  by  Emil 
Tannings'  "The  Last  Command."  In- 
stead of  a  Russian  general  discov- 
ered in  Hollywood  as  an  extra,  we 
have  none  other  than  Princess  Anas- 
tasia, daughter  of  the  czar.  It  seems 
that  a  peasant  saved  her  when  the 
imperial  family  was  murdered,  and 
migrating  to  Hollywood  and  success 
as  a  star  in  the  movies,  he  is  casting 
about  for  a  suitable  leading  woman 
for  his  next  picture,  a  story  of  his 
experience  in  Russia.  What  more 
natural,  then,  that  he  should  find 
among  the  group  of  eager  extras,  the 
very  type  he  desires  ?  And  think  what 
his  surprise  is  when  he  finds  the  type 
to  be  Anastasia  herself !  They  repeat 
for  the  camera  much  of  what  they 
went  through  before,  until  Anastasia 
is  accidentally  shot  in  the  execution 
scenes.  This  serves  the  purpose  of 
making  them  sure  they  love  each 
other,  and  so  endeth  the  picture.  It 
is  slow  and  dull  in  spots  and  fairly 
interesting  in  others,  but  the  standard 
of  mediocrity  is  valiantly  maintained. 
Eve  Southern  is  very  interesting  in 
a  role  unworthy  of  her,  and  Walter 


Pidgeon,  though  given  to  histrionics, 
is,  as  always,  pleasing. 

Pity  the  Romonoffs. 

"The  End  of  St.  Petersburg"  was 
made  by  the  Russian  Soviet  govern- 
ment, therefore  it  is  scarcely  surpris- 
ing to  find  it  is  propaganda.  It  is, 
however,  startling  to  find  its  mes- 
sage so  frankly  and  boldly  set  forth, 
in  spite  of  all  the  hullabaloo  of  pro- 
test preceding  its  opening.  From 
many  of  the  New  York  critics  it  has 
elicited  almost  hysterical  praise,  but 
I  do  not  think  this  enthusiasm  will 
be  shared  by  those  who  may  con- 
ceivably have  harkened  to  Picture 
Play's  reviewer  in  the  past.  The 
Russian  picture  does  not  concern  it- 
self with  individual  characters  so 
much  as  with  mass  effects  and  sym- 
bols, hence  the  spectator  is  asked  to 
follow  the  beginning  of  the  revolu- 
tion by  means  of  revolving  wheels  in 
a  munitions  factory,  smokestacks, 
whistles,  half-plowed  fields,  distorted 
views  of  statuary,  et  cetera,  rather 
than -by  human  interest  as  a  com- 
mon denominator.  The  overthrow 
of  the  czar  is  not  shown,  but  the  suc- 
cess of  the  revolution  is  nevertheless 
made  perfectly  clear,  by  the  symbolic 
figure  of  a  peasant  woman  ascending 
the  steps  of  the  former  imperial  pal- 
ace, bearing  a  pail  of  beer.  "The 
End  of  St.  Petersburg"  is  for  those 
who  prefer  pictures  made  as  far  away 
from  Hollywood  as  possible,  and  who 
think  the  camera  is  a  better  actor 
than  the  stars. 

Interesting,  But  Not  Inflammatory. 

Bitter  controversy  preceded  the 
opening  of  "Dawn,"  the  film  record 
of  the  execution  of  Edith  Cavell,  the 
English  nurse,  during  the  war.  Those 
opposed  to  the  showing  of  the  film 
contended  that  it  would  rekindle  old 
hatreds  and  bare  wounds  now  hap- 
pily healed.  But  if  the  opening  in 
New  York  is  any  criterion  of  what 
will  occur  when  the  picture  is  shown 
elsewhere,  there  is  no  cause  for  alarm. 
Outwardly  all  was  harmony  among 
the  spectators  who  followed  a  care- 
ful, impartial,  and  reverent  attempt 
to  depict  the  events  which  culminated 
in  the  death  of  Miss  Cavell.  The  pic- 
ture has  a  documentary  quality  which 
precludes  its  acceptance  from-  any 
other  standpoint.  So  the  question  of 
story  need  not  be  considered.  Enough 
to  say  that  Nurse  Cavell  is  seen  in 
charge  of  her  hospital  in  Brussels, 
with  the  Germans  in  possession  of 
the  city.  Touched  by  the  plight  of 
an  escaped  Belgian  prisoner,  she  aids 
him  to  return  to  his  lines  and,  as 
further  demands  are  made  upon  her, 
she  enables  other  unhappy  soldiers 
to  do  likewise,  until  she  has  restored 


two  hundred  and  ten  men  to  the  Al- 
lied armies.  She  is  arrested,  tried 
for  treason,  according  to  military 
rules,  and  is  sentenced  to  death.  Sybil 
Thorndike,  the  eminent  British 
actress,  plays  Nurse  Cavell  with  what 
one  feels  is  reverent  exactitude.  It 
is  scarcely  acting,  but  consecration 
to  a  cause.  Marie  Ault,  Micky  Brant- 
ford,  and  Maurice  Braddell  give  fine 
performances. 

Confectionery. 

Picture  based  on  musical  comedies 
are  apt  to  be  unsubstantial  at  best, 
but  skillful  treatment  can  sometimes 
make  them  agreeably  entertaining. 
"Lady,  Be  Good"  is  a  case  in  point. 
Of  gossamer  lightness,  it  neverthe- 
less moves  along  brightly  enough  to 
make  one  forget  its  cream-puff  con- 
sistency, so  why  worry?  Dorothy 
Mackaill  and  Jack  Mulhall  are  excel- 
lent as  the  vaudeville  magician  and 
his  partner,  who  separate  to  go  their 
respective  ways  professionally,  only 
to  unite  again  when  their  high  hopes 
have  collapsed.  Surely  not  much  on 
which  to  build  a  picture,  but  the 
building — the  characterizations,  direc- 
tion, and  subtitles — is  far  more  im- 
portant than  the  foundation.  Such 
incidents  as  occur  when  Dorothy 
Mackaill  dines  with  a  man  she  doesn't 
like,  and  conceals  in  the  folds  of  her 
cloak  a  full-course  dinner  for  the 
hungry  Mr.  Mulhall,  are  replete  with 
comic  values,  and  Miss  Mackaill,  by 
the  way,  has  never  looked  lovelier. 

No  One  Like  Our  Clara. 

It's  a  serious  Clara  Bow  you  will 
see  in  "Ladies  of  the  Mob,"  a  crook 
story  which  enables  our  Clara  to  give 
her  finest  performance  since  "Man- 
trap," and  incidentally  gives  Richard 
Arlen  the  best  role  he  has  ever  had. 
Detailing  the  plot  is  not  necessary, 
for  the  story  is  hardly  an  involved 
one ;  it  is  the  suspense  that  counts, 
and  the  clever  direction.  Clara  is 
Yvonne,  who  knows  her  underworld 
as  well  as  George  Bancroft,  and  Mr. 
Arlen  is  "Red,"  her  sweetheart.  They 
are  partners  in  crime,  and  glad  of 
it,  until  Yvonne  is  convinced  of  the 
error  of  their  ways  and  resolves  to 
convince  Red,  too.  In  the  end  they 
are  caught  and  sentenced  to  prison, 
but  Yvo-nne  is  far  from  downcast, 
because  she  looks  to  the  future  when 
they  shall  be  free.  Sounds  Pollyan- 
naish,  and  actually  is,  but  Clara  and 
Mr.  Arlen  make  it  real.  Quite  worth 
your  while,  I  assure  you,  and  if  there 
is  any  doubt  in  your  mind  of  Clara's 
depth  of  feeling,  it  will  vanish. 


97 


They're  Molls 


If  you  don't  know  what  a  moll  is,  your 
underworld  dictionary  will  tell  you 
it  means  the  sweetheart  of  a  crook. 


98 


Manhattan  Medley 


Continued  from  page  59 

atlantic  service  pay?  It's  so  expen- 
sive that  no  one,  apparently,  no  mat- 
ter how  he  likes  to  talk,  feels  that 
anything  he  has  to  say  is  that .  im- 
portant ! 

But  this  "Green  Hat-'  thing  came 
up,  so  Marshall  Neilan  phoned 
Blanche  all  the  way  from  California 
to  England.  It  was  probably  the 
most  expensive  phone  call  ever 
known  in  all  these  years  since  we've 
been  talking  for  a  nickel.  He  phoned 
her  several  times,  in  fact,  and  that 
gives  me  a  great  idea  for  the  tele- 
phone company. 

Why  not  just  pay  Blanche's  ex- 
penses to  England,  on  condition  her 
husband  stays  at  home,  and  then  just 
drop  in  on  him  now  and  then,  with 
suggestions  for  stories  that  she  could 
play  in? 

Temperament  Again. 

Jean  Hersholt  and  his  wife,  and 
their  thirteen-year-old  son,  made  their 
very  first  visit  to  New  York.  Their 
very  first,  despite  the  fact  that  Jean 
came  over  here  from  Denmark.  But 
it  seems  that  he  came  originally  by 
way  of  Canada,  where  his  wife  had 
relatives.  So  it  was  the  first  time  he 
had  ever  been  in  our  metropolis. 

What  a  thrill  they  were  having. 
Theaters,  and  skyscrapers — oh,  you 
know  how  people  are  when  they  first 
get  to  New  York.  They  go  to  see 
the  Woolworth  Building,  the  Aqua- 
rium and  the  Statue  of  Liberty,  which 
most  residents  just  take  for  granted. 

Mary  Philbin  was  originally  sched- 
uled for  the  title  role  in  "The 
Girl  on  the  Barge,"  but  she  and 
Jean  Hersholt  both  got  tempera- 
mental. They're  both  stars,  but  the 
question  was,  who  was  the  bigger 


star?  Each  of  them  wanted  first 
mention  in  the  billing.  The  way  these 
actors  do  carry  on  ! 

"Not  that  I  really  care  very  much," 
explained  Jean  Hersholt,  in  his 
slightly  accented  English.  "No  mat- 
ter what  we  decided,  exhibitors  would 
go  ahead  and  feature  whomever  they 
felt  like.  But  you  know  how  it  is 
with  producers.  If  you  don't  hold 
out  for  your  rights,  they  think  you're 
not  important.  When  they  think 
that,  it  all  comes  out  in  the  pay 
check." 

What  a  business  1 

Anyhow,  it  was  finally  decided 
that  Jean  Hersholt  should  play  in 
"The  Girl  on  the  Barge,"  .and  Mary 
Philbin  should  be  put  to  work  on 
something  else. 

The  girl-  who  is  playing  her  erst- 
while role,  by  the  way,  is  a  little  new- 
comer to  the  screen,  Beatrice  Blinn. 
She  is  said  to  be  Holbrook  Blinn's 
cousin,  and  has  played  on  the  stage 
in  New  York  for  several  seasons.  A 
petite  brunette,  not  more  than  five 
feet  tall,  her  movie  possibilities  seem 
very  good.  But  she  won't  interfere 
with  Jean  Hersholt  in  this  very  seri- 
ous business  of  being  a  star. 

The  Gypsy  Trail  for  Marie  Dressier. 

Marie  Dressier  stopped  in  New 
York  on  her  way  to  Europe.  And 
talk  about  your  lucky  ladies!  Marie 
has  friends  in  New  York,  friends 
in  Europe,  friends  in  California,  and 
all  points  between.  For  all  I  know, 
she  has  a  couple  of  friends  among 
the  Eskimos.  Anywhere  she  goes, 
there  is  some  one  she  can  visit. 

That's  why  she  doesn't  sign  a 
movie  contract.  She  is  always  having 


dotted  lines  thrust  upon  her,  and  is 
pleaded  with  to  sign,  but  Marie  says 
no,  not  with  her  roving  disposition. 
When  she  wakes  up  in  the  morning, 
wishing  she  were  in  Paris,  she  runs 
right  out  and,  leaps  on  the  next  boat. 
Or,  if  she  feels  like  lunching  at  the 
Ritz  in  New  York,  when  she's  in 
California,  she  says :  "All  right,  I'll 
have  lunch  there  a  week  from  Tues- 
day." 

Marie  is  a  very  friendly  person, 
and  very  proud  of  her  large  acquaint- 
ance. It  seems  that,  years  ago,  when 
she  was  on  the  stage,  she  was  taken 
up  generally  by  New  York's  "Four 
Hundred."  You  didn't  know,  did 
you,  in  watching  Miss  Dressler's 
antics  on  the  screen,  that  there  be- 
fore your  very  eyes  is  a  leaping- 
about  lady  of  society? 

Adolphe's  Big  Moment. 

Adolphe  Menjou  and  his  bride, 
Kathryn  Carver,  returned  from  their 
European  honeymoon.  And,  outside 
of  his  marriage,  the  greatest  thing 
that  ever  happened  to  Menjou  was 
the  big  moment  when  Bernard  Shaw 
came  to  call  on  him,  in  London. 

Shaw,  who  has  been  against  sell- 
ing the  screen  rights  to  any  of  his 
plays,  even  suggested  that  he  would 
like  to  see  Merjjou  make  his  "Arms 
and  the  Man."  Those  of  you  who 
don't  know  your  Shaw  might-  know 
this  story  as  "The  Chocolate  Soldier." 

Shaw  and»MenjoU'talked  of  movies 
and  of  Charlie  Chaplin,  whom  both 
consider  the  greatest  genius  on  the 
screen — I  think  they  said,  the  only 
genius.  And  all  the  time,  Menjou 
pinched  himself  to  see*  if  he  was 
awake,  and  Shaw-  had  really  called 
upon  him.  And,  of  course,  he  feels 
that  at  last  he  has  achieved  fame. 


How  I 

Pauline  Garon. 

A  squirrel  coat ! 

They  had  always  looked  so  gor- 
geous on  the  screen.  So  when  I 
landed  in  New  York,  fresh— and 
cold — from  Canada,  it  was  with  the 
dream  of  making  good  so  that  I 
might  buy  a  squirrel  coat.  It  was 
some  time  before  the  dream  came 
true,  but  I  can  tell  you,  nothing  else 
has  even  given  me  the  same  thrill 
that  wrapping  myself  snugly  in  that 
soft  fur  did. 

Eugenia  Gilbert. 

Always  I  have  been  fond  of  statu- 
ary, and  I  used  to  haunt  a  certain 
corner  of  an  art  shop  in  New  York, 


Spent  My  First  Pay 

where  there  was  an  adorable  bisque 
Pandora.  I  thought  that  if  I  owned 
that  treasure,  my  .happiness  would 
be  complete. 

Yes,  I  have  the  bisque.  No,  my 
happiness  isn't  complete.  Is  it  ever? 
Aren't  there  always  things  we  want  ? 
But,  just  as  time  and  hard  work 
brought  me  my  Pandora,  so  'will  they 
bring  me  these  other  things,  I  hope. 

Louis  Natheaux. 

I  had  made  a  promise  to  myself 
that,  when  I  "landed,"  I  would  grip 
my  first  big  check  in  both  fists  and 
invade  a  clothing  store  for  a  pur- 
chasing spree. 

I  did.    And  in  my  enthusiasm,  I 


Check 

let  a  slick  salesman  unload  a  lot  of 
truck  on  me  that  I've  never  had  an 
opportunity  to  wear  in  pictures  and 
that  I  now  wouldn't  wear  on  the 
street  to  pay  an  election  bet. 

Jobyna  Ralston. 

I  was  reared  in  a  real  home  down 
in  Tennessee,  and  never  could  get 
used  to  being  cramped  in  an  apart- 
ment. I  like  big  rooms  and  lots  of 
closets  to  put  things  in,  and  a  yard. 
Cubby-holes  and  I  quarrel  all  the 
time.  So  my  first  big  check  made  a 
Hollywood  home  possible.  It  didn't 
buy  the  house,  but  it  made  a  start, 
and  we  moved  right  in  and  enjoyed 
it  while  still  paying  for  it. 


Red-headed — By  Preference 


Because  of  its  photographic  qualities,  auburn  hair  is  rapidly 
displacing  the  God-given  hues  of  many  heads  in  Hollywood. 


Ethlyne  Clair,  left,  once 
had    dark-brown  hair, 
but  it's  now  unmistak- 
ably red. 


Joan  Crawford,  right, 
has  undergone  many 
changes,  but  none  is 
more  startling  than  her 
dazzling  red  locks  for 
"Our  Dancing  Daugh- 
ters." 


Clara  Bow,  right,  tried  every 
shade  before  adopting  the 
color  of  pink  lemonade,  and 
has  gained  in  beauty  by  it. 


Audrey  Ferris,  below,  thinks 
a  bit  sadly  of  the  days  when 
her  hair  was  a  dark,  dark 
brown  instead  of  her  present 
red  tresses. 


Janet  Gaynor,  left, 
decided  she  needed 
light-red  hair  in 
preference  to  her 
own  chestnut  - 


100 


Hollywood  High  Lights 


Continued  from  page  66 

Now  Miss  Dunn  is  rated  a  great 
success  in  "Excess  Baggage,"  and  has 
;been  signed  on  a  five-year  contract  by 
Metro-Goldwyn. 

The  same  thing  has  happened  to 
various  others  within  the  past  year 
or  two.  Warner  Brothers  once  con- 
trolled the  destiny  of  Charlie  Farrell, 
but  allowed  him  to  get  away.  Now 
Fox  has  him,  and  wouldn't  allow  him 
to  escape  for  anything. 

Alice  White  almost  was  lost  to 
First  National  at  one  time — just 
when  she  was  beginning  to  click — 
but  they  succeeded  in  reengaging  her. 

This  sort  of  ping-pong  game  with 
new  talent,  seems  to  go  on  all  the 
time,  and  shows,  indirectly  perhaps, 
the  old  adage  is  still  true  that  the 
public  choses  the  favorites. 

Jolson  Cheers  Josephine. 

Miss  Dunn  is  one  of  the  slenderest 
girls  in  pictures.  She  seems  the  tall- 
est, too,  on  this  account,  though  her 
height  is  perhaps  not  much  greater 
than  the  average. 

We  saw  her  on  Al  Jolson's  set.  She 
plays  the  lead  in  "The  Singing  Fool" 
— a  vampish  lead.  Betty  Bronson 
impersonates  the  sympathetic  char- 
acter 

The  peculiar  tilt  to  her  eyes  is  one 
of  Miss  Dunn's  most  striking  fea- 
tures. There  are  times  when  they 
resemble  those  of  Ethel  Barrymore. 

Jolson  extolled  her  talents  with 
spirited  superlatives.  Al  is  always  a 
wonderful  enthusiast,  and  he  makes 
you  believe  his  enthusiasm.  Wherein 
he  sometimes  seems  a  rather  rare  in- 
dividual. 

May  Continue  Her  Studies. 

Lili  Damita  provided  one  bit  of 
repartee  that  was  received  with  in- 
terest upon  her  arrival  in  Hollywood, 
whither  she  came  to  play  opposite 
Ronald  Colman. 

Lili  is  a  linguist.  She  can  talk 
both  gayly  and  glibly  in  French,  Ger- 
man, Italian,  and  Spanish,  and  she 
speaks  English,  too. 

Somebody  asked  her  whether  she 
also  spoke  Yiddish. 

"No,  not  yet,  but  I  theenk  maybe 
I  have  come  to  good  place  to  learn — 
not  so?" 

Sartorial  Jottings. 

Billie  Dove  now  goes  stockingless. 
It's  getting  to  be  the  fashion  at  eve- 
ning parties.  Billie  has  never  been 
a  follower  of  the  fad,  but  she  did 
attend  a  soiree  not  long  ago  at  the 
residence  of  Mr.  and  Mrs.  Finis  Fox, 
sans  hosiery.  The  innovation  blended 
in  pleasantly,  though  not  unnotice- 
ably,  with  the  black  gown  she  wore, 


ornamented  with  a  gorgeous,  crystal 
peacock. 

At  the  same  affair  Dolores  del  Rio 
was  remarked  for  her  wavy  hairdress. 
She  has  departed  from  tradition  in 
this,  for  she  nearly  always  affects  a 
severe  arrangement  of  her  dark 
tresses,  drawing  them  tightly  over  the 
top  of  her  head,  and  winding  them 
in  braided  knots  about  her  ears.  The 
new  hairdress  gives  much  softer  lines 
to  her  countenance. 

Leatrice  Joy,  who  was  there,  still 
remains  true  to  period  gowns.  It  is 
a  style  that  she  has  identified  with 
her  personality  off  the  screen. 

Many  girls  have  been  wearing  ten- 
nis socks,  lopping  over  their  shoe 
tops.  But  then  these  are  a  universal 
fashion,  and  the  film  colony  naturally 
won't  rest  long  until  it  finds  some- 
thing more  outre. 

Rin-Tin-Tin  Will  Speak. 

John  Miljan  recently  burst  into  the 
Warner  Brothers'  scenario  office  in 
great  haste,  and  with  a  worried  look 
on  his  face,  cried: 

"Can  you  give  me  the  script  of 
'The  Land  of  the  Silver  Fox,'  Vita- 
phone  version,  so  I  can  find  out  when 
Rin-Tin-Tin  is  supposed  to  bark, 
what  it's  supposed  to  mean,  and  how 
I'm  to  answer  him?" 

Whereat  the  scenario  writer  fell 
unconscious  into  the  wastebasket,  and 
John  went  forth  on  the  lot,  with  a 
smile  of  satisfaction  over  the  up- 
heaval he  had  produced. 

Nevertheless,  Rin-Tin-Tin  will 
"speak"  for  the  Vitaphone. 

"Hamlet"  Then  and  Now. 

John  Barrymore  will  play  Hamlet. 
This  is  interesting  news,  to  say  the 
least. 

The  Hollywood  cynic,  of  course, 
asks:  "Will  they  do  it  with  a  happy 
ending?" 

Who  knows,  but  it  might  be  quite 
exciting  to  behold  the  melancholy 
Prince  of  Denmark  riding  out  into 
the  dawn  upon  his  gallant  charger, 
while  the  fair  Ophelia-  clings  ecstati- 
cally to  the  pommel  of  the  saddle? 

A  few  years  ago  you  would  have 
seen  just  such  a  finish.  To-day,  how- 
ever, producers  are  willing  to  take  a 
chance  on  tragedy. 

"Hamlet,"  with  Barrymore,  should 
be  a  sensation.  It  was  his  most 
thrilling  stage  role. 

Promising  for  the  Talkies. 

Belle  Bennett's  voice  is  one  of  the 
loveliest  in  Hollywood.  We  enjoyed 
its  velvety  cadences  not  long  ago  at  a 
premiere.  Belle  made  a  personal  ap- 
pearance, recited  some  inspirational 
verses,  and  then  gave  an  intimate  lit- 
tle talk  to  her  audience.    We  didn't 


realize  how  great  a  favorite  she  was 
with  the  public.  The  applause  for 
her  was  rapturous.  She  had  to  bow 
twice  from  her  place  amid  the  audi- 
ence, while  the  spotlight  was  flashed 
on  her,  and  then  finally  went  on  the 
stage  to  address  the  people. 

The  show  she  attended  was  a  com- 
bination of  motion  picture  and  stage 
play — both  on  the  same  program. 
Los  Angeles  seems  never  satisfied 
with  anything  short  of  a  marathon  of 
entertainment.  It  was  amazing  how 
rich  and  musical  Miss  Bennett's  voice 
sounded  in  contrast  to  the  voices  of 
the  players  in  the  stage  piece,  which 
followed  immediately  after  her 
speech. 

A  Nipponese  Excursion. 

"The  Darling  of  the  Gods"  will  be 
made  in  Japan  during  the  cherry- 
blossom  season.  And  it  will  be  filmed 
with  a  Japanese  star.  She  will  prob- 
ably be  engaged  from  the  Imperial 
Theater  at  Tokyo. 

David  Belasco  produced  "The  Dar- 
ling of  the  Gods"  years  ago  on  the 
stage,  with  Blanche  Bates  as  the  star, 
and  George  Arliss  in  the  role  of  the 
■villain.  It  was  a  poetic  and  spectacu- 
lar affair — one  of  the  sensations  of 
the  period. 

It  is  very  much  of  a  question  how 
many  people  will  remember  the  stage 
version,  but  there  is  no  doubt  but 
that  it  should  make  a  film  literally 
abounding  in  photographic  beauty. 

Norma  Talmadge  was  desired  for 
the  stellar  role,  but  declined  to  accept 
it,  since  she  felt  it  demanded  a  genu- 
ine Nipponese,  and  not  a  make-believe 
type. 

Colleen  Avers  Silence  is  Golden. 

Colleen  Moore  has  spoken  deci- 
sively against  talking  pictures.  She 
has  asserted  that,  as  far  as  she  her- 
self is  concerned,  she  will  remain 
loyal  to  silence.  "If  I  can't  achieve 
success  in  that  form,  I  will  leave  the 
screen,"  she  averred  recently. 

We  suspect  a  much  divided  movie 
camp  a  little  later  on,  when  stars  are 
face  to  face. with  the  problem  of  voice 
recordings.  There  will  undoubtedly 
be  a  number  who  will  line  up  with 
Colleen  in  her  attitude. 

Secretly,  we  do  believe  that  the  si- 
lent motion  picture  won't  expire  com- 
pletely for  many  years,  despite  the 
fsct  that  many  authorities  predict 
otherwise.  We  imagine  that  many 
films  will  be  made  in  which  music — 
and  especially  song — will  have  an  im- 
portant place.  This  means,  naturally, 
musical  comedies,  light  operas,  and 
maybe  a  few  grand.  Then  will  come 
the  real  perplexities  over  pronouncing 
the  names  of  the  stars  correctly. 


101 


Crazy  Over  Horses! 

President  Coolidge  didn't  know 
what  he  was  starting  when  he 
ordered  a  mechanical  riding-horse! 


102 


Information,  Please 


DIZZY. — And  just  because  you're  dizzy, 
you  want  to  make  me  dizzy,  too,  with 
all  those  questions.  Yes,  you're  right,  I 
probably  will  look  tired  when  I  finish ;  but 
I  did  before  I  started.  These  late  par- 
ties !  Edmund  Goulding  directed  "Love." 
I  imagine  Buddy  Rogers  and  Clara  Bow 
get  more  fan  mail  than  any  of  the  other 
stars.  Yes,  Buddy  played  in  "So's  Your 
Old  Man.'-  The  young  girl  in  that  was 
Kittens  Reichert.  Katherine  MacDonald 
is  the  tallest  actress  I  can  think  of — five 
feet  eight.  Of  course  she  no  longer  plays. 
Alma  Rubens,  Betty  Blythe,  and  Jane  No- 
vak are  all  five  feet  seven.  No,  I  don't 
know  of  any  stars  with  birthdays  Decem- 
ber 6th.  Virginia  Lee  Corbin's  is  the 
5th.  William  Boyd  was  born  in  Cam- 
bridge, Ohio ;  Warner  Baxter  in  Colum- 
bus ;  Dorothy  and  Lillian  Gish  in  Dayton 
and  Springfield;  Gertrude  Astor  in  Lima; 
Ralph  Graves  and  Alice  Calhoun  in 
Cleveland;  Earle  Foxe  in  Oxford. 

Rex  Lease  Admirer. — It  took  me  quite 
a  while  to  obtain  information  about  Rex 
Lease.  He  free  lances,  and  therefore  no 
company  keeps  a  record  of  his  biography. 
Hence  the  delay  with  your  answer.  How- 
ever, I  found  out  this :  He  was  born  in 
Central  City,  Virginia,  February  11,  1903. 
He  was  on  the  stage  since  he  was  six 
years  old,  except  for  an  interlude  at  Ohio 
Wesleyan  College.  In  movies  since  1924. 
Married  to  Charlotte  Merriam,  but  a 
divorce  is  pending. 

Hay. — My  life  is  blighted  with  disap- 
pointment, because  I  cannot  add  to  your . 
knowledge  of  Voya  George.  All  I  know 
about  him  are  the  facts  given  in  June 
Picture  Play  in  the  item  to  which  you 
referred.  He  is  a  minor  player  and  I 
have  no  way  of  looking  up  his  next  pic- 
ture. Ann  Little  retired  from  the  screen 
years  ago  and,  I  assume,  is  leading  a  quiet 
life,  as  no  one  hears  of  her  any  more. 

Dorothy  Helgren. — One  more  letter 
added  to  my  collection  is  like  throwing  a 
bucket  of  water  into  the  ocean.  So — 
now  that  we're  acquainted — James  Hall  is 
still  married,  I  think,  to  Renee  Hamilton, 
though  they  have  been  separated  for  sev- 
eral years.  I  believe  she  still  lives  in  New 
York.  And,  since  his  marriage  is  all 
spoiled  anyway,  you  surely  couldn't  expect 
Jimmie  not  to  go  out  at  night,  could  you? 
It  takes  about  four  months  to  see  your 


answer  in  print  in  this  department.  Pic- 
ture Play  had  to  stop  announcing  new 
fan  clubs,  because  so  many  fans  organ- 
ized them  on  an  impulse,  and  asked  to  be 
announced,  that  they  began  to  fill  up  the 
entire  answer  department.  However,  I'll 
keep  a  Tecordi  of  your  name,  and  when 
some  one  asks  about  a  Bebe  Daniels  club, 
I'll  refer  them  to  you. 

Ivan  Granvill. — You  put  me  in  quite 
a  quandary ;  all  the  players,  whose  ad- 
dresses you  ask  for,  play  first  at  one 
studio  and  then  another,  so  that  it's  im- 
possible to  keep  track  of  them.  Percy 
Marmont  has  been  making  pictures  for 
Gotham  at  Universal  City,  California.  He 
is  in  his  late  thirties  or  early  forties — he 
doesn't  give  his  age.  He  is  married  and 
has  two  little  daughters,  Pamela  and  Pa- 
tricia. Susan  Fleming  left  the  screen  after 
only  one  picture,  "The  Ace  of  Cads,"  and 
has  dropped  out  of  sight.  Viola  Dana 
and  Lillian  Rich  can  both  be  addressed 
just  "Hollywood,  California."  In  fact,  I 
have  been  assured  by  stars  themselves 
that  that  address   always   reached  them. 

Frank. — Martha  Sleeper  is  easy  to 
reach.  Write  her  at  F.  B.  O. — address  in 
the  list  at  end  of  this  department.  Caryl 
Lincoln  works  at  the  Fox  studio;  her  next 
picture  is  "Hello,  Cheyenne." 

Marion  Elizabeth  of  Washington, 
D.  C. — By  all  means,  write  again,  though 
how  will  you  have  any  questions  left  to  ask, 
after  this  present  carload?  James  Hall's 
new  picture  is  "Hell's  Angels."  See 
Dorothy  Helgren..  'William  Powell  was 
born  in  Pittsburgh,  July  29,  1892,  Emil 
Jannings  in  New  York  City,  in  1886. 
Louise  Brooks  was  born  in  Wichita,  Kan- 
sas, about  twenty  years  ago.  She  is  five 
feet  two,  and  weighs  120.  I  think  that  is 
her  real  name.  Florence  Vidor  is  five  feet 
four  and  weighs  120.  Carmelita  Geraghty 
was  born  in  Rushville,  Indiana.  Lina 
Basquette  was  born  in  San  Mateo,  Cali- 
fornia, and  is  twenty  years  old.  .  Ruth 
Taylor  is  twenty  and  was  born  in  Grand 
Rapids,  Michigan. 

Mullan,  Bombay.! — You  certainly  do 
keep  up  with  all  the  stars,  way  out  there 
in  Bombay!  Laurette  Taylor  is  married  to 
J.  Hartley  Manners,  playwright.  I 
haven't  her  personal  description,  as  she 
is  really  an  actress  of  the  stage,  rather 


than  the  screen.  Lilyan  Tashman  was 
born  in  New  York — she  doesn't  say  when 
— and  is  a  blue-eyed  blonde.  Height,  five 
feet  five  and  a  half,  weight  116.  She  is 
Mrs.  Edmund  Lowe.  Louise  Lovely  was 
born  in  Sydney,  Australia,  in  1896.  She 
is  a  blonde,  five  feet  two.  Divorced  from 
William  Welch.  Louise  Lorraine  was 
born  in  San  Francisco,  October  1,  1901. 
Brunette,  five  feet  one.  A  divorce  from 
Art  Acord  is  now  pending.  Lupe  Velez 
was  born  in  Mexico  City,  July  18,  1908. 
She  is  a  brunette  and  unmarried.  Larry 
Semon  was  born  in  Mississippi,  in  1880; 
he  is  married  to  Dorothy  Dwan.  Lee 
Moran  is  married  to  Bernice  Sibeck.  He 
was  born  in  Chicago,  is  five  feet  ten  and 
blond.  Lowell  Sherman  is  in  his  forties, 
is  being  divorced'  from  Pauline  Garon,  and 
was  once  married  to  Evelyn  Booth.  Leon 
Bary  was  born  in  Paris,  and  is  divorced 
from  Marie  Francoise.  Leah  Baird — not 
Mr.  Leah  Baird — is  Mrs.  Arthur  Beck. 
She's  a  brunette,  born  in  Chicago.  Is  this 
a  gag,  or  do  you  really  only  have  favorites 
whose  first  names  begin  with  the  let- 
ter L.? 

Dorothy. — Probably  you  feel  a  little 
better,  after  getting  all  those  questions  off 
your  mind !  Olive  Borden  was  born  in 
Norfolk,  Virginia.  No,  I  don't  think  Nor- 
bert  Lusk  is  prejudiced  against  her  in  his 
reviews.  Olive  has  many  admirers,  be- 
cause of  her  looks,  but  few  of  them  think 
she  can  act.  Sorry,  I  don't  know  whether 
Harrison  Ford  is  a  good  dancer.  I  do 
know  that  he's  very  shy  with  women ;  his 
conversations  with  them  are  usually  limited 
to  "Yes,  ma'am,"  and  "No,  ma'am."  Regi- 
nald Denny  and  his  wife  procured  an  inter- 
locutory decree  of  divorce,  which  becomes 
final  a  few  months  from  now.  Charlie 
Farrell  is  very  much  alive,  and  Leatrice 
Joy  recently  finished  in  "The  Bellamy 
Trial."  I  hadn't  heard  she  was  ill,  but 
obviously  it  couldn't  have  been  serious.  I 
don't  know  Billie  Dove's  salary.  Stars' 
salaries,  when  made  public,  are  so  exagger- 
ated, that  I  don't  attempt  to  keep  a  record 
of  them.  The  record  would  be  too  inac- 
curate. I  think  Gloria  Swanson's  father 
is  dead ;  it's  my  impression  that  he  was  a 
major  in  the  army.  Conrad  Nagel  is 
American,  born  in  Iowa.  H.  B.  Warner 
is  English  and  played  on  the  stage,  in  New 
York,  and  on  tour,  before  going  into  mov- 
Continued  on  page  111 


Advertising  Section 


103 


To  end  all  fear  of  offending:  others 


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104 


Far  Away  and  Long  Ago 


Continued  from  page  87 
calf.  She  expected  to  "shoo"  away 
easily  what  she  thought  were  long- 
necked  chickens  in  her  path.  But 
the  geese  refused  to  be  "shooed,"  and 
started  for  her  with  wings  aflap  and 
hisses  from  their  open  beaks.  Howl- 
ing at  the  top  of  her  voice,  Joby 
sought  refuge  on  a  fence. 

Her  mother  took  advantage  of 
this  fear  to  inculcate  in  her  young 
mind  that  a  goose  feather  meant  as 
much  as  a  real  gander.  Leading  from 
the  rear  porch  to  an  upper  story  was 
a  long  flight  of  stairs,  and  her  mother 
was  fearful  that  Joby  would  tumble 
down  them.  So  she  stuck  two  feath- 
ers at  the  top,  and  two  feathers  at  the 
bottom,  and  Joby  vows  she  was  ten 
years  old  before  she  ever  ascended 
those  steps. 

To  be  chosen  as  a  fairy  in  a  kin- 
dergarten entertainment — what  more 
could  a  child  ask?  Mary  Brian  was 
elated.  She  would  dance  with  wand 
in  hand  and  glittering  star  on  her 
head.  She  had  rehearsed  and  knew 
her  steps.  Alas,  when  she  suddenly 
looked  down  and  saw  all  those  faces 
she  got  stage  fright,  and  stood  still 
and  wailed  in  a  very  loud  voice  until 
some  one  picked  her  up  and  carried 
her  out. 

A  Swiss  music-box  was  the  first 
thing  which  greatly  concerned  Billie 
Dove.  A  monkey  being  invariably 
associated  in  her  mind  with  the  or- 
gan-grinder's music,  she  did  her  best 
to  wreck  the  box  and  find  the  "mon- 
key" inside. 

This  isn't  a  first  memory,  but  it 
is  a  poignant  one.  Marian  Nixon's 
childhood  urge  for  a  stage  career  was 
not  approved  by  her  parents.  At 
twelve  she  had  saved  enough  out  of 
her  allowance  to  pay  for  dancing  les- 
sons. Without  her  parents'  knowl- 
edge she  studied,  and  danced  at  after- 
noon home  affairs,  earning  the  money 
for  her  ballet  costume  and  slippers. 
Her  teacher  offered  an  opportunity 
to  dance  in  a  theater  prologue.  The 
first  night  of  the  engagement  she 
reached  home  at  eleven  o'clock,  car- 
rying her  costume  and  slippers,  in- 
tending to  sneak  in.     Her  parents 


were  awaiting  her,  however,  and 
tossed  the  dancing  finery  into  the  fire. 

Richard  Arlen's  first  prank  was 
dropping  a  bullfrog  down  the  neck  of 
an  old  negro,  who  had  imbued  him 
with  a  fear  of  frogs  until  the  boys, 
after  gibing  Dick,  taught  him  they 
were  not  dangerous.  Uncle  Ben  dis- 
appeared in  a  cloud  of  dust,  and 
Richard  had  a  session  with  dad  in 
the  woodshed. 

The  most  vivid  memory  of  Do- 
lores Costello's  childhood  was  a  visit 
to  the  Royal  Zoological  Gardens  in 
Bombay,  India,  as  the  guest  of  a 
rajah.  She  and  Helene  drank  tea 
for  the  first  time  that  afternoon  and 
met  a  bear  cub. 

"My  first  memory  is  of  a  great 
monster  swooping  down  upon  me, 
snorting  like  a  dragon,  with  smoke 
curling  from  it,"  Betty  Bronson 
laughed.  "I  could  not  stop  crying, 
even  when  my  mother  told  me  this 
was  the  train  that  I  had  heard  about 
and  had  longed  to  ride  on." 

Among  the  toys  about  a  Christmas 
tree  was  a  wonderful  doll.  It  was 
Alice  White's  first,  and  Alice  held  it 
tightly.  Her  mother  demanding  that 
Alice  give  up  the  doll  as  punishment 
for  some  infraction  of  family  rules, 
she  ran  panic-stricken  into  the  back 
yard  and,  unable  to  find  a  hiding 
place,  buried  the  doll  in  some  newly 
spaded  ground.  Only  after  two  days 
of  threats  and  persuasion  would  she 
tell  where  she  had  put  the  doll. 

"My  first  memory  isn't  dramatic, 
because  it  was  a  scene  often  repeated, 
much  to  my  annoyance,"  Vera  Rey- 
nolds smiled.  "Father  would  come 
in  and  always  greet  me  with  the  same 
remark,  'Pick  those  things  up.'  " 

Elinor  Fair  recalls  old  "Uncle" 
Johnnie  Frymeyer  and  his  little  store 
up  a  hill  near  their  home  in  Rich- 
mond, Virginia,  and  how  she  used  to 
run  away  up  there,  and  Uncle  John- 
nie would  give  her  stick  candy.  And 
as  soon  as  she  got  the  candy,  father 
would  happen  along  and  take  it  away 
from  her. 

"My  grandfather  did  not  trust  auto- 
mobiles, so  he  had  mother  drive  me 
around  in  an  old-fashioned  phaeton," 


Dorothy  Dwan  reminisced.  "On  my 
third  birthday,  grandfather  set  me 
on  the  horse's  back  to  watch  it  eat 
out  of  the  square  feed-box." 

The  absences  of  Blanche  Mehaf- 
fey's  graceful,  lovely  mother  on  con- 
cert engagements  were  dull  times. 
But  there  was  the  fun  of  her  re- 
turns, and  the  gift  of  a  pet  if  Blanche 
had  been  a  good  girl.  It  was  a  source 
of  wonder  to  her  how  her  mother 
knew  so  much  about  her  behavior. 
Once,  when  she  had  been  exception- 
ally proper,  the  reward  was  a  long, 
slim  box,  out  of  which  wriggled  a 
mysterious  thing — a  baby  alligator. 
It  frightened  her,  but  they  soon  be- 
came friends. 

Dorothy  Mackaill's  first  impres- 
sion was  the  spectacle  and  glamour  of 
a  circus — followed  by  three  days' 
illness  from  too  much  pink  lemonade. 

Running  a  nail  in  his  foot  while  at 
play  is  Jack  Mulhall's  first,  and  most 
poignant,  recollection.  The  three- 
year-old  set  up  quite  a  clamor  and  it 
required  many  solicitous  relatives  to 
soothe  him. 

At  four,  Arthur  Stone  was  occu- 
pied with  pounding  on  a  new  drum, 
when  he  discovered  that  a  red-hot 
poker  from  the  fireplace  would  burn 
large  holes  in  the  calfskin  head  of 
the  drum. 

On  summer  evenings  during  her 
childhood  Florence  Vidor  was  taken 
for  a  walk  on  the  main  road  of  the 
small  Texas  town,  and  always  passed 
a  negro  church  whence  emanated 
weird  chants  and  yells.  She  believed 
that  dragons  must  inhabit  the  build- 
ing- >        v-  . 

I  have  often  noticed  the  preference 
of  Bess  Meredyth,  the  scenarist,  for 
blue.  Perhaps  this  explains  it :  When 
she  was  three,  having  learned  to  rec- 
ognize blue  by  a  frock  she  particu- 
larly liked,  she  suddenly  discovered 
that  away  up  overhead  was  some- 
thing all  blue.  Her  mother  explained 
that  it  was  the  sky,  and  that  the  sky 
had  different  dresses  to  wear,  just 
as  she  had,  but  that  blue  was  its 
favorite,  too. 

Thus  the  stars  reminisce. 


And  Now  the  Deluge! 


Continued  from  page  26 
"Noah's  Ark"  will  be  distinctive, 
by  reason  of  the  fact  that  its  "atmos- 
phere" players  will  be  drawn  from 
every  corner  of  the  globe.  These 
will  be  the  birds,  beasts,  and  rep- 
tiles. While  it  would  be  impossible, 
of  course,  to  obtain  and  photograph 
every  creature  which  existed,  ar- 
rangements were  made  to  picture 
more  than  five  hundred  pairs — a  male 
and  female  of  each  species,  as  de- 


scribed in  the  modern  Bible.  These 
will  include  specimens  of  nearly 
every  species  now  in  captivity,  and 
all  domestic  animals,  together  with 
birds,  some  of  which  seldom  have 
been  seen. 

This  was  the  picture  conceived  in 
a  room,  high  above  Broadway,  in 
New  York,  on  a  rainy  afternoon  two 
years  ago.    It  will  carry  its  biblical 


lesson,  and,  while  not  entirely  re- 
ligious in  vein,  will  likely  assume  a 
niche  by  the  side  of  "The  Ten  Com- 
mandments," and  "The  King  of 
Kings,"  as  a  biblical  production.  Its 
cost  will  run  well  over  a  million  dol- 
lars and,  in  its  production,  every 
camera  trick  and  improvement  will 
be  employed. 

"Noah's  Ark"  is  expected  by  its 
producers  to  be  a  sensation. 


Advertising  Section 

Reginald's  Lament 

Continued  from  page  33 


I  asked  how  long  he  had  been  with 
Universal. 

"Too  long,"  he  replied.  "Five 
years.  No  actor  should  remain  with 
one  company  more  than  two  or  three 
years.  He  becomes  a  fixture.  They 
regard  him  too  much  as  'home  folks,' 
and  give  him  the  hash  to  eat.  And, 
if  an  actor  doesn't  watch  his  work 
closely,  he  will  fall  into  a  rut.  Cir- 
culation keeps  up  vitality. 

"The  actor's  motive  in  quarreling 
is  good.  He  demands  this  aid  not 
so  much  to  promote  himself  and  aug- 
ment his  own  fame,  as  to  give  his 
best,  and  he  can  only  accomplish  that 
under  good  working  circumstances." 

I  have  known  Reg  for  four  years. 
I  know  his  aptitude  for  sports,  par- 
ticularly prize  fighting.  I  knew  him 
to  be  well  read,  and  an  interesting 
conversationalist,  in  a  bright  and 
breezy  way. 

But  I  hadn't  seen  his  den.  The 
den  taught  me  a  lot  of  things  about 
Reg  that  somehow  you  do  not  con- 
nect with  him  in  professional  or  so- 
cial meetings.  It's  an  "Englishy" 
den.  This  nook  has  a  very  mascu- 
line air.  On  the  walls  are  pictures 
of  English  hunting  scenes.  Three 
walls  are  covered  with  book  shelves, 
well  stocked. 

Was  I  interested  in  wood  blocks? 


He  had  some  ships  for  Hobart  Bos- 
worth — no  ?  Engravings  ?  In  three 
very  old  books,  which  he  had  been 
running  down  for  ages,  we  found 
the  most  exquisite  and  quaint  old 
things,  of  perfect  workmanship.  For 
the  next  half  hour  the  conversation 
went  something  like  this :  "Look  at 
that  detail — Rouen  Cathedral — all  by 
the  eye,  mind  you — crazy  about  his 
bridges — this  group  of  peasants, 
through  the  microscope  you  can  see 
that  each  is  doing  something,  work- 
ing, talking." 

A  cultured  Reg — and  Reg  the 
sportsman.  Besides  flying,  until  he 
has  the  insurance  companies  in  a 
panic,  he  has  a  flock  of  planes  which 
he  rents  to  the  studios  for  air  epics. 
He  has  his  eye  on  young  pugilists, 
whom  he  might  some  day  back.  The 
ring  is  his  favorite  sport,  I  believe, 
though  he  is  an  enthusiastic  yachts- 
man. No,  he  isn't  racing  horses, 
though  he  might  be,  by  to-morrow. 
He's  building  onto  his  mountain 
cabin,  and  designing  another  lodge 
farther  up,  and  more  inaccessible. 

To  all  of  these  activities  he  gives 
an  objective  energy.  They  are  hob- 
bies, but  he  tackles  each  in  a  con- 
structive way.  A  healthy,  husky  fel- 
low, idleness  does  not  appeal  to  him. 
Every  hour  is  filled. 


105 


with  these  delightful  cleansing 
tissues  . .  so  dainty,  so  economical 

T"\0  you  realize  it's  extravagant  to  use 
JL/  towels  for  removing  cold  cream?  Do 
you  know  old  cloths  are  dangerous,  because 
they  rub  dirt  and  germs  back  into  the  skin? 
As  a  matter  of  fact,  towels— too— usually  rub 
the  cream  in,  instead  of  off.  They  aren't  ab- 
sorbent enough. 

Try  Kleenex!  It's  the  new  way,  the  approved 
way  to  absorb  cream,  make-up,  dirt  from  the 
surface  of  the  skin.  It  comes  in  soft,  snowy- 
white,  tissue-thin  sheets.  You  use  it  once,  then 
discard  it,  with  all  the  impurities  that  might 
mar  the  loveliness  of  your  complexion. 

Beautiful  actresses  consider  it  the  last  word 
in  make-up  assets.  Beauty  experts  use  it  in 
their  shops  and  recommend  it  to  patrons. 
Send  right  now  for  a  generous  trial  package 
and  discover  the  delights  of  Kleenex. 

Kleenex 

Kleenex  Company,  Lake-Michigan  Building, 
Chicago,  111.  Please  send  sample  of  Kleenex  to 

P.P.-9 

Name  

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City  State  


Portrait  of  a  Wow 

Continued  from  page  34 


ducers,  who  happen  into  New  York 
for  a  little  clean  fun.  Dozens  have 
been  signed  on  what  Hollywood 
naively  calls  long-term  contracts. 
Dozens  have  tobogganed.  The  rea- 
sons have  been  many.  Some  girls 
have  photographed  disappointingly. 
Some  did  not  have  the  patience  to 
wait  for  the  long-delayed  break  that 
might  never  have  come  anyway. 
Some  attempted  to  drown  their  sor- 
rows, and  lost  their  figures  instead. 
_^  The  Crawford  girl  was  different. 
She  didn't  pity  herself  when  her  ca- 
reer seemed  eternally  gripped  by  in- 
ertia. She  failed  to  cave  in,  sag  de- 
spondently, or  despair. 

Regardless  of  the  outlook,  Joan 
kept  up  her  confidence,  insisted 
on  putting  her  best  foot  forward, 
maintained  appearances  at  any  cost. 
When  there  was  a  dance,  Joan  was 
there  in  a  new,  dazzling  creation, 
with  an  escort  who  would  look  well 
on  the  floor.  When  there  was  a  first 
night  Joan  was  present,  not  incon- 
spicuously. At  parties  she  was  in 
demand — a  demand  she  always  sup- 
plied.   She  sold  herself  to  the  pic- 


ture crowd  before  she  was  even  seri- 
ously considered  for  the  screen. 

This  is  not  a  simple  system,  nor  is 
it  to  be  recommended  to  the  rank 
and  file.  For  the  average  girl,  it 
would  prove  an  avenue  lined  with 
manifold  difficulties.  Instead  of  a 
short  cut,  it  would  be  a  detour.  But 
Joan  got  away  with  it.  She  is  not 
backward. 

Quotation  marks  have  been  notice- 
able, perhaps,  by  their  absence. 
The  answer  is  that  Joan  said  nothing 
that  was  particularly  memorable. 
She  was  feeling  high.  She  was  rea- 
sonably certain  that  she  could  make 
the  grade,  if  given  the  chance. 

"I  can  do  some  real  acting,  if 
they'll  let  me,"  she  said.  "They've 
been  dishing  out  some  grand  and 
glorious  opportunities.  Here's  hop- 
ing the  good  work  goes  on !" 

Joan  hasn't  what  the  technical 
boys  term  beauty,  perhaps,  but  she 
has  almost  everything  else  in  their 
encyclopedia.  Then,  too,  there  is 
her  car,  her  house  in  Beverly,  her 
collection  of  dolls,  and  a  waiting  list 
of  admirers,  swains,  and  boy  friends. 


Remove 
cold  cream 

the  right  way 


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You  Can't  Do  That! 

Continued  from  page  18 


Pretty  wasteful,  to   say  the 
for  having;  the 


fire, 
least. 

The  reason  for  having  the  hus- 
band exhibit  such  "willful"  ten- 
dencies in  "Chicago,"  was  natu- 
rally to  show  that  he  stood  by  his 
wife  in  the  crisis,  and  thus  arouse 
sympathy  for  him.  It  was  a  rather 
illogical  expedient,  and  very  differ- 
ent from  the  stage  play.  In  that, 
the  husband  was  just  a  simp,  and 
Roxie  Hart  was  perfectly  capable  of 
looking  after  herself,  without  any 
assistance  from  anybody.  At  least, 
in  the  stage  play;  both  were  con- 
sistent, and  not  given  to  any  imita- 
tion virtue  and  false  sentiment.  The 
husband  did  not  steal,  and  if  he  had, 
there  was  no  attempt  engaged  in  to 
make  him  sympathetic.  The  play 
was  an  out-and-out  satire  against  the 
cheap  notoriety  often  given  criminals 
through  the  politics  of  office  seekers, 
and  the  columns  of  the  yellow  jour- 
nals. Much  of  this  flavor  was  lost  in 
a  screen  version  that  was  obviously 
and  mechanically  motivated. 

A  year  or  two  ago  Clara  Bow  ap- 
peared in  a  picture  called  "Mantrap." 
She  was  separately  made  love  to  by 
Ernest  Torrence  and  Percy  Mar- 
mont,  both  of  whom  are  sufficiently 
mature  to  be  identified  as  character 
actors.  The  roles  that  they  played 
were  hardly  youngish.  Yet  at  the 
finish,  of  this  picture,  to  be  sure  that 
no  offense  would  be  suffered  by  any 
puritans,  and  perhaps  also  to  pro- 
vide a  happy  ending,  Clara  returned 
to  Torrence,  with  the  evident  inten- 
tion of  being  "his  darling"  for  life. 
She  was  married  to  him,  but  it  was 
a  preposterous  union.  I  can  remem- 
ber the  final  scene,  of  Clara  running 
up  to  him  and  kissing  him,  as  one 
that  aroused  a  pretty  feeble  response. 
The  screen  version,  I  might  men- 
tion, was  in  this  respect  a  complete 
departure  from  the  original  story, 
for  in  that  it  was  shown  that  the  girl 
was  simply  selfish  and  self-seeking 
in  her  purported  affection  for  a  man 
much  older  than  herself.  That  is 
more  intelligent  and  more  logical. 

Regulations  regarding  marriage 
are  sometimes  peculiarly  complicated 
in  different  countries.  Foreign  na- 
tions do  not  understand  our  domes- 
tic problems  at  all,  and  what  we  con- 
sider very  daring  situations  often 
pass  them  by  as  meaningless. 

At  the  same  time,  some  foreign 
rules  are  very  restrictive,  say  particu- 
larly in  a  country  like  Canada.  Here, 
marriage  for  instance  is  hardly 
"companionate."  In  fact,  it  is,  as  it 
should  unquestionably  be,  a  very 
sacred  institution.  The  showing  of 
a  divorce  on  the  screen  is  forbidden. 


A  few  years  ago  "The  Snob"  was 
shown  there.  Jack  Gilbert  and  Nor- 
ma Shearer  were  in  it,  cast  as  man 
and  wife.  Miss  Shearer,  as  the  wife, 
after  a  long  siege  of  vicissitudes, 
found  living  with  her  husband  in- 
tolerable. The  inference,  toward  the 
close  of  the  picture,  was  that  they 
separated.  When  the  picture  was 
screened  in  Canada — though  they  had 
a  child — they  were  portrayed  as  not 
married. 

In  another  film,  spoken  titles  had 
to  be  changed  as  follows : 

American  version :  "I  congratulate 
you  on  your  very  successful  mar- 
riage." 

Canadian  version :  "I  congratulate 
you  on  your  very  successful  affair." 

American  version :  "I  am  her  hus- 
band of  yesterday." 

Canadian  version :  "You  are  her 
sweetheart  of  yesterday." 

Occasionally  marriage,  or  the  sug- 
gestion of  marital  happiness,  is  used 
to  patch  up  the  finish  of  a  picture, 
when  it  has  no  place  in  it.  Most  of 
the  time  this  is  just  catering  to  what 
the  producer  believes  the  public 
wants — a  felicitous  fade-out.  The 
ending  of  "Lovers,"  a-  ludicrous 
adaptation  of  "The  Great  Galeoto," 
was  a  case  in  point,  and  more  re- 
cently "Sadie  Thompson."  In  both, 
the  way  in  which  the  closing  scene 
was  enacted  amounted  to  "dancing 
on' a  dead  man's  grave." 

The  peculiarities  of  censorship 
laws,  internationally,  and  their  effect 
on  production,  are  perhaps  the  most 
interesting  phase  of  restrictions 
placed  on  pictures.  However,  it 
might  be  rather  dreary  to  go  into 
these  extensively.  One  might  note, 
in  passing,  that  in  Turkey  all  films 
are  banned  that  show  men  wearing 
the  fez.  Heaven  help  our  news  reels 
of  a  Shrine  convention !  In  Great 
Britain,  no  picture  can  have  a  scene 
laid  in  a  "lunatic  asylum."  But  after 
all,  is  that  really  necessary?  In  Chile 
all  films  are  divided  into  three 
classes:  (1)  Those  for  "adults  over 
fifteen  years  of  age";  (2)  pictures 
for  those  under  and  over  fifteen  ;  (3) 
pictures  for  those  over  fifteen,  but — 
to  quote  directly — "not  advisable  for 
young  ladies." 

This  great  variety  of  restrictions, 
in  a  world  market,  have  at  times  un- 
doubtedly exerted  a  deterring  influ- 
ence on  pictures,  but  simultaneously 
they  demand  an  increased  ingenuity 
in  discovering  ways  and  meanings  of 
avoiding  conflict  with  them.  It  is 
becoming  more  and  more  difficult, 
naturally,  to  make  pictures  that  will 
please  everywhere. 


Advertising  Section 


107 


There  Are  Styles  in  Stars,  Too 

Continued  from  page  90 

the  flapper  day  at  that.  The  re- 
formers spouted  off,  and  preachers 
made  her  the  subject  of  Sunday  ser- 
mons. She  flourished  as  long  as  she 
held  the  spotlight,  and  when  popu- 
lar interest  in  her  activities  ceased  to 
shock,  she  called  it  a  day  and  set- 
tled back,  to  be  replaced  by  the  "re- 
fined" type. 

Florence  Vidor  and  Corinne  Grif- 
fith were  the  greatest  exponents  of 
this  particular  personality  on  the 
screen.  After  a  couple  of  years  of 
sophistication  and  flapperdom,  "la- 
dies" became  the  mode.  It  is  true 
that  the  reign  of  the  ladies  has  not 
been  so  conspicuous  or  sensational 
as  the  previously  mentioned  styles, 
but  nevertheless  conservatism  was 
not  without  its  day.  It  was  smart  to 
talk  in  soft,  gentle  voices  and  to  re- 
strain one's  humor.  Black  and  dark- 
blues  were  the  popular  shades,  and 
the  up-to-date  girl  tried  to  copy  Flor- 
ence and  Corinne  as  closely  as  pos- 
sible. 

That  gets  us  down  to  the  present 
time — and  whom  do  we  find  hold- 
ing down  the  pedestal  of  the  hour? 

Not  the  ingenue.  Not  the  vamp. 
Not  the  sophisticate.  Not  the  flap- 
per. And  while  "ladies"  are  always 
good,  I  think  it  would  be  safe  to  say 
that  they  have  been  overtaken  by  a 
type  known  as  "the  bachelor  girl." 
Evelyn  Brent,  Greta  Nissen,  and 
Louise  Brooks  portray  her  in  per- 
sonality, though  they  are  widely  di- 
vergent individually.  However,  they 
have  a  mutual  breeziness,  sane  inde- 
pendence, that  is  the  popular  motif  of 
the  hour.  Just  at  present  it  is  smart 
to  look  on  matrimony  as  no  longer 
the  aim  of  every  woman's  life,  and 
careers  are  becoming  more  and  more 
important.  The  woman  who  hasn't 
an  interest  outside  her  home  is  de- 
cidedly quaint  and  old-fashioned.  To 
be  in  the  current  style  one  must  have 
a  mission  as  well  as  a  marcel,  and  a 
couple  of  intelligent  opinions  along 
with  two  brilliant  orbs. 

Next  season  it  may  be  different. 
Perhaps  little  Janet  Gaynor,  Fay 
[Wray,  and  Virginia  Bradford,  who 
are  beginning  to  make  their  influ- 
ence felt  on  the  screen,  will  have  re- 
instated the  ruffles  of  the  old-fash- 
ioned girl.  Or  perhaps  Greta  Garbo 
will  have  led  us  into  a  seductive,  pas- 
sionate hour.  Or  maybe  Marion  Da- 
vies  will  start  us  on  a  wave  of  good 
humor,  laughter,  and  wise  cracks. 

You  never  can  tell.  Fashions  in 
movie  stars  change  as  often  as  styles 
in  dress. 


Why  Folks  Get  Fat 

and  how  they  lose  it 


Science,  some  years  ago, 
found  a  cause  of  excess  fat 
which  is  easy  to  correct. 
Scientists  proved  it  on  thou- 
sands of  test  animals,  then 
on  human  beings.  The 
results  were  reported  in 
medical  journals,  and  the  use 
of  this  method  has  spread 
the  world  over. 

Then  a  great  medical  lab- 
oratory embodied  this  method 
in  Marmola  prescription  tab- 
lets. They  have  now  been 
used  for  20  years — millions 
of  boxes  of  them.  The  use 
has  grown  to  vast  proportions  through  users 
telling  others. 

The  results  are  seen  in  every  circle.  Slender- 
ness  prevails.  Excess  fat  is  much  less  com- 
mon than  it  was.  Now  physicians  everywhere 
are  prescribing  for  obesity  the  chief  factor 
in  Marmola. 


Abnormal  exercise  or  diet 
is  not  required,  not  advised. 
One  simply  takes  four  tablets 
daily  until  weight  comes 
down  to  normal. 

The  prescription  is  not 
secret.  A  book  in  every  box 
gives  the  formula  complete. 
It  explains  the  results  so  you 
may  know  they  are  natural 
and  helpful. 

Learn  how  easy  it  is  to 
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them.  New  beauty,  new  health 
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more  joys  to  men  and  women  than  reduction 
by  Marmola. 

Go  get  a  box  and  watch  effects.  You  will 
be  delighted. 

Marmola  prescription  tablets  are  sold  by 
all  druggists  at  $1.00  a  box.  Any  drug- 
gist who  is  out  will  order  from  his  jobber. 


li/l  A  I?  A  Prescription  Tablets 

JLW  l/jLl\l7l  The  Pleasant  Way  to  Reduce 


,    PARTED  IN  ANGER 

He  was  a  skilled  surgeon,  renowned  for  his  daring  feats  in 
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of  kindness,  doubted  his  love  of  humanity.  So 
they  parted.    Watch  the  man's  struggle 
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The  Altar  of  Innocence 


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Continued  from  page  62 


posas" — that  is  to  say,  looking-  very 
sophisticated  beneath  the  turned- 
down  brim  of  a  Fedora,  and  holding 
a  cigarette. 

The  women  down  in  the  Argentine 
will  possibly  form  clubs  bearing  his 
name.  Greatly  affected  by  his  good 
looks,  they  swamp  the  theaters  where 
his  picture  is  being  shown. 

When  death  scene  after  death 
scene  showed  Barry  in  the  act  of 
passing  on,  his  father  got  so  worried 
that  he  began  to  believe  his  taking 
eyes  more  than  his  mind.  The  cry- 
ing- and  emotion  expressed  up  here 
is  merely  intensified  a  dozen  times  in 
the  Argentine. 

"Mais,  sapristi!  How  painful  it 
is  to  have  to  see  him  always  dying," 
moaned  Mr.  De  Biraben  on  this  topic. 

Barry  has  given  Fox  pictures 
greater  standing  in  South  America 
than  was  ever  theirs  before  he  was 
with  them.  If  Fox  pictures  arrive 
at  Buenos  Aires  without  the  presence 
of  Barry  Norton,  the  citizens  believe 
that  Mr.  Fox  is  depriving  them  of 
the  real  talent  and  art.  They  may  be 
right,  too. 

After  the  showing  of  "Seventh 
Heaven"  down  there,  Mr.  De  Bira- 
ben's  letters  were  full  of  praise  for 
Janet  Gaynor  and  Charlie  Farrell. 

"I  should  like  to  see  Barry  play 
opposite  the  little  Gaynor,  the  mar- 


velous child,"  was  one  of  his  con- 
fidences. The  news  that  Barry  will 
be  at  least  near  La  Gaynor  in  "The 
Four  Devils"  has  caused  a  wave  of 
enthusiasm  to  spread  over  the  Ar- 
gentine beforehand.  Probably  the 
Colon  Opera  House  will  have  to  be 
hired,  in  order  to  accommodate  those 
who  will  wish  to  see  the  film. 

The  De  Biraben  household  in  Bel- 
grano  is  constantly  a  shrine  for  all 
the  Argentine  movie  reporters  who 
wish  to  learn  past  and  present  details 
of  Barry  Norton's  career. 

Ortiz  Nestor,  a  young  reporter  and 
answer  man  for  the  Mnndo-  Argen- 
tina, has  become  a  friend  of  the 
family.  He  declares  that  he  gets 
more  questions,  and  gives  out  more 
information  about  Barry  than  any 
other  player. 

When  not  working,  Barry  gets  up 
about  lunch  time — one  or  two  o'clock 
— and  goes  to  bed  the  next  morning 
around  breakfast.  But  this  is  only 
occasionally,  for  he  is  mostly  always 
in  the  midst  of  a  picture.  And,  re- 
member, he  is  a  sophisticate  of  the 
first  water,  "a  man  of  the  world." 

Winfield  Sheehan,  general  manager 
of  Fox,  told  me  that  Barry  was  one 
of  their  best  bets. 

"Why,  the  Argentine  knew  that 
from  the  beginning ,"  was  all  I  said. 


There's  No  Place  Like  Home 


Continued  fr 

windows    and   arch,    of  cherry-red 
velvet. 

Back  of  the  dining  room  is  a 
bright,  cheery  breakfast  room  in  pale 
yellow  and  green.  The  furniture  and 
walls  are  gayly  painted,  the  little 
French  chandelier  is  an  intricate  mass 
of  gold  vines  and  porcelain  birds; 
even  the  china  in  the  green  chest  is 
in  the  same  frivolous  manner. 

Beyond  are  the  pantries  and 
kitchen,  painted  yellow  and  yellow 
tiled,  leading,  in  turn,  to  additional 
servants'  rooms. 

Returning  to  the  entrance  hall,  we 
ascend  the  carpeted  staircase  that  en- 
circles the  hall.  At  intervals  along 
its  ascent,  stained-glass  windows 
break  the  round  hall.  At  the  top  is 
a  short  gallery,  on  the  floor  of  which 
are  several  small  prayer  rugs,  which 
were  Mr.  Webb's  mother's. 

"It  has  been  marvelous  luck  for 
me,"  Esther  says,  "that  I  could  have 
so  many  of  her  things.  She  had  a 
beautiful  home,  filled  with  charming 
treasures,  and  a  great  many  of  them 
are  now  here.  I  like  it  for  Mr.  Webb, 
too.    It  is  nice  for  him  to  have  the 


om  page  31 

things  about  that  were  familiar  to 
his  boyhood." 

To  the  left,  at  the  end  of  the  gal- 
lery, and  above  the  living  room,  is 
Esther's  bedroom.  This  long  room 
is  French,  and  distractingly  feminine. 
The  color  scheme  is  Esther's  favorite, 
orchid  and  pale  green.  At  the  French 
windows  are  voluminous  taffeta  cur- 
tains of  orchid  and  green.  The  bed 
covering  is  green  quilted  taffeta.  Un- 
der this,  the  comforter  is  a  heavenly, 
solid  mass  of  alternating  orchid-and- 
green-satin  roses.  The  satin-wool 
blankets  are  pale  green,  and  the  sheets 
are  orchid.  Slipper  chairs,  cushions, 
chaise  longnes,  carpet,  and  walls  are 
in  the  same  colors..  The  furniture 
proper  is  in  satinwood  and  rosewood, 
combined  in  inlays.  The  set  was 
copied  for  Esther  from  a  famous 
French  original.  On  the  dressers  are 
fascinating  arrays  of  perfume  lamps, 
and  perfume  bottles  of  blown  glass, 
in  the  form  of  flowers. 

In  the  wall,  to  the  right  of  the 
entrance,  a  door  opens  into  a  green- 
and-orchid    dressing    room,  which 


Advertising  Section 


109 


gives  onto  a  green-and-orchid  bath- 
room. 

At  the  far  end  of  the  bedroom,  a 
curtained  door  leads  into  Mr.  Webb's 
study. 

The  gallery  at  the  head  of  the 
stairs,  leads,  on  the  right,  along  a 
hallway.  Off  this,  a  door  opens  onto 
a  semicircular  veranda  above  the  sun 
room.  This  overlooks  the  garden  and 
swimming  pool,  is  covered  by  an 
awning,  and  furnished  in  upholstered 
wicker,  with  a  bright,  straw  rug  on 
the  floor. 

Opening  off  the  hall,  on  the  right, 
is  the  room  which  affords  Esther  and 
her  husband  keen,  childish  pleasure  in 
displaying  to  guests.  It  is  Chinese, 
from  the  lacquered  twin  beds  and 
dressers,  to  the  last  tiny  perfume  bot- 
tle. The  carpet  is  black,  the  walls 
are  papered  in  gilt  buckram,  the 
woodwork  is  black.  The  lamp,  hung 
from  the  ceiling,  is  pagoda  shaped, 
of  glazed  Chinese  prints.  The  win- 
dow curtains  are  tomato-red  on  the 


outside,  and  inside  are  black  moire. 
The  covers  on  the  beds  are  tomato- 
red  moire.  The  black-and-red  dress- 
ing room  is  just  as  complete  in  Chi- 
nese detail,  the  walls  and  carpet  be- 
ing the  same  as  in  the  bedroom.  The 
bathroom,  however,  is  American,  and 
modern  in  its  smart  tiling. 

To  the  left,  at  the  end  of  the  hall, 
is  the  bedroom,  dressing  room,  and 
bathroom  of  Mr.  Webb's  two  little 
girls.  Here,  Esther  chose  simple, 
English  furniture.  The  twin  beds, 
the  low  dressers  and  chairs,  the  table 
and  bookcases  are  plain  in  line.  There 
are  roomy  chests  for  dolls  and  toys. 
At  the  windows,  chintz  curtains  color 
the  sunlight. 

It  all  goes  to  show  you,  that,  with 
a  degree  of  skill  in  the  planning  of 
it.  a  house  may  be  heterogeneous  and 
charming  at  the  same  time.  But  it 
requires  an  instinctive  taste,  like  that 
apparent  in  the  Webb  home,  to  in- 
sure a  successful  result. 


"Gimme  a  Lift?'" 

Continued  from  page  83 


studios,  and  that  she  was  just  the 
type  they  needed  in  the  next  picture. 
Would  she  let  him  drive  her  over  to 
the  studio  and  introduce  her  to  the 
casting  director?  Would  she!  But 
the  bland  young  man  drove  nowhere 
near  any  studio,  and  finally  the  in- 
dignant girl  was  forced  to  get  out 
and  walk  home. 

An  amusing  story  is  told  of  an  ac- 
tor who  picked  up  a  girl  in  his  car. 
A  traffic  officer  stopped  him  for 
speeding.  "But  I  was  hurrying  to 
get  the  girl  to  the  hospital,"  the 
driver  blandly  explained.  The  po- 
liceman took  a  searching  look  at  the 
girl — who  was  trying  to  hide  her 
face — and  explained,  "My  wife  !" 
Ever  after,  it  is  said,  this  particular 
sheik  examined  every  girl's  hand  for 
a  wedding  or  engagement  ring  before 
giving  her  a  lift. 

The  police  are  always  issuing 
warnings  about  the  danger  of  giving 
lifts  to  strangers,  but  it  is  only  after 
dark,  or  on  lonely  roads,  that  the 
average  motorist  fears  to  pick  up  a 
pedestrian.  The  free  riders,  being 
aware  of  this  apprehension,  seldom 
ask  for  a  lift  after  dark.  Reports 
of  strangers  who  have  blackjacked 
and  robbed  motorists  are  often  heard. 
Recently  an  escaping  murderer 
robbed  a  motorist  and  stole  his  car 
in  the  heart  of  Hollywood. 

Some  motorists  never  stop  for  pe- 
destrians asking  a  lift,  and  wish  that 
the  whole  tribe  of  "ride  bummers" 
would  quit  pestering  them.  But 
there  are  some  people  whom  no 
driver  can  turn  down.   As  the  writer 


was  driving  studioward  one  day,  an 
old  lady,  dressed  in  the  quaint  fash- 
ion of  years  ago,  hobbled  out  into 
the  street,  frantically  signaling  for  a 
ride.  She  climbed  in,  relief  and  sat- 
isfaction expressed  in  her  beaming 
smile.  She  immediately  began  to 
talk  in  the  unbroken  stream  of  the 
old  person  who  is  starved  for  com- 
panionship. She  was  on  her  way  to 
the  studio,  she  said.  They  were 
making  a  sequence  in  an  old  country 
town,  and  she  was  going  to  be  in  the 
scenes.  An  assistant  director,  a 
friend,  had  summoned  her  for  a 
day's  work  as  an  extra.  She  was  to 
get  five  dollars  for  it.  Wasn't  that 
wonderful  ?  It  was  so  much  better 
than  sitting  around  her  daughter's 
house  with  nothing  to  do.  Every 
once  in  a  while  she  would  get  simi- 
lar jobs  in  the  studios,  and  she  al- 
ways got  five  dollars.  That  was  a 
lot  of  money,  she  avowed.  It  made 
her  feel  as  if  she  were  still  of  -some 
use  in  the  world.  Yes,  she  liked  rid- 
ing in  a  private  car.  It  seemed  a 
shame  to  spend  some  of  that  five 
dollars  for  bus  fare,  and  so  she  had 
decided  to  follow  the  example  of  the 
young  folks  she  had  seen  asking  free 
rides.  It  was  more  than  that,  though. 
She  preferred  riding  in  a  private  car, 
because  the  people  in  the  bus  didn't 
seem  to  want  to  talk. 

Only  the  traffic  officer's  signal  gets 
more  attention  than  hers.  And  so, 
of  all  the  fishermen  who  angle  for 
rides  along  Hollywood's  boulevards, 
only  she  and  her  kind  never  miss  a 
bite! 


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Money,  But  No  Airs 

Continued  from  page  74 


personality,  who  is  two,  or  five,  or 
a  dozen  things  at  once. 

What  divers  types  of  people  you 
meet  there !  I  recall  one  candle-lit 
evening,  Norma  Talmadge,  sheathed 
in  golden  cloth,  on  a  low  'bench,  looked 
with  enrapt  attention  at  some  one 
who  interested  her — bevies  of  lovely 
girls — a  cauliflower-eared  "comer," 
shifting  nervously  on  a  high-backed 
Chippendale  armchair,  sensing  him- 
self in  a  strange  and  "elegant"  en- 
vironment, and  not  knowing  just  ex- 
actly what  to  do  about  it.  His 
frightened  eyes  seeking  Jack,  Estelle 
slips  into  a  seat  beside  the  boy,  and  in 
a  twinkling  puts  him  at  ease,  grinning 
happily.  Perhaps  she  talked  his  lingo. 
Goodness  knows  what  she  said ! 
Thin-nosed  Pasadena  ladies,  with 
lorgnettes,  their  smiling  eyes  follow- 
ing Estelle — executives  relaxed  over 
the  card  tables. 

Their  art  of  hospitality  is  quite 
simple:  they  enjoy  themselves.  That's 
contrary  to  etiquette,  but  it  assures 
the  guests  a  good  time.  Jack,  the 
fighter,  at  home  becomes  a  big,  hum- 
ble boy,  who  follows  her  around  with 
cushions  and  bowls  of  broth. 

"I  so  want  to  make  good  as  Estelle 
Taylor,  but  sometimes  I  wonder  if 
I  did  wrong  in  objecting  when  they 
tried  to  bill  me  as  'Mrs.  Jack  Demp- 
sey,' "'  she  mused  one  day.  "I'd 
throw  the  whole  thing,  rather  than 
hurt  Jack.  And,  though  he  never 
says  anything,  he  beams  over  the  no- 
tices that  call  me  'Mrs.  Dempsey.' " 

Estelle  has  gone  through  her  fan 
mail  to  cull  out  any  uncomplimentary 
references  to  Jack,  and  she  has  found 
in  wastebaskets,  comments  from  his 
mail,  which  he  had  meant  to  destroy 
lest  they  hurt  her.  As  long  as  they 
continue  thus  each  to  shield  the  other, 
their  marriage  is  safe. 

"Jack  is  boss.  It's  pretty  good  to 
sit  back,  and  let  somebody  big  and 
protecting,  like  my  boy,  decide  things. 
But  the  times  that  have  meant  most 
to  me  have  been  those  when  his  big 
strength  gave  way,  and  he  needed  me. 
As  when  he  said,  'Honey,  I  forgot  to 
duck!'  I  feel  so  old,  then,  and  so 


strong.  Precious  few  though  they've 
been,  they  are  my  hours." 

She  "takes  herself  off"  with  glori- 
ous mimicry.  Jack,  with  his  custom- 
ary prodigality,  having  told  an  in- 
terior decorator  to  get  Mrs.  Dempsey 
whatever  she  wanted,  many  days  were 
spent  in  making  selections.  Estelle 
is  exacting,  though  pleasant. 

Besides  her  coupe,  and  the  luxuri- 
ous town  car,  there's  Jack's  roadster 
in  which  they  whiz  to  Tiajuana,  with 
a  grinning  motor  cop  to  clear  the  way. 

Once,  as  they  walked  down  the  lane 
of  light  at  a  glamorous  premiere,  with 
another  actress,  a  newsboy  presented 
a  handful  of  wilted  violets,  asking 
which  was  Mrs.  Dempsey.  "She  is," 
Estelle  pointed  to  the  other,  "I'm 
Pola  Negri."  The  boy  gave  her  a 
look  of  disgust,  and  got  all  red  in  the 
face  as  he  gave  the  violets  to  the 
other  woman. 

Crowds  of  kids  materialize,  appar- 
ently from  nowhere,  the  minute  Jack 
appears,  surrounding  him,  climbing 
all  over  him,  grinning  at  Estelle,  and 
including  her  in  their  adulation,  be- 
cause they've  learned  she  hasn't  any 
airs. 

At  times,  she  flaunts  a  surprising 
inferiority  complex.  A  particular 
friend  is  the  wife  of  a  famous  di- 
rector. Estelle's  name  had  been  men- 
tioned for  his  new  picture.  She  hesi- 
tated to  ask  his  wife  to  luncheon. 
"She  might  think  I  was  trying  to  play 
politics,"  was  her  quandary.  "I 
wouldn't  care  what  others  think — let 
them  yap — but  I  wouldn't  want  her 
to  get  notions."  As  a  result,  she  hurt 
her  friend's  feelings  by  ignoring  her, 
and  was  in  a  worse  panic  than  ever, 
airs. 

To  some  who  don't  know  them, 
Jack  may  be  merely  a  dethroned 
champ,  and  Estelle  "one  of  those 
movie  queens."  To  Hollywood  they 
are  Estelle  and  Jack,  one  of  the  col- 
ony's most  popular  couples,  loved  for 
their  geniality,  their  humor,  and  their 
sincerity.  And  if  you  think  the  home 
town  isn't  rooting  for  Estelle,  and 
expecting  big  achievements,  drop  in 
some  day. 


Oyez !      Oyez ! 

Continued  from  page  20 


Barrymore  is  so  patently  and  thor- 
oughly of  the  theater.  By  tradition, 
training,  and  temperament  he  is  un- 
questionably the  actor.  One  won- 
ders a  little  at  his  cheerful  acceptance 
of  the  roles  he  receives  in  pictures, 
and  at  his  amusing  and  contented 
patter  about  happy  endings  and  pop- 
ular types. 


One  grieves  a  little  for  the  artist 
of  "Dr.  Jekyll  and  Mr.  Hyde"  and 
"The  Sea  Beast."  Is  it  the  Califor- 
nia sunshine,  or  is  it  some  insidious, 
deadening  element  in  the  picture  busi- 
ness, that  lulls  such  men  to  lethargy? 

Let  us  hope  John  Barrymore  never 
discovers  a  "popular  type"  to  play 
upon  the  screen ! 


Advertising  Section 


111 


Information,  Please 

Continued  from  page  102 


ies.  Batouche,  in  "The  Garden  of  Allah," 
was  played  by  Gerald  Fielding,  and  what 
a  hit  that  young  man  made  in  one  pic- 
ture! He  is  English,  born  in  Darjeeling, 
British  India,  July  6,  1906.  He  is  not  quite 
six  feet  and  is  a  brunette.  He  was  edu- 
cated at  Stonehurst  College,  and  at  Cam- 
bridge, and  his  family  lives  at  Chateau 
Fielding,  Nice,  France.  By  the  way,  Mo- 
dest Stein,  our  cover  artist,  is  a  man.  Pro- 
nounced Mode — with  long  e — est. 

M.  E.  G. — Despite  your  admiration  for 
Joseph  Schildkraut,  I'm  afraid  he  would 
feel  slightly  insulted  at  your  prediction 
that  some  day  he  will  be  famous.  He 
and  his  father,  Rudolph  Schildkraut,  were 
important  actors  on  the  stage,  before  they 
played  in  movies  at  all.  They  are  both 
Hungarians.  Rudolph  was  a  star  in  the 
Yiddish  Theater  in  New  York,  before 
playing  in  English.  Joseph  is  about  thirty 
and  is  married  to  Elise  Bartlett.  He 
has  very  dark  hair  and  eyes.  His  first 
film  role  was  in  D.  W.  Griffith's  "Orphans 
of  the  Storm,"  and  he  is  now  under  con- 
tract to  DeMille.  Between  pictures  he 
produces  play  at  the  Hollywood  Play- 
house ;  either  address  would  reach  him. 
•  Bert  Lytell  and  Anita  Stewart  were  the 
principals  in  "Never  the  Twain  Shall 
Meet" ;  Edmund  Burns  was  not  in  that 
picture. 

Jimmy  and  Jake. — So  you  think  Fanny 
the  Fan  is  an  old  cat,  for  not  liking 
Mary  Brian?  Well,  there's  no  account- 
ing for  tastes,  as  the  old  lady  said  when 
she  kissed  the  cow.  Mary  Brian  was  born 
in  Corsicana,  Texas,  February  17,  1908, 
and  her  real  name  is  Mary  Louise  Dant- 
zler.  Her  more  important  films  include : 
"Peter  Pan,"  "The  Little  French  Girl," 
"The  Street  of  Forgotten  Men,"  "Brown 
of  Harvard,"  "Beau  Geste,"  "The  Prince 
of  Tempters,"  "Paris  at  Midnight," 
"Knock-out  Riley,"  "Man  Power," 
"Shanghai  Bound."  I'm  afraid  Mary  could 
never  be  a  Janet  Gaynor.  She's  prettier 
than  Janet,  but  her  face  is  less  expressive, 
and  she  hasn't  that  tear-wringing  quality 
which  Janet  has. 

W.  P.  A. — il  should  be  just  as  sorry  as 
you,  to  see  Leatrice  Joy  leave  the  screen, 
but  I  assure  you  she  has  no  intention  of 
doing  so.  Her  new  film  is  "The  Bellamy 
Trial."  She  has  been  in  pictures  about 
eight  years.  Her  photograph  was  on  the 
cover  of  Picture  Play  for  June,  1927. 

Fritz  the  Fan. — So  you  think  that's  an 
easy  one — asking  me  the  age  of  Belle 
Bennett?  Not  that  she's  old,  but  whenever 
an  actress  gets  out  of  her  twenties,  she 
usually  stops  giving  her  age.  Sometimes 
she  stops  even  before  then.  Bessie  Love 
is  still  in  her  twenties,  but  I  don't  know 
her  exact  age.  Alice  Joyce  was  born  in 
Kansas  City,  Missouri;  Olive  Borden, 
Norfolk,  Virginia;  Louise  Fazenda,  La- 
fayette, Indiana;  Eleanor  Boardman, 
Philadelphia;  James  Murray,  New  York 
City;  Aileen  Pringle,  San  Francisco; 
Louise  Brooks,  Wichita,  Kansas;  Evelyn 
Brent,  Tampa,  Florida.  Myrna  Loy  was 
born  in  Helena,  Montana,  and  Fay  Wray 
comes  from  Los  Angeles. 

Redhead. — You  have  lots  of  imitators ! 
Many  girls  on  the  screen  would  so  like  to 
had  red  hair;  the}-  go  out  and  acquire  it 
John  Bowers  played  opposite  Madge  Bel- 
lamy in  "Lorna  Doone."  J.  Warren  Ker- 
rigan has  completely  retired  from  movies, 
but  "Hollywood,  California,"  will  reach 
him.    Yes,  Richard  Barthelmess  married 


Jessica  Sargeant  last  April  21st.  No,  I 
really  don't  know  of  any  stars  born  on 
June  6th.  Gilbert  Roland  is  twenty-two  ; 
Johnnie  Walker,  Norma  Talmadge,  Alice 
Joyce,  Eve  Southern  do  not  give  their 
ages.  Charlie  Farrell  was  born  in  Onset 
Bay,  Massachusetts.  He  is  five  feet  ten. 
Johnnie  Walker  has  been  working  most 
of  the  time  since  "Old  Ironsides,"  but 
usually  in  quickies,  which  are  not  shown 
at  the  bigger  theaters.  "Matinee  Idols" 
for  Columbia,  is  his  latest  release,  at  this 
writing.  Ricardo  Cortez  went  to  Europe, 
and  while  there  made  "The  Orchid 
Dancer."    He  returned  recently. 

Estelle. — Paul  Ellis  seems  to  flit  in  and 
out  of  pictures.  He  is  five  feet  eleven, 
and  of  course  very  dark  in  complexion. 
He  was  born  in  Buenos  Aires,  November 
6,  1896,  and  first  appeared  on  the  screen- 
horizon  in  1924,  when  he  played  the  lead 
in  a  Metro  film,  "The  Bandelero,"  under 
his  real  name,  Manuel  Granada.  He  also 
played  in  "The  Dancer  of  Paris,"  "Pretty 
Ladies,"  and,  "Bitter  Apples." 

Mike. — I'm  always  so  troubled  when 
fans  ask  how  they  can  break  into  the 
movies !  It  can't  be  done !  The  Central 
Casting  Agency  on  Hollywood  Boulevard 
supplies  all  the  extras  to  the  studios,  but 
they  no  longer  register  newcomers.  Flor- 
ence Vidor  is  the  divorced  wife  of  King 
Vidor.  Reginald  Denny  was  formerly 
married  to  Irene  Haisman,  Roy  d'Arcy 
to  Laura  Rhinock  Duffy.  Roy  was  born 
February  10,  1894.  Norman  Kerry  doesn't 
give  his  age.  He  was  married  years  ago, 
and  has  a  daughter,  but  I  don't  know  what 
his  wife's  name  was. 

Don  Catarino. — I  can  see  the  kind  of 
young  man  you  are !  Once  you  like  a  guy 
you  keep  on  liking  him.  Elmo  Lincoln 
and  William  Duncan  retired  from  the 
screen  years  ago,  and  if  I  were  to  be 
shot  for  not  telling,  I  still  couldn't  say 
where  they  are  now.  Eddie  Polo,  at  last 
accounts  was  taking  a  trip  around  the 
world  and  had  no  intention  of  returning 
to  the  screen.  Perhaps  Universal  would 
send  you  his  photograph.  George  Lewis 
was  born  in  Mexico  City  twenty-odd  years 
ago;  he  doesn't  give  his  exact  age. 

Maria  of  Medford. — Is  that  a  good  Boy 
Scout  deed,  to  take  a  lot  off  your  mind, 
and  put  it  on  mine?  Such  hot  weather, 
too !  Thanks  for  the  cheers.  I  do  love 
cheers,  especially  on  a  rainy  day.  Ramon 
Novarro's  family  is  Spanish,  on  his  fa- 
ther's side — and,  I  think,  French  on  his 
mother's.  No  Italian  blood,  as  far  as  I 
know.  Yes,  Ted  MacNamara  was  killed 
in  an  accident  last  February.  I've  a  vague 
idea  I  heard  that  Dolores  del  Rio  and 
Ramon  Novarro  were  distantly  related, 
but  I'm  not  sure.  Most  modern  picture 
theaters  have  at  least  two  projection  ma- 
chines, in  case  one  gets  out  of  order.  I'll 
add  your  Unique  Fan  Club  to  my  list, 
but  you  don't  tell  me  what  stars  your  club 
honors.  Yes,  I  was  quite  interested  in  the 
information  that  James  Hall's  Paramount 
contract  forbids  fan  clubs  in  his  honor. 
I  wonder  why? 

Joe. — I  enjoyed  your  interesting  letter. 
It  must  have  been  great  fun  for  you  to 
watch  the  shooting  of  "The  Volga  Boat- 
man." As  to  why  some  people  "knock" 
actresses  and  actors,  I  suppose  that's  a 
hangover  of  the  Victorian  spirit,  and  also 
of  the  days  when  the  stage  was  looked 
down  upon,  as  being  very  wicked. 

Continued  on  page  118 


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Just  What  Is  Acting,  Anyhow? 


Continued  from  page  52 


step  ahead  a  little  slower.  He  lacks 
something  of  the  hero's  air,  which 
Buddy  has  to  an  exceptional  degree. 
He  is  a  two-fisted  type,  with  no  non- 
sense in  his  ideas  and  his  personality. 

Nancy  Carroll,  who  came  into 
popularity  with  "Abie's  Irish  Rose," 
is  a  girl  who  has  an  unusual  per- 
sonality, which  pleases  fans  and 
critics  alike.  Nancy  looks  like  all 
the  wide-eyed  baby-dolls  in  the  world, 
but,  unlike  most  of  them,  she  is  a 
vital  person,  and  Paramount  is  plan- 
ning far  ahead  for  her. 

Then  there  is  Sue  Carol,  who  has 
swept  like  a  fire  through  Hollywood 
and  beyond.  Much  has  been  said 
about  Sue's  wealth,  her  social  position 
and  her  education,  but  she  has  some- 
thing else  that  is  twice  as  important. 
I  saw  her  during  the  filming  of  "The 
Air  Circus,"  and  thought  her  the 
most  vital  girl  I  had  ever  seen.  With 
hair  which  had  been  cut  wind-blown, 
but  was  blown  by  the  wind  into  a 
standing-on-edge  mass,  with  eyes  that 
were  alive  with  enthusiasm,  feet 
which  were  always  doing  something, 
and  a  smile  which  broke  out  in  all 
sorts  of  unexpected  places,  Sue  radi- 
ated everything  which  was  vital,  in- 
teresting and  charming  in  youth.  She 
generates  energy  like  a 'dynamo. 

There  is  one  personality  on  the 
screen,  who  is  to  me  the  most  fas- 
cinating, but  who  repeatedly  has  had 
bad  breaks.  Leatrice  Joy  has  gone 
through  various  stages  of  vitality  and 
negativity,  and  from  it  all  she  has 
emerged  as  vivid  as  a  violet  ray. 
She  has  been  able  to  project  her 
charm  and  personality  in  a  series  of 
undistinguished  pictures.  Her  fans 
have  remained  amazingly  loyal  to  her, 
and  have  shouted  for  better  pictures 
for  Leatrice.  If  she  is  the  success 
in  "The  Bellamy  Trial"  we  expect, 
she  will  step  into  popularity  which 
has  been  waiting  for  her  for  a  long 
time.  A  magnetic,  vital  personality, 
Leatrice ! 

It  is  a  fast  age  we're  moving  in. 
The  tempo  of  living  is  so  rapid  that 
by  the  time  night  comes  our  own 
dynamos  have  run  down.  The  vau- 
deville houses  used  to  be  crowded 
with  tired  business  men,  and  their 
feminine  counterparts.  Now  they  go 
to  the  movies  to  see  girls  like  Clara 
Bow.  to  feel  the  thrill  of  their  per- 
sonalities— to  get  a  sort  of  mental 
pick-me-up. 

Lillian  Gish,  splendid  actress 
though  she  is  acknowledged  to  be, 
does  not  prove  the  drawing  card  that 
Clara  and  Greta  and  others  do.  For 
Lillian  is  fragile,  tired  and  exhausted ; 
she  lets  you  down  mentally.  A  quiv- 
ering smile,  a  flutter  of  hands,  a 


tremble  of  lips,  may  be  art  to  the 
critics,  but  a  stab  between  the  eyes 
and  a  throb  to  the  pulse  are  more 
in  demand  by  the  public. 

Mary  Philbin  is  undeniably  a  good 
actress,  and  yet  Mary  hasn't  the 
widespread  popularity  of  others,  be- 
cause her  energy  never  seems  to  be 
centralized.  Now  and  then  a  director 
has  seemed  to  magnetize  her,  and  the 
result  has  been  notable.  Fay  Wray 
still  seems  to  be  half-positive. 

There  are  many  players  who  are 
positive,  dynamic  personalities  when 
they  are  playing  in  that  type  of  pic- 
ture, but  who  drop  down  otherwise. 
Joan  Crawford,  given  an  interesting 
role,  can  sweep  you  like  flame,  but 
she  is  seldom  able  to  rise  above  an 
ordinary  type. 

Ruth  Taylor  came  from  Sennett's, 
with  all  the  famed  Sennett  training, 
to  play  Lorelei  in  "Gentlemen  Prefer 
Blondes."  On  the  strength  of  her 
performance,  she  was  given  a  con- 
tract. Yet,  although  Ruth  was  at- 
tractive in  the  role,  little  Alice  White, 
as  Dorothy,  walked  away  with  what 
honors  the  picture  afforded.  Ruth 
had  had  twice  the  training,  but  Alice 
clicked  like  castanets. 

Strangely,  in  spite  of  ability,  an 
interesting  personality  and  splendid 
pictures,  Dolores  del  Rio  has  never 
swept  the  fans  off  their  feet.  They 
give  her  admiration,  and  she  is  popu- 
lar, but  warm,  personal,  glowing  in- 
terest in  her  seems  to  be  lacking. 

Madge  Bellamy,  after  years  of 
half-positive  performances,  has  be- 
come amazingly  popular,  since  she 
set  about  to  change  her  personality 
and  become  vital. 

Charles  Farrell  is  dynamically  pop- 
ular with  the  fans,  because  of  his 
eager,  boyish  personality,  and  now 
Barry  Norton,  also  with  Fox,  has 
seemed  to  catch  hold  also.  He  plays 
with  Janet  Gaynor  in  "The  Four 
Devils."  Nick  Stuart  is  another 
comparative  newcomer  who  "arrived" 
quickly  by  means  of  an  irresistible 
personality. 

It  all  seems  to  be  a  matter  of 
chemistry.  The  positive  currents 
magnetize  everything  about  them  and 
generate  power ;  the  negative  currents 
sink  into  nothingness.  Given  a  posi- 
tive personality,  plus  an  opportunity 
to  reveal  it,  and  stardom  seems  to 
result.  Stardom  and  bulky  fan  mail ! 
Jack  Gilbert's  idea  does  work  out. 
Just  go  through  the  card  index  of 
your  favorite  players,  and  do  a  little 
figuring. 

Two  plus  two  equals  four,  even 
though  everything  else  in  this  world 
may  be  subject  to  change. 


Advertising  Section  113 


CLASSIFIED  ADVERTISING 


Agents  and  Help  Wanted 

Male  Help — Instructions 

Art,  Books,  etc. 

AGENTS — 90c.  an  hour  to  advertise  our 
goods  and  distribute  Free  samples  to  con- 
sumers. Write  quick  for  territory  and  par- 
ticulars. American  Products  Co.,  1951, 
Monmouth,  Cincinnati,  0. 

MEN  QUALIFY  FOR  RAILWAY  POSTAL 
clerk,  internal  revenue,  mail  carrier  and  out- 
door positions  ;  steady  work,  particulars  free. 
Write  Mokane  Inst.,  Dept.  B-16,  Denver,  Colo. 

ART  PUBLICATIONS;  Books,  Magazines, 
in  French,  Spanish,  English.  Photo  novel- 
ties, samples,  lists,  etc.,  20  cents  stamps. 
Villaverde  Co.,  Dept.  214,  Box  1329,  Havana, 
Cuba. 

EARN  $120  to  $250  monthly,  expenses 
paid  as  railway  traffic  inspector ;  we  assist 
you  to  a  position  after  completion  of  three 
months'  spare  time  home  study  course  or 
refund  your  money.  Write  for  free  book- 
let CM-28,  Standard  Business  Training 
Inst.,  Buffalo,  N.  Y. 

AMERICA'S  GREATEST  TAILORING 
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Chicago. 

Detectives  Wanted 

MEN — Experience  unnecessary  ;  travel ; 
make  secret  investigations  ;  reports  ;  salaries  ; 
expenses.  Write  American  Foreign  Detective 
Institute,  114,   St.  Louis,  Mo. 

WE  START  YOU  WITHOUT  A  DOLLAR, 
Soaps,  Extracts,  Perfumes,  Toilet  Goods. 
Experience  unnecessary.  Carnation  Co.,  Dept. 
2860,  St.  Louis,  Mo. 

AGENTS,  make  your  own  products.  Toilet 
articles,  Household  Specialties,  etc.  500% 
profit.  Valuable  booklet  free.  National  Sci- 
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Patents  and  Lawyers 

PATENTS.  Send  sketch  or  model  for  pre- 
liminary examination.  Booklet  free.  Highest 
references.  Best  results.  Promptness  as- 
sured. Watson  E.  Coleman,  Patent  Lawyer, 
724  Ninth  St.,  Washington,  D.  C. 

BECOME  A  SEA  CAPTAIN  OR  MARINE 
Engineer.  Write  Cook's  Nautical  Informa- 
tion Bureau,  Box  256,  San  Pedro,  California. 

DETECTIVES  EARN  BIG  MONEY.  Great 
demand.  Excellent  opportunity.  Experience 
unnecessary.    Particulars  free.    Write,  George 

Wnfnpr    ^IQft  Rrnfldwnv    T*Jpw  Vorlc 

MEN  18-35.  $1900  year.  Railway  Postal 
Clerks.  Steady.  Sample  coaching  Free. 
Write  immediately.  Franklin  Institute, 
Dept.  F2,  Rochester,  N.  Y. 

Salesmen 

THE  GREATEST  OPPORTUNITY  IN 
Selling  Field.  Here  are  simple  facts :  A 
Tailoring  Line.  All  Wool  Goods.  Made- 
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est book  of  selling  helps  ever  put  out.  Write 
at  once  to  Dept.  513,  Madison  Brothers,  131 
South  Peoria,  Chicago. 

MEN,  enter  U.  S.  Mail  Service;  $142-$225 
month  ;  steady ;  paid  vacations  ;  experience 
unnecessary.  For  details,  write  Norton  Inst., 
1545  Temple  Court,  Denver,  Colo. 

LET  MR.  OZMENT  HELP  YOU  GET  A 
Government  Job,  $95-$250  Month.  Write 
Ozment  Inst.,  308,  St.  Louis,  Mo. 

Salesmen  Wanted 

INVENTIONS  COMMERCIALIZED.  Pat- 
ented or  unpatented.  Write  Adam  Fisher 
Mfg.  Co.,  223    Enright,  St.  Louis,  Mo. 

MEN— BIG  PAY.  SOUTH  AMERICAN 
work.  Companies  pay*  fare,  expenses.  South 
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$10  TO  $20  DAILY  easily  earned  selling 
shoes  for  the  largest  direct  to  wearer  con- 
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some  good  protected  territory  still  open. 
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PIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 


Sell  Us  Your 
Spare 

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I 


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79-89  Seventh  Ave.,  New  York,  N.  Y. 

Please  show  me  how  I  can  profitably  sell  you  my  spare 
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NAME  

STREET   

CITY   STATE 


Advertising  Section 

Over  the  Teacups 

Continued  from  page  47 


114 


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Fanny  cut  in.  "She  is  playing  in 
Marion's  support,  in  'Her  Card- 
board Lover.'  I  am  glad  she  is 
going  to  work  in  pictures  again,  and 
I  am  sure  that  she  will  get  along 
beautifully  in  Marion's  company. 
Nobody  could  possibly  avoid  develop- 
ing camaraderie,  and  a  sense  of 
humor,  when  working  around 
Marion.  If  Jetta  is  a  good  girl,  and 
doesn't  talk  back  to  the  director,  she 
will  probably  get  lots  of  breaks  from 
Metro-Goldwyn.  And,  however  dif- 
ficult she  may  be  for  directors,  you'll 
have  to  admit  she  is  a  welcome  sight 
to  audiences. 

"Jetta  Goudal  is  really  very  young 
but,  because  of  the  many  roles  she 
played,  she  always  seems  like  one  of 
the  old  guard.  And  nowadays  any 
girl  over  seventeen  has  to  grab  what 
roles  she  can,  because  of  the  mere 
children  who  are  leaping  on  toward 
stardom.  Even  Lois  Moran  is  likely 
to  be  relegated  to  the  older  set,  now 
that  infants  like  Loretta  Young — 
she'll  be  sixteen  next  January — are 
developing  into  troupers. 

"Lois  is  going  to  costar  with  Ed- 
mund Lowe,  in  'Making  the  Grade.' 
I  think  Eddie's  sudden  rush  of  suc- 
cess is  one  of  the  most  gratifying  in 


Frank  Lloyd,  William  A.  Eeiter,  John 
McCormick,  Al  Rockett,  the  studio 
manager  of  First  National,  and 
George  Fitzmaurice,  are  just  a  few 
of  the  leading  lights  of  Hollywood  I 
have  seen  driving  them. 

Colleen  Moore,  after  finishing  her 
latest  picture,  decided  to  make  a  fly- 
ing trip  to  Honolulu,  all  by  herself, 
her  husband,  in  the  press  of  business 
matters,  being  unable  to  go. 

She  went  to  San  Francisco  to 
board  the  ship,  only  to  discover,  to 
her  dismay,  that  Richard  Barthelmess 
had  also  booked  passage  on  that  boat. 

Fearing  that  public  gossip  might 
seize  the  coincidence  as  a  brewing 
romance,  inasmuch  as  they  were 
from  .the  same  studio,  she  veiled  her- 
self heavily,  crept  aboard  as  unosten- 
tatiously as  possible. 

She  heard  a  great  deal  of  noise  and 
confusion  outside,  but  had  no  idea 
what  was  going  on.  What  the  noise 
was  all  about  was  the  fact  that  Mr. 
Barthelmess  had  just  been  married, 
and  a  crowd  of  ten  thousand  were 
coming  down  to  see  the  star  and  his 
bride  depart. 

Hollywood  has  finally  grown  up 
to  the  extent  of  acquiring  a  Little 


pictures.  For  years,  producers  rel- 
egated him  to  handsome  heroes — 
which  he  filled  nicely,  goodness 
knows — but  he  never  made  a  really 
great  success  until  he  won  his  argu- 
ment and  started  playing  roughnecks. 
Fox  realizes  how  popular  he  has  be- 
come ;  they  took  up  the  option  on 
his  services  for  the  coming  year, 
seven  weeks  before  it  was  due. 

"That's  enough  glory  for  one 
family,  but  the  wife  is  not  exactly 
idle,  neither.  Lilyan  is  playing  in 
'Craig's  Wife'  for  DeMille. 

"You  know,  I  really  feel  disloyal. 
I  saw  Bessie  Love  only  twice  when 
she  was  appearing  on  the  stage  here. 
And  she  is  cunning  as  can  be  in  her 
song  and  dance.  What  do  you  say 
we  get  an  airplane  and  fly  to  San 
Diego,  or  wherever  she  is  playing  this 
week  ?" 

As  I  seemed  to  hesitate,  she  of- 
fered an  added  inducement  with  an 
air  of  "now-you-can't-refuse." 

"And  on  the  way,  we  may  see 
them  taking  some  scenes  for  'Hell's 
Angels.'  That  company  is  still  up 
in  the  air." 

But  I  decided  that  I  could  wait 
for  both  Bessie  and  "Hell's  Angels" 
to  come  nearer  home. 


Theater,  for  the  showing  of  artistic, 
and  consequently  unsalable,  motion 
pictures  to  interested  and  exclusive 
audiences. 

The  first  picture  was  a  Swedish 
production  called  "The  Golden 
Clown,"  which,  I  understand,  was 
quite  bad.  The  next  was  "Surrender," 
a  Universal  picture  with  Mary  Phil- 
bin  and  Ivan  Mosjoukine,  the  Rus- 
sian actor. 

In  fact,  Hollywood  has  gone  "arty" 
in  quite  a  few  ways.  I  got  a  letter 
the  other  day — believe  it  or  not — 
from  Charlie  Chaplin,  Joseph  M. 
Schenck,  Sid  Grauman,  and  Cecil 
DeMille,  bearing  an  invitation  to  at- 
tend a  presentation  of  "Ken-Geki,"  a 
Japanese  "sword  play,"  with  Mitsuri 
Toyama  and  Madame  Koharu  Ohara 
— can  that  be  an  Irish  name  ? — in  the 
starring  roles. 

I  didn't  go,  principally  because  the 
tickets  were  five  dollars  a  throw,  but 
I  wanted  to,  particularly  because  the 
invitation  said  that  Mr.  Charles 
Chaplin  would  act  as  "interpretive 
entrepreneur."  I  have  no  idea  of  the 
duties  of  an  interpretive  entrepre- 
neur. I'll  bet  Sam  Goldwyn  didn't 
either,  until  he  saw  the  play. 


The  Stroller 

Continued  from  page  23 


Advertising  Section 


115 


What  the  Fans  Think 


Continued  from  page  12 


tainly  surprised  while  viewing  "Tillie  the 
Toiler,"  that  upon  the  introductory  flash 
of  George  in  this  picture,  the  theater  was 
swept  by  a  storm  of  applause.  I  was 
really  glad  to  see  how  much  other  people 
liked  George  and,  believe  me,  I  helped  ap- 
plaud. 

Was  delighted  to  note  Faye  Bush's  ad- 
miration for  Leatrice  Joy.  I  am  completely 
captivated  by  that  famous  dimple  of  hers 
and  think  she  is  just  perfect  with  the  boy- 
ish coiffure.  I  make  it  my  business  to  see 
every  one  of  her  pictures.  However,  due 
to  a  cinder  in  my  eye,  I  had  to  miss  one 
of  her  latest,  and  I  cannot  remember  when 
I  ever  missed  anything  so  much. 

Rose  Boris. 

104  Waldorf  Avenue,  Bridgeport,  Conn. 
Who  Is  the  Greatest  Actress? 

After  seven  years'  experience  as  a  fan, 
I  have  come  to  the  conclusion  that  Adela 
Rogers  St.  Johns  is  right  in  her  opinion 
that  Norma  Talmadge  is  the  greatest  ac- 
tress on  the  screen.  Pauline  Frederick 
might  once  have  held  this  place,  hut  she 
has  been  so  long  snowed  under  in  obscure 
pictures  that,  notwithstanding  the  general 
excellence  of  her  latest  release,  "The 
Nest,"  she  should  now  resign  her  claim  to 
the  one  and  only  Norma. 

Lillian  Gish  is  reckoned  by  popular  ac- 
claim a  great  actress,  but  "The  Wind" 
and  perhaps  "Annie  Laurie"  are  the  only 
ones  worth  mentioning  of  recent  efforts. 
Vilma  Banky  and  Gloria  Swanson  are  ex- 
tremely talented,  but  neither  is  versatile, 
though  Gloria  grows  more  worthy  of  fame 
in  every  picture,  and  is  a  distinct  person- 
ality. 

There  is  a  difference  of  opinion  con- 
cerning Greta  Garbo.  Some,  mainly  of 
the  masculine  gender,  fall  for  her  charms 
and  fascinating  beauty,  but  there  are  many 
others  who  do  not  agree.  Personally,  I 
believe  that  her  great  popularity  is  due  to 
her  magnetism  and  dynamic,  mysterious 
beauty.  I  would  not  compare  her  with 
Norma  in  acting  a'bility. 

Now  that  I  have  disposed  of  all  possi- 
ble intruders,  I  will  turn  my  attention  to 
the  object  of  my  admiration.  Think  back 
over  all  the  Norma  films  and  try  to  dis- 
cover a  single  disappointing  performance 
by  the  star.  Ever  since  the  days  of  the 
old  Vitagraph,  she  has  been  delighting 
audiences.  Even  in  "Graustark,"  the  least 
commendable  of  her  pictures,  she  endowed 
the  Princess  with  a  charm  all  her  own  and 
imparted  a  glamour  to  the  whole  film. 
"Camille"  had  rather  an  old-fashioned 
story,  but  that  was  no  handicap  to  our 
Norma.  She  put  her  entire  self  into  her 
acting,  and,  with  the  aid  of  Gilbert  Roland, 
the  film  is  extremely  popular.  Besides, 
Norma  is  not  only  our  greatest  dramatic 
actress,  but  an  exceedingly  clever  come- 
dienne as  well.  Recall  "Kiki,"  the  fasci- 
nating story  of  a  Parisian  waif  of  the 
streets. 

All  others  who  have  prospective  candi- 
dates please  bring  them  on,  and  let  the 
fans  be  the  judge  of  the  question. 

Helen  Beal. 

Delaware,  Ohio. 

The  Battle  Goes  On. 

Malcolm  H.  Oettinger's  interview  on 
Greta  Garbo  was  all  that  I  knew  it  would 
be.  Why  should  Malcolm  pan  Greta  after 
John  Gilbert  had  lauded  her  to  the  skies? 
Surely,  if  a  sophisticated  matinee  idol 
took  the  trouble  to  praise  her,  and  even 
fall  in  love  with  her,  there  must  be  some- 
thing to  her.     Malcolm,   therefore,  ap- 


proached her  with  a  rosy  eye  shade 
clapped  to  his  brow.  He  couldn't  have 
criticized  her  if  his  life  had  depended  on 
it.  Any  one  can  see  that  Greta  was  no 
different  from  Pola.  Both  posed  and 
melted  from  one  gesture  into  another. 

If  Pola's  "The  Queen  Receives"  atti- 
tude was  insincere  and  failed  to  impress 
the  interviewer,  why  did  Greta's  drowsy 
eyes  and  cigarette-between-slender-fingers 
gesture  impress  him?  Prejudice.  He 
went  to  interview  Pola  prepared  to  dis- 
like her.  He  went  to  Greta  with  Gilbert's 
praises  ringing  in  his  ears,  expecting  to 
like  her.  All  unfair  prejudice.  No  mat- 
ter how  I  try,  I  cannot  respect  Mr.  Oet- 
tinger's opinion;  he  has  shown  himself  up 
so  many  times.  Sister  Clara. 

Hibbing,  Minnesota. 

An  Intelligent  Analysis  of  Valentino. 

Not  even  death  annuls  the  power  of 
that  composite  of  diverse  and  contradic- 
tory characteristics — Rudolph  Valentino. 
In  life,  indifference  was  seldom  his  por- 
tion— people  either  liked  or  disliked  him. 

We  know  he  was  a  delight  to  watch 
on  the  screen,  even  in  a  poor  picture.  We 
took  an  entirely  different  interest  in  pic- 
tures from  the  day  we  first  saw  him ;  we 
saw  each  Valentino  film  not  once,  but  sev- 
eral times;  and  those  shown  since  his 
death  take  precedence  with  us  over  any 
other.  The  picture  itself  grows  weari- 
some, certainly,  but  he  never  does.  Sen- 
timentalists? Not  at  all.  Valentino  had 
a  unique  power  to  attract  and  hold  the  in- 
terest of  people  of  quiet  tastes  and  few 
enthusiasms. 

Naturally,  since  his  death,  it  is  impos- 
sible, somehow,  not  to  resent  unkindness 
shown  toward  the  naive  and  lovable  lit- 
tle boy  who  often  looked  out  of  Valen- 
tino's eyes.  It  was  part  of  his  strangely 
complex  charm  that,  while  he  personified 
romance,  smoldering,  sullen  anger,  even 
cruelty  of  a  sort,  he  could  also  give  les- 
sons in  wistfulness  to  those  to  whom  wist- 
fulness  is  their  only  stock  in  trade. 

His  acting  was  distinguished  by  quiet- 
ness and  restraint,  mingled  with  a  power- 
ful suggestion  of  fire  and  dynamic  force 
underlying  his  calm.  It  is  this,  and  the 
fact  that  he  was  never  hurried  or  abrupt, 
which  gave  his  love-making  such  perfec- 
tion. M.  F.  F. 

Cleveland,  Ohio. 

Greta  Put  on  a  Better  Act. 

In  the  April  issue  of  Picture  Play 
Malcolm  H.  Oettinger  goes  into  raptures 
over  the  great  Garbo,  which  many  will 
consider  an  insult  to  Pola  Negri.  If 
Greta  can  put  herself  over  better  than 
Pola,  why  should  not  the  fellow  be  candid 
and  say  so? 

Norbert  Lusk  reviewed  "The  Patent 
Leather  Kid,"  rating  it  a  good  picture,  and 
I  agree  with  him;  but  he  ridiculed  the 
ending.  The  film  was  shown  at  one  of 
the  leading  theaters  in  my  city,  the  audi- 
ence consisting  of  intelligent  adults,  not 
youngsters ;  and  at  the  close  of  the  pic- 
ture when  Mr.  Barthelmess,  as  the 
wounded  soldier,  struggles  to  his  feet  to 
salute  Old  Glory,  the  audience  applauded 
and  cheered  as  I  have  never  known  them  to 
do  before  in  this  city.         Helen  Noel. 

3554  North  Capitol  Avenue, 
Indianapolis,  Indiana. 

Miss  Vidor  Vindicated. 

I  have  kept  quiet "  when  they  argued 
over  Gilbert  and  Novarro,  panned  the  glo- 


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rious  Pola,  sung  praises  over  the  one  and 
only  Valentino,  raved  over  the  fascinat- 
ing Garbo,  but  when  V.  Keith  Sutton 
dares  attack  the  charmingly  sophisticated 
Florence  Vidor,  then  I  begin  to  bristle ! 
If  that  is  a  sample  of  your  judgment,  Mr. 
Sutton,  never  aspire  to  be  a  movie  critic. 

Do  you  want  to  know  why,  contrary  to 
your  opinion,  people  think  it  natural  for 
Miss  Vidor  to  win  the  hero  from  her 
younger  and,  in  some  cases,  more  beauti- 
ful rivals?  Because  she  possesses  an  elu- 
sive and  very  desirable  quality — womanly 
charm!  Alice  Joyce,  Lillian  Gish,  Irene 
Rich,  Vilma  Banky,  and  Miss  Vidor  are 
among  the  few  who  do  possess  it.  It  is 
something  every  woman  strives  for,  but 
very  few  attain.  In  addition  to  this,  Miss 
Vidor  possesses  an  aristocratic  type  of 
beauty  that  is  very  rare  indeed. 

I  have  been  reading  Picture  Play  for 
three  years  and  I  have  never  read  such  a 
prejudiced  interview  as  the  one  with  Pola 
Negri  by  Malcolm  H.  Oettinger.  Evidently 
Miss  Negri  did  not  care  to  fawn  over 
Mr.  Oettinger  in  the  hope  of  receiving  a 
flattering  write-up.  There  is  a  myth  that 
women  are  catty  and  spiteful,  but  could 
anything  be  more  so  than  the  Negri  inter- 
view, by  a  man  about  a  woman?    E.  H. 

Trenton,  New  Jersey. 

What  Of  It? 

What  if  Mary  Nolan  is  Imogene  Wil- 
son, and  what  if  she  did  get  into  a  mess? 
Does  that  affect  her  screen  work?  She 
may  have  changed  her  name,  but,  under 
the  same  circumstances,  wouldn't  any  one 
else,  in  order  to  make  a  livelihood?  Do 
you,  F.  S.  Thorn,  judge  players  by  their 
acting  or  their  character?  Shirley. 

Texas. 

A  Polite  Disagreement. 

I  disagree  with  Margaret  Reid  in  her 
article  "The  Two-a-day  Racket,"  in  which 
she  said  Francis  X.  Bushman  surprised 
his  fans  by  the  slightly  inferior  quality  of 
his  speaking  voice.  I  saw  him  about  two 
months  ago,  and  his  voice  was  anything 
but  insignificant..  His  sketch,  "The  Code 
of  the  Sea,"  was  very  dramatic,  and  he 
gave  his  role  a  wonderful  interpretation, 
his  voice  playing  no  little  part  in  the  por- 
trayal of  it.  He  made  a  curtain  speech 
in  which  his  voice  was  rich  and  deep 
toned. 

Mae  Murray  made  a  personal  appear- 
ance at  our  local  theater,  too.  She  has 
certainly  kept  her  age,  but  the  artificial- 
ity of  her  smile  and  the  doll-like  blank- 
ness  of  her  face,  together  with  the  af- 
fected manner  in  which  she  spoke,  were 
very  evident.  Margery  Heffron. 

4228  Raymond  Street, 
Seattle,  Washington. 

Why  Forget  Valentino? 

In  a  recent  issue  of  Picture  Play  a 
letter  by  Hope  Barahm  advises  the  fans  to 
stop  raving  over  Rudolph  Valentino.  I  think 
that  Miss  Barahm  is  cold  and  calculating, 
for  I  do  not  think  that  any  one  with  any 
feeling  could  talk  a'bout  a  man  who  has 
been  dead  not  quite  two  years  in  the  tone 
which  she  assumes.  Why  should  we  for- 
get Valentino?  Why  should  he  not  al- 
ways remain  a  blessed  memory  to  us? 

Another  fan  asks,  what  do  you  see  in 
Ramon  Novarro?  I  might  ask  the  same 
question  about  Joseph  Schildkraut.  Per- 
sonally, I  like  him  very  much,  but  why 
criticize  Ramon  merely  because  you  hap- 
pen to  prefer  Joseph?  Every  fan  to  his 
tastes,  you  know. 

Why  doesn't  Paramount  stop  adopting 
"Buddy"  Rogers  and  other  well-meaning 
but  not-very-inspiring  actors,  and  get  Cul- 


len  Landis  back?  He  is  the  best  actor 
that  ever  appeared  in  a  Paramount  pic- 
ture. Who  could  ever  forget  the  "Fight- 
ing Coward"? 

I  want  to  thank  Mary  Howard  Gwynne 
for  her  lovely  and  inspiring  letter  about 
Rudy.  I  am  glad  that  there  is  at  least 
one  American  with  a  feeling  of  reverence 
toward  the  dead ;  so  far,  the  English  seem 
to  have  the  monopoly  on  it.  But,  thanks 
to  Miss  Gwynne,  it  can  be  said  that  all 
Americans  are  not  cold  and  without  emo- 
tions. Eve  J.  Robinson. 

Wilmington,  Delaware. 

LWhy  All  the  Fuming? 

I  want  to  hand  a  large  bouquet  to  all 
my  fellow  fans  who  have  so  nobly  de- 
fended John  Gilbert  and  Greta  Garbo.  If 
a  fan  doesn't  like  a  certain  star,  for 
Heaven's  sake  why  does  he  take  the  trou- 
ble to  see  that  star's  picture  and  then 
make  a  big  fuss  over  it? 

How  any  one  can  say  such  mean  things 
about  that  splendid  artist,  Greta  Garbo, 
is  beyond  my  comprehension.  One  writer 
says  Greta  is  a  "false  alarm,"  and  still 
another  calls  her  an  "eye-rolling"  actress. 
Well,  if  these  things  are  true,  I'll  wager 
both  those  fans  would  give  anything  to  be 
"false  alarms"  or  "eye  rollers"  if  they 
could  draw  the  salary  Greta  rightly  re- 
ceives. 

And  as  for  Gilbert — well,  Jack  doesn't 
really  need  little  me  to  shout  for  him.  He 
is  on  the  very  top,  has  been  for  over  two 
years,  and  will  be  for  several  years  to 
come.  Some  one  said  Gilbert  would  be  a 
"flat  tire"  if  he  weren't  swamped  with 
"necking"  scenes.  If  M.  A.  T.  calls  "The 
Big  Parade"  a  "flat  tire,"  then  that  fan 
just  doesn't  know  what  he  is  talking 
about.  The  only  Gilbert  picture  which 
has  had  more  "necking"  scenes  than  any 
ordinary  photoplay  was  "Flesh  and  the 
Devil,"  and  the  continuity  of  the  picture 
made  such  scenes  necessary. 

Eve  Robinson  says  that  Jack  is  "the 
materialistic  type  and  the  pawing  lover," 
and  that  she  prefers  ''the  spiritual,  whim- 
sical type."  Miss  Robinson  is  a  very  un-~ 
usual  person.  The  truth  of  the  matter  is 
that  in  real  life  nine  tenths  of  the  femi- 
nine sex  admire  the  spiritual  type,  but 
when  it  comes  down  to  brass  tacks  the 
materialistic  lover  and  the  swaggering, 
passionate  hero  is  the  fellow  the  girls  fall 
for. 

I  have  only  bouquets  for  Malcolm  H. 
Oettinger,  Helen  Louise  Walker,  and 
Myrtle  Gebhart.  Their  interviews  are 
among  the  most  fascinating  features  of 
your  splendid  magazine. 

Richard  E.  Passmore. 

Media,  Delaware  County,  Pennsylvania. 

Ask  Us  Another! 

I  don't  understand  why  some  players  of 
excellent  ability,  good  looks,  and  person- 
ality are  overlooked  and  put  into  the  back- 
ground. 

Why  isn't  Ricardo  Cortez  ranking  with 
Gilbert  and  Colman?  He  is  handsome, 
has  personality,  can  act.  Remember  "The 
Sorrows  of  Satan"? 

Why  is  Leslie  Fenton  given  "weak 
brother"  roles?  He  should  be  leading 
man  for  Marion  Davies,  Clara  Bow,  Janet 
Gaynor. 

And,  once  upon  a  time,  I  noticed  and 
liked  a  talented  and  charming  young  man 
named  Pierre  Gendron.  What  has  hap- 
pened to  him? 

I  hope  that  Ricardo  Cortez  will  soon 
be  a  star,  that  Leslie  Fenton  will  be  given 
roles  worthy  of  his  ability,  and  that  Pierre 
Gendron  will  be  rediscovered  and  given 
back  to  the  screen.  Ada  B.  Oates. 

Charleston,  West  Virginia. 


Advertising  Section 


117 


Technique  or  Youth? 

I  wish  to  register  a  protest  against 
"Gloria  Swanson's  Disillusionment."  This 
was  a  very  excellent  article,  and  lives  up 
to  Gloria's  reputation  for  always  being 
frank  and  interesting.  There  is  nothing 
stereotyped  about  Gloria.  You  can  always 
depend  on  her  for  a  thrill,  or  a  jolt,  to 
get  you  out  of  the  old  rut,  whether  on  the 
screen  or  in  print. 

But,  as  I  said  at  the  start,  I  have  a 
complaint.  It  is  at  Miss  Swanson's  state- 
ment that  she  felt  like  "an  old  shoe"  when 
she  saw  Janet  Gaynor  in  "Seventh  Heav- 
en." Now,  I  admired  "Seventh  Heaven" 
very  much,  and  especially  enjoyed  the 
beautiful  acting  of  Janet  and  Charles  Far- 
rell.  But  little  Miss  Gaynor,  talented  as 
she  is,  has  far  to  go  before  she  can  attain 
the  prestige  of  a  Gloria  Swanson.  It  was 
very  generous  and  sporting  of  Miss  Swan- 
son  to  say  such  a  thing,  and  it  serves  as 
one  more  proof  of  her  intriguing  and 
startling  personality. 

As  for  her  not  having  furnished  any- 
thing of  lasting  worth  to  the  screen,  I  can 
only  say  that  the  movies  would  have  been 
very  dull  to  me  many  times  without  Gloria. 

I  agree  with  the  fan  whose  letter  ap- 
peared in  your  columns  not  long  ago — that 
Gloria  Swanson  has  been  the  greatest 
feminine  influence  for  reality  and  true-to- 
life  characterization  in  motion  pictures. 
Selah. 

I  saw  "Sadie  Thompson"  recently,  and 
was  impressed  anew  with  the  technique, 
vitality,  and  the  philosophy  of  this  actress, 
all  combining  to  make  a  perfect  whole. 

And  so  I  say,  let  the  languorous  Garbo 
seduce,  the  flaming  Bow  throw  out  her 
"It,"  Del  Rio  dynamite  the  works,  and 
the  little  Gaynor  ply  her  gentle  art.  But 
— stand  back !  give  me  air !  Vive  La 
Swanson.  _  Oriana  Kimler. 

St.  Louis,  Missouri. 

Wake  Up,  Lion! 

What  has  Ramon  Novarro  done  for  the 
screen  since  "Ben-Hur"?  Only  "The 
Student  Prince"  has  been  noteworthy.  For 
two  years  he  has  been  submerged  in  ordi- 
nary films.  Who  is  to  blame?  Certainly 
not  Ramon. 

He  has  been  treated  most  unjustly — has 
been  given  poor  films  while  other  stars  in 
the  Metro  fold  received  the  gems.  If  they 
have  any  difficulty  in  finding  suitable  ma- 
terial for  Novarro,  why  not  give  him 
Sir  Walter  Scott's  historical  romance 
"Ivanhoe" ? 

If  a  quick  resuscitating  measure  isn't 
taken,  he  will  soon  slide  down  to  eternal 
oblivion.  Gopal  S.  Vadivel. 

Colombo,  Ceylon. 

Again  Novarro  is  Defended. 

So  the  fan  who  wrote  a  letter  in  the 
April  issue  of  Picture  Play  thinks  Ra- 
mon Novarro  is  a  "sugar-coated  pill,"  and 
is  glad  that  her  particular  idol,  John  Gil- 
bert, is  a  "real"  person,  not  merely  a  pub- 
licized personality.  Well,  so  am  I.  I 
have  always  admired  Mr.  Gilbert.  His 
pictures  never  fail  to  have  the  verve  and 
beauty  of  Gilbert  himself. 

But  if  she  will  consider  a  moment,  I 
think  she  will  realize  that  our  Ramon  is 
also  genuine  and  not  a  bit  stereotyped. 
There  are  many  types  in  this  old  world 
of  ours.  Gilbert  is,  and  always  has  been, 
swaggering,  hot-blooded,  impetuous,  brood- 
ing, seeming  to  hold  his  restive  spirit  in 
reserve  only  by  the  greatest  effort. 

On  the  other  hand,  Ramon  is  a  spirit- 
ual type.  He  not  only  claims  to  be,  but 
is  deeply  religious.  He  does  not  create  a 
personality  for  his  reviewers.  He  is  al- 
ways himself — a  tall,  dark,  and  handsome 


youth,  with  the  joy  and  freedom  of  right 
living  shining  from  his  black  eyes. 

Ramon  has  steadfastly — but  with  no 
show — lived  up  to  the  ideals  which  he  has 
taken  for  his  own.  In  all  his  career  not 
one  flaw  can  be  found  in  his  morale.  Of 
what  other  star  can  this  be  said?' 

Thomas  G.  Stockwell. 

43  Summer  Street, 
Montpelier,  Vermont. 

Garbo  Versus  Negri. 

Congratulations  to  Melville  Albert  and 
J.  K.  Hopkins  for  their  letters.  They 
were  honest  and  to  the  point.  Also  some 
lovely  remarks  addressed  to  Malcolm  H. 
Oettinger  to  be  swallowed  like  medicine. 
It  will  certainly  do  him  good,  and  might 
keep  him  from  attempting  to  interview 
another  star  like  Pola,  who  is  so  far 
above  him  in  every  respect. 

Pola  Negri  is  beyond  criticism,  and  her 
private  life  is  nobody's  business.  How  is 
it  that  she  has  survived  all  her  poor  pic- 
tures? Any  one  who  has  read  "Anna 
Karenina"  knows  how  ridiculous  it  was 
to  put  the  blond  Garbo  in  the  role,  in 
"Love."  Pola  Negri  was  the  only  logical 
one  to  play  it. 

A  few  words  about  Jetta  Goudal.  Her 
real  name  is  Henrietta  Goudeket  and  she 
was  born  in  Amsterdam,  Holland.  Most 
people  insist  that  all  Hollanders  wear 
wooden  shoes,  wide  trousers,  and  have 
blond  hair  and  blue  eyes.  This  is  prob- 
ably the  reason  why  she  keeps  her  nation- 
ality a  secret. 

Mejufpouw  Van  Deventer. 

New  York. 

Lest  Old  Acquaintance  Be  Forgot. 

Now  that  all  of  Europe  seems  to  be 
flocking  to  Hollywood  by  boatloads,  and 
most  of  young  American  by  trainloads,  I 
think  it  is  time  for  the  fans  to  rise  in 
defense  of  those  who  have  brought  the 
screen  from  nothing  up  to  the  finest  and 
most  popular  entertainment. 

Will  the  fans  allow  our  many  old  fa- 
vorites, who  have  devoted  their  lives  to 
the  screen,  to  be  put  on  the  shelf,  while 
they  madly  rush  for  the  theaters  showing 
stars  from  across  the  sea? 

Only  a  few  of  the  older  stars  have  been 
able  to  retain  their  positions  among  the 
heights  where  they  belong.  Mary  Pick- 
ford  has  forgotten  more  about  screen  act- 
ing than  some  of  them  will  ever  know. 
To  show  my  appreciation  of  the  many 
hours  of  enjoyment  she  has  given  me,  I 
wouldn't  think  of  missing  one  of  her  pic- 
tures. That  is  the  only  way  I  have  of 
repaying  her  for  the  great  influence  for 
good,  wholesome  entertainment  she  has 
sponsored.  Remember,  I  love  the  screen 
and  those  who  strive  to  improve  it.  Mary 
has  done  this  by  her  very  presence.  Could 
the  same  be  applied  to  Greta  Garbo  or 
Clara  Bow?    I  think  not. 

Comparing  pictures  from  the  standpoint 
of  entertainment,  wasn't  Mary  Pickford's 
"My  Best  Girl"  superior  to  Clara  Bow's 
"It"?  Did  you  like  Greta  Garbo's  "Flesh 
and  the  Devil"  as  well  as  Norma  Tal- 
madge's  "Camille"? 

Let  us  not  pass  by  the  old-timers,  the 
very  backbone  of  the  movie  industry.  Let 
us  give  the  following  a  place  on  the 
screen:  Conway  Tearle,  Priscilla  Dean, 
Bryant  Washburn,  Mary  Miles  Minter, 
Betty  Compson,  Mabel  Norman,  Charles 
Raj',  William  Russell,  Ethel  Clayton, 
Gladys  Hulette,  and  many  others,  and  let 
us  not  desert  the  old-timers  who  are  still 
playing.  J.  E.  Bailey. 

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118 


Advertising  Section 


A  Volume  of  a 
Thousand  Wonders 

The  Marvel 
Cook  Book 

by 

Georgette  MacMillan 


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Information,  Please 

Continued  from  page  111 


Miss  Mabel  Bacon. — I  am  very  grate- 
ful for  your  information — so  specific,  too 
— about  Gerald  Fielding.  Many  fans 
would  envy  you  for  having  been  script  girl 
with  "The  Garden  of  Allah"  picture. 

Helena  B. — I'm  afraid  Yona  Lanslow- 
ska,  who  used  to  dance  in  pictures,  has 
just  passed  out  of  sight,  so  far  as  the  pub- 
lice  is  concerned.  You  say  the  last  time 
you  saw  her  was  with  Harold  Lockwood 
and  May  Allison  in  "Mr.  44."  Of  course 
Lockwood  has  been  dead  for  ten  years 
— and  you  see,  I  should  have  to  be  a  men- 
tal giant  to  keep  track  of  all  the  small- 
part  players  of  as  long  ago  as  ten  years. 

M.  E.  S.- — I  agree  with  you  that  James 
Murray  is  one  of  the  pleasantest  of  our 
new  film  juveniles.  He  was  born  in  New 
York,  February  9,  1901,  and  is,  I  think, 
unmarried.  He  was  formerly  a  doorman 
at  the  Capitol  Theater  on  Broadway,  and 
then  he  took  a  chance  and  went  to  Holly- 
wood. He  was  having  quite  a  struggle 
there,  as  an  extra,  when  King  Vidor  saw 
him  outside  the  Metro-Goldwyn  Studios 
and  said,  "Ah,  there's  my  leading  man  for 
'The  Crowd'!"  A  screen  test  clinched  it. 
Besides  that  film  and  "The  Big  City,"  he 
has  played  in  "In  Old  Kentucky,"  "Love- 
lorn," "Rose-Marie,"  and  his  new  one, 
"Tide  of  Empire."  He  is  under  contract 
to  Metro-Goldwyn. 

Joan  Morgan. — I  am  answering  your 
letter  at  the  soonest  possible  moment,  but 
I  have  a  waiting  list  and  have  to  take  each 
letter  in  its  turn.  You  ask  about  John  de 
Roche,  so  I  am  not  sure  whether  you  mean 
Charles  de  Roche  or  John  Roche.  Charles' 
film  career  was  quite  brief ;  he  may  have 
returned  to  his  native  France.  John  Roche 
is  still  active  on  the  screen.  His  latest 
picture  was  "Uncle  Tom's  Cabin."  Just 
"Hollywood,  California,"  will  reach  him. 
Yes,  two  endings  were  made  for  "Love" ; 
the  original,  unhappy  ending  is  used  in  the 
big  cities,  as  a  rule,  and  the  box-office 
ending  in  smaller  theaters,  where  audi- 
ences seem  to  demand  happy  endings.  I 
believe  each  theater  owner  is  given  his 
choice  of  the  two  versions., 

Clarence  Lonto. — I  can  see  that  you 
like  Western  pictures.  No,  Richard  Tal- 
madge  is  not  related  to  Norma  and  Con- 
stance; he  just  took  their  name  when  he 
dropped  his  own — Metzetti.  No,  he  is  not 
on  the  screen  any  more.  He  had  some  sort 
of  legal  dispute  with  his  producer,  and  I 
suppose  it  has  never  been  settled.  The 
leads  in  "The  Scarlet  West"  were  played 
by  Clara  Bow  and  Johnnie  Walker.  In 
"Sundown,"  by  Bessie  Love  and  Roy 
Stewart.  In  "Speeding  Through,"  by 
Judy  King  and  Creighton  Hale.  Mildred 
Harris  played  opposite  Rod  La  Rocque,  in 
"The  Cruise  of  the  Jasper  B,"  and  Joan 
Meredith  opposite  Bob  Custer,  in  "The 
Fighting  Boob." 

May  McAvoy  Admirer. — So  far  as  I 
know,  May  McAvoy  really  did  the  danc- 
ing she  was  supposed  to  be  doing  in  "The 
Jazz  Singer."  Philippe  de  Lacey  is  eleven 
years  old,  Dolores  Costello  about  twenty- 
three.     Blanche  Sweet  doesn't  give  her  age. 

Lucille  Carlson. — No,  indeed,  I'm  not 
sure  about  Joan  Crawford's  having  brown 
hair.  From  day  to  day,  one  can't  be  sure 
of  any  star's  hair  coloring.  Joan's  used  to 
be  brown,  so  my  answer  to  that  question 
some  months  ago  was  in  all  good  faith. 
But  you  should  see  her  hair  now.  Red  is 
a  mild  description.    I  am  told,  however, 


that  she  dyed  it  for  "Rose-Marie" — since 
red  hair  photographs  much  blacker  and 
glossier  than  black  itself — and  that  she 
is  letting  it  go  back  to  natural,  now.  At 
the  time  of  her  marriage,  Pola  Negri  gave 
her  birthday  on  the  marriage  license,  ac- 
cording to  the  newspapers,  as  December 
30,  1897.  Your  story  may  be  quite  true, 
that  Valentino's  double  said  Rudy  was 
blind  in  one  eye,  though  no  one  knew  it. 
It's  the  first  I'd  heard  of  it,  and  I  had 
several  conversations  with  Rudy,  and  his 
eyes  looked  quite  normal.  Sue  Carol  was 
born  in  1908 — I  don't  know  the  month.  She 
is  about  five  feet  two,  and  brunette.  Greta 
Garbo :  Born,  Stockholm,  in  1906.  Blue- 
eyed  blonde,  height  five  feet  six  Greta 
Nissen :  Born  about  1905 ;  blue-eyed 
blonde.  See  Marion  Elizabeth.  Yes, 
Buddy  Rogers  is  an  only  child. 

Thalia. — Now  that's  what  I  call  quick 
devotion.  You're  devoted  to  Ivan  Petro- 
vitch,  whose  American  screen  career  has 
been  limited,  I  believe,  to  two  Alice  Terry 
pictures  made  in  Europe — -"The  Magician" 
and  "The  Garden  of  Allah."  I  doubt  if 
he  has  ever  been  in  America.  He  was  born 
in  Novi  Sad,  Serbia.  The  only  address  I 
can  suggest  for  him  is  Rex  Ingram  Produc- 
tions, Franco  Film  Studio,  St.  Augustin 
du  Var,  Nice,  France.  I'm  afraid  there 
is  not  enough  demand  for  a  story  about 
William  Farnum. 

George  Hackathorne  Admirer. — You'll 
be  happy  to  know  that  George  is  return- 
ing to  the  screen  in  Universal's  series 
of  underworld  pictures.  George  was  seri- 
ously ill  for  several  years,  but  has  recov- 
ered. 

M.  B. — If  all  handwriting  were  as  easy 
to  read  as  yours  is,  it  would  certainly 
make  my  life's  work  easier!  There  is 
only  one  Dorothy  Gulliver.  As  to  her 
hair  looking  brunet  in  one  "Collegians  ' 
film,  and  blond  in  another,  that  doesn't 
necessarily  mean  that  she  changed  the 
color.  It's  quite  likely  to  be  due  to  a 
difference  in  lighting.  Blond  hair  fre- 
quently photographs  dark  under  certain 
lights.  Greta  Garbo  was  born  in  1906 ; 
Alice  Joyce,  about  1890.  No,  Ruth  and 
Estelle  Taylor  are  not  related.  Harry- 
Myers  appeared  in  "The  Dove,"  released 
last  December ;  I  believe  he  is  now  com- 
edy supervisor  for  Tiffany-Stahl. 

Frankie. — No,  Frankie,  I  don't  mind  if 
fans  "take  up  my  time  with  other  things 
besides  questions."  You  see,  all  questions 
and  no  wise  cracks  would  make  this  a  very 
dull  department.  Norma  Talmadge  says 
she  was  born  in  1897.  She  is  five  feet  two 
and  weighs  one  hundred  and  ten.  Her 
new  picture  is  "The  Woman  Disputed." 
Gloria  Swanson  was  born  March  27,  1899. 
She  is  five  feet  three  and  weighs  one  hun- 
dred and  twelve.  Her  next  picture  is  an- 
nounced, at  this  writing,  as  "La  Paiva." 
Evelyn  Brent  is  twenty-nine,  five  feet 
four,  weight  one  hundred  and  twelve.  She 
will  next  be  seen  with  George  Bancroft 
in  "Swag."  Of  course,  these  titles  are 
always  being  changed  before  the  films  are 
released. 

Carol  Van. — Now,  why  should  I  not 
be  good  natured  about  answering  ques- 
tions? Just  suppose  I  were  mining  coal 
for  a  living,  instead.  How  would  I  like 
that?  How  would  you  like  that?  Barry 
Norton  was  born  in  Buenos  Aires — real 
name  Alfredo  de  Bairben,  Jr.  With  eleven 
other  members  of  an  exclusive  interna- 
tional club,  he  came  to  America  to  see  the 


I 


Advertising  Section 


119 


Dempsey-Firpo  fight,  and  while  he  was 
here  decided  to  see  the  country.  When  he 
reached  Hollywood  he  became  fascinated 
with  movies  and  worked  as  an  extra.  His 
first  real  role  was  in  "The  Lily,"  followed 
bv  "What  Price  Glory,"  "The  Canyon  of 
Light,"  "The  Heart  of  Salome,"  "The 
Wizard,"  "Legion  of  the  Condemned," 
"Four  Devils,"  and  "Fleetwing." 

Dot. — "Yours  till  the  tea  leaves !"  Ha- 
ha  !  And  how  about  when  the  lettuce  leaves 
or  the  cargoes?  Nils  Asther  is  twenty- 
eight  years  old;  Barry  Norton,  about 
twenty-five.  Both  unmarried.  There  was 
a  story  about  Barry  Norton  in  Picture 
Play  for  October,  1926.  See  S.  C.  H. 
Is  love  mostly  an  illusion?  Well,  now, 
I'm  not  a  love  expert,  but  I  should  say 
just  be  careful  whom  you  fall  in  love 
with.    N'est-ce  pas?    Or  what  have  you? 

R.  M.  C.  B. — Your  parents  seem  to  have 
been  rather  generous  with  you  in  the  mat- 
ter of  names !  Don't  you  worry  about 
my  getting  paid  for  answering  questions ; 
Picture  Play  pays  me,  and  this  is  part  of 
the  service  fans  get  in  buying  the  maga- 
zine. All  right,  now  let's  go !  The  rest 
of  the  cast  in  "Stage  Madness"  were : 
Virginia  Bradford,  Tullio  Carmanati, 
Tyler  Brooke,  Lillian  Knight,  and  Bodil 
Rosing.  In  "The  Silent  Accuser,"  Eleanor 
Boardman,  Raymond  McKee,  Earl  Met- 
calfe, Paul  Weigel,  and  Edna  Tichenor. 
No,  Lillian  Rich  is  not  Irene's  sister. 
Lillian  was  born  in  London,  about  1902, 
and  was  on  the  stage  there  before  playing 
in  pictures.  She  has  been  appearing  lately 
in  quickies,  films  made  by  the  small,  in- 


dependent companies — "Woman's  Law," 
"Wanted— A  Coward,"  "The  Web  of 
Fate,"  and,  for  Universal,  "Mile-a-Minute 
Love"  and  "That's  My  Daddy."  H.  B. 
Warner  was  not  in  "The  Temptress."  As 
no  surnames  are  given  in  the  cast,  I'm  not 
sure  just  who  Greta  Garbo's  husband  was; 
probably  Roy  d'Arcy,  or  perhaps  Armand 
Kaliz. 

Lyn. — I'm  sorry,  Lyn,  but  so  far  no 
clubs  have  been  organized  in  honor  of 
Sue  Carol  or  of  Ken  Maynard. 

Pearl  McLaughlin. — Considering  all 
the  fan  interest  in  Paddy  O'Flynn,  it 
seems  too  bad  he  doesn't  get  better  treat- 
ment from  the  movies.  He  was  born  in 
Pittsburgh  and  reared  in  Canada.  He 
doesn't  give  his  age.  He  played  in  the 
serial,  "Scotty  of  the  Scouts."  Most  of 
his  role  in  "Sweet  Rosie  O'Grady"  was 
cut  out,  and  in  "Heroes  of  the  Night"  his 
role  was  entirely  cut.  Otherwise  he  has 
played  only  in  comedies ;  you  can  reach 
him  through  his  secretary,  Ladye  Horton, 
1354  North  Curson  Avenue,  Hollywood. 

Paddy. — Yes,  indeed,  I  get  lots  of  let- 
ters about  Ramon  Novarro.  I  learned 
just  recently  that  his  only  given  name  is 
Ramon.  You  see,  when  he  first  went  into 
pictures  he  was  called  Ramon  Sameniegos, 
and  then  Jose  Ramon,  and  I  understood 
he  was  christened  with  all  three  names. 
Excuse  it,  please !  There  was  a  full-page 
picture  of  Ramon,  in  his  "Student  Prince" 
costume,  in  Picture  Play  for  May,  1927. 
There  have  been  no  interviews  with  him 
recently  in  Picture  Play. 


The  Interviewers'  Waterloo 

Continued  from  page  43 


denials.  When  the  storm  had  sub- 
sided, he  delivered  a  short  lecture  on 
the  beauty  of  following  the  Golden 
Rule,  which,  unfortunately,  he  had 
not  been  doing ;  then  offered  me  a 
drink  of  something.  I  must  say  I 
needed  it !  Later  he  showed  me 
about  his  home,  introduced  me  to  his 
lovely  little  daughter,  and  acted  as 
if  nothing  unusual  had  happened. 
Perhaps  nothing  unusual  had. 

It  goes  without  saying  that  I  was 
thoroughly  cured  of  idolatry.  For  a 
long  time  afterward,  I  could  not  bear 
to  attend  one  of  his  pictures.  Still  I 
can,  in  a  measure,  understand  his 
point  of  view,  and  excuse  his  rude- 
ness. My  article  came  at  a  time 
when  he  was  in  the  throes  of  domes- 
tic and  professional  difficulties.  Ex- 
cessively sensitive,  he  doubtless  was 
stung  to  the  quick  by  what  he  con- 
sidered unjust  censure. 

Home-loving,  exclusive,  and  de- 
votedly parental,  Barthelmess  resents 
published  comment  on  his  personal 
affairs.  In  this  respect  he  has  been 
far  more  fortunate  than  many  of 
the  stars.  It  was  reported  that  his 
fan  mail  doubled  in  volume  when  his 
divorce  was  granted,  but  this  he  em- 
phatically denied. 

"I  wouldn't  do  anything  that 
would  reflect  on  her,"  said  he,  nod- 
ding toward  his  exquisite  offspring, 


who  was  chinning  herself  on  the 
table  beside  him,  "but  I  want  to  live 
my  own  life,  and  die  in  my  own 
bed." 

The  past  year  has  been  a  fortunate 
one  for  him,  and  the  future  looks 
bright  and  fair.  There  is  a  rumor 
that  Paramount  wants  him  for  the 
role  of  Clyde  Griffiths,  in  "An  Amer- 
ican Tragedy."  What  a  marvelous 
opportunity  that  would  be !  And 
how  splendidly  Barthelmess  would 
portray  that  ill-fated  hero !  With 
the  exception  of  Leslie  Fenton,  who 
was  bom  to  play  the  role,  no  one 
could  do  it  as  well  as  Dick.  Still,  let 
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Advertising  Section 


CHELSEA 
HOUSE 

Popular  Copyrights 


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George  Gilbert 
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Paul  Bailey 
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THE  VALLEY  OF  THE  MONQUIS  Arthur  Preston 
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THORNTON  THE  WOLFER  George  Gilbert 

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A  Confidential  Guide  to  Current  Releases 


Continued  from  page  67 


"Mockery" — Metro-Goldwyn.  Lon 
Chaney  in  realistic  film  of  dull-witted 
Russian  peasant  whose  doglike  devo- 
tion to  a  countess  leads  to  his  death 
at  the  hands  of  the  bolsheviks.  Bar- 
bara Bedford  and  Ricardo  Cortez. 

"Mother  Machree" — Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Constance  Howard. 

"On  Your  Toes" — Universal.  Spar- 
kling. Reginald  Denny  as  a  prize 
fighter,  whose  grandmother  thinks  he 
is  an  aesthetic  dancing  teacher.  High 
spot  in  film  when  grandma  pays  him 
an  unexpected  call.  Barbara  Worth 
and  Mary  Carr. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Serenade" — Paramount.  Delightful 
light  comedy  with  Adolphe  Menjou  at 
his  best.  Story  of  a  musician  who,  on 
becoming  famous  as  a  composer,  de- 
serts his  home  only  to  be  deftly 
brought  back  by  his  clever  wife. 
Kathryn  Carver,  Lina  Basquette,  and 
Lawrence  Grant. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohlcr. 

"Silver  Slave,  The" — Warner.  Irene 
Rich  gives  sincere  performance  of 
mother  who  sacrifices  the  man  she 
loves  to  give  her  daughter  wealth. 
When  daughter  encourages  an  adven- 
turer, mother  pretends  to  be  interested 
in  him.  Everything  ends  happily. 
Audrey  Ferris,  Holmes  Herbert/  and 
John  Miljan. 

"Soft  Living"— Fox.  Madge  Bellamy 
skillfully  portrays  a  girl  who  declines 
to  go  in  for  the  heavy  alimony  racket, 
and  what  happens  when  her  husband 
sees  through  her  scheme.  She  comes 
to  her  senses  in  time  for  a  happy  end- 
ing.   John  Mack  Brown. 

"Smart  Set,  The"— Metro-Goldwyn. 
Not  up  to  the  usual  William  Haines 
standard.  Smart  Aleck  polo  player  is 
barred  from  final  game,  only  to  rush 
in  at  crucial  moment  and  thus  save  the 
day,  incidentally  winning  the  girl.  Alice 
Day  and  Jack  Holt. 

"Sorrell  and  Son"— United  Artists. 
Adapted  from  the  novel.  Story  of  the 
devotion  between  a  father  and  son, 
reaching  climax  when  son  gives  father 
death-dealing  drug  to  end  his  suffering. 
H.  B.  Warner,  Anna  Q.  Nilsson  and 
Nils  Asther. 

"Sporting  Goods" — Paramount.  Ex- 
cellent film  with  Richard  Dix  his  best 
as  a  salesman  for  a  sporting-goods 
concern.  Gertrude  Olmsted,  Ford 
Sterling,  and  Myrtle  Stedman. 

"Spring  Fever"  -  -  Metro-Goldwyn. 
Very  amusing  golf-fiend  farce.  Wil- 
liam Haines  delightful  as  young  office 
clerk  who  SLtddenly  finds  himself  hob- 
nobbing with  a  wealthy  country-club 
set,  including  a  rich  heiress — Joan 
Crawford. 


"Tenderloin" — Warner.  Full  of  sus- 
pense spoiled  only  by  the  noisy  Vita- 
phone.  The  love  of  a  girl  for  a  crook 
and  his  reform — but  not  until  he  goes 
to  jail  for  five  years.  All  ends  happily. 
Dolores  Costello  and  Conrad  Nagel. 

"Rose  =  Marie"  — ■  Metro-Goldwyn. 
Flimsy,  though  beautifully  produced, 
yarn  of  an  Indian  maiden  who  loves  a 
man  suspected  of  murder,  marrying 
some  one  else  to  save  him  from  cap- 
ture. Joan  Crawford,  James  Murray, 
and  House  Peters. 

"Texas  Steer,  A"— First  National.. 
Will  Rogers  a  cow-puncher  elected  to 
Congress  as  a  result  of  his  wife's  so- 
cial ambitions.  His  wife  and  daughter 
attempt  to  crash  society  with  disas- 
trous results.  Louise  Fazenda  and  Ann 
Rork. 

"Thirteenth  Juror,  The" — Universal. 
Interesting  yarn  of  an  unscrupulous 
criminal  lawyer  accused  of  murder, 
who  can  save  himself  only  by  com- 
promising the  woman  he  loves.  Fran- 
cis X.  Bushman  is  unique  as  the  law- 
yer and  Anna  Q.  Nilsson  and  Walter 
Pidgeon  capably  assist  him. 

"Spotlight,  The"— Paramount.  Un- 
convincing, slow  picture.  Producer 
trains  an  unknown  girl,  giving  her  a 
Russian  name  and  announcing  her  as 
a  sensation  from  Europe.  Esther  Ral- 
ston, Neil  Hamilton,  and  Nicholas 
Soussanin  are  excellent. 

"Three's  a  Crowd" — First  National. 
Harry  Langdon  is  his  usual  plaintive 
self  in  monotonous  film  of  a  boy  who 
rescues  a  runaway  wife  in  a  snowstorm 
and  develops  a  dumb  devotion  for  her, 
only  to  be  deserted  in  the  end. 

"My  Best  Girl"— United  Artists.  Mary 
Pickford's  latest,  and  one  of  her  best. 
Tale  of  stock  girl  in  the  5-and-10  who 
falls  in  love  with  a  new  clerk — Buddy 

Rogers — without  knowing  he's  the 
owner's  son. 

"Night  Flyer,  The"— Pathe-DeMille. 
Simple,  human  railroad  story  of  1894, 
having  to  do  with  struggles  of  the 
president  of  a  Western  road  to  save 
his  company  from  bankruptcy.  William 
Boyd  and  Jobyna  Ralston. 

"Noose,  The"—First  National.  Thrill- 
ing story  of  Richard  Barthelmess  as  a 
bootlegger  who  commits  murder  to 
save  his  mother's  name,  though  he 
doesn't  know  her.  He  is  acquitted  with 
the  aid  of  his  mother — with  neither  of 
them  declaring  their  relationship. 
Alice  Joyce  is  the  mother. 

"Vanity"  —  Producers  Distributing. 
Leatrice  Joy  in  absurd  film  of  high-hat 
society  girl  who  snubs  a  sailor  and  suf- 
fers for  it  by  being  kidnaped  by  him  on 
the  eve  of  her  marriage.  Charles  Ray 
and  Alan  Hale. 

"Wizard,  The"— Fox.  Unskillful  mys- 
tery film.  A  "professor"  grafts  a  man's 
head  on  body  of  a  chimpanzee,  training 
him  to  kill.  Edmund  Lowe,  a  reporter, 
solves  the  mystery,  with  the  help  of 
beast. 

"13  Washington  Square" — Universal. 
A  story  with  an  original  twist.  The 
outcome  of  the  efforts  of  an  aristo- 
cratic mother  to  save  her  son  from 
marrying  the  girl  of  his  choice.  Jean 
Hersholt,  Alice  Joyce,  and  Zasu  Pitts. 

"Wings" — Paramount.  Spectacular 
picture  of  the  heroism  of  the  aviators 


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Address 


in  the  World  War.  Marred  only  by  a 
weak  story.  "Buddy"  Rogers,  Clara 
Bow,  Richard  Arlen,  and  Jobyna 
Ralston. 

"Uncle  Tom's  Cabin"  — Universal. 
Exciting  screen  version  of  this  old-time 
favorite.  Full  of  thrills,  horrors, 
laughter  and  tears.  Arthur  Edmund  Ca- 
rewe,  Margarita  Fischer  and  George 
Siegmann. 

"Underworld" — Paramount.  Exciting 
melodrama  of  master  crook  who  kills 
for  the  sake  of  his  girl,  is  sentenced 
to  death,  and  makes  a  thrilling  escape 
only  to  find  the  girl  in  love  with  an- 
other. George  Bancroft,  Evelyn  Brent, 
and  Give  Brook. 

"We're  All  Gamblers"— Paramount. 
Thomas  Meighan  in  swift  film  of  prize 
fighter  who,  after  being  incapacitated 
in  an  automobile  accident,  opens  a 
night  club,  with  romantic  results. 

"Abie's  Irish  Rose" — Paramount. 
Good  acting  and  sincere  direction.  No 
emotional  thrills.  Charles  Rogers  is 
good,  as  Abie.  Nancy  Carroll  perfect, 
as  Rosemary,  Jean  Hersholt,  Bernard 
Gorcey,  and  Ida  Kramer. 

"Glorious  Betsy"— Warner.  A  nice 
picture,  tearful,  charming,  lingering. 
Vitaphone  dialogue  unpleasant,  but  Do- 
lores Costello  and  Conrad  Nagel  are 
charming  and  agreeable  in  their  roles. 
John  Miljan  and  Marc  McDermott. 

"Hangman's  House" — Fox.  Common- 
place story,  with  exceptionally  beauti- 
ful atmosphere,  a  tribute  to  the  skill 
and  imagination  of  the  director.  June 
Collyer  is  an  aristocratic  beauty,  but 
not  an  emotional  one.  Larry  Kent, 
Victor  McLaglen,  and  Earle  Foxe. 

"Ramona"— United  Artists.  Another 
beautifully  scenic  picture.  Mild  story. 
Dolores  del  Rio  is  picturesque  in  title 
role.  Warner  Baxter  is  vital  and 
Roland  Drew  proves  languishingly  ro- 
mantic. 

"Kentucky  Courage" — First  National. 
Based  on  "The  Little  Shepherd  of  King- 
dom Come."  Richard  Barthelmess  plays 
Chad  with  surprising  skill.  An  impres- 
sive cast  including  Molly  O'Day,  Claude 
Gillingwater,  and  Doris  Dawson. 

"Big  Noise,  The"— First  National.  _  A 
shrewd  and  unusual  political  satire. 
Fine  performances.  Chester  Conklin, 
Bodil  Rosing,  Alice  White,  Sam  Hardy, 
Ned  Sparks,  and  Jack  Egan. 

"Circus  Rookies" —  Metro-Goldwyn. 
Lively  and  rather  clever.  Will  please 
admirers  of  Karl  Dane  and  George  K. 
Arthur.  Louise  Lorraine  is  good,  and 
Fred  Humes  is  appropriately  terrify- 
ing. 

RECOMMENDED— WITH 

RESERVATIONS. 

"Bringing  Up  Father"  —  Metro- 
Goldwyn.  Rowdy  but  human  slapstick 
comedy,  based  on  the  comic  strip  of 
same  name.  Polly  Moran,  Farrell 
MacDonald,  and  Marie  Dressier. 

"Chinese  Parrot,  The"— Universal.  A 
mystery  picture  without  suspense  and 
very  little  mystery.  Story  of  a  string 
of  evil-cursed  pearls  and  their  many 
travels.  Marian  Nixon,  Edmund  Burns, 
and  Anna  May  Wong. 

"Divine  Woman,  The"— Metro-Gold- 
wyn. Not  so  divine.  Greta  Garbo  mis- 
cast as  an  actress  who  will  not  ac- 
knowledge her  soldier-sweetheart  after 
she  becomes  a  star,  attempts  suicide 


and  is  saved,  of  course,  by  the  hero. 
They  live  happily,  et  cetera.  Lars 
Hanson  is  the  boy  friend. 

"Dress  Parade"  —  Pathe-DeMille. 
William  Boyd  miscast  as  smart-aleck 
cadet  at  West  Point  who  is  taken  down 
a  peg  or  two.  Bessie  Love  is  the  com- 
mandant's daughter. 

"Fast  and  Furious" — Universal.  Typi- 
cal Reginald  Denny  film,  but  not  up  to 
his  usual  mark.  Story  of  a  young  man 
afraid  of  automobiles  who  is  forced 
into  a  race  in  order  to  win  his  girl. 

"Figures  Don't  Lie" — Paramount. 
Trivial,  uninteresting  tale  of  a  stenog- 
rapher, a  go-getter  salesman  who  is 
jealous  of  her  employer,  and  the  em- 
ployer's wife,  who  is  jealous  of  the 
stenog.  Esther  Ralston  and  Richard 
Arlen. 


Addresses  of  Players. 

Richard  Arlen,  Raymond  Hatton,  Pola 
Negri,  Esther  Ralston,  Mary  Brian,  Neil 
Hamilton,  Richard  Dix,  Adolphe  Men.iou, 
Kathryn  Carver,  Wallace  Beery,  Florence 
Vidor,  Clara  Bow,  Chester  Conklin,  Clive 
Brook,  Charles  ("Buddy")  Rogers,  Fred 
Thomson,-  Gary  Cooper,  James  Hall,  Doug- 
las MacLean,  William  Powell,  Bebe  Dan- 
iels, Louise  Brooks,  Noah  Beery,  Emil  Jan- 
nings,  Evelyn  Brent,  Doris  Hill,  Ruth  Taylor, 
Nancy  Carroll,  at  the  Paramount  Studio, 
Hollywood,  California. 

Gwen  Lee,  Ramon  Novarro,  Norma  Shear- 
er, John  Gilbert,  William  Haines,  Lon  Cha- 
ney,  Renee  Adoree,  Marion  Davies,  Lillian 
Gish,  Eleanor  Boardman,  Karl  Dane,  Dorothy 
Sebastian,  Lionel  Barrymore,  Tim  McCoy, 
George  K.  Arthur,  Joan  Crawford,  Ralph 
Forbes,  Buster  Keaton,  Johnny  Mack  Brown, 
Marceline  Day,  at  the  Metro-Goldwyn  Studio, 
Culver  City,  California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 


Constance  Talmadge,  Gilbert  Roland,  Don 
Alvarado,  and  John  Barrymore,  at  the 
United  Artists  Studio,  7100  Santa  Monica 
Boulevard,  Los  Angeles,  California. 

Colleen  Moore,  Jack  Mulhall.  Doris  Ken- 
yon,  Milton  Sills,  Billie  Dove,  Ken  Maynard, 
Richard  Barthelmess,  Dorothy  Mackaill, 
Harry  Langdon,  Mary  Astor,  Larry  Kent, 
Corinne  Griffith,  Donald  Reed,  and  Molly 
O'Day,  at  the  First  National  Studio,  Bur- 
bank,  California. 

Reginald  Denny,  Hoot  Gibson,  Mary  Phil- 
bin,  Laura  La  Plante,  Marian  Nixon,  Art 
Acord,  Barbara  Kent,  Barbara  Worth,  Eth- 
lyn  Claire,  William  Desmond,  Edmund  Cobb, 
|Jack  Daugherty,  George  Lewis,  Raymond 
Keane,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Rod  La  Rocque,  Leatrice 
Joy,  Edmund  Burns,  Vera  Reynolds,  H.  B. 
Warner,  Victor  Varconi,  Elinor  Fair,  Jacque- 
line Logan,  Kenneth  Thomson,  Joseph  Strik- 
er, Joseph  Schildkraut,  Virginia  Bradford, 
and  Lina  Basquette,  Marie  Prevost,  Harrison 
Ford,  Phyllis  Haver,  at  the  Cecil  DeMille 
Studio,  Culver  City,  California.  Also  Julia 
Faye. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Richard  Walling,  Barry  Nor- 
ton, Charles  Farrell,  Madge  Bellamy,  Victor 
McLaglen,  Lois  Moran,  Nick  Stuart,  Virginia 
Valli,  Sally  Phipps,  Farrell  MacDonald, 
Charles  Morton,  Ben  Bard,  Sammy  Cohen, 
Warren  Burke,  Davis  Rollins,  George  Meeker, 
Marjorie  Beebe,  Margaret  Mann,  Nancy 
Drexel,  June  Collyer,  and  Mary  Duncan,  at 
the  Fox  Studio,  Western  Avenue,  Hollywood, 
California. 

Audrey  Ferris,  Dolores  Costello,  Louise  Fa- 
zenda,  Monte  Blue,  May  McAvoy,  Leila  Hy- 
ams,  at  the  Warner  Studios,  Sunset  and 
Bronson,  Los  Angeles,  California. 

Tom  Tyler,  Bob  Steele,  Frankie  Darro, 
Buzz  Barton,  Tom  Mix,  Martha  Sleeper,  at 
the  F.  B.  O.  Studio,  780  Gower  Street,  Holly- 
wood. California. 

Bill  Codv,  Buddy  Roosevelt,  Walter  Miller, 
at  the  Associated  Studios,  Mission  Road, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los  Angeles,  California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 


122 


Advertising  Section 


Who  Else  Wants  to  Reduce 
29  Pounds  in  6  Weeks? 

Melt  Fat  Away  by  New  Oxygen  Method 


Dt.  Emil  Sauer,  Practicing 
New  England  physician,  and 
graduate  of  a  prominent  Ger- 
man university  says: 

"Viaderma  will  take  off  fat 
on  any  part  of  the  body.  Thi3 
Is  brought,  about  by  the  re- 
lease of  oxygen  contained  in 
the  cream,  which  combines 
with  fat,  melting  it  down  so 
that  the  resultant  by-products 
are  thrown  off  by  the  body 
through  the  natural  organs  of 
elimination.  Most  cases  begin 
to  respond  to  the  treatment  in 
four  or  five  days.  Stubborn 
cases  show'  results  in  fifteen 
Or  sixteen  days,  with  very 
rapid  reduction  thereafter. 
"Viaderma  is  safe  and  abso- 
lutely harmless.  Its  principal 
ingredient,  has  a  slight  tonic 
effect  and  cannot  possibly 
produce  any  harmful  results." 


A  prominent  Madison  Avenue 
physician,  who  has  long  spe- 
cialized in  the  use  of  colloids, 
6ays  of  the  chief  fat-reducing 
ingredient  of  Viaderma: 

"It  gives  up  its  loosely  com- 
bined oxygen  readily — to  the 
body  tissues. .From  the  action 
of  this  liberated  oxygen  to 
the  fatty  tissues,  obesity  can 
be  successfully  treated  with- 
out danger  to  the  subject." 


Measurements  Before  and 
After  Using  Viaderma 

"You  can  see  that  I  have  got  re- 
sults. Here  are  my  measurements 
before  and  after  using  Viaderma." 


WAS 

ins. 

Left  Knee  21  M 
Right  Knee21  yi 
Waist         43  H 
Hips  ■  54 
Abdomen  44 


NOW 

ins. 

Left  Knee  17  ,. 
Right  Kneel7  \i 
Waist  41 
Hips  50  "4 

Abdomen   42  H 


"It's  Wonderful" 

"I  am  glad  indeed  that  I  took  the  Via- 
derma treatment  for  reduction.  To  be  fat 
is  both  distasteful  and  ungraceful  and  I 
most  certainly  was  over  weight.  At  the 
end  of  eighteen  applications  I  had  lost  over 
three  inches  waist  measurement  and  more 
than  four  inches  around  hips.  I  notice 
that  after  using  Viaderma  that  the  flesh 
becomes  firmer  and  of  better  texture.  I 
am  going  to-recommend  Viaderma  when- 
ever I  get  a  chance.    It's  wonderful. 

Yours  very  truly,'! 


Reduce  Where  You  Want  to  Reduce — Banish  Double  Chin—' 
Thick  Neck,  Fat  Arms,  Legs,  Ankles— Large  Busts,  Waists  and  Hips 
Quickly,  Safely.  No  Starvation  Diets,  No  Punishing  Exercises, 
No  Dangerous  Drugs.  Results  Positively  Guaranteed  or  You 
Do  Not  Pay  a  Penny. 

Think  of  it!  Without  drugs,  without  starvation  diets,  without 
dangerous  exercises,  but  with  a  new  method,  safe,  harmless,  en- 
dorsed by  physicians  and  scientists,  enthusiastic  users  have  re- 
duced 29  pounds  in  six  weeks.  You,  too,  can  get  amazing  results 
— or  no  cost  to  you. 


Through  a  remarkable  new  scientific  discovery, 
it  is  now  possible  to  reduce  exactly  where  you 
want  to  reduce — easily,  quickly  and  safely. 
Double  chins  that  make  you  look  ten  years 
older  vanish  in  a  few  days'  time.  Large  busts, 
thick  waists,  big  hips,  fat  arms  and  legs  that 
fashion  frowns  on  respond  readily  to  the  new 
treatment. 

In  the  past  thousands  have  done  themselves 
serious  bodily  harm  by  too  strenuous  exercises. 


dangerous  starvation  diets,  weakening  baths 
and  powerful  drugs.  Doctors  everywhere  are 
warning  women  against  these  wrong  methods. 
Today  they  are  entirely  unnecessary.  For  hosts 
of  women,  whose  appearance  was  ruined  by  ex- 
cess fat  on  various  parts  of  the  body,  many  of 
whom  had  given  up  all  hope  of  finding  a  sure 
and  safe  reduction  method,  have  quickly  re- 
gained youthful  slendemess  and  litheness  of 
line  throjigh  the  discovery  of  Viaderma. 


Accidental  Discovery  of  Famous  Chemists 


This  discovery  of  Viaderma  was  purely  acciden- 
tals An  eminent  New  York  doctor,  specializing 
in  skin  diseases,  asked  a  group  of  colloidal 
chemists,  who,  for  years  had  enjoyed  the  high- 
est professional  standing  with  physicians,  and 
whose  products  were  sold  only  to  physicans,  to 
try  to  find  a  remedy  for  chronic  skin  troubles. 
(Colloidal  chemistry  is  one  of  the  latest  devel- 
opments in  chemical  science.) 
After  a  number  of  experiments  these  chemists 
prepared  a  cream  which  would  liberate  oxygen 
freely  when  absorbed  through  the  skin.  And 
then  came  the  amazing  surprise! 


They  discovered  that  whenever  Uie  part'  being 
treated  was  fat,  this  excess  weight  quickly  dis- 
appeared. 

Exhaustive  clinical  tests  were  then  made  to  re- 
duce excess  fat  on  every  part  of  the  body.  Re- 
sults were  obtained  with  a  uniformity  that  was 
amazing.  So  convincing  have  been  these  tests 
that  these  specialists  unhesitatingly  say  that 
there  is  no  question  about  the  power  of  Via- 
derma to  remove  fat.  And  it  is  so  safe  and  harm- 
less that  it  has  received  the  endorsement  and 
approval  of  chemists  and  physicians  of  high 
standing. 


What  It  Is  What  It  Does 

Viaderma  is  a  colloidal,  infiltrating  cream  con-  As  Viaderma  filters  through  the  skin  and  into 

taining  double  oxygen.  It  is  golden  brown  in  the  fat  layers  it  immediately  begins  to  give  off 

color,  and  when  rubbed  on  any  part  of  the  body  §gg«?^fi2*£  e^^»*?*S& 

disappears  at  once,  leaving  a  clean  white  foam.  manner  as  in  exercise.  When  you  exercise  you 

You  don't  have  to  guess— you  see  it  vanish  be-  ^tj,a¥',.deep,  brKiatlif'  a£g?rbing  increased 

,  .     .       ....    u     .  j  oxygen  into  your  blood.    This  oxygen  is  the 

fore  your  very  eyes,  proving  how  it  is  absorbed  means  whereby  the  fat  is  disintegrated.  With 

and  penetrates  right  into  the  fat  layers,  where  Viaderma  you  accomplish  the  same  and  even 

the  oxygen  (like  the  oxygen  in  the  air  you  ^^^g^^™^^ 

breathe)  gradually  melts  away  excess  fat.  wish. 

How  You  May  Try  Viaderma  Without  Risking  a  Single 

Penny 

Just  mail  the  coupon  at  the  right  and  we  will  send  you,  without  any  obligation  on  your  part,  freS 
booklet  on  "How  to  Reduce  Where  You  Want  to  Reduce."  We  will  also  send  you  our  guarantee 
order  blank  telling  how  you  can  order  Viaderma  on  trial  with  the  strongest  and  most  liberal  guar- 
antee you  can  imagine.  You  must  be  satisfied  or  it  does  not  cost  one  penny.  When  you  consider 
that  you  take  not  the  slightest  risk  sending  for  this  booklet  and  full  information  about  Viaderma 
— not  even  a  financial  risk — there  is  no  longer  the  slightest  excuse  for  excess  fat.  There  is  cer- 
tainly no  reason  when  others  stouter  than  yourself  have  easily-gotten  rid  of  their  unsightly  fat  and 
surprised  and  delighted  their  friends  with  youthful  and  attractive  appearance  regained.  Mail  the 
coupon  today. 

What  Women  Say  Who  Have  Used  Viaderma 

You  have  read  what  scientists  and  specialists  say  about  Viaderma.  You  have  seen  howthey.endorse 
and  approve  it.  These  scientific  opinions  prove  that  it  is  sure,  "safe  and  harmless. 
But  more  convincing  than  anything  else  to  most  people  who  want  to  reduce  is  the  actual  expert* 
ence  of  folks  who  had  bought  and  used  Viaderma.  Day  by  day  letters  come  to  us  from  grateful 
men  and  women  telling  of  remarkable  results.  There  is  space  here  to  print  only  a  few.  . 
Read  what  these  people  say.  For  obvious -reasons  we  do-not  give  their  names  in  print;  but  -/ 
these  signed  letters  are  on  file  at  our  office: — ■  f  ( 

•'Remarkable  Reduction"  / 

"I  want  you  to  know  of  how  much  benefit  Viaderma  has  been  to  ✓ 
me.  I  have  used  it  on  my  legs  and  the  reduction  has  been  remark-  » 
able — about  three-quarters  of  an  inch  in  six  weeks'  time.    I  shall  jf 
otrtainly  continue  to  use  it  and  expect  further  results.  Jr. 

Yours  very  truly."  /  Colloidal 

♦'Surprised  at  Results"  jr  Chemists* 

"The  cream  is  quite  remarkable  and  although  I'.ve  only  Deot  128A 

recently  given  it  any  kind  of  a  fair  test,  I  am  surprised  at  „  tu  ohft,  c» 

the  results.    One  inch  off  my  neck  and  that's  going  some.  ^         '  ,  ** 

I  shall  certainly  recommend  Viaderma  whenever  I  can.  ^         INew  York  City* 

"Thanking  you  again  I  am 

Cordially  yours."  Please  send  me,  with. 

O    out   obligation    on  my 
f.     part,    your    free  bookies 
•'Has  Lost  29  Pounds  and  Feels  So  "How    to    Reduce  Where 

Mnrh  Better"  f     You  Want  to  Reduce."  and 

Biucn  oeiar  j,    complete  information  telling  me 

"After  about  six  weeks'  treatment  with  /    how  I  can  get  Viaderma  oa  trial 

Viaderma,  I  feel  that  I  must  let  you  know  ✓     without  any  financial  risk, 

how  wonderfully  it  has  helped  me.   I  have  f 
reduced  from  one  inch  to  two  and  one-half  jr 

inches  over  arms  and  legs,  and  over  two  f     Name-  -   .. 

inches  in  the  heck.    During  this  period  I  jf 

lost  29  pounds  and  feel  ever  so  much  bet-  f  Adttre33 

ter  in  general  health.  Viaderma  is  truly         ✓     rtuureso  -   

the  solution  of  safe  and  sane  fat  reduction.  J 

Very  truly  yours,"       /    City  and  State  


All  the  World 
Loves  a  Good 
Love  Story 

It's  the  most  popular  kind  of  story  there  is. 
The  greatest  novels  of  all  time  are  love  stories. 
Romantic  love  never  loses  its  appeal.  The 
delights  and  heartbreaks,  the  tenderness  and 
bitterness  incidental  to  courtship  and  marriage 
furnish  a  never-failing  fund  of  material  for 
the  writer  of  romantic  fiction. 

That   is  why,   in   selecting  titles    for  the 
Chelsea  House  line  of  books,  it  was  thought 
well  to  include  several  love  stories.    These  books  areitnown  as  the 

CHELSEA  HOUSE  POPULAR  COPYRIGHTS 

They  are  bound  in  cloth  with  gold  stamping,  printed  on  good  paper  from  new,  clear  type, 
and  in  general  appearance  are  the  equal  of  mos,.  books  made  to  sell  at  $2.00.  They  are  all  new 
stories  that  have  neveY  before  appeared  in  book  form,  not  reprints  of  old  editions.  They  are 
sold  for 

75  Cents  a  Copy 

Some  of  the  Love  Stories  in  the  Chelsea  House  Popular  Copyrights  are  described  below 


The  Bayou  Shrine 
By  PERLEY  POORE  SHEEHAN 

The  story  of  a  pure  love  that  rose  above  con- 
ventions. A  romance  that  will  have  a  particu- 
lar appeal  to  the  modern  woman. 


The  Love  Bridge 
By  MARY  IMLAY  TAYLOR 

How  the  destinies  ,of  two  women  and  a  man 
were  vitally  influenced  by  a  bridge  across  a 
Western  canyon.  A  splendid  love  story  of  the 
outdoors. 


The  Awakening  of  Romola 
By  ANNE  O'HAGAN 

Romola  was  thirty-two.  She  had  a  husband 
and  two  children.  But  romance  insisted  on 
coming  into  her  life  again. 


Her  Wedding  Ring 

By  MARC1A  MONTAIGNE 

The  call  of  youth  to  youth  and  a  love  that 
sought  to  override  obstacles  instead  of  finding 
a  way  around  them,  are  the  dominant  themes  of 
this  romance  of  the  younger  generation. 


Quicksands 

By  VICTOR  THORN E 

How  a  girl  reared  in  poverty  staged  a  cam- 
paign to  win  a  wealthy  husband.  A  story 
that  deals  with  many  of  the  vital  problems  of 
modern  life. 


Wanda  of  the  White  Sage 
By  ROY  ULRICH 

Marrying  a  girl  he'd  never  seen  before  and 
taking  her  out  West  was  a  pretty  experience 
for  Dan  Chadwick,  but  it  was  only  the  start 
of  his  romantic  adventures. 


Ask  Your  Bookseller  for  Chelsea  House  Popular  Copyrights 

There  are  also  Detective  and  Mystery  Stories,  Western  Stories,  and  Adventure  Stories — 
all  the  most  popular  types  of  fiction— included  in  the  CHELSEA  HOUSE  POPULAR  COPY- 
RIGHTS.   WRITE  FOR  A  COMPLETE  LIST. 


I 


Complete  Beauty  Outfit,  50c 

Containing  Every  Beauty  Need 

Mail  this  special  offer 
coupon  at  once  to  Edna 
Wallace  Hopper,536Lake 
Shore  Drive,  Chicago — 
enclosing  50c  (stamps 
accepted)  for  liberal  trial 
sizes  of  all  seven  of  these 
beauty  aids,  Miss  Hop- 
per's own  beauty  book, 
also  Free  certificate 
good  for  50c  tube  of 
Quindent  toothpaste. 


oAn  Invitation 

By  Edna  Wallace  Hopper 

You've  heard  of  this  woman  who  has  been  a  stage  beauty 
over  forty  years,  and  of  the  French  beauty  formulas 
that  have  kept  her  beautiful  for  a  lifetime.  But  you  never 
have  had  so  wonderful  an  offer  as  she  makes  you  here. 

This  is  your  golden  opportunity  to  have  your  own 
beauty  box  of  Edna  Wallace  Hopper's  own  beauty 
requisites.  Not  just  a  collection  of  stingy  samples  of 
commercial  cosmetics,  but  liberal  quantities  of  seven 
scientific  aids  to  beauty  culture;  the  self-same  things 
this  famous  beauty  spent  years  in  searching  out;  the 
secrets  once  known  only  in  France. 

Look  at  the  photograph  of  Miss  Hopper — taken  this 
year.  At  a  grandmother's  age,  she  still  looks  like  a 
flapper.  That's  what  the  right  beauty  aids  can  do;  what 
ordinary  tallow  creams  and  crude  clays  and  starchy 
powders  can  never  accomplish.  Try  these  seven  aids, 
in  generous  quantities;  enough  powder  for  six  weeks, 
all  in  decorative  box  suitable  for  travel  or  home  use, 
for  coupon  and  only  50c. 

Full-sized  packages  would  cost  you  over  four  dollars  ! 

THRFF  *  Certificate  for  full  fifty-cent  tube 
•*■  *  of  exquisite  Quindent  toothpaste 

will  be  included,  so  this  week-end  beauty 
case  really  costs  you  nothing  ! 

All  toilet  counters  sell  Miss  Hopper's  Eeauty  Aids 


\\7     i  (  • 


1, 


More  time  to  play 


You  can  always  find  people  to  tell  you  that  the  coun- 
try is  going  to  the  dogs  because  we're  doing  so  much 
playing. 

"When  did  your  grandmother  find  any  time  to  play? 
There  was  a  woman  for  you!" 

No  doubt. 

Just  the  same,  we'd  like  to  have  given  her  a  vacuum 
cleaner,  a  washing  machine,  electric  lights,  running 
hot  water,  a  telephone,  baker's  bread,  delicious 
canned  foods,  an  automobile  and  a  set  of  golf  clubs. 

Can  you  picture  grandfather's  face?  .  .  .  "Gone  to 
the  country  club.  Look  in  the  ice-box." 

Through  advertising,  science  is  giving  us  more  and 
more  time  to  play.  Advertising  is  knocking  minutes 
off  every  phase  of  household  work  from  cooking  to 
shopping,  to  give  us  leisure  hours. 

.  .  .  and  we're  just  using  them  as  grandmother 
would  have  if  she'd  had  the  chance. 

/       /  / 


Read  the  advertising.  It  will  bring  you 
more  time  to  play 


Advertising  Section 


^evn  Movie  jX. 


^JSV       WILLIAM  FOX  presents^ 


TV 


IT'S  coming  your  way!  Another  Fox 
Masterpiece— FAZIL!  A  picture  with  an  enthralling 
story  dramatically  narrated  by  Howard  Hawks. 

East  loves  West  and  West  loves  East..  Greta  Nissen 
and  Charles  Farrell.  See  these  two  daring  lovers, 
who  first  find  themselves  through  the  song  of  a 
Venetian  gondolier  and  then  lose  themselves  in  the 
maze  of  reckless  romance.  Follow  them  through  the 
gay  Western  World — the  mysterious  East.  See  Her 
conquer  over  His  harem.  See  Him  undecided  be- 
tween breaking  Her  heart  and  breaking  His  laws! 
Then  one  of  the  greatest  climaxes  in  moving  picture 
history  —  the  final  scene  beside  a  desert  oasis  — 
where  Greta  Nissen  will  make  you  forget  Cleopatra! 


FAZIL  is  indeed  an  amazing  picture  to  see!  And 
— it  is  also  an  amazing  picture  to  HEAR!  In  FAZIL 
you  will  hear  that  astonishing  movie  miracle — FOX 
MOVIETONE.  It  puts  SOUND  into  movies— real- 
istic,  true-to-life  sovind!  In  FAZIL  you  hear  the  gon- 
dolier sing  his  Venetian  Song  of  Love.  You  hear  the 
voices  of  the  desert.  You  hear  a  full  symphony  or- 
chestra, as  though  you  were  silting  in  a  great  mov- 
ing picture  cathedral  on  Broadway.  Fox  Movietone 
doubles  your  movie  fun.  You  won't  believe  your  own 
ears!  It's  as  true  to  your  ears  as  it  is  to  your  eyes 
—because  the  SOUND,  like  the  scene,  is  PHOTO- 
GRAPHED. Watch  for  Fox  Movietone  in  your  town 
—See  a  Fox  Movietone,  you'll  hear  a  great  show! 


F#X  M®VIET®SK-Tfo  Sound  and  Siant  Sensation 


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Picture  Play 

VolumeXXlX  CONTENTS    FOR   NOVEMBER,    1928  Number  3 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers '  consent. 

What  the  Fans  Think       .       .       .       ....       .       .       .  8 

An  open  forum  conducted  for  and  by  our  readers. 

Standing  Room  Only  .       .       .       .....       .       .  .15 

That's  what  is  predicted  for  Ronald  Colman  and  Lily  Damita,  in  their  first  picture 
together. 

All  That  Is  Mortal  of  Valentino  Lies  in  a 

Borrowed  Tomb  .    .    .       .       .       .       .    A.  L.  Wooldridge       .  16 

A  startling  revelation  that  should  be  a  reproach  to  all  Valentino  fans. 

Mammy's  Boy  Makes  Whoopee  in  Hollywood    Margaret  Reid     .       .  18 

Al  Jolson  has  at  last  found  a  haven  for  his  ever-changing  interests. 

Gasping,  Breathless    .       .       .       .       ....       .       .  .  20 

In  which  some  movie  folk  seem  very  much  upset. 

Three  Young  Gals      .       .       .       .       .       .    Alma  Talley  .       .  .21 

An  interesting  story  about  one  of  the  luckiest  families  in  the  country. 

What's  a  Chap  to  Do?     .       .       .       .       .    William  H.  McKegg    .  23 

James  Hall  has  experienced  both  loneliness  and  too  much  popularity,  and  isn't  sure 
which  evil  he  prefers. 

The  Stroller   Carroll  Graham    .       .  24 

Hollywood  is  an  open  book  to  our  perennial  news-finder,  who  lets  you  in  on  a  bit  o£ 
the  latest  gossip. 

"Good  Shepherd,  What  Fair  Swain  Is  This 

Who  Dances  With  Your  Daughter?"  .26 

Joan  Crawford  and  Edward  Nugent  give  an  exhibition  of  the  very  latest  thing  in 
dance  steps. 

Do  Fan  Dreams  Come  True?    ....    Laura  Ellsworth  Fitch  .  28 

The  story  of  a  fan  who  felt  that  her  disillusionment  opened  the  door  to  a  finer 
happiness. 

Over  the  Teacups      ......    The  Bystander     .       .  30 

Fanny  the  Fan  gives  voice  to  her  ever-constant  observations. 

Little  Sister  or  Lucrezia  Borgia       .       .       .    Malcolm  H.  Oettinger  .  34 

The  author  is  at  his  best  in  this  interview  with  Kathleen  Key. 

Favorites  of  the  Fans       .........  .35 

Full-page  portraits  in  rotogravure  of  eight  popular  players. 

Too  Good  to  Be  Romantic       ....    Alma  Talley  .       .  .43 

That's  what  many  think,  but  Conrad  Nagel  has  something  to  say  on  the  subject. 


Manhattan  Medley  

Entertaining  chat  of  movie  doings  in  the  metropolis. 

The  Saga  of  the  Hobo       .....    Myrtle  Gebhart 

There's  an  interesting  story  behind  the  filming  of  "Beggars  of  Life." 

Her  Strange  Interlude  William  H.  McKegg 

The  producers  are  censured  for  failing  to  appreciate  Greta  Nissen. 

Continued  on  the  Second  Page  Following 


.    Aileen  St.  John-Brenon  44 

49 
51 


Monthly  publication  issued  by  Street  &  Smith"  Corporation.  79-S9  Seventh  Avenue,  New  York  City.  Ormond  G.  Smith,  President;  George  C.  Smith,  Vice 
President  and  Treasurer;  George  C.  Smith,  Jr.,  Vice  President;  Ormond  V.  Gould,  Secretary.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Nen 
York.  Copyright,  1928,  by  Street  &  Smith  Corporation,  Great  Britain.  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,  S2.86.    Foreign,  $3.22. 


YEARLY  SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


ALL   MANUSCRIPTS    MVS!    BE    ADDRESSED    TO    THE  EDITORS 

We  do  not  hold  ourselves  responsible  for  the  return  of  unsolicited  manuscripts. 

]|l!lllllllll!lllllllllllllllllll!llllllllll!l!llllllllllllllllllllllllllll 


Advertising  Section 


T 


EE  a  Paramount  Picture  tonight!  See  the 
most  popular  stars  of  the  day!  See  them  in  these  new  pictures  attuned  to  these 
changing  times,  these  fast-paced  days!  Ask  your  Theatre  Manager  for  the  dates! 


"THE  WEDDIIO  MARCH" 

Directed  by  and  starring  Erich  von  Stroheim, 
with  Fay  Wray  and  ZaSu  Pitts.  Many  of  the 
scenes  are  in  Technicolor. 

'FORftOTTEN  FACES" 

With  Clive  Brook,  Mary  Brian,  William 
Powell,  Baclanova,  Fred  Kohler,  Jack  Luden. 
Victor  Schertzinger  Production. 

"DOCKS  OF  IEW  YORK" 

Starring  the  popular  favorite  George  Bancroft, 
with  Betty  Compson  and  Baclanova.  Josef  von 
Sternberg  Production. 

"THE  WATER  HOLE" 

From  a  story  by  Zane  Grey.  With  Jack  Holt 
and  Nancy  Carroll.  F.  Bichard  Jones  Pro- 
duction. Many  of  the  scenes  in  Technicolor. 

"SAWDUST  PARADISE" 

Starring  Esther  Balston,  the  Blonde  Goddess 
of  the  screen.  With  Hobart  Bosworth  and 
Reed  Howes.  ■  Luther  Reed  Production. 


"THE    FLEET'S    I  W»' 

Starring  Clara  Bow,  the  most  popular  girl 
on  the  screen,  with  James  Hall.  Malcolm  St. 
Clair  Production. 

"BEGGARS  OF  LIFE" 

With  Wallace  Beery,  Louise  Brooks,  Richard 
Arlen.  William  Wellman  Production,  from 
Jim  Tully's  saga  of  Hobohemia. 

"THE    n  A  T  I  \  U    CAE  E" 

By  Rex  Beach.  Starring  Thomas  Meighan,  with 
Evelyn  Brent  and  Renee  Adoree.  Directed  by 
James  Cruze.  Produced  by  Caddo  Co. 

"THE   FIRST  KISS" 

Starring  Paramount's  Glorious  Young  Lovers, 
Fay  Wray  and  Gary  Cooper.  With  Lane 
Chandler.  Rowland  V.  Lee  Production. 

"JUST  MARRIED" 

From  a  story  by  Anne  Nichols,  author  of 
"Abie's  Irish  Rose."  Co-starring  Ruth  Taylor 
and  James  Hall.  Frank  Strayer  Production. 


EAR! 


See  and  hear  a  Paramount  Picture  tonight!  In  theatres  equipped  to  show 
"sound"  pictures  Paramount  now  presents  the  first  quality  "sound"  pro- 
gram. Paramount  Features,  Paramount  News,  Paramount-Christie  Comedies. 
Stage  Shows  on  the  Screen — all  in  sound,  all  Paramount!  Watch  the  news- 
papers for  theatre  announcements  of  Paramount  Pictures  in  sound.  Silent 
or  with  sound— "if  it's  a  Paramount  Picture  it's  the  best  show  in  town!" 

^^^^^^  TKADE^,j(Jnhf  ^MARK 


PRODUCED  BY  PARAMOUNT  FAMOUS  LASKY  CORPORATION, 


ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDG.,  NEW  YORK 


miiiiiiiiiiiiiiiiiiiiiiiiii  ii  iiiii  iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim      Contents  Con/muec/ lll,,lllllll,llllin 


It's  the  Breaks  That  Make  'Em       .       .       .    Houston  Branch  .  .52 

Hollywood  is  saturated  with  talent,  but  it  takes  a  break  to  give  it  a  chance. 

He  Doesn't  Look  Like  an  Actor      .       .       .    Myrtle  Gebhart    .       .  55 

Roben  Armstrong  is  found  to  be  a  "regular  fellow." 

A  Girl  Comes  to  Hollywood     ....    Alice  M.  Williamson  .  57 

A  generous  installment  toward  the  solution  of  this  fascinating  mystery. 

The  Stepson  of  the  Movies  61 

In  which  PICTURE  PLAY  accedes  to  the  request  of  the  Paddy  O'Flynn  fans. 

Hollywood  High  Lights  .       .       .       .    Edwin  and  Elza  Schallert  62 

Amusing  and  timely  news  of  the  movie  colony. 

The  Fleet  Must  Be  In!     .       .       .      '.'      ...       .       .       .  .66 

The  tendency  toward  marine  pictures  seems  on  the  increase. 

The  Screen  in  Review       .       .       ...     .    Norbert  Lusk       .       .  68 

The  fans  are  given  the  low-down  on  the  pictures  of  the  month. 

A  Confidential  Guide  to  Current  Releases      ...       .       .       .  .72 

Timely  tips  on  pictures  now  being  shown. 

An  Interview  Enters  His  Life  .  .  .       .    William  H.  McKegg    .  73 

William  Bakewell  gives  his  first  "message"  to  his  beloved  public. 

Eleanor— As  She  Is   .  :  .       .       .       .    Margaret  Reid      .  .74 

A  literary  portrait  of  Eleanor  Boardman. 

"Katsudoshashin"        .       .       .       .       .       .    Kimpei  Sheba       .  .83 

An  interesting  article  about  the  movies  in  Japan. 

The  High  Cost  of  Popularity  ....    Caroline   Bell       .       .  86 

Wherein  Richard  Dix  has  something  pertinent  to  say  about  the  things  stars  are 
asked  to  do. 

Stars  at  Auction       .       .       .       .       .       .    Ann  Sylvester      .       .  89 

A  story  about  the  manner  in  which  stars  are  sold  and  traded  in  Hollywood. 

Information,  Please    ......    The  Picture  Oracle      .  102 

Answers  to  readers'  questions. 


IS  LOVE  DYING  ON  THE  SCREEN? 


KKSXM 


IT  seems  to  be.  Just  hark  back  to  "Beau  Geste,"  "The  Way  of 
All  Flesh,"  and  "Sorrell  and  Son,"  and  then  consider  "The 
Racket,"  "A  Girl  in  Every  Port,"  and  "The  Barker."  In  them  all 
love,  as  we  have  come  to  know  it  on  the  screen,  was  subordinated 
to  paternal,  filial  or  fraternal  devotion.  In  some  instances  the  love 
of  man  and  maid  was  entirely  missing.  Why?  Does  modern  life 
smile  at  the  "mushy"  love-making  which  is  still  seen  on  the  screen, 
because  it  is  so  far  removed  from  reality  that  it  is  ridiculous?  Did 
the  absence  of  this  sort  of  amorousness  from  the  above-mentioned 
pictures  increase  their  appeal,  or  "was  it  just  novelty  that  made  them 
successful? 

This  interesting,  unusual  topic  will  be  discussed  by  Edwin 
Schallert  in  December  PICTURE  PLAY,  with  his  customary  au- 
thority and  thoroughness.  Unless  we  are  mistaken,  the  fans  will 
take  pen  in  hand  and  contribute  some  vehement  letters  in  an- 
swer to  it. 

NILS  ASTHER,  FAY  WRAY,  GRETA  GARBO,  RICHARD 
ARLEN,  AND  MADGE  BELLAMY 

Star  interviews  will  abound  in  next  month's  PICTURE  PLAY, 
even  more  so  than  usual,  and  it  is  an  exacting  fan  indeed  who  will 
not  find  at  least  one  of  his  favorites  represented.  Nils  Asther,  whose 
fans  have  besought  and  besieged  us  for  news  of  him,  will  be  the  star 
chosen  by  Myrtle  Gebhart  for  one  of  her  most  heart-searching  inter- 
views. And  if  you  don't  vote  Margaret  Reid's  pen  portrait  of  Greta 
Garbo  the  best  you  have  ever  read,  then  PICTURE  PLAY  will 
admit  that  Mary  Ann  Jackson  will  be  the  siren  of  to-morrow.  Next 
month's  letters  in  "What  the  Fans  Think"  will  also  be  unusually 
entertaining  and  diversified,  and  we  shall  make  every  effort  to  pub- 
lish more  than  the  usual  number  to  satisfy  the  demand.  With  the 
beginning  of  winter,  PICTURE  PLAY  offers  itself  as  the  ideal 
guide,  philosopher  and  friend  to  those  who  enjoy  their  movies  intel- 
ligently, and  who  regard  the  stars  with  affection  and  gratitude. 


tllllll!  Illllllllllllllllllllllllllllllllllllllllllllllllllllllll  Illllllllllllllllllllllll  lllll!lllllllll!!llllllll!lllllll]!!llilll!l!lllllll!ll!U   :<i|illll!llllllllllllllll!!lllll  Illlll  UUIIHMI  Mill 


Advertising  Section 


These  photographs  show  Miss  Peggy  Sidway,  before  the  Marvelous  Marcel 
Molds  were  adjusted  to  her  perfectly  straight  long  hair.  .  .  .  Mme.  Sylva's 
molds— easily  and  comfortably  adjusted  to  Miss  Sldway's  brunette'  tresses. 

When  the  molds  came  out  of  the  hair,  she  exclaimed  with  delight,  "That's 
the  loveliest  wave  I  ever  had.  From  now  on,  I'm  going  to  use  these  molds 
myself.  You  can't  imagine  the  time  and  money  we  models  must  expend  on 
our  hair,  for  we  must  always  look  well." 


Here  is  a  manufacturer  with 
such  pride  in  his  product — 
such  confidence  in  its  excel- 
lence— that  in  photographing 
a  demonstration  of  this  prod- 
uct for  publication,  he  in- 
vited these  representatives  of 
great  papers  to  be  present, 
that  readers  may  be  assured 
of  complete  truthfulness  and 
entire  sincerity  in  every  phase 
of  this  advertisement.  Such 
is  the  straightforward,  clean- 
cut  policy  of  ARCADY 
HOUSE. 


Marvelous  Nev?  Marcel  Molds 
Make  Any  Hair  Gloriously  Wavty 


In  20  Minutes — At  Home — Your  hair  will  look  just  wonderful! 

Beauty  Specialist  Discovers  Secret  of  Successful 
Home  Marcelling 


And  now  the  Beauty  Parlor  brought 
to  your  own  room ! 

No  more  expensive  treatments. 

No  more  "appointments,"  delays,  dis- 
appointments. 

No  more  tedious  "processes"  —  no 
more  danger  from  hot  irons. 

For  here  Science  combines  with  the  Art  of 
the  Professional  Beauty  Specialist  to  give 
you  what  every  feminine  heart  and  head  has 
longed  for — the  perfect  waver. 

So  simple  a  girl  of  ten  can  use  it  with 
perfect  results. 

So  speedy  that  20  minutes  span  the  gap 
between  straggly,  unkempt  hair  and  the  glo- 
rious waves  of  your  favorite  style. 

So  sure  that  you  can  hold  any  wave  you 
have,  or  reproduce  it  perfectly,  or  create 
something  wholly  new. 

In  your  own  room — without  work  of  prep- 
aration— without  electricity  or  hot  irons — 
free  from  danger  of  drying  out  or  searing 
your  hair. 

There  has  never  been  a  waver  like  this 
before.  Never  anything  so  simple  and  effect- 
ive. It  is  the  scientific  result  of  long,  intel- 
ligent and  ingenious  invention  on  the  part 
of  an  American  Beauty  Specialist  of  high  re- 
pute and  established  success. 

The  great  difference  between  this  and 
all  other  wavers. 

This  waver  slips  into  the  hair  as  easily 
as  you  pass  your  fingers  through.  But  it 
does  something  no  other  waver  ever  does : 
it  locks  in!  By  a  simple  clip,  it  holds  in 
place — stays  where  you  put  it — and  locks  the 
ivave  in,  MOLDING  every  contour  firmly, 
gracefully,  lastingly. 

It  makes  a  soft,  undulating  wave  that  lasts 
from  one  shampoo  to  another. 

If  you  see  your  wave  becoming  faint  and 
loose,  all  you  have  to  do  is  slip  these  mar- 
velous molds  into  your  hair,  lock  them  in 
place  over  the  wave,  remove  them  in  20  min- 
utes, and,  lo !  there's  your  fresh  new  wave 
again ! 


Can  such  good  news  for  womankind  be 
true  ?  We  refer  you  to  every  woman  who 
has  so  far  had  the  opportunity  to  try  out, 
test  and  use  this  marvelous  new  device.  Read 
what  just  one  of  them  says  : 

I  think  the  Marcel  Molds  are  wonderful.  My 
girl  friends  could  hardly  believe  I  had  done  it 
all  myself,  yet  it  is  true  that  I  got  a  delightful, 
soft  marcel  wave  in  so  short  a  time  it  surprised 
me.  Will  you  please  send  another  set  for  my 
chum?  (Signed)       B.  M.  T. 

The  Art  of  Beauty,  the  Sureness  of 
Science,  Create  this  Marvelous 
New  Molder. 

One  of  America's  finest  Beauty  Specialists 
brought  this  waver  to  us.  It  is  the  result  of 
her  work  and  hopes  and  dreams  over  many 
years  of  professional  hair  dressing,  plus  the 
skill  and  science  we  placed  at  her  command 
with  our  expert  manufacturing  facilities. 

Margaret  Beynon  Sylva,  of  Illinois,  in  her 
17  years  of  Beauty  Parlor  proprietorship, 
with  women's  hair  as  her  personal  specialty, 
learned  all  the  longing  that  women  have  for 
a  successful  home  marceller.  She  knew  as 
keenly  as  you  do  the  expense,  the  trials,  the 
disappointments — the  dangers,  even — of  the 
beauty  parlor  method,  with  its  rush,  its  new 
help,  its  hot  irons. 

Mine.  Sylva  helped  to  make  many  other 
wavers  before  this  final  success  arrived. 
They  slipped  out  of  hair.  They  were  hard 
to  set  in — "tricky."  She  found  at  last  the 
touchstone  of  triumph  : 

"Make  It  SIMPLE !" 

And  with  that  great  idea  she  came  to  us. 
We  worked  it  out.  But  not  so  swiftly  or 
easily  as  these  words  imply.  It  took  months 
of  the  costly  time  of  precision  experts  to 
fashion  into  these  few  strands  of  metal  that 
priceless  ingredient  of  simplicity.  When  you 
first  hold  these  molders  in  your  hand,  you, 
seeing  nothing  but  some  simple  frames,  may 
wonder  what  there  was  so  difficult  to  make. 
But  when  you  remove  them  from  your  hair 
and  see  the  glorious  results  so  easily  achieved 
for  you,  you  will  know  and  say,  with  us, 
they  are  worth  a  hundred  times  the  money! 


Priced  Far  Below  Real  Value— at  only 

$2.97  per  set— complete 

You  have  the  opportunity  to  obtain  and  possess  a 
set  of  these  marvelous  new  molders  at  ANNOUNCE- 
MENT cost. 

We  want  to  celebrate  with  the  women  of  America 
this  genuine  advance  in  the  home  dressing  of  "woman's 
crowning  glory."  We  want  you  to  have  a  set  of  these 
perfect  marcellers.  So  we  set  the  price  at  a  nominal 
figure — less  than  the  average  cost  of  a  single  visit  to 
the  Beauty  Parlor. 

And  for  it,  you  get  a  Beauty  Parlor  of  your  own, 
so  far  as  hair  waving  is  concerned,   to  be  yours  for- 
ever.    Because   these   marvelous   molders   will   last   for  ■ 
hundreds — yes,  we  know  by  tests,  for  thousands  of  leaves. 

Send  No  Money— Just  Mail  the  Coupon 
Trial  Certificate— Liberal  Offer- 
Money  Back  Guarantee 

Give  these  marvelous  molders  a  thorough  and  complete 
trial  when  you  get  your  set.  Then,  if  for  any  reason  you 
can  bring  yourself  to  part  with  them,  and  admit  that  you 
can  not  get  a  perfect  result,  you  will  have  your  money 
returned  promptly.  So  far,  we  haven't  found  anyone  who 
doesn't  enthuse  after  20  minutes'  use.  Remember,  a  girl 
of  ten  saw  immediately  how  to  use  her  set,  put  them  in 
her  hair,  and  got  a  beautiful  marcel  in  20  minutes. 
Surely  you  can  do  the  same. 

You  need  not  risk  a  penny.  Just  sign  and  mail  the 
coupon  Trial  Certificate.  Note  that  our  announcement 
cost  is  only  $2.97.  We  can  not  afford  to  carry  a  book- 
keeping charge  at  this  figure,  so  we  ask  you  to  deposit 
with  the  postman  the  sum  of  $2.97,  plus  a  few  cents' 
postage,  when  he  brings  your  set.  Order  now,  so  we  can 
serve  you  immediately  out  of  our  yet  limited  production. 
Get  yours  now  and  be  first  to  astonish  your  friends  with 
the  glorious,  enviable  waves  these  molders  fashion.  Fill 
in  and  mail  the  Coupon  Trial  Certificate  this  minute. 

ARCADY  HOUSE 
7  W.  Austin  Ave.  Chicago,  111. 

:  COUPON  .  -_ 


TRIAL  CERTIFICATE 


P.  P.  43 


ARCADY  HOUSE 
7  W.  Austin  Ave.,  Chicago,  III. 

Gentlemen:  I  want  a  set  of  your  marvelous 
molders.  I  agree  to  deposit  $2.97  (plus  postage) 
with  the  postman  when  he  makes  delivery.  If 
results  are  not  to  my  entire  satisfaction,  I  will 
return  the  marvelous  molders  within  five  days 
and  you  are  to  refund  the  purchase  price. 


Name 


Address   

NOTE — If  you  expect  to  be  out  when  the  post- 
man comes,  enclose  $3.15  with  your  order  and 
the  marvelous  molders  outfit  will  be  sent  post- 
paid. 


8 


Wkat  tke  Fans  Think 


Is  Talent  Ignored  for  Youth? 

THE  Strange  Case  of  Conway  Tearle"  moves  me 
to  take  my  typewriter  in  hand  and  give  ex- 
pression to  a  conviction  that  has  been  growing 
in  my  mind  for  some  time — that  genuine  acting  ability 
in  moving  pictures  is  being  consistently  sacrificed  to 
youth,  beauty,  and  publicity.  So  many  of  the  real  actors 
and  actresses  of  yesterday  are  missing  from  present  casts, 
that  our  pictures  are  taking  on  the  air  of  amateur  per- 
formances. Lately  I  have  seen  at  least  three  pictures 
reduced  to  mediocrity  by  the  acting  of  "baby  stars" 
who  should  still  be  doing  bits.  In  each  case  the  real 
star — an  actor  of  well-established  prominence — suffered 
by  being  cast  with  a  beginner,  whose  only  claim  to  at- 
tention was  the  ability  to  pose  in  studied  fashion,  indulge 
in  self-conscious  mannerisms  and  express  emotion  by 
a  series  of  grimaces.  In  many  instances,  capable  actors 
and  actresses  are  being  used  simply  as  props  to  maintain 
youth  in  the  spotlight.  This  gives  an  unbalanced  picture 
that  is  anything  but  pleasing.  The  audience,  not  know- 
ing just  why  the  story  is  not  more  appealing,  goes  away 
with  a  feeling  of  dissatisfaction. 

We  have  a  few — a  very  few — really  clever  and  capable 
young  actors  and  actresses,  who  seem  to  possess  the 
natural  aptitude,  understanding  and  poise  that  con- 
tributes to  a  smooth  performance.  There  is  Janet 
Gaynor,  for  instance,  whose  delineation  of  character  is 
equal  to  that  of  an  experienced  trouper.  With  the  added 
charm  of  youth  and  beauty,  she  is  irresistible.  Witness 
the  success  of  her  pictures !  Esther  Ralston,  a  come- 
dienne of  unsurpassed  charm,  is  a  popular  favorite. 
Mary  Brian  and1  Betty  Bronson  are  dependably  good 
actresses,  and  of  course  Greta  Garbo  draws  an  audience 
like  a  pop-corn  stand  at  a  Sunday-school  picnic.  The 
rest  of  the  Mollys,  Sallys,  and  Nancys — in  my  opinion 
— are  washouts. 

Among  the  newer  male  stars  are  several  whose  rise 
to  stardom  seems  based  upon  merit.  Others  are  appar- 
ently shoved  into  the  spotlight  to  fill  places  left  vacant 
by  such  actors  as  Conway  Tearle,  Jack  Holt,  Eugene 
O'Brien,  and  others.  They  are  pretty  good  collar  ads, 
but  it  requires  the  assistance  of  actors  and  actresses  of 
long  experience  and  considerable  popularity  to  put  them 
across. 

Poor  stories  are  undoubtedly  a  detriment  to  moving 
pictures,  but  crude  acting — which  is  increasingly  preva- 
lent— is  even  more  certain  to  cool  the  enthusiasm  of 


audiences.  Youth  and  beauty  have  a  potent  appeal,  but 
why  not  let  these  youngsters  grow  into  stardom  as  the 
result  of  actual  experience,  rather  than  to  shove  them 
forward,  bolstered  up  with  a  publicity  campaign — only  to 
fail  in  the  actual  test  of  ability? 

Mary  Randall. 

3029  Humboldt  Ave.  S., 
Minneapolis,  Minnesota. 

Talking  Down  the  Talkies. 

I  am  not  a  fan,  if  raving  over  screen  personalities 
comprises  the  term,  but  I  am  deeply  interested  in  all 
which  pertains  to  the  cinema,  and  now  have  a  keen 
curiosity  concerning  the  verdict  of  the  fan  public  with 
reference  to  the  Vitaphone. 

Some  years  ago  I  was  connected  with  a  scenario  de- 
partment, and  later  was  a  writer  under  one  of  the  most 
prominent  directors.  The  new,  illusive,  and  so  richly 
promising  technique  of  the  cinema  was  drilled  into  every 
fiber  of  my  being,  and  it  has  been  with  great  satisfaction 
that  I  have  noted  the  increasingly  high  quality  in  pro- 
duction, action,  et  cetera.  Finally,  it  seemed  to  me,  the 
cinema  was  coming  into  its  own,  was  developing  fine 
traditions  and  a  technical  and  dramatic  standard  very 
nearly  on  a  par  with  the  best  of  the  stage,  its  rival,  and 
yet  not  paralleling  that  form  of  entertainment. 

After  three  years  in  Italy,  I' looked  forward  to  a  real 
motion-picture  .fest  on  my  return  to  New  York.  But 
what  did  I  find  ?  The  Movietone — the  Vitaphone,  with 
the  production  companies  and  the  actors  in  a  state  of 
feverish  excitement  and  fear,  and  with  a  complete  change 
contemplated  concerning  all  which  we  have  associated 
with  motion  pictures  and  grown  to  love.  It  would 
appear  that  the  producers,  recognizing  the  rivalry  of  the 
theater,  think  to  conquer  by  imitating  the  stage.  The 
weakness  of  the  cinema  has  always  been  centered  in  this 
absolute  lack  of  creative  initiative,  and  its  greatest  weak- 
ness has  been  that  it  has  failed  to  develop  creative  writers 
on  a  par  with  the  creative  actors  who  have  learned  all 
they  know1  of  acting  through  the  technique  of  tlie  cinema. 
For  example,  Charlie  Chaplin,  Jack  Gilbert,  Janet 
Gaynor,  to  select  different  types.  Now  their  imitative 
act  is  so  gross  as  to  be  comic,  if  the  final  accounting  did 
not  promise  to  be  so  devastating.  These  stupid,  fearful 
producers  do  not  seem  to  realize  how  far  they  have 
progressed  nor  the  whys  and  wherefores  of  their  achieve- 

Continued  on  page  12 


Advertising  Section 


9 


<4 


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10 


Advertising  Section 


Cecil  B.W 

7  De  Milk's 


at  Popular 


/^ECIL  B.  DeMILLE'S  masterpiece,  "The  King 
V-^  of  Kings,"  will  be  exhibited  simultaneously, 
beginning  the  week  of  October  1st,  in  an  extensive 
list  of  popular  motion  picture  theatres. 

Sixteen  stars  of  first  brilliance  in  the  cast,  five 
thousand  characters,  backgrounds  of  majestic 
beauty  and  pageantry  and  the  most  soul-stirring 
story  of  all  time.  In  sheer  drama  and  pictorial 
magnificence,  it  will  hold  you  spellbound. 

As  an  attraction  playing  in  theatres  usually  de- 
voted to  the  legitimate  drama,  "The  King  of 
Kings,"  showing  at  advanced  prices  during  the 
past  year,  established  box-office  records  and  was 
called  back  two  and  even  three  times  for  repeat 
engagements. 

Now  Pathe  releases  it  to  all  picture  theatres.  The 
entire  family  should  see  it.  It  provides  gripping 
entertainment  for  all  ages,  all  creeds,  all  classes. 
The  experience  of  seeing  this  immortal,  emotional 
drama  will  leave  a  cherished  memory. 


Among  the  thousands  of  theatres  which  will 
seasonf  these  beautiful  houses  will  show  it 


ARKANSAS 

HotSpiings  Royal&.Spa 
Fort  Smith  Palace 
Fayetteville  Palace 
El  Dorado  Mission 
CALIFORNIA 
Los  Angeles  Criterion 
Long  Beach  State 
Santa  Barbara 

California 
Sacramento  Alhambra 
Fittsburg  California 
COLORADO 
Denver  State 
Pueblo  Majestic 
Greeley  New  Tenth  St. 
Steiling  Rialtc 
Montrose  Dreamland 
Delta  Colonial 
CONNECTICUT 
Hartford  Allyn 
Norwalk 

Regent  &  Palace 
Waterbury  Strand 
New  Britain  Strand 
Middletown  Capitol 
Danbury  Empress 
Ansonia  Capitol 
Willimantic  Gem 
ILLINOIS 
Springfield 
Champaign 
Danville 
DeKalb 
Kewanee 
Lincoln 
Belvidere 
Princeton 
Morris 
Watseka 
Hillsboro 
Pana 
Paris 

INDIANA 

South  Bend 
Fort  Wayne 
Evansville 
Terre  Haute 
Elkhart 
La  Porte 


Indiana 
Conley 
De  Luxe 
Indiana 
Temple 

Pastime 
Cecil 
Rivoli 
Beardsley 
Empress 
Grand 

Cosy 
Tackett 
Regent 
Strand 
Whiteway 


Lyric 
Orpheum 
Terrace 
DeKalb 
Rialto 
Lincoln 
Apollo 
Apollo 
Royal 
Star 
Grand 
Palace 
Paris 

Granada 
Jefferson 
Coliseum 
Indiana 
Orpheum 
La  Porte 


INDIANA 

Bloomington 
Frankfort 
Hammond 
Kokomo 
Mishawaka 
IOWA 
Iowa  City 
Mason  City 
Oskaloosa 
Red  Oak 
Shenandoah 
Decorah 

KANSAS 

Topeka 
Coffevville 
Winfield 
Emporia 
Concordia 

Leavenworth  Strand 
Dodge  City  Crown 
Newton  Regent 

KENTUCKY 

Louisville 

Mary  Anderson 
Lexington  Strand 
Henderson  Grand 
MAINE 

Augusta  Opera  House 
Lewiston  Empire 
Brunswick 

Cumberland 
Rumford  Strand 

MARYLAND 

Baltimore  Rivoli 
Annapolis 

Circle  Playhouse 
Federalsburg  Temple 
Salisbury  Opera  House 

MASSACHUSETTS 

Lawrence  Empire 
Lowell  Strand 
Brockton  Colonial 
Haverhill  Academy 
New  Bedford  State 
Salem  Plaza 
Fitchburg  Shea's 
Greenfield  Lawler 
Maiden  Strand 


MASSACHUSETTS 

Milford  State 

MICHIGAN 

Detroit  State 
Grand  Rapids  Regent 
Battle  Creek  Pose 
Lansing  Capitol 
Kalamazoo  Capitol 
Saginaw  Franklin 
Bay  City  Orpheum 
Flint  Regent 
Jackson  Rex 
Ann  Arbor  Wuerth 
Port  Huron  Desmond 
Pontiac  _  Oakland 
Ypsilanti 

MarthaWashington 


Alligan 
Albion 
Ironwood 
Calumet 
Hancock 


Regent 
Censor 
Rex 
Calumet 
Kerredge 


MISSOURI 

St.  Louis 

New  Grand  Central 
Kansas  City  Globe 
Columbia  Columbia 


Hannibal 
Clinton 
Kirksville 
Trenton 


Star 
Lee 
Kennedy 
Hubbell 


MONTANA 

Billings  Babcock 
Bozeman  Ellen 
Miles  City  Liberty 
Livingston  Orpheum 

NEBRASKA 
Beatrice  Ritz 
York  Opera  House 
Holdredge  Sun 
Wayne  Crystal 
Falls  City  Rivoli 
Scotts  Bluff  Egyptian 

NEW  HAMPSHIRE 

Rochester  Scenic 
Keene  Scenic 
Berlin  Princess 
Concord  Capitol 
Portsmouth  Colonial 


1/  your  favorite  picture  theatre  is  not  listed  here,  ask  the 


Advertising  Section 


11 


The  Last  Supper 


KINGS 


byjeanie  Macphersori 


Picture  Ever  Produced  r 

can  now  be  seen  in  every 
motion  picture  theatre  -  - 


exhibit  "THE  KING  OF  KINGS" 
within  the  next  few  weeks 


this 


NEW  JERSEY 

Newark  Mosque 
Jersey  City  Stanley 
Paterson  Fabian 
Newton  Newton 

NEW  MEXICO 

Albuquerque  Kimo 
Carlsbad  Crawford 
Portales  Majestic 

NEW  YORK 

New  York  City 

All  Keith-Albee  & 
Proctor's  Theatres  in 
Metropolitan  District 
Buffalo  Lafayette 
Albany  Strand 
Troy  Troy 
Schenectady  State 
Haverstraw  Capitol 

NORTH  CAROLINA 

Winston-Salem 

Colonial 
New  Bern  Show  Shop 
Statesville  Playhouse 
Wilson  Lyric 
Concord  Concord 
Elizabeth  City  Carolina 

NORTH  DAKOTA 

Grand  Forks 

Metropolitan 
Bismark  Capitol 
Minot  Strand 

OHIO 

Cincinnati  Lyric 
Cleveland  Hippodrome 
Columbus  Southern 
Toledo 

Princess- Paramount 
Dayton  Colonial 
Hamilton  Palace 
Chillicothe  Sherman 
Troy  Mayflower 
Greenville  Wayne 

OKLAHOMA  > 
Hobart  Oklahoman 
Sapulpa  Empress 
Clinton  Family 
Picher  Mystic 


OREGON 
Portland 

Salem 

La  Grande 

The  Dalles 

Eugene 

Corvallis 


Oriental 
Elsinore 
Arcade 
Empress 
McDonald 
Whiteside 


PENNSYLVANIA 

Philadelphia  Stanton 
Pittsburgh 


Stanley 
Strand 
Capitol 
Cameo 


Gem 
Strand 


Erie 

Lancaster 
Allentown 
Harrisburg 

Loew's  Regent 
Williamsport  Keystone 
Shenandoah  Capitol 
Bethlehem  Savoy 
Shamokin  Capitol 
Lebanon  Jackson 
New  Castle  Cathedral 
Auditorium 
McKeesport  J.P.Harris 
Pottsville  Hollywood 
E.  Stroudsburg  Plaza 
Washington 

Harris- State 
Greenville  Strand 
Lehighton  Park 
Milton  Legionaire 
Beaver  Falls  Rialto 

RHODE  ISLAND 

Pawtucket  Leroy 
Woonsocket  Rialto 

SOUTH  CAROLINA 

Charleston  Academy 

SOUTH  DAKOTA 

Yankton  Dakota 
Red  field  Lyric 
Lead  Homestake 

TENNESSEE 

Nashville 

Loew's  Vendome 
Knoxsville  Booth 
Johnson  City  Liberty 
Jackson  Gem 

TEXAS 

Dallas  Capitol 


TEXAS 

San  Antonio  Aztec 

Austin  Hancock 

Galveston  Martini 

Lubbock  Palace 

Brownwood  Lyric 
Mineral  Wells  Grand 

UTAH 

Salt  Lake  City 
Provo 

VERMONT 

Burlington  Majestic 
Montpelier  Playhouse 
St.  Johnsbury  Palace 
Bellows  Falls 

Opera  House 

VIRGINIA 

Richmond  Loew's  State 
Roanoke  American 
Norfolk  Norva 
Danville  Rialto 

WASHINGTON 

Seattle  Columbia 


Spokane 

Bellinghara 

Olympia 


Clemmer 
Avalon 
Avalon 


WEST  VIRGINIA 

Wheeling  Court 
Charleston  Capitol 
Clarksburg  Ritz 
Huntington  Lyric 
Morgantown 

Metropolitan 
Fairmount  Virginia 

WISCONSIN 

Milwaukee  Alhambra 
Racine  Rex 
Kenosha  Kenosha 
Beaver  Dam  Odeon 
Superior  Princess 
Two  Rivers  Rivoli 
Waupun  Waupun 
Sheboygan  Sheboygan 

WYOMING 

Casper  America 
Laramie  Crown 
Torrington  Wyoming 
Rawlins  Strand 


*  —  S3» 


Raising  of  Lazarus 


Exchange,  Inc. 

Offices  in  32  American  Cities 


Manager  when  he  is  going  to  show  "The  King  of  Kings. 


12 


What  the  Fans  Think 


Continued  from  page  8 
ment.  By  continuing  with  creative  direc- 
tors, developing  creative  writers  for  the 
screen,  who  would  be  on  a  par  with  the 
creative  writers  of  fiction  and  the  stage, 
thus  giving  their  fine,  creative  artists  still 
greater  opportunity,  the  cinema  would,  in 
a  relatively  short  time,  not  be  subservient 
to  any  other  art  or  form  of  entertain- 
ment. 

The  Vitaphone,  if  universally  adopted, 
as  seems  contemplated,  must  and  will  de- 
veloped a  technique,  a  form  of  entertain- 
ment as  alien  and  distinct  from  that  now 
associated  with  the  cinema,  as  in  the  past 
the  cinema-has  been  differentiated  from  the 
stage.  By  means  of  great  directors  and 
great  actors,  the  cinema  has  at  times 
reached  the  best  and  finest  in  dramatic 
art,  has  laid  the  heart  of  life  bare,  and 
this  solely  by  silent  drama. 

With  the  coming  of,  the  accursed  Vita- 
phone,  all  the  art  and  achievement  of 
the  past  is  seriously  jeopardized.  With 
the  Vitaphone  the  smooth  effect  of  varied 
action  must  be  cut  and  always  subordi- 
nated to  the  voice,  to.  words,  thus  strik- 
ing at  the  very  heart  of  all  that  motion 
pictures  have  come  to  represent. 

With  the- Vitaphone,  one  has  a  feeling 
of  discord  within,  or  a  sensation  like  a 
tug-of-war.  That  part  of  one's  receiving 
set  which  the  cinema  has  developed  is  led 
to  expect  one  thing,  and  before  this  is 
completed,  the  mind  must  be  focused  on 
the  voice.  .  .It  is  a  case  of  oil  and  water 
mixing,  in  my  humble  estimation.  Now 
the  producers,  tinder  the  spell  of  the  Vita- 
phone, demand  that  the  great  cinema  pub- 
lic shall  unlearn  all  that  has  been  learned, 
and  which  has  developed  such  capable  crit- 
ics. They  make  indirect  apology  for  past 
performances,  and  affirm  that  what  the 
cinema  has  lacked  was  the  human  voice; 
now  there  will  be  great  entertainment. 

Do  not  think  I  am  indifferent  to  the 
unlimited  possibilities  of  the  Movietone 
and  ,  Vitaphone.  It  will  prove  beneficent 
to  isolated  districts.  The  news  reels,  the 
actual  recording  of  the  voices  of  eminent 
people,  the  possibilities  for  comedy  of  the 
Sennett  and  Christie  types,  and  most  of 
all  the  actually  thrilling  effect  of  listen- 
ing to  the  rendition  of  operatic  selec- 
tions by  our  greatest  singers,  may  be  noted 
among  the  present  advantages  of  the  Vita- 
phone. But  an  opera  in  its  entirety — no ! 
Drama — never ! 

Incidentally,  I  am  curious  to  know  how 
this  Vitaphone  innovation  is  going  to  af- 
fect the  exportation  of  films.  Jealous 
England,  France,  Germany,  and  Italy  must 
be  chortling.  In  Italy  I  became  so  accus- 
tomed to  the  language  and  the  foreign  titles 
that  it  seemed  Leatrice  Joy,  Mary  Pick- 
ford,  Gloria  Swanson  and  all  the  rest, 
were  speaking  Italian.  With  the  Vita- 
phone, how  will  this  be  managed? 

I  shall  haunt  the  common  variety  known 
as  silent  drama  as  long  as  it  exists,  and 
shall  probably  be  drawn  more  and  more  to 
my  first  love,  the  stage.  From  indica- 
tions throughout  the  country,  it  seems  to 
be  already  taking  on  new  life. 

Patricia  Leigh. 
Hotel  Pasadena,  New  York  City. 

Young  Men  for  Old! 

Of  the  fans  who  write  to  this  depart- 
ment, the  letter  by  E.  V.  W.  in  the  July 
issue  impressed  me  as  the  most  outspoken 
I  have  read  in  a  long  time.  I  say  this 
because  not  even  Malcolm  H.  Oettinger 
would  dare  to  write  such  a  letter  without 
feeling  qualms  of  mis  judgment.  E.  V. 
W.'s  letter  is  the  kind  every  producer 
and  star  should  bear  in  mind,  especially 
the  older  stars. 


Considering,  however,  why  so  many  of 
the  older  stars  prefer  male  leads  who  are 
younger  than  themselves,  is  a  matter  of 
interest.  I  believe  in  keeping  many  of 
these  older  stars  from  vanishing  entirely. 
Miss  Talmadge's  pictures  have  proved  the 
possibility  of  that  of  late,  and  so  have 
Miss  Negri's.  The  Only  older  star  who 
really  can  choose  younger  leading  men 
is  Mary  Pickford.  She  is  always  youth- 
ful. In  fact,  she  looks  no  older  to-day 
than  she  did  years  and  years  ago.  An- 
other star,  who  chooses  her  heroes  with 
judgment,  is,  Jetta  Goudal.  Also,  Gloria 
Swanson  is  by  no  means  caught  napping. 
In  fact,  Miss  Swanson's  pictures  are  per- 
fection.   So  much  for  that. 

Now  for  Myrtle  Gebhart's  article, 
"Voices  Are  Tested  for  the  Movies, 
Now."  Right  here  let  me  say  that  I  am 
one  who  prefers  movies  silent.  Sitting 
through  a  film  with  numerous  players 
trying,  to  do  a  lot  of  pretty  talk,  or 
else  screeching  at  the  top  of  their  voices, 
is  apt  to  be  monotonous.  I  know  this  to 
be  true,  for  I  have  seen  quite  a  few 
talking  pictures.  The  first  of  these,  "The 
Jazz  Singer,"  had  its  good  points,  of 
course,  but  the  dialogue  was  bad.  Irene 
Rich,  in  a  playlet,  caused  giggles  because 
she  tried  to  do  too  much  with  her  lim- 
ited voice. 

I  have  noticed  that  the  Vitaphone  never 
conveys  the  sound  of  the  actual  voice. 
The  sound  is  always  artificial,  affected, 
unreal.  As  for  the  threatened  deluge  of 
talking  pictures,  I  can't  imagine  any  one 
wanting  to  listen  to  Lilyan  Tashman's 
coarse,  husky  tones,  or  to  Ronald  Colman 
playing  an  American  hero  with  a  perfect 
English  accent.  Me  for  the  silent  mov- 
ies, comfort  and  ease  always.  I  agree 
with  Norbert  Lusk  that  "there  is  too 
much  unnecessary  noise  in  the  world  as 
it  is,  not  a  little  of  it  coming  from  human 
throats."     How  true,  Mr.  Lusk. 

N.  G.  S. 

Welcome,  Carmencita  and  Lolita. 

Our  fingers  itched  so  much  to  scribble 
our  opinions  concerning  the  stars  that 
finally  we  took  pen  and  paper.  We  hope 
very  much  that  our  statements  will  not 
ruffle  the  explosive  loyalty  of  other  fans. 

Greta  Garbo  has  won  the  admiration  of 
Manila  moviegoers  as  has  no  other  ac- 
tress. There  is  really  something  about  her 
that  fascinates  and  delights  the  eyes  of  the 
audience. 

Constance  Talmadge  and  Mae  Murray 
are  positively  disgusting,  with  the  silly 
mimicry  they  call  comedy.  We  are  glad 
we  are  gradually  seeing  less  of  them. 

Olive  Borden's  stupid  acting  forces  us 
to  join  the  crowd  of  fans  who  shout,  "Stop 
posing.    Do  some  real  acting." 

As  to  Julanne  Johnston  and  Carmelita 
Geraghty,  we  are  tired  of  reading  about 
them  in  "Over  the  Teacups."  They  have 
done  nothing  really  worth  while  as  yet, 
but  Fanny  the  Fan  is  sure  to  tell  some 
nonsense  about  them,  and  ignore  better 
actresses,  such  as,  for  instance,  Dolores 
del  Rio  and  Doris  Kenyon.  Dolores  has 
justified  her  emotional  talent  in  such  pic- 
tures are  "What  Price  Glory,"  "Resur- 
rection," "Loves  of  Carmen,"  "Ramona," 
and  "The  Trail  of  '98."  Dramatic  critics 
awarded  her  the  silver  trophy  of  the 
Wampas  ball,  and  thousands  of  fans  ac- 
claim her,  and  yet  Fanny  the  Fan  never 
has  anything  but  something  mean  to  say 
about  her. 

We  congratulate  H.  B.  Warner  for  his 
portrayal  of  Christ.  We  felt  we  came 
nearer  to  Him.  We  also  thank  Cecil  De 
Mille  for  his  direction  of  "The  King  of 
Kings."    He  made  us  realize  the  beauty 


of  Christ's  life,  far  more  than  all  the 
Bible  verses  we  ever  memorized. 

Carmencita  and  Lolita. 
Manila,  Philippine  Islands. 

Only  the  Second  Greatest  Actress? 

There  is  a  beautiful  lady,  a  recent  arrival 
in  the  realms  of  the  silver  screen,  whom  I 
have  only  seen  once,  but  who,  in  that  sin- 
gle performance,  has  established  herself,  in 
my  estimation,  as  the  second  greatest  ac- 
tress on  the  screen.  The  first  is,  of  course, 
the  incomparable  Garbo. 

This  lady  of  whom  I  am  speaking,  in 
her  portrayal  of  a  wicked  and  worldly 
wise  woman,  completely  entranced  me.  Al- 
though she  was  supposed  to  inspire  my 
wrath,  she  intrigued  me  instead.  Her 
name  is  Olga  Baclanova,  and  to  me  she  is 
a  real  addition  to  the  ever-fascinating 
world  of  motion  pictures.  Her  interpre- 
tation of  the  seductive  Duchess,  in  "The 
Man  Who  Laughs,"  was  a  performance 
which  ranked  beside  Conrad  Veidt's  in  its 
horrible  attraction.  Compared  with  the 
lifeless  Mary  Philbin  as  the  sentimental 
heroine,  Dea,  Miss  Baclanova's  perform- 
ance stood  out  as  black  does  against  white. 
Who  can  ever  forget  how,  with  lips  curved 
in  disdain  and  eyes  glittering  with  fan- 
tastic hate,  she  denounced  the  Laughing 
Man  before  the  Queen ? 

A  lady  deserving  of  all  the  flattering  ad- 
jectives at  one's  command  is  worth  the  at- 
tention of  all.  Recently  Paramount  has 
considered  her  fine  enough  to  bless  with  a 
five-year  contract.  They  intend  to  make 
her  a  second  Pola  Negri.  Anne. 

Woodstock,  New  York. 

Love  Me,  Love  My  Dog! 

A  fan  writing  in  the  June  issue  re- 
marked that  her  favorite  players  reminded 
her  of  various  composers  and  their  mel- 
odies. My  favorites  prompt  me  to  com- 
pare them  with  dogs.  I  don't  know  why, 
except  that  I  like  dogs,  having  owned 
quite  a  number,  and  I  like  movie  actors, 
having  seen  so  many  on  the  screen.  _  I 
don't  intend  the  similes  to  be  offensive, 
and  hope  they  will  not  be  considered  so. 
I  have  never  been  able  to  understand 
why  a  certain  fan  made  such  a  fuss  be- 
cause Maria  Corda  was  supposed  to  have 
named  one  of  her  collies  "Miss  Banky." 
Said  fan  seemed  to  think  it  was  an  in- 
sult, and  loudly  proclaimed  her  allegiance 
to  Vilma.  I  know  nothing  of  the  truth 
of  the  incident  in  question,  but  I  really 
cannot  see  why  being  compared  to  a  collie 
is  not  a  tremendous  compliment.  /  would 
consider  it  so — unless,  of  course,  the  dog 
was  cross-eyed !  Here  are  the  different 
dogs  which  my  favorites  make  me  think  of : 

Phyllis  Haver  cannot  be  compared  to 
one,  unless  it  be  a  white  poodle,  and 
there  is  so  much  more  depth  to  Phyllis 
than  there  is  to  a  poodle.  Begging  per- 
mission to  make  an  exception  to  the 
animal  mentioned  above,  Phyllis  makes  me 
think  of  an  animated  white  kitten  with 
a  huge,  pink  bow — and  claws  under  fur 
which  covers  seemingly  innocent  paws. 

Karl  Dane — A  great  Dane,  naturally, 
with  an  unexpected  streak  of  grave  humor. 

Charles  Farrell — A  mischievous,  di- 
sheveled Kerry-blue  terrier,  immediately 
after  he  has  destroyed  half  the  hall  rug, 
and  immediately  before  he  knows  that 
you  have  discovered  the  damage. 

John  Gilbert — A  glossy,  black  cocker 
spaniel  after  his  daily  brushing. 

Lina  Basquette — A  dark-furred  Pom- 
eranian, with  silver  harness  hidden  in 
silky,  smoky  fur. 

Leatrice  Joy — A  sleek  Doberman  Pin- 
scher  on  promenade. 

Billie  Dove— A  frivolous-looking  chow! 


Advertising  Section 


Conrad  Nagel — A  serious,  gentlemanly, 
well-groomed,  thoroughbred  Airedale. 
_  Clara  Bow — An  impudent  Boston  ter- 
rier puppy. 

A  Newfoundland  pup' is  Wallace  Beery, 
rather  clumsy  and  unintentionally  rough, 
but  good-natured  and  likable. 

Eddie  Lowe — A  Skyc  terrier. 
_  George  Fawcett — An  old  English  mas- 
tiff, a  champion  of  the  ring. 

Jetta  Goudal — The  dog  which  is  so 
graceful  in  its  movements  and  so  aristo- 
cratic in  its  appearance  that  no  words  can 
fittingly  describe  it — the  Russian  wolf- 
hound ! 

George  K.  Arthur — A  Dalmatian. 
Sue  Carol — A  Pekingese  puppy. 
Audrey    Ferris — A    toy  black-and-tan 
terrier. 

And  finally,  as  a  fitting  conclusion  to 
all,  Bill  Haines — Hot  Dog!  This  isn't  a 
comparison,  but  merely  an  involuntary  ex- 
clamation that  escaped  my  typewriter.  And 
I'll  tell  the  world  I  mean  it ! 

Helen  Blaisdell. 

Columbus,  Ohio. 

Aren't  You  Ashamed  of  Yourself? 

Listen,  you  anti-Novarro  fans,  aren't 
you  ashamed  to  admit  that  you  cannot  see 
the  beauty  of  Ramon's  personality? 
Aren't  you  ashamed  to  own  that  you  can- 
not recognized  some  fine  thing  in  life, 
some  ideal  to  line  up  with? 

Ramon  is  not  merely  a  splendid  actor 
and  a  true  artist — he  is  more,  far  more 
than  the  average  stars  or  persons  in  pri- 
vate life.    He  is  an  inspiration! 

The  wonderful  letters  your  criticism 
has  evoked  prove  that.  Coming  away 
from  his  films,  I  always  have  a  wistful 
longing  to  do  something  worth  while  with 
my  life.  I  think  a  great  number  of  Ra- 
mon's friends  feel  the  same.  They  are 
trying  to  find  an  ideal — one  of  Keats' 
"things  of  beauty." 

Now,  I  ask  you  again,  aren't  you 
ashamed  of  writing  such  things  against 
Ramon?  Or  are  you  so  narrow  that  you 
cannot  see  what  you  are  missing? 

At  one  period  of  my  love  for,  and 
loyalty  to,  Ramon,  I  used  to  be  furi- 
ous if  any  one  said  or  wrote  the  slightest 
thing  against  him;  but  now  I  think  of 
them  as  poor,  benighted  souls,  and  what 
they  write  as  so  much  sickly  piffle. 

They  can't  hurt  Ramon,  or  any  one 
else,  except  themselves.  You,  anti- 
Novarro  fans,  why  write  unkind  things 
about  him  or  any  other  star?  You  are 
not  here  to  criticize.  Can't  you  find  the 
goodness  and  beauty  in  life  instead  of 
harping  on  disagreeable  things? 

Myrna  Dickey. 

Sydney,  N.  S.  W.,  Australia. 

|  Why  Should  She  Struggle  Along? 

Can  you  tell  me  why  Renee  Adoree 
has  never  been  elevated  to  stardom  after 
the  marvelous  performances  she  gave  in 
"The  Big  Parade,"  "Mr.  Wu,"  and  "The 
Cossacks"?  Many  of  us  think  that  she  is 
by  far  the  greatest  actress  on  the  screen, 
and  we  went  to  see  "The  Cossacks"  be- 
cause she  was  in  it,  and  not  because  of 
Gilbert,  of  whom  we  are  heartily  sick. 
Some  blah-blah  girl,  just  out  of  high 
school,  comes  along,  trips  over  her  own 
feet  in  a  couple  of  scenes,  is  made  the 
subject  of  a  great  ballyhoo,  and,  lo !  the 
next  day  she  is  a  star.  Yet  a  finished 
artist  like  Miss  Adoree  struggles  along 
month  after  month,  continues  to  acquit 
herself  gloriously  in  every  role  handed 
her,  but  still  is  classed  as  a  featured 
player.  I  can't  understand  their  reason- 
ing in  Hollywood.      Gerald  Claxton. 

Charlotte,  North  Carolina. 


ME 

8ft%IN  A  PIRMIZIE 

Do  You  Like  to  Draw? 

Copy  this  dancing  girl  and  send  us  your  drawing — perhaps  you'll  win  first 
prize.  This  contest  is  for  amateurs  only  (17  years  of  age  or  more),  so 
do  not  hesitate  to  enter,  even  if  you  haven't  had  much  practice. 


1st  Prize  •  • 
2nd  Prize  • 

3rd  Prize  .  •  •  •  •  $25.00 
4th  Prize  •   •   •   •   .  $15.00 


.  $100.00 
$50.00 

5th  Prize  

6th  to  15th  Prizes,  ea. 


$10.00 
$5.00 


To  the  Next  50  Best  Drawings— A  Fountain  Pen 


C"  1>  17  C"  f    Everyone  entering  a 

*^  •    drawing  in  this  con- 

test may  have  his  or  her  art  abil- 
ity tested  free  !  When  your  contest 
drawing  is  received,  we  will  mail  you 
our  Art  Ability  Questionnaire.  Fill 
this  in  and  return  it,  and  you  will 
receive  our  critic's  frank  report  of 
your  natural  sense  of  design,  pro- 
portion, color,  perspective,  etc. — and 
with  it  our  book  "YOUR  FUTURE," 
showing  work  of  Federal  Students 
and  telling  you  all  about  the  Federal 
home-study  course.  This  is  free  and 
places  you  under  no  obligation  what- 
ever. 

This  interesting  analysis  has  been 
the  start  for  many  Federal  students, 
who  through  proper  training  of  their 
ability,  are  now  commercial  artists 
earning  $2,000,  $4,000,  $5,000  and 
$6,000  yearly — some  even  more.  The 
Federal  School  has  won  a  reputation 
as  "the  School  famous  for  success- 
ful students."  Read  the  rules  care- 
fully and  enter  this  contest — see 
what  you  can  do. 

Federal  School  of 
Commercial  Designing 
63  Federal  Schools  Bide.. 
Minneapolis,  Minn, 


Rules  for  Contestants 

This  contest  open  only  to  amateurs, 
17  years  old  or  more.  Professional 
commercial  artists  and  Federal  stu- 
dents are  not  eligible. 

Note  these  rules  carefully: 

1.  Make  your  drawing  of  a  girl  and 
shadow  exactly  6  inches  high,  on 
paper  5  inches  wide  by  7  inches 
high.  Draw  only  the  girl  and 
shadow,  not  the  lettering. 

2.  Use  only  pencil  or  pen. 

3.  No  drawings  will  be  returned. 

4.  Write  your  name,  address,  age, 
and  occupation  on  the  back  of 
your  drawing. 

5.  AH  drawings  must  be  received 
In  Minneapolis  by  Nov.  1st,  1928. 
Prizes  will  be  awarded  for  draw- 
ings best  in  proportion  and 
neatness  by  Faculty  members  of 
the  Federal  Schools,  Inc.  All 
contestants  will  be  notified  of 
the  prize  winners.  Make  your 
drawing  of  the  girl  now  and 
send  it  to  the  address  given  in 
this  ad. 


14 


Advertising  Section 


You  '11  gasp 
when  you  see— 

Famous  sailing  vessels 
reconstructed  into  real 
righting  frigates  at  a 
cost  of  $250,000. 

A  cast  so  huge  it  con- 
sumed 5290  pounds  of 
rations  daily: 

Sea  battle  scenes  so 
realistic  that  the  play- 
ers received  360  minor 
wounds 

Corinne  Griffith  in  48 
different  sumptuous 
costumes. 

Thrilling  scenes  with 
synchronized  sound 
accompaniment. 


THE  MOST  GIGANTIC  SEA  SPECTACLE  THE  SCREEN  HAS  EVER  KNOWN 


FLAMING   FRIGATES   FREIGHTED  WITH  CARGOES  OF  DEATH 


A  CAST  OF  THOUSANDS  IN  BREATHLESS  BATTLE  ACTION 


With  H.  B.Warner, 
Victor  Varconi,  Ian 
Keith,  Marie 
Dressier.  Produced 
by  Frank  Lloyd, 
who  made  "The 
Sea  Hawk."  Pre- 
sented by  Richard 
A.  Rowland. 


A  LOVE  SO  MIGHTY  IT  SWAYED  THE  FATE  OF  NATIONS 


A  FAMOUS  BEST  SELLER  NOW  LIVED  UPON  THE  SCREEN 


A  FORTUNE  SPENT  TO  MAKE  FILM  HISTORY  WITH 

»»-»•>■■>■>->•>■>  >■>■>■>•■>->">•>->•>"»">•>•>•>•»<  <•<<<<<<<<<■<<<<<<<■<■■<■<.■<<<<<<  <-<  -C<  <' 

CORINNE    GRIFFITH  i» 

"THE  DIVINE  LADY" 

A     FIR  S  T     NATIONAL     P  I  C  T  U  R  E 

Takes  the  Guesswork  Out  of  "Going  to  the  Movies" 


15 

PICTURE  PLAY,  November,  1938  V%^S* 


Photo  by  Edwin  Bower  Hesser 

Lily  Damita  and  Ronald  Colman  pause  between  scenes  of  "The  Rescue,"  to  show  the  fans  what  manner  of 
loving  will  be  revealed  in  the  picture,  which  will  provide  Mr.  Colman  with  an  unusual  role,  and  a 
vibrant,  appealing  heroine  for  Miss  Damita.    He  will  be  the  English  master  of  a  vessel  in  the  waters  of 
Java,  and  she  the  wife  of  the  British  owner  of  a  yacht.    The  resentment  of  the  natives  precipitates 
the  complications  which  make  difficult  and  dramatic  the  love  of  Tom  Lingard  and  Mrs.  Travcrs. 


16 


Photo  by  "Wasman 

Thousands  of  letters  and  poems  have  been  written  deploring  the 
death  of  Valentino,  but  little  else  has  been  contributed  to  his 

memory. 

RAYS  from  the  California  sun,  filtering  through  a 
stained-glass  window,  fall  in  checkered  design 
upon  the  crypt  which  holds  the  body  of  Rudolph 
V alentino,  in  the  mausoleum  of  a  Hollywood  cemetery. 
Throughout  the  day.  and  night  fresh  flowers  exude  their 
fragrance  before  his  bier.  Through  the  marble  corri- 
dors little  groups  of  visitors  occasionally  tread,  to  pause 
before  the  plaque  which  reads :  "Rudolfo  Guglielmi 
Valentino,  1895-1926." 

Wayfarers  and  tourists  peep  in  to  see  where  lie  the 
remains  of  one  of  the  greatest  celebrities  of  our  time. 
A  few,  faithful  friends  still  come,  bringing  blossoms. 
But  the  numbers  rapidly  are  diminishing,  and  the  fact 
remains  that  all  that  is  nwrtal  of  Valentino  lies  in  a 
borrowed  Uftnb.  Once,  already,  his  casket  has  been 
moved.  Again,  some  time,  it  must  be  taken  from  its 
present  sepulcher,  in  order  to  make  way  for  the  one 
to  whom  it  rightfully  belongs.  Where  it  will  go  no  one 
knows.    Its  final  resting  place  has  not  been  determined. 

Has  the  beloved  Rudy  been  forgotten  by  the  world 
in  the  span  of  two  short  years? 

When  news  was  flashed  from  New  York  in  mid- 
August,  1926,  that  Valentino  was  dead,  all  the  world 
stood  aghast.    It  seemed  unbelievable.    Strong,  clear- 


All  That  is  Mortal 
Lies  in  a  Borrovstecl 

Despite  the  adoration  and  admiration 
of  Rudy  lies  in  a  crypt  reserved 

By  A.  L. 

eyed,  athletic,  imbued  with  the  fire  of  youth, 
he  was  the  idol  of  millions.  Throngs  gathered 
outside  the  hospital  in  New  York  where  his 
body  lay.  Newspapers  issued  extra  editions. 
Telegrams  arrived  in  sheaves.  When  the  cas- 
ket was  transported  to  the  funeral  train,  more 
than  a  thousand  policemen  acted  as  escort  to 
keep  back  the  multitudes.  All  the  way  from 
the  Atlantic  to  the  Pacific  coast,  in  cities,  vil- 
lages and  hamlets  crowds  gathered  to  watch 
the  black-draped  cars  pass  on  their  way  to  the 
West.  Flowers  were  massed  in  the  Pullmans 
in  every  conceivable  place.  The  spectacle  sel- 
dom, if  ever,  has  been  equaled  or  surpassed. 

Following  the  funeral  service,  the  casket 
was  placed  temporarily  in  the  crypt  reserved 
for  June  Mathis,  famous  scenarist,  in  the 
mausoleum  of  the  Hollywood  Cemetery,  and 
a  movement  was  started  for  the  erection  of  a 
worthy  memorial.  Five  hundred  thousand 
dollars  was  set  as  the  goal. 

"Make  the  memorial  something  that  will  be 
everlasting!"  women  admirers,  in  particular, 
urged.  "Let's  build  a  beautiful  mausoleum  of 
marble,  set  in  a  garden  of  flowers,  and  estab- 
lish a  fund  which  will  care  for  it  perpetually." 

"Let  us  establish  hospital  beds,  nurseries  and 
erect  art  galleries  in  his  memory,"  said  others. 

"Dedicate  a  granite  monument  which  will 
last  throughout  the  ages,"  suggested  a  third. 
What  a  glorious  tribute  ! 
S.  George  Ullman,  executor  of  the  Valentino 
estate,   acting  in  conjunction   with  friends, 
named  Joseph  M.  Schenck  chairman  of  a  com- 
mittee  to    handle   the    proposed  Valentino 
Memorial  Fund,  as  it  was  to  be  called.   With  him  were 
such  other  producers  as  Carl  Laemmle,  M.  C  Levee, 
and  John  W.  Considine,  Jr.   A  magazine  made  an  appeal 
to  its  readers  for  one  dollar  each  to  help  swell  the  fund. 
Memorial  societies  were  organized  in  New  York  and 
Chicago,  whose  ramifications  were  to  extend  to  other 
cities  throughout  the  land.    Admirers  in  England,  Ger- 
many, Italy,  France,  and  India  joined  in  the  movement 
to  raise  a  huge  sum.    Mr.  Ullman  sent  out  a  thousand 
letters  to  members  of  the  motion-picture  industry,  in 
which  he  said : 

My  personal  feeling  is  that  the  success  of  the  memorial  will 
be  a  tribute  not  oniy  to  Rudolph  Valentino,  but  to  the  motion- 
picture  industry  as  a  whole.  Monuments  have  been  erected  to 
leaders  in  almost  every  field  except  ours,  and  I  believe  that  this 
is  an  opportunity  to  show  the  world  that  the  motion-picture  in- 
dustry has  a  heart  as  well  as  a  purse.  It  is  not  necessary  to  con- 
tribute more  than  you  wish.  Only,  please  send  in  some  sub- 
scription, so  that  your  name  may  be  added  to  those  who  wish  to 
show  their  respect  for  the  things  that  Rudolph  Valentino  accom- 
plished. 

The  outlook  appeared  to  be  splendid.  Letters  de- 
ploring the  death  of  the  actor  poured  in  by  the  thou- 
sands. Assured  that  sufficient  contributions  would  be 
forthcoming,  the  committee  authorized  publication  of 


17 


of  Valentino 
Tomb ! 


of  millions  the  body 
for  some  one  else. 

Wooldridge 

the  following  in  a  Los  An- 
geles newspaper : 

Architects,  designers  and  all 
others  engaged  in  similar  work, 
are  requested  to  send  in  their 
plans  or  ideas  for  a  mausoleum 
for  Rudolph  Valentino. 

Members  of  the  family  will 
make  a  selection,  the  best  of 
which  will  be  adopted  and  used. 
According  to  S.  George  Ull- 
man,  executor  of  the  estate,  a 
simple,  unostentatious  style  is 
preferred.  It  is  to  be  of  ordi- 
nary dimensions  with  scant  or- 
namentation. 

That  is  the  notice  which 
went  out.   What  happened  ? 

A  check  for  $500  came 
from  a  woman  member  of 
the  English  nobility.  An- 
other for  $100  came  from 
Ernest  Torrence,  and  a 
second,  for  a  similar 
amount,  from  William  S. 
Hart.  From  the  one  thou- 
sand letters  sent  to  mem- 
bers of  the  motion-picture  industry,  fewer  than  a  half 
dozen  replies  were  received. 

The  magazine  which  asked  for  contributions  to  the 
fund  collected  a 
bare  $200,  and  the 
editor,  in  disgust, 
eventually  returned 
the  money  to  the 
donors. 

The  committee 
delegated  to  handle 
the  fund  got  a  few 
contributions,  none 
of  which  would 
nick  a  healthy 
bank  account  per- 
ceptibly. The  com- 
mittee sat  with 
waiting  hands.  It 
still  is  waiting. 

As  a  residt  of  all 
the  appeals  made, 
in  virtually  every 
civilised  country,  a 
total  of  approxi- 
mately $2,500  was 
contributed,  half  of  _ 

which  came  from  America.  The  major  part  of  the 
balance  was  from  England,  Germany,  Italy,  India,  and 
South  America. 

In  the  meantime,  June  Mathis,  one  of  Valentino's 
closest  friends,  died  July  26,  1927,  while  visiting  in 
New  York.    She  had  said,  when  the  actor's  body  was 


Strong,  clear-eyed  and  athletic,  Rudy  was  an  idol 
wherever  motion  pictures  are  known. 


Where  Rudy's  remains  lie,  through  the  generosity  of  the  late 

June  Mathis. 


placed  in  her  mausoleum 
crypt,  "You  may  sleep  here, 
Rudy,  until  I  die."  That 
time  had  come.  The  body 
of  Rudy  must  be  removed. 
It  was  placed  in  the  ad- 
joining crypt,  which  had 
been  reserved  for  Miss 
Mathis'  husband,  Sylvano 
Balboni.  There  it  rests  to- 
day, and  there  it  will  stay 
until  its  owner  has  need  for 
the  tomb,  or  until  some 
provision  is  made  for  the 
burial  of  Valentino  in  a 
crypt  or  a  grave  of  his  own. 

Where  are  all  the  women 
with  aching  hearts,  who 
professed  devotion  to  the 
screen's  great  lover  ?  From 
many  countries  letters  have 
come,  principally  from  in- 
dividuals able  to  contribute 
little  more  than  a  widow's 
mite.  Sums  from  persons 
of  wealth  were  strangely 
missing.  The  wonderful 
Valentino,  whose  "fan" 
mail  ran  as  high  as  five 
thousand  letters  a  week 
scarcely  more  than  twenty- 
four  months  ago,  appears 
to  be  almost  forgotten ! 
Sometimes  a  slip  of  a  girl 
creeps  into  the  mausoleum 
and  lays  a  blossom  before 
his  sepulcher.  No  one 
knows  who  she  is.  Thfice 
each  week  a  lone  Italian  woman  supplies  fresh  flowers. 
Occasionally  Rudy's  brother  comes  and  lingers  in 
meditation.    Sometimes  strangers  appear  to  bow  their 

heads  in  prayer. 

A  few  weeks  ago 
a  sculptor  filed  a 
suit  against  the  es- 
tate, to  recover 
$950  which  he  as- 
serted he  had  ex- 
pended in  prepar- 
ing sketches  for  a 
memorial,  and  in 
traveling  to  Barce- 
lona and  to  Italy  in 
search  of  marbles 
suitable  for  a  Val- 
entino tomb.  His 
claim  is  to  be  con- 
tested,  on  the 
ground  that  his  ac- 
tivities were  not 
authorized.  Not 
long  ago  a  marble 
pedestal  before  the 
crypt  was  over- 
turned and  broken 
to  bits.  Some  of  the  pieces  were  carried  away  by 
souvenir  hunters.  Tourists  come,  gaze  at  the  sarcopha- 
gus, then  break  flowers  from  the  baskets  and  hide  them 
in  their  clothing,  as  keepsakes.  In  London,  last  May, 
a  roof  garden  at  the  Italian  Hospital  was  opened  and 
Continued  on  page  117 


18 


Though  not  particularly  handsome,  Al  Jolson  possesses 
marked  physical  magnetism. 

AL  JOLSON  has  happened  to  Hollywood 
in  a  large  way.  He  is  in  it  and  already 
of  it.  He  is  part  of  the  business.  At 
Warner  Brothers  he  is  practically  one  of  the 
brothers.  Nor  do  I  mean  a  stepbrother.  His 
first  picture,  "The  Jazz  Singer,"  cleaned  up. 
He  is  making  a  second.  But  there  is  more 
than  just  that  to  his  adoption  of  the  movies. 
It  is  not  the  usual  case  of  a  stage  luminary 
lending  his  face  to  the  camera,  and  then  col- 
lecting his  pay  check.  There  is  nothing  of 
gracious  condescension  in  Al  Jolson's  visit  to 
Hollywood. 

His  first  film,  a  coup  for  the  Warners,  was, 
for  him,  an  experiment,  interesting  mainly  for 
its  novelty.  His  second,  and  the  four  which 
will  follow,  are  in  dead  earnest.  Finding  the 
business  a  profitable  venture,  he  has  concen- 
trated on  it  with  the  vigor  typical  of  him, 
until  in  a  year's  study  he  knows  more  of  its 
intricacies  than  many  veterans. 

Hollywood,  itself  a  trifle  lackadaisical  under  the  Cali- 
fornia sun,  has  found  him  stimulating.  His  famous 
wit,  his  sophistication  that  is  essentially  of  Broadway, 
and  his  driving  energy,  are  refreshing.  Inevitably,  he 
has  become  the  lion  of  the  moment,  the  pet  raconteur, 
the  ace  master  of  ceremonies.  Natives  steeped  in  po- 
litical caution  shiver  delightedly  when  Jolson,  presiding 
at  an  opening,  kids  his  employers  and  aims  pointed 
barbs  at  the  industry  in  general,  and  individuals  in 
particular.  He  is  always  so  funny  that  he  gets  away 
with  it.    Even  the  victims  rock  with  helpless  laughter. 

There  is  a  glamour  about  Jolson  that  is  indefinable. 
It  has  something,  of  course,  to  do  with  his  spectacular 


Mammy's  Boy 
in  Hollywood 

By  Margaret 


success  in  the  past,  with  his  never-failing  skill,  even 
in  the  recounting  of  a  joke.  A  further  explanation 
of  it  would,  I  think,  reveal  a  quality  not  to  be  ex- 
pected of  a  blackface  artist.  For  this  not  especially 
handsome  young  man  possesses,  to  a  marked  degree, 
great  physical  magnetism.  It  is  this,  underlying  his 
talent,'  that  makes  his  personality  behind  the  foot- 
lights such  an  electric  one.  It  is  this,  back  of  his 
''blue"  songs,  that  sets  rapt  audiences  swaying  with 
him — and  stamping  and  yelling  for  encores.  Whether 
or  not  this  quality  can  be  transferred  to  the  screen 
is  still  open  to  question,  "The  Jazz  Singer"  being 
more  or  less  experimental,  and  an  inadequate  cri- 
terion. ■ 

A  raconteur  and  wit  nonpareil,  it  would  be  ex- 
pected that  he  provide  generous,  fast-moving  copy 
for  an  interviewer.  Yeh,  that's  what  I  thought.  But 
a  girl  could  make  a  mistake;  couldn't  she?'  Not  only 
could,  but  did.  For  Mister  Jolson  can  go  down  on 
the  list  of  players  known  among  re- 
porters as  "tough  babies,"  a  term  indi- 
cating the  hopelessness  of  wresting  a 
story  from  them. 

I   have  always  been  a  particularly 
rabid  devotee  of  the  art  of  Al  Jolson. 
On  more  than  one  occasion  I  have  em- 
barrassed escorts  by  my  noisy  enthusi- 
asm  for  the  Jolson  capers,  the 
faintly  ribald  stories,  the  broad 
comedy,  the  lachrymose  ballads. 
"Mammy,"  moaned  and  shouted 
by  Al,  kneeling  and  swaying  and 
tearing  his  collar  off  in  the  glare 
of  the  spotlight,  still  leaves 
me  on  the  verge  of  collapse. 
I   admire   him — you  get  it? 
Several  years  of  interviewing 
\  \  and  reinterviewing  cin- 

\  ema  celebs  have  worn  my 

§^    interest  to  what  I  like  to 
!!^v^>     call  ennui.    But  it  must 
be    admitted    that  the 
prospect  of  interviewing  Al  Jolson 
was  fraught  with  unaccustomed  palpi- 
tation. 

I  found  him  on  the  set,  the  second 
day  of  production  on  "The  Singing  Fool." 
A  dapper  figure,  slightly  below  average 
height.  Black  hair  and  black  eyes — eyes 
famous  for  that  knowing  roll  which  punctu- 
ates his  jokes.  His  smile  is  wide  and  in- 
fectious, his  manner  brusque  but  amiable. 
Chairs  were  brought  and,  back  of  the  con- 
fusion and  noise  of  the  cabaret  where  the 

Singing  Fowl,  as  a 
Josephine  Dunn,  as  waiter,  begins  his 
she  appears  in  Jol-  career,  we  tried  to 
son's  latest  picture,  talk.  I  mean  I  did. 
"The  Singing  Fool."     Al  didn't  bother. 


19 


Makes  Whoopee 

When  not  working  in  his  new  picture  "The  Singing 
Fool",  Al  Jolson  devotes  his  Broadway  sophistica- 
tion, ready  wit  and  dynamic  energy  to  satisfy  Holly- 
wood's demand  for  his  presence  at  all  functions. 

Reid 


Don't  get  the  impression  that  he  is  blase,  or  dif- 
fident, or  at  a  loss  for  words.  He  is  none  of  these, 
and  he  is  pleasantly  affable.  Not  cagy,  not  bored, 
not  high-hat — just  uninterested. 

In  a  brief  burst  of  garrulity  he  described  the 
story  of  "The  Singing  Fool."  It  is  a  melodramatic 
story,  strongly  spiced  with  the  sentiment  which 
Jolson  frankly  enjoys.  Supplying  much  of  the 
pathos  in  the  picture,  is  the  love  of  the  singing 
waiter  for  his  baby  son.  Jolson  himself  discov- 
ered the  child  who  plays  this  role,  and  displays 
marked  affection  for  his  small  choice.  With  no 
children  of  his  own,  it  is  obvious  that  he  adores 
this  one. 

Side  by  side  with  his  kidding  and  sophistication, 
gentleness  tempers  these  qualities  and  makes  him 
a  good  trouper.  For  it  was  apparent,  even  under 
,the  inevitable  moments  of  awkwardness  in  his  first 
picture,  that  he  is  that.  He  has  an  in- 
stinctive "feel"  for  the  elements  that 
reach  beyond  the  eye,  past  the  mind, 
down  into  the  emotions.  The  accurate 
perspective  he  keeps  on  this  ability,  is 
what  saves  his  ballads  from  being  lu- 
gubrious, and  the  pathos  in  his  pictures 
from  becoming  bathos. 

I  spoke  of  the  appeal  to  the  heart  of 
"The  Jazz  Singer,"  and  he  admitted 
that  that  is  the  sort  of  thing  he  prefers. 
He  is  a  propagandist  for  the  emotions, 
the  human  touch. 

"I  don't  know  if  'Jazz  Singer'  was  a 
good  picture,"  he  remarked.  "In  fact, 
I  have  serious  doubts.  But  I  do  know 
that  its  idea  got  under  the  skin  of  the 
audience.  It  even  got  me,  when  I  saw 
the  opening  in  New  York.  My  wife 
was  with  me — that  is,  my  ex-wife. 
We've  been  divorced  several  years,  but 
we're  very  dear  friends.  When  it  came 
to  the  climax — you  remember  where  I 
come  back  home  to  sing/Kol  Nidre' 
for  my  father? — she  cried  and  cried, 
'It's  so  beautiful.  You  couldn't  be  bad, 
and  act  like  that.  You  just  couldn't. 
Why,  I'll  marry  you  again  to-morrow !' 
But  I  was  too  excited  to  answer." 

The  anecdote  finished  with  the  know- 
ing, sidelong  glance  and  wicked  grin. 

And  that  was  all  of  the  interview  for 
then.  Irving  Berlin  dropped  in  to  say, 
''Hello,"  and  to  see  how  Al  was  get- 
ting on.  When  he  had  left,  what  "few 
threads  of  conversation  had  been  woven 
were  out  of  hand  again.  In  despera- 
tion,   I  resorted 

to  bromides,  hop-     ^g^fSj  Kraney'«Ji?~ 
'      *       cruited   from  Rio 

mg  that  he  would     Rita»  for  «The  Sing. 
follow.  ing  Fool." 


Josephine  Dunn,  Jolson,  and  Betty  Bron- 
son  take  instructions  from  director  Lloyd 
Bacon  during  the  filming  of  the  picture. 

"How,  Mr.  Jolson,  do  you  like  Holly- 
wood ?" 

"Great.    I  live  in  Beverly  Hills." 

Silence,  broken  by  polite,  but  quite  ir- 
relevant, remarks  from  Al. 

"What  decided  you  to  continue  in  pic- 
tures ?" 

"Money — lots  of  it,"  he  grinned. 

After  another  silence  I  hauled  out  the 
old  reliable,  the  starter  guaranteed  to 
make  any  one  talk — any  one  but  Al  Jol- 
son. In  a  nice  way,  I  asked  for  the 
"story  of  his  life."  And  what  did  I  get? 
Not  even  a  synopsis.  It  had  been  printed 
so  often,  he  objected — too  often.  Every- 
body had  read  it.  I  explained  that  the 
motion-picture  public  is  a  mass  quite 
apart  from  that  of  the  theater,  that  to 
them  he  is  an  entirely  new  face,  but  to 
no  avail. 

"Your  people  "  I  insisted. 

"Well,  my  mother  came  from  St.  Pe- 
tersburg— and  I  don't  mean  in  Florida." 

"You  were  born  in  " 

"I  was  born  " 

He  jumped  up  to  greet  George  Jessel, 
the  original  Jazz  Singer  of  the  stage, 
and  now  doing  a  picture  or  two.  George 
had  stopped  by  from  his  studio  to  make 
a  dinner  date  with  Al  for  that  night. 

"How's  the  picture  going,  Al?" 

"Who  can  tell  ?   How's  your  own  ?" 

"Finished  already.  Started  shooting 
Monday — finished  Tuesday — titled  and 
shipped  this  afternoon — in  New  York 
to-morrow."  [Continued  on  page  119] 


20 


(gasping, 
Breathl 


Fright  and  terror  are  everyday 
emotions  in  the  life  of  the  actor. 


The  terror  of  Anita 
Page,  above,  is  so  intense 
that  Wheeler  Oakman,  as 
the  villain  in  "The  Big 
City,"  claps  his  dirty  hand 
on  her  mouth. 


Dolores   del  Rio,  right, 
looks  as  if  her  conscience 
were  terrorizing  her,  in 
"Revenge." 


Polly  Moran  and  Sylvia 
Beecher,  below,  would  a 
lot  rather  scream  than 
rush  to  the  aid  of  their 
fighting  boy  friends,  in 
"West  of  the  Sierras." 


Ramon  Novarro  and  Carmel 
Myers,  above,  experience  a  breath- 
less fright  on  being  discovered  to- 
gether, in  "A  Certain  Young 
Man." 


George  K.  Arthur  and  Marceline 
Day,  below,  are  evidently  being 
pursued  by  a  pair  of  wild  tonsils 
in  this  hospital  scene  from  "Detec- 
tives." 


Three  Young  Gals 

Loretta,  Polly  Ann  Young,  and  Sally  Blane  are  the  most  unalike  sisters 
you  could  expect  to  find,  yet  all  three  are  becoming  well  known  to  the  fans. 


21 


Photo  by  I 


By  Alma 

WITH  an  am- 
bitious movie 
aspirant  in.  at 
least  every  second 
household  in  the 
country,  the  Young 
family,  of  Los  An- 
geles, is  really  to  be 
envied.  How  very 
proud  they  must  be, 
with  three  beautiful 
daughters  in  the 
movies  !  All  are  un- 
der contract  to  dif- 
ferent film  c  o  m  - 
panies,  with  promis- 
ing careers  ahead  of 
them. 

Each  of  the  sis- 
ters is  considered  a 
beauty,  with  great 
screen  possibilities, 
yet  each  is  quite  un- 
like the  other  two. 

There's  Polly  Ann, 
the  eldest,  under 
contract  to  Metro- 
Goldwyn.  Polly  Ann 
is  nineteen,  very 
slim,  with  dark  hair 
and  eyes,  and  a 
slight  resemblance  to 
Norm. a  Talmadge. 
She  is  the  shyest  and 
quietest  of  the  three 
sisters. 

Sally  Blane,  who 
was  christened  Betty 
Jane  Young,  is  sev- 
enteen. She  is  less 
of  a  beauty  than  her 
sisters  —  inclined, 
perhaps,  to  be  almost 
too  plump.  But,  if 
she  is  the  least  beau- 
tiful, she  makes  up 
for  it  by  having  the 

most  personality.  She  is  roly-poly,  jolly,  full  of  fun  and 
pep;  the  friendliest  of  the  three,  the  easiest  to  know. 
Sally  is  under  contract  to  Paramount,  and  her  career,  so 
far,  has  been  more  extensive  than-  that  of  her  sisters. 

Then  there's  Loretta,  nicknamed  "Gretchen"  by  her 
family.  Loretta  is  only  fifteen,  the  youngest  full-fledged 
ingenue  on  the  screen,  who  still  must  apply  herself  to 
her  schoolbooks,  between  scenes  of  a  picture.  Loretta 
is  the  coming  pride  of  First  National.  There's  none  of 
the  giggly  schoolgirl  about  her,  despite  her  youth.  Re- 
served, soft  spoken,  she  has  all  the  .poise  and  dignity  of 
a  woman  twice  her  age.  Blonde,  with  gray  eyes,  and  a 
mouth  like  Dolores  Costello's.  Loretta  and  Sally  are 
frequently  mistaken  for  one  another,  though,  seeing  them 
together,  you  can't  imagine  how  they  could  be.  Loretta 
is  slim,  almost  to  the  point  of  thinness,  weighing  only 
ninety-eight  pounds.  She  says  scarcely  a  word,  just  smiles 


Talle? 


Loretta,  nicknamed  "Gretchen"  by  her  family,  is  the  youngest,  full 
fledged  ingenue  on  the  screen. 


quietly,  while  Sally 
talks  all  the  time.  ■ 
Loretta  shows  the 
most  promise  of  a 
really  spectacular 
success  in  the  fu- 
ture. ,; 

All  the  girls  were 
practically  cata- 
pulted into  the 
movies.  Their  first 
bit  of  luck — besides 
the  fact  that  they 
were  born  beautiful 
— came  when  their 
mother  and  step- 
father moved  the 
family  to  Los  An- 
geles. Apparently 
they  were  a  migra- 
tory household,  for 
each  of  the  girls 
was  born  in  a  dif- 
ferent place :  Polly 
Ann,  in  Denver ; 
Sally,  in  Salida, 
Colorado ;  Loretta, 
in  Salt  Lake  City. 

Sally  was  the  first 
to  take  up  a  film 
career  and  her  start 
constituted  one  of 
those  lucky  acci- 
dents which  would 
never  happen  to 
any  of  us — you  or 
me,  dear  reader. 
She  met  Wesley 
Ruggles,  the  direc- 
tor. Wesley  said, 
"You've  very  good 
screen  features. 
Why  not  come  over 
to  Universal  and 
let  me  have  screen 
tests  taken  of  you  ?" 
Why  not,  indeed! 
What  girl  would  turn  down  a  chance  like  that? 

Not  Sally,  at  any  rate.  So  she  was  given  her  first 
film  work  in  one  of  "The  Collegians"  series.  Scarcely 
had  she  finished  her  engagement  with  Universal  when, 
at  a  party,  she  met  an  executive  of  Paramount.  He  said, 
"You've  got  good  screen  features.  Why  don't  you 
come  to  the  studio'  and'  let  me  have  tests  taken  ?" 

It  might  seem  more  logical,  to  you  or  to  me,  for  the 
studio  authorities  to  have  seen  what  she  looked  like  in 
"The  Collegians."  But  studios  don't  work  that  way. 
Taking  screen  tests  is  the  way  they  have  their  fun. 
Actors  with  years  of  experience  are  constantly  dashing 
about  having  screen  tests,,  just  as  if  no  one  had  any 
idea  how  they  looked  «before  a  camera. 

So  Sally — at  that  time  still  Betty  Jane — had  her  tests. 
She  was  given  not  only  a  contract,  but  a  new  name  as 
well.  "From  now  on,"  they  told  her,  "you're  Sally  Blane." 


22 


Three  Young  Gals 


Photo  by  Hesser 

Sally  Blane,  christened  Betty  Jane  Young,  is  not  the  most 
beautiful,  but  she  has  more  personality  than  her  two  sisters. 


She  doesn't  yet  know  why  she  became  Sally  Blane, 
when  Betty  Jane  Young  seemed,  to  her,  a  much  better 
name.  But  one  doesn't  quibble  over  a  little  thing  like 
•that,  with  a  contract  sitting  around  waiting  to  be  signed. 

She  was  given  plenty  to  do — a  role  in  "Casey  at  the 
Bat,"  and  another  in  "Shooting  Irons."  In  "Wife 
Savers,"  "Fools  for  Luck,"  and  in  "The  Vanishing 
Pioneer,"  Jack  Holt's  new  picture.  Between  times  she 
was  lent  to  F.  B.  O.,  and  to  Fox. 

Sally  obtained  a  good  start  for  Polly  Ann,  her  older 
sister,  as  well.  Having  made  the  Young  family  what 
an  ad  writer  would  call  "movie  minded,"  Sally  per- 
suaded Polly  Ann  to  try  for  extra  work.  She  per- 
suaded her  to  the  extent  of  almost  dragging  her  into 
casting  offices.  As  I  said,  Polly  Ann  is  shy;  left  to  her- 
self, she  would  never  have  had  the  aggressiveness  to  go 
about  asking  for  jobs.  But  Sally  would  say,  "Now  come 
along,"  and  shove  her  before  the  casting  director's 
window.  Polly  Ann  would  stand  there  tongue-tied. 
"Well?"  the  casting"  man  would  ask  impatiently,  and 
Polly  Ann  would  be  forced  to  speak  up. 

It  was  good  training,  and  Polly  Ann  had  the  looks, 
so  she  managed  to  get  extra  roles  quite  often.  She  was 
called  upon  frequently  to  double  for  stars,  in  long  shots 
— Joan  Crawford,  the  two  Dolores:  'Costello  and  Del 
Rio. 

"But  how,"  I  demanded,  "could  she  possibly  look 
like  both  Del  Rio  and  Costello?" 

It  does  seem  amazing,  Polly  Ann  being  a  brunette,  but 
they  say_that  with  a  blond  wig  one  could  scarcely  tell 


her  from  Dolores  Costello.  She  and  Loretta  have 
the  Costello  mouth. 

Gradually  Polly  Ann  got  bigger  and  better  bits, 
until  she  was  given  a  good  part  in  "The  Bellamy 
Trial,"  and  a  contract  with  Metro-Goldwyn. 

Loretta,  really  just  a  child,  had  a  movie  career 
thrust  upon  her.  A  call  came  for  Polly  Ann  for 
extra  work,  but  she  was  away  on  location.  I  can 
almost  hear  Sally,  the  aggressive  member  of  the 
family,  urging  Loretta,  "Why  don't  you  take  it  in- 
stead ?"_  So  Loretta  did.  The  picture  was  "Naughty 
But  Nice,"  and  Colleen  Moore  noticed  Loretta 
among  the  extras. 

"That's  a  cute  girl,"  Colleen  told  John  McCor- 
mick,  her  husband  and  supervisor.  Mr.  McCormick 
arranged  for  a  screen  test,  which  came  out  beauti- 
fully. There  was  quite  a  little  argument.  After 
all,  Loretta  was  only  thirteen  at  the  time,  and  that 
seemed  really  a  bit  too  young  for  an  ingenue,  and 


Photo  by  Hesser 

Polly  Ann  Young  is  the  shyest  and  quietest  of  the 
three  sisters,  and  was  practically  pushed  into  pictures 

by  Sally. 


too  old  for  a  child  actress.  But  her  screen  tests  were 
really  lovely.  "If  we  don't  sign  her,"  said  John  Mc- 
Cormick, "some  one  else  will."'  So  Loretta  was  proffered 
a  contract.  Even  though  it  was  necessary  for  First  Na- 
tional to  wait  several  years  before  she  grew  up  enough 
to  be  useful,  the  company  decided  she  was  worth  it. 
Really,  could  a  girl  ask  for  better  luck  than  that  ? 

Apparently  the  Moore-McCormick  judgment  proved 
sound.  Loretta  played  tiny  parts  from  time  to  time, 
then  a  small  role  in  "The  Whip  Woman,"  and.  then  she 
was  borrowed  by  Metro-Goldwyn  for  "Laugh,  Clown, 
Laugh !"  in  which  she  created  quite  an  impression.  Now 
she  is  back  on  her  home  lot,  and  recently  finished  an 
ingenue  lead  in  Charlie  Murray's  new  film,  "The  Head 
Continued  on  page  108 


23 


What's  a  Chap  to  Do? 

James  Hall's  career  is  the  least  of  his  worries. 
It  is  the  social  problems  caused  by  his  suc- 
cess which  bother  him — and  do  you  wonder? 

By  Will  iam 

WHAT  would  you  do,  if  you  came  to  Hollywood 
from  comparative  obscurity  and  attracted  na- 
tional notice?  What  would  you  do  if,  to  your 
surprise,  your  least  important  actions  were  blazoned  far 
and  wide,  with  fancy  trimmings  and  exaggerations  ? 
What  would  you  do  if  you  found  yourself  being  im- 
posed upon  by  sycophants  ?  What  would  you  do  if  cir- 
cumstances were  holding  you  back,   when  you  were 

eager  to  spring  ahead?    What  would  

Well,  in  any  case,  having  to  face  these  few  questions 
is  enough  to  drive  any  one 
back  to  obscurity.  Being 
famous,  and  drawing  in- 
creasing fame  to  yourself, 
is  all  right  so  far  as  it 
takes  you,  but  with  all 
these  irritating  facts  at 
hand,  what's  a  chap  to  do  ? 
•  For  the  past  year,  James 
Hall  has  been  racking  his 
mind  for  a  solution.  He 
believes  he  has  found  one, 
now — in  fact,  he  is  fol- 
lowing it — but  he  is  not 
quite  sure.  One  never 
can  be  sure,  in  pictures. 

When  I  first  made  Jim- 
mie's  acquaintance,  he  was 
quite  new  to  the  colony. 
All  he  could  do  was  to 
be  thankful  for  his  good 
break  in  pictures,  and 
praise  Bebe  Daniels  for 
being  the  brick  she  is. 

To-day,  since  his  advent 
in  Hollywood,  Jimmie  still 
stresses  these  two  facts, 
but  he  has  also  several 
other  topics  to  discuss, 
which  prompts  the  ques- 
tion at  the  top  of  the  page. 

"When  I  first  came  to 
work  out  here,  from  New 
York,"  Mr.  Hall  stated,  "I 
thought  the  entire  colony 
would  take  me  up.  I  got 
my  first  disillusion  on  find- 
ing that  the  picture  people 
are  very  hard  to  know. 
Of  course,  I  knew  one  or 
two.  But  the  colony,  as  a  whole,  seemed  closed  against 
me.  It  appeared  as  if  they  all  said:  'Well,  let  us  see 
what  you  really  can  do.  Prove  that  you  are  one  of  us. 
We'll  find  out  if  you  are  worthy  of  our  notice.' 

"I  might  have  been  wrong  to  think  that,  but  that's 
how  it  struck  me  at  the  time. 

"The  next  thing  that  confused  me,  was  the  great  im- 
portance they  placed  on  the  slightest  move  I  made.  Now, 
taking  a  young  lady  to  the  theater,  or  to  a  cafe,  is  not 
a  very  uncommon  thing  to  do.  I  knew  Joan  Crawford, 
and  took  her  to  several  places.  You  see,  I  had  very  few 
friends  out  here,  then. 


He  fled  from  his  beautiful 
home   to   escape  uninvited 
guests. 


Photo  by  Richee 

James  Hall  is  only  too  willing  to  get  the  moon  for  you — 
but  you'd  have  to  shoot  him  up  to  it  with  a  cannon. 

"The  next  thing  I  heard  was  that  we  were  engaged. 
No  denials  on  either  side  did:  any  good.  The  fact  that 
we  had  dined  in  each  other's  company  sealed  our  be- 
trothal. To-day,  Fairbanks,  Jr.,  and  Joan,  just  be- 
cause they  go  about  together,  are  reported  engaged." 

I  was  one  of  the  many  who  believed  Joan  and  Jimmie 
to  be  in  love  with  each  other.  Jimmie  certainly  let  me 
believe  it,  and  they  did  go  about  a  lot  together.  Since 
then,  knowing  Joan's  taking  ways,  and  Jimmie's  early 
quest  for  companionship,  I  realize  how  the  mistake  was 
made.    Yet,  what's  an  observing  interviewer  to>  do  ? 

But,  hang  it  all  ! — to  a  dashing  go-getter  these  false 
reports  must  be  annoying,  and  no  nonsense.  A  per- 
sonable young  man,  with  pleasing  ways,  can  hardly  be 
expected  to  conduct  himself  like  a  cenobite.  He  must 
go  out  occasionally  with  some  one  and  at  least  speak 
to  others.  Yet.  if  these  diversions  are  misconstrued, 
what's  a  chap  to  do? 

Recently  Jimmie  has  been  reported  engaged  to  Merna 
Kennedy,  Charlie  Chaplin's  leading  lady.  Yet  you  can 
bet  your  sweet  life  that  a  lot  of  old  meanies  are  going 
to  disturb  another  good  friendship,  if  they  can,  so  keep 
in  mind  what  Jimmie  has  explained,  in  the  summer  of 
1928. 

"Miss  Kennedy  is  a  charming  girl,"  the  harassed 
young  man  confessed,  "and  is  a  dear  friend  of  mine. 
She  was  sympathetic  and  encouraging,  when  I  first  came 
to  Hollywood.    I  shall  never  forget  that." 

Gratitude.  That's  what  Jimmie  believes  in  handing 
out. 

Now  imagine,  if  you  can,  how  Hollywood  misinter- 
prets gratitude.    Just  plain,  simple  friendship  is  looked 
at  through  Calypso's  magic  mirror.    A  jolly  cup  of  tea 
Continued  on  page  111 


24 


The  Stroll 


er 


By   Carroll  Graham 

Illustrated     by    Lui  Trugo 


Confidential  morsels  of  Hollywood  gossip  of  interest  to  the  fans. 


IT  is  an  office — one  of  a  thousand  offices — in  a  mo- 
tion-picture studio.     Moreover,  it  is  early  morn, 
and  the  day's  work  is  about  to  start. 
That  strangest  of  all  natural  phenomena — a  con- 
ference of  the  gag  men  is  about  to  occur  in  our  office. 

The  workers  file  in  slowly,  as  the  hand  of  the  clock 
nears  nine.  Gag  men  are  funny  by  the  hour — from 
nine  until  twelve,  from  one  until  five.  Sometimes  they 
stay  funny  until  five  thirty,  or,  on  rare  occasions,  even 
until  six. 

All  six  gag  men  having  arrived,  they  drape  them- 
selves in  various  positions  about  the  office,  originally 
designed  for  a  maximum  of  four  persons.  Behind  the 
desk  sits  the  head  gag  man.  He  bears  various  titles. 
Sometimes  he  is  the  director,  sometimes  the  supervisor, 
and  sometimes  the  producer  himself. 

"Well,"  says  the  straw  boss  of  the  gag  men,  "we 
gotta  get  a  story  by  Friday.  Al  wants  we  should  start 
shooting  by  Monday  morning.  Let's  see  what  we  can 
dope  out." 

There  is  a  silence  of  several  moments. 

"Anybody  go  to  the  fights  last  night  ?"  asks  gag  man 
No.  1. 

"Yeh,"  says  the  man  on  his  immediate  right,  "a  lousy 
program.    I  coulda  licked  the  guy  myself." 

This  subject  provides  entertainment  for  ten  minutes. 
The  local  boxing  situation,  its  national  aspects,  the  pros- 
pect of  Dempsey  returning  to  the  ring,  are  argued  out 
completely. 

"Well,"  says  the  straw  boss,  "how  about  this  com- 
edy?  We  gotta  get  a  story  by  Friday." 

"I  seen  a  funny  picture  the  other  night,"  pipes  the 
gag  man  who  has  been  sitting  on  the  back  of  his  neck, 
in  complete  silence,  watching  the  cars  go  down  Sunset 
Boulevard.  "It  was  about  a  guy  that  ran  a  bakery 
shop,  and  got  some  concrete  mixed  up  in  the  dough." 
There  is  a  chorus  of  protest. 

"I  did  that  six  years  ago  at  Sennett's,"  cried  one 
outraged  humorist.  "What  bum  stole  my  stuff?"  There 
is  a  general  babel. 

"Let's  make  a  picture  about  a  bakery. 
How  about  a  sequence  in  a  girls'  boarding 
school?  Harold  Lloyd  had  a  funny  idea,  in 
his  last  picture,  about  a  guy  driving  a  taxi. 
Why  not  do  something  like  that?  I  caught 
Buster  Keaton's  last  picture  the  other  night, 
and  I  thought  of  a  swell  sequence  we  could 
lift  from  it  " 

At  this  point  a  gag  man,  who  until  now 
had  been  comparatively  silent,  leaps  to  his 
feet  in  a  spasm  of  enthusiasm  somewhat  akin 
to  an  apoplectic  stroke. 

"I  got  it!  I  got  it!  An  absolute  wow!" 
he  cries,  beating  his  breast  with  both  his 


clenched  fists.  "Let's  make  our  comic  a  guy  who  is 
afraid  of  dogs,  and  he's  out  of  a  job — so,  to  eat,  he  has 
to  take  work  as  a  dog  catcher." 

There  is  a  silence.  The  entire  circle  is  struck  dumb 
by  the  man's  genius.  Then  the  straw  boss  of  the  gag 
men  speaks  oracularly. 

"Nope,"  he  solemnly  passes  judgment.  "Costs  too 
much  to  fool  with  all  them  trained  dogs.  Dogs  is  too 
much  grief." 

The  gag  man  who  submitted  the  idea  sinks  into  his 
chair,  gasping  for  breath.  Another  silence  follows. 
All  the  sad  young  gag  men  fall  into  extremely  heavy 
thought.  They  denote  heavy  thought  by  various  man- 
nerisms, so  that  there  is  no  doubt  of  what  they  are 
doing. 

One  sits  with  elbows  on  his  knees,  face  buried  in  his 
hands,  rocking  back  and  forth,  and  moaning  softly  to 
himself.  Another  curls  up  in  his  chair  and  gnaws  at 
the  upholstery.  A  third  rests  his  forehead  on  the  edge 
of  the  desk,  his  arms  curled  about  his  head,  like  a 
sobbing  bride. 

These  poses  are  held  for  some  time.  The  straw  boss 
watches  them  happily.  He  knows  they  are  thinking 
now.  He  glances  at  his  wrist  watch.  It  is  ten  minutes 
to  twelve. 

He  rises,  and  addresses  the  gathering. 

"Well,  boys,  we've  done  a  lot  of  good  work  this 
morning.  I'm  playing  golf  with  the  general  manager 
this  afternoon.  There  is  a  new  comedy  playing  down 
at  the  Capitol  this  week.  Suppose  you  all  go  down  and 
take  a  look  at  it  to-day,  and  see  if  there  is  anything  in 
it  we  can  use.    See  you  to-morrow  morning." 

Eddie  Cline,  the  director,  who  has  been  making  a 
picture  at  the  First  National  cannery  in  Burbank,  had 
never  met  the  new  head  of  the  organization  who,  at 
that  time,  was  due  to  arrive  at  the  studio  and  assume 
complete  control. 

"When  this  guy  comes  on  my  set  for  his  tour  of 


Gag  men  choose  divers  means 
make  known  the  fact  that  they 
are  in  deep  thought. 


The  Stroller 


25 


inspection,"  he  told  his  company. 
"I'm  going  to  yell  and  tear  my 
hair,  and  bawl  out  everybody  in 
the  troupe,  just  to  impress  him." 

Shortly  thereafter  one  of  the 
members  of  the  company  saw  a 
party  of  visitors  approaching  the 
set,  and  ran  to  tell  the  director. 

The  party  happened  to  be  a 
group  of  distinguished  rabbis, 
who  were  visiting 
Hollywood.  When 
they  came  on  the  set, 
Eddie  decided  one  of 
them  must  be  an  offi- 
cial of  the  company, 
and'  so  he  put  on  his 
act  accordingly. 


Bozo's  master  is  never  seen  except  in  the  company  of 
his  trained  goose. 


Over  at  the  William  Fox  studio  they  have  an  athletic 
instructor — a  former  professional  boxer — whose  duty 
it  is  .to  keep  all  the  masculine  stars  in  physical  trim. 

Every  star  on  the  lot  is  required  to  report  to  him 
daily,  and  the  instructor  fills  out  a  statement  on  the 
condition  of  each  one. 

My  spy  at  that  studio  informs  me  that  the  following 
report  was  filed  regarding  the  condition  of  Barry  Nor- 
ton, the  lilylike  lad  who  was  introduced  to  the  screen 
as  the  aesthetic  young  Mother's  Boy,  in  "What  Price 
Glory." 

"Mr.  Norton,"  so  ran  the  report,  "showed  up  for 
inspection  this  morning  swith  a  set  of  badly  bruised 
knuckles.  He  said  he  got  them-  from  hitting  some  one 
in  the  mouth — but  I  doubt  it." 

Aviation,  which  has  always  been  of  more  or  less 
interest  to  the  movie  colony,  is  becoming  increasingly 
popular,  particularly  since — according  to  newspaper  re- 
ports— the  producers  have  decided  to  strike  out*  the 
clause  in  stars'  contracts  forbidding  them  to  fly. 

Dozens  of  persons  who  can  afford  it — and  quite  a 
few,  no  doubt,  who  cannot — own  their  own  planes,  and 
man\-  others  are  learning  to  fly,  in  the  hope  that  Lady 
Luck  will  some  time  make  them  rich. 

The  possibilities  in  having  one's  private  airplane  were 
never  clearly  pointed  out  to  me  until  the  other  day.  A 
friend  of  mine  is  taking  instruction  at  one  of  the  air- 
ports near  Hollywood,  and  he  told  me  that  Wallace 
Beery  arrived  at  the  field  one  morning,  in  his  private 
ship,  and  proudly  exhibited  a  string  of  trout  he  had 
just  caught. 

"Caught  'em  in  Silver  Lake  this  morning,"  he  said. 

Silver  Lake  is  a  remote  mountain  stream,  near  the 
Utah-California  border,  some  hundreds  of  miles  from 
the  studio,  yet  Beery  could  fish  for  an  hour  in  the 
morning,  and  be  back  in  time  for  work  at  noon. 


I  wonder  if  the  editor  of  Picture  Play  would  head 
a  subscription  to  help  buy  me  an  airplane. 

With  all  the  profundities  that  have  been  and  are  be- 
ing uttered  about  the  rapid  growth  of  talking  pictures, 

I  don't  believe  any  one 
has  stated  in  print  what 
I  regard  as  the  real 
reason  for  Hollywood's 
sudden  enthusiasm  for 
the  talkies. 

Los  Angeles  is  in  the 
midst  of  a  theater  de- 
pression^  All  the  down- 
town show  houses  are 
losing   money,  Grau- 
man's   Chinese  Theater 
is  closed,  and  managers 
are  in  a  mighty  despair. 
Yet  the  new  Warner  Brothers  Theater  in  Hollywood 
is  playing  to  a  capacity  house  at  every  performance, 
with  long  lines  of  customers  patiently  waiting  for  the 
next  show  to  start. 

Producers  who  own  theaters  that  are  losing  money, 
and  who  ride  down  Hollywood  Boulevard  in  their  pa- 
latial limousines,  cannot  fail  to  be  impressed  by  the 
crowds  in  front  of  the  new  theater.- 

Incidentally,  the  new  show  house  is  becoming  a 
terrific  annoyance  to  those  Hollywoodians  who  reside 
in  the  neighborhood,  the  theater  being  situated  in  an 
apartment-house  district.  Starting  at  noon,  or  shortly 
thereafter,  the  inhabitants  of  the  district  cannot  park 
their  cars  within  blocks  of  their  own  fireside.  All  of 
which,  doubtless,  does  not  concern  the  Brothers  Warner 
in  the  slightest. 

Roland  Asher,  a  scenarist  and  comedy  director,  has 
conceived  a  plot  for  a  Hollywood  tragedy  all  his  own. 
I  am  stealing  it  from  him  for  these  pages. 

A  director — so  his  sad  story  goes — was  out  of  work 
for  months.  Finally  he  was  given  a  chance.  Jubilant, 
he  worked  night  and  day  preparing  his  picture,  con- 
vinced that  his  great  chance  had  come. 

The  story  he  was  to  film  concerned  a  dog — a  large 
and  vicious  dog.  The  morning  that  the  picture  started, 
the  beast  was  led  to  the  set.  Immediately  he  broke  his 
leash  and  took  after  the  director,  snarling  and  snap- 
ping. The  dog's  trainer  finally  subdued  the  animal,  and 
the  director  crawled  down  out  of  the  rafters. 

"Does  he  act  that  way  toward  everybody?"  the  di- 
rector asked. 

"Nope,"  said  the  trainer,  "it's  a  funny  thing.  This 
dog  instantly  takes  strong  likes  and  dislikes.  If  he 
dislikes  a  man,  there,  is  no  being  around  him  after  that." 

The  producer  at  that  moment  came  upon  the  set,  and 
the  director  explained  the  situation. 

"The  dog  doesn't  like  me,"  said  the  director.  "I'll 
have  to  get  another  dog." 

Continued  on  page  114 


A  canine  star 
forms  an  in- 
stant aversion 
to  an  aspiring 
director. 


„  \  f  ..'  /  l<  t 


26 


"Good  Shepherd,  What  Fair 


Said  William  Shakespeare, 
with  Joan  Crawford,  and 


Photo  by  Clarence  Sinclair  Bull 


Then,  right,  you  jump  up,  inject  a  little  Stockholm  stomp  into 
the  routine,  and  add  some  side  steps  for  good  measure. 


27 


Sxtfain  is  This  Who  Dances  Wi 


years  ago.  Well,  it's  Edward  Nugent  that's  dancing 
they're  showing  the  world  how  to  do  "The  Romp." 


Edward  Nugent, 
above,  doing  h  i  s 
share  of  the  sixth 
part  of  "The  Romp." 


The  fifth  movement, 
right,  includes,  after 
executing  the  side 
steps,  suddenly  switch- 
ing to  the  same  line 
of  motion  and  bump- 
ing the  hips. 


After  executing  the 
seventh  movement, 
and  making  the  cir- 
cular balance,  you 
stop  short,  break 
apart,  and  whirl 
sharply,  as  Joan 
and  Eddie  are  do- 
ing, left. 


After  the  sixth  movement,  you  swing  around 
together,  hand  on  hand,  and  spiral  in  a  com- 
plete circle,  as  shown  at  the  left. 


'JBm 


In  the  concluding  step,  above,  you  hold  each  other's  shoulders 
for   support,  and  then  execute   a   stomp  kick,   alternating  the 
position  of  the  hands  and  feet. 


28 


From  the  ashes  of  a  past  worship,  "Connie"  now  enjoys 
a  very  real  friendship  with  Norma  Talmadge. 

YOUTH  sits  wide-eyed  in  a  darkened  theater." 
Thus  I  began  an  interview,  just  two  years  ago, 
with  Constance  Riquer,  a  young  fan  who  had  he- 
come  surprisingly  well  known  among  fans  the  world 
over,  through  her  adoration  of  Norma  Talmadge  and 
her  activities  as  head  of  a  fan  club  in  her  name.  The 
child  was  so  dramatically  and  pathetically  in  love  with  a 
dream,  and  bubbling  with  enthusiasm  over  her  efforts  to 
"serve  Miss  Norma  in  the  only  way  she  knew."  The 
sincerity  of  her  devotion  was  marvelous,  but  I  wondered 
how  and  when  her  disillusionment  would  come.  Such 
dreams  haunted  her !  They  could  not  possibly  come 
true.  Would  she  even  so  much  as  meet  her  idol,  I 
wondered  at  the  time. 

In  two  years  many  things  are  forgotten.  I  am  now 
in  Hollywood,  and  one  day  while  lunching  at  the  Mont- 
martre,  my  eye  turned  from  admiration  of  Norma  Tal- 
madge's  smart  chapeau  to  surprised  recognition  of  the 
complacent  young  person  opposite  her.  It  was  Con- 
stance Riquer — yet  how  could  it  be  the  same  girl  whose 
eyes  had  filled  with  emotion  at  the  bare  mention  of 
Norma  Talmadge's  name,  and  who  had  clapped  her 
hands  over  her  mouth  to  restrain  her  excitement  when 
speaking  of  Hollywood,  which  she  hoped  some  day  to 
see. 

"Come  over  to  the  studio  and  I'll  tell  you  all  about 
it,"  she  invited. 

"The  studio."    So  casually,  just  like  that. 

"Yes,  isn't  it  glorious  ?  I  walked  right  onto  the  United 
Artists  lot  the  day  after  my  breathless  arrival  in  Holly- 
wood, and  I  never  walked  off!  Sounds  Cinderellaish, 
doesn't  it?  But  the  truth  of  the  matter  is,  they  just 
couldn't  get  rid  of  me!" 


DoFanD 


reams 


Constance  Riquer  went  to  Hollywood 
madge,  and  found  it  very  easy  to  be 
bitter.    But  read  this  story  and  find  out 


B?  L 


aura 


Ell« 


"But  you've  changed,"  I  exclaimed,  after  Norma  had 
motored  off  to  an  appointment,  and  Miss  Riquer  and  I 
were  ensconced  in  an  office.  "You  were  so  thrilled,  so 
dreaming  and  gushing,  and  now  that  you  are  here  you 
seem  very  calm  about  it  all.  Have  you  been  disillu- 
sioned in  your  ideal  and  in  the  profession?" 

"Disillusioned?  Not  at  all.  None  of  my  frantic 
dreams  came  true,  of  course.  But  it  is  not  necessary 
for  dreams  and  ambitions  to  be  realized.  Instead  of 
that,  very  frequently  they  change.  Just  at  first,  there 
was  the  thrill  of  stepping  from  the  train  in  Hollywood 
— Hollywood ! — the  dazzling  novelty  of  it  all,  the  thrill 
of  seeing  studio  walls  and  catching  glimpses  of  stars 
Rolls-Roycing  around  corners !  But  now  I  realize  how 
ridiculous  my  fan  attitude  was,  how  petty  were  my 
small  ambitions.  For  years  I  had  adored  Norma  Tal- 
madge madly.  She  will  never  know  what  her  influence 
meant  in  those  years  of — dare  I  say  'adolescence,'  with- 
out your  thinking  I  am  trying  to  pose  as  being  very 
grown  up  now?  But  a  year  in  Hollywood  does  change 
one's  perspective  a  great  deal !  Just  think,  after  a  life- 
time of  nearly  worshiping  Norma  Talmadge,  after  long- 
ing and  praying  all  those  years  to  meet  her — even  just 
to  sec  her ! — I  reached  Hollywood,  one  day  after  she  had 
left  for  a  trip  abroad. 


29 


Come  True? 


in  order  to  meet  Norma  Tal- 
dramatically  disillusioned  and 
how  her  dreams  did  come  true. 

\\torth  Fitch 


"It  was  a  tragedy — then.  Now  I  realize 
what  a  blessing  the  situation  was,  for  a  trust- 
ing fan's  first  month  in  Hollywood,  in  an  ac- 
tive studio,  is  not  conducive  to  rationality  of 
conduct  or  tranquillity  of  outlook.  To  some, 
the  experience  must  be  dreadfully  disillusion- 
ing, but  I  was  too  interested  in  basic  facts — 
too  intrigued  by  the  colorful,  truthful  pa- 
rade. 

"You  see,  my  ambition  is  to  be  a  press 
agent,  so  perhaps  at  heart  I  really  loved  the 
lessons  I  learned.  It  isn't  the  fans  do  not 
know  in  advance  that  movie  castles  are  backed 
by  wooden  props,  that  there  is  a  publicity  ■ 
department  in  every  studio,  and  that  the 
stars  receive  such  quantities  of  fan  mail  that 
if  they  read  it  all,  they  would  have  no  time 
left  in  which  to  face  a  camera.  I  knew  these 
things,  but  you'd  be  surprised  how  jarring  it 
can  be  to  encounter  the  genuine  thing,  to 
learn  in  reality  what  you  have  steeled  your- 
self against  in  theory! 

It  was  different  to  see  A"  unusual  picture  of 
the  bags  full  of  mail  Miss  Talmadge  on  the 
delivered  to  the  stu-     sands  near  her  beach  home 


Norma  Talmadge  dislikes  diffusion,  be- 
cause she  receives  so  much  of  it  insin- 
cerely,   and   is   bored   by  emotional 
demonstration. 

dio,  and  watch  it  being  sorted  by  dis- 
interested workers,  often  running 
across  trusting  letters  from  familiar 
fans  in  the  daily  collection  of  Nor- 
ma's  mail.  But  to  me,  at  first,  the 
awakening  was  only  fascinating. 
The  pain  was  far  surpassed  by  the 
thrill  of  contact  with  things  pertain- 
ing to  Miss  Talmadge. 

"That  first  day  at  the  studio,  gazing  emo- 
tionally at  the  spot  which  my  guide  pointed 
out  as  the  scene  of  her  latest  dramatic  epi- 
sode— the  thrill  of  going  through  her  bun- 
galow, sitting  in  her  chair,  peeking  into  her 
clothes  closet — you  can't  imagine  how  won- 
derful it  all  seemed !  That  is  why  I  say  it 
is  best  not  to  have  met  her  during  those  first 
months  of  excitement  and  adjustment. 
There  would  have  been  a  scene.  Emotion 
and  embarrassment  on  my  part,  with  im- 
patient tolerance,  no  doubt,  on  hers.  But 
at  the  time  I  could  not  realize  this.  The 
dreadful  shock  of  disappointment  was  fol- 
lowed by  weeks  of  longing,  during  which 
my  name  was  placed  on  the  studio  pay  roll 
and  the  return  half  of  my  round-trip  ticket 
stored  away  in  a  trunk  with  various  other 
souvenirs.  Then — her  return  from  abroad, 
and  those  days  of  nervous  tension  passed  in 
the  fear  that  she  might  walk  into  the  office 
any  minute.  I  need  not  have  worried  so 
Continued  on  page  110 


30 


f/he  3 


A  location  trip  to  Honolulu  is  one  of  the 
delights  o£  Dorothy  Mackaill's  new  picture. 

THERE  really  ought  to  be  a  closed  season 
on  newcomers  in  films,"  Fanny  the  Fan 
announced,  with  that  air  of  importance 
that  always  characterizes  her  most  idiotic  sug- 
gestions.   "They're  coming  so  fast  that  if  you 
try  to  keep  up  with  all  of  them  you  quite  ig- 
nore the  old  favorites.    And  you  just 
have  a  chance  to  make  a  one-picture  ac- 
quaintance with   some   personality  that 
looks  interesting  enough  to  make  you  a 
regular  attendant  at  her  films,  when  along 
come  a  lot  of  tales  about  some  newcomer 
who  wouldn't  be  missed. 

"Here  we  are  just  getting  used  to  the 
idea  that  Lupe  Velez  is  the  great  dis- 
covery of  the  age,  when  along  comes 
Raquel  Torres.    And  coming  soon  are 
Mary  Duncan,  Lily  Damita,  Ruth  Chat- 
terton,  and  Eva  von  Berne." 
1  Oh,  well,  luckily  for  us,  and  unluckily 
for  the  theater  owners,  we  aren't  all  en- 
dowed with  the  avid  curiosity  that  makes 
Fanny  feel  that  she  must  see  every- 
thing in  pictures.   We  can  just  stand 
by  and  take  her  word  for  it  when 
something  really  good  hits  the  screen. 
Though  I  wouldn't  wait  for  any  one 
to    recommend    "White  Shadows" 
and  Raquel  Torres. 

"Isn't  it  amazing  to  find  out  how 
great  an  influence  a  girl  can  become, 
just  by  a  one-picture  success?" 

If  Raquel  Torres  and  her  unas- 
suming, sensitive  charm  had  a  sweep- 
ing effect  on  all  the  pert  young  things 
in  America,  as  well  as  those  on  the 
screen,  it  would  be  all  right  with  me, 
but  Fanny  probably  wasn't  thinking 
of  anything  so  drastic.    She  wasn't. 

"Sid  Grauman  ought  to  thank  her. 
She's  ennobled  the  job  of  usherette, 
and  sent  a  lot  of  film-struck  girls 
over  to  his  theater  with  the  idea  that 


ushering  there  is  getting  one  step  across  the  threshold  to  fame.  Just 
a  year  ago  she  was  saying  'This  way,  please,'  to  the  customers  at 
his  Chinese  Theater  here  in  Hollywood,  and  now  her  name  is  across 
the  theater  in  lights,  and  audiences  are  raving  about  her. 

"Furthermore  she  is  responsible  for  a  new  fashion  in  beach 
clothes.  There  was  a  crying  need  for  something  new  to  put  on  after 
shedding  a  wet  bathing  suit.  Deauville  pajamas  may  be  all  right  in 
Deauville,  but  not  out  here  where  every  one  is  trying  to  get  tanned 
a  deep  mahogany  shade." 

"Do  you  suppose  you'll  ever  get  around  to  tell  us  what  the  new 
fashion  is?" 

"Seems  as  though  any  one  could  guess.    It's  tapa  cloths.  You 
just  take  one  of  those  wide  scarfs  and  start  winding  it  around  your 
chest,  wind  it  down  around  your  hips  and  when  you  come  to  the 
end,  tuck  it  under  the  last  fold  and  you  have  a  perfectly  good  South 
Sea  Island  dress.   Of  course,  it  requires  a  skilled  acrobat  to  sit  down 
and  get  up  in  one  of  those  things,  without  shed- 
ding it.    Patsy  Ruth  Miller  wears  one  with  great 
success.    She  looks  stunning  in  it. 

"Maybe  she  got  the  idea  from  the  picture  she 
is  making,  and  not  from  Raquel  Torres  at  all. 
It's  a  South  Sea  Island  story,  with  pearl  divers, 
beach  combers,  and  all  the  rest  of  the  expected 
props.    Elmer  Clifton  made  some  of  the 
scenes  for  it  a  couple  of  years  ago,  on  his 
trip  around  the  world." 

"I  suppose  we're  in  for  a  lot  of  South 
1        Sea  Island  pictures,  now  that  'White  Shad- 
ows' is  such  a  success,"  I  suggested. 

"Haven't  heard  of  many,"  Fanny  ad- 
mitted, "but  that  may  mean  just  a  slight  de- 
lay. Most  of  the  companies  are  busy  catch- 
ing up  with  the  parade  of  pictures  laid  in 
Singapore.  Since  'Across  to  Singapore,' 
'Singapore  Sal'  and  'Singapore  Mutiny' 
have  been  started.  However,  there  is  one 
big  South  Sea  Island  picture  promised. 
George  Fitzmaurice  is  going  to  Honolulu 
to  film  'The  Changelings,'  with  Dorothy 
Mackaill  in  the  leading  role. 

"And  what  do  you  suppose  the  story  of 
'The  Changelings'  is?  None  other  than  an 
old  friend  of  the  Triangle  days,  the  title  of 
which  I  don't  recall,  but  I  do  remember 
Seena  Owen's  wonderful  acting  as  the  star. 
And  that  reminds  me,  we're  in  for  a  big 
season  of  revivals.  I'd  rather  see  an  old 
story  that  I  love  than  a  new  one  that  is 
not  so  good. 

_  "Vilma  Banky  is  going  to  star  in  a  re- 
vival of  'Romance.'  Doris  Keane  made  it 
years  ago,  but  she  wasn't  as  good  on  the 
screen  as  she  was  on  the  stage.  Vilma 
ought  to  be  exquisite — and  she  has  the 
great  advantage  of  having  Al  Santell  direct 
her.  Another  revival  that  is  coming  is  'The 
Admirable  Crichton.'  De- 

^"£iche?  .„  .  ,  Mille  made  it  with 
Ruth  Taylor  will  play      „,  ,     .  ,  , 

a  chorus  girl  in  "The  Thomas  Meighan  and 
Canary  Murder  Case."     Gloria  Swanson  and  called 


31 


vacups 

Fanny  the  Fan  tells  of  the  influx 
of  new  favorites  and .  film  revivals, 
of  Hollywood's  biggest  party,  and 
a  blow  to  studio  visitors. 


it  'Male  and  Female.'  Now  it  is  to  be  called 
'Conquest,'  and  Richard  Dix  and  Florence  Vi- 
dor  are  going  to  play  the  leading  roles. 

"But  going  back  to  Dorothy  Mackaill,  there"s 
an  auld-lang-syne  touch  about  this  production 
that  shouldn't  be  overlooked.  Rod  La  Rocque 
is  her  leading  man,  and  while  that  may  mean 
nothing  to  you,  it  brings  back  a  lot  of  mem- 
ories to  them.  Dorothy  and  Rod  knew  each 
other  years  ago.  She  was  a  chorus  girl — in 
'Good  Morning,  Judge,'  I  think  it  was — and  she 
had  been  forbidden  to  work  in  pictures,  because 
the  company  manager  didn't  like  his  chorines 
showing  up  at  the  theater  all  tired  out  from  a 
day's  work.'  Nevertheless,  Dorothy  went  right 
on  working  in  pictures.  Just  try  to  keep  her 
from  doing  anything  she  wants  to.  One  day 
they  worked  way  down  on 
Long  Island,  and  didn't  get 
through  until  late,  and  Dor- 
othy was  panicky  for  fear 
she  couldn't  get  to  the  thea- 
ter on  time.  Rod  noticed 
how  worried  she  was  and 
grandly  summoned  a  taxi. 
Taxi  fare  in  those  days  was 
more  of  an  extravagance  for 
him  than  the  upkeep 
of  a  fleet  of  Rolls- 
Royces  is  now,  but 
Rod  was  never  one 
for  penny  pinching 
when  a  friend  was  in 
need.  He  rushed  her 
over  to  the  theater — 
even  stopped  to  blow 
her  to  a  hot  dog  on 
the  way — and  got  her 
there  in  plenty  of 
time.  Dorothy  will 
always  be  grate- 
ful to  him. 

"Of  course,  it 
may    not  have 
been    worth  the 
sacrifice  of  all  his 
spare  cash  to  save 
Dorothy's  job  for 
her,  because  she 
left  the   show  a 
few    days  later, 
anyway.    She  was 
making   good  in 
pictures,  and  wanted  to  de- 
vote all  her  time  to  them. 
.Incidentally,  when  she  left 
the   show,   her   place  was 
taken  by   Josephine  Dunn, 
who  is  also  in  pictures  now 
and  doing  very  well.  She  has 


Photo  by  Hommel 

To  Evelyn  Brent  falls  the  honor  of  playing  the  lead  in  Somerset 
Maugham's  "The  Letter." 

just  finished  'The  Singing  Fool,'  with  Al  Jolson,  and  'Excess 
Baggage,'  with  William  Haines.  She  is  to  play  opposite  Tim 
McCoy  next." 

It  seemed  to  me  something  of  a  record  that  Fanny  could 
talk  that  long  without  once  mentioning  sound  pictures.    I  was 
just  wondering  how  to  keep  her  off  the  subject — it  is  such  a 
relief  to  hear  some  one  talk  about  something  else — when  she  launched 
forth  excitedly. 

"Have  you  heard  that  Harold  Lloyd  is  having  the  theater  in  his 
house  wired  for  sound  pictures?  He's  the  very  first  to  do  it.  It 
must  have  taken  a  lot  of  influence,  because  the  electric  companies 
that  are  wiring  theaters  have  orders  so  far  ahead  that  they  can't 
promise  installations  in  less  than  two  years." 

One  feature  of  sound  pictures  that  hasn't  apparently  occurred-  to 
any  one,  including  Fanny,  is  that  they  have  brought  about  a  millen- 
nium in  their  own  little  way.  At  last  directors  are  making  pictures 
for  the  few,  instead  of  for  the  many.  But  don't  be  too  encouraged, 
it  doesn't  mean  that  they  have  gone  artistic.  It  merely  means  that 
they  are  concentrating  on  making  pictures  for  the  thousand  theaters 
that  will  be  wired  by  next  January,  instead  of  the  sixteen  thousand 
that  will  still  be  silent-screened.  Of  course,  there  will  be  silent 
versions  of  the  same  pictures  for  the  old-fashioned  houses,  but 
calling  these  pictures  hybrids  is  flattery  of  the  highest  order.  AU 
the  enthusiasm  and  experimenting  goes  into  developing  the  new 
medium. 

"What  I  mind  most  about  the  sound  pictures,"  Fanny  rambled 
on,  "is  the  epidemic  of  feeble  jokes  that  they  have 
Laura  La  inspired.  Of  course,  it  was  inevitable  that  the 
Plante  is  deep  taikies  would  be  called  the  'squawkies,'  particularly 
t  i  o'ns6  P  Yo  r  ^  Vitaphone  process  is  the  only  one  you  have 
"Show  Boat."    heard.    Then  there  is  the  one  about  the  supervisor 


32 


Over  the  Teacups 


r 


Photo  by  Ball 

Dorothy  Revier  has  been  borrowed  from  Columbia  for 
Douglas  Fairbanks'  "The  Iron  Mask." 


who  ordered  a  retake  of  a  scene  be- 
cause he  couldn't  hear  the  'k'  in  'swim- 
ming.' And  naturally,  when  it  was 
announced  that  Rin-Tin-Tin  was  to 
star  in  a  sound  picture,  everybody  said 
it  was  a  pity  Warner's  hadn't  bought 
the  screen  rights  to  'The  Barker.' 

"There  are  bound  to  be  a  lot  of  sur- 
prises and  reversals  of  public  opinion, 
when  players  are  judged  by  their 
voices  as  well  as  their  appearance.  So 
far,  the  big  sensation  of  the  talking 
films  is  Gladys  Brockwell.  She  is  re- 
gaining some  of  the  glory  she  knew 
as  a  Fox  star  years  ago.  And,  of  all 
the  tests  made  at  Paramount  the  best 
one  so  far  is  Chester  Conklin's.  His 
voice  is  said  to  record  marvelously. 
They  are  also  tremendously  enthusi- 
astic about  Nancy  Carroll.  She  was 
very  good  on  the  stage,  you  know,  be- 
fore she  went  into  pictures.  Speak- 
ing of  Nancy  Carroll,  I'll  never  be  quite  satisfied  until 
she  puts  her  little  daughter  in  pictures.  She  is  a  minia- 
ture edition  of  Nancy — and  one  of  those  youngsters 
who  is  awfully  fresh  and  smart  without  being  offensive. 

"I  expect  Evelyn  Brent  to  be  marvelous  in  talking 


Photo  by  Freulich 


films.  The  volume  of  the  voice  doesn't  matter,  you 
know;  just  the  quality.  And  Evelyn's  voice  has  a 
lovely,  soft,  musical  tone. 

"Evelyn  is  working  so  hard  that  she  hardly  ever 
has  a  chance  to  go  down  to  her  beach  house,  but  she 
can't  complain,  because  she  is  getting  awfully  good 
stories.  She  has  just  finished  'Interference,'  and  now 
she  is  going  to  do  Somerset  Maugham's  'The  Letter.'  If 
Evelyn  were  a  newcomer  in  films,  we  would  probably 
be  throwing  superlatives  in  the  air,  but  just  because 
she  has  always  been  good  and  keeps  right  on  getting 
better,  she  doesn't  get  half  the  attention  she  deserves. 
With  the  right  vehicles,  I  think  Evelyn  would  be  one 
of  the  four  or  five  dominant  personalities  on  the 
screen,  and  even  if  she  gets  only  second-rate  stories  she 
is  bound  to  be  a  great  favorite." 

Surely  no  one  could  put  up  an  argument  about  any 
prophecy  as  obvious  as  that. 

"Have  you  seen  Leatrice?"  Of  course,  I  supposed 
she  had,  because  even  with  half  of  the  girls  in  Holly- 
wood going  on  the  stage,  Fanny  wouldn't  miss  the 
first  night  of  an  old  favorite  like  Leatrice  Joy,  in  a 
favorite  old  play  like  "Clarence." 

"Yes,"  she  said  hesitantly,  "and  I  am  going  to  see 
her  again.  She  was  charming,  but  she  was  so  nervous 
her  voice  wasn't  at  its  best  the  first  night.  I  suffered 
agonies  for  her,  she  seemed  to  be  so  panic-stricken 
when  she  came  out  on  the  stage.  She  should  have 
felt  perfectly  at  home.  The  theater  was  packed  with 
friends  for  whom  she  has  often  recited,  without  a 
trace  of  nervousness. 

"Pauline  Frederick  is  going  to  do  a  talking  picture 
for  Warner's,  and  if  that  doesn't  give  you  a  tremen- 
dous thrill,  you  must  have  amnesia,  or  a  heart  of  stone. 
Fond  as  I  am  of  some  of  the  newcomers,  I'd  trade 
them  all  in  and  throw  in  a  few  established  stars  for 
good  measure  just  to  have  Polly  back  on  the  screen. 
If  the  companies  keep  on  signing  experienced  stage 
stars  for  talkies,  this  won't  be  such  a  golden  year  for 
vocal  teachers  in  California  after  all.  A  few  girls  are 
contributing  generously  to  their  support,  though. 

"What  few  shekels  Jane 
Winton  had  left  after  her  trip 
to  Europe  are  rapidly  going 
to  elocution  experts. 
Jane  had  an  idea 
that  when  she  came 
home  she  would 
have  to  spend  a  few 
weeks  job  hunting 
and  showing  off  her 
Paris  clothes,  but  in- 
stead of  that  she  got 
rushed  right  into  a 
talking  picture.  And 
was  she  nervous  ? 
She  longed  to  have 
a  crying  scene  in  her 
first  day's  work. 

"Edna  Murphy  is 
now  a  veteran  of  the 
sound  films.  She's 
been  put  under  con- 
tract at  Warner's. 
But  her  most  star- 
tling scene  in  'My 
Man'  will  never  be 
seen  on  the  screen.  Fanny  Brice  was  supposed  to  slap 
her,  and  it  was  one  of  those  jinx  scenes  in  which  some- 
thing always  went  wrong.  They  made  it  over  and  over 
and  finally  Miss  Brice  hit  her  so  hard  she  was  knocked 
out.    Edna  staggered  to  the  floor  quite  unconscious, 


Jane  Winton  began  work  immediately  on  her  return 
from  Europe. 


Over  the  Teacups 


33 


and  work  had  to  be  called  off  for  the  rest  of  the 
day. 

"Ruth  Taylor  will  burst  into  speech  for  the  first 
time  in  'The  Canary  Murder  Case,'  and  she  is  more 
terrified  than  she  was  when  she  was  chosen  for  Lorelei, 
and  emerged  from  obscurity  overnight.  Laura  La 
Plante  is  so  busy  getting-  ready  for  'Show  Boat'  that 
she  has  simply  dropped  out  of  sight.  But  Laura 
shouldn't  worry.  She  had  an  offer  to  go  on  the  stage 
two  years  ago,  so  her  voice  must  be  all  right. 

"Practically  the  only  stars  who  haven't  announced 
talking  pictures  are  Mary  Pickford  and  Douglas  Fair- 
banks, and  probably  they  will  catch  the  fever  before 
they  get  well  under  way  with  their  new  productions. 
And  that  reminds  me,  I  suppose  you  have  heard  that 
Fairbanks  has  borrowed  Dorothy  Revier  from  Co- 
lumbia for  the  wicked-siren  role  of  his  new  picture. 
Dorothy  has  been  working  night  and  day  to  finish  a 
picture  at  Columbia  in  time  to  start  with  him. 

"Working  nights  is  only  to  -be  expected  of  girls 
who  are  working  in  sound  pictures.  Atmospheric  con- 
ditions are  supposed  to  be  better  then  for  recording." 

Fanny  had  been  talking  so  intently  that  she  hadn't 
even  noticed  the  mob  of  tourists  who  were  crowding 
in  at  the  door  of  Montmartre,  demanding  to  -know 
if  there  were  any  stars  there,  before  they  committed 
themselves  to  being  paying  guests. 

"Poor  darlings,"  Fanny  remarked  patronizingly, 
when  at  length  she  did  notice  them,  "their  chances  of 
seeing  film  stars  in  person  are  getting  more  remote 
every  day.  It  used  to  be  hard  enough  to  get  in  a 
studio  to  visit,  but  now  it  is  practically  impossible. 
The  sound-recording  apparatus  is  so  sensitive  that 
simply  no  one  who  isn't  actually  engaged  in  making 
the  picture  is  allowed  around  nowadays. 

"But  at  least  the  tourists  who  were  here  last  week 
saw  one  mammoth  party  that  they  will  never  forget. 
The  Wasps — otherwise  the  Women's  Association  of 
Screen  Publicists — gave  a  tre- 
mendous party  at  the  LJnited 
Artists  studio,  and  over  a  thou- 
sand people  came.  It 
was  a  bridge  party, 
fashion  show,  and  re- 
ception, to  raise  funds 
for  the  Crippled  Chil- 
dren's Fund,  and 
practically^  every 
young  girl  in  pictures 
acted  as  hostess  at 
one  of  the  bridge 
tables.  Such  an  out- 
burst of  organdie-and- 
lace  creations  you 
never  have  seen.  Sally 
Blane  succeeded  in 
looking  distinctive,  by 
coming  right  from  the 
studio  in  riding  habit 
and  make-up.  The 
affair  was  so  huge, 
that  it  was  something 
of  a  blow  to  the  visi- 
tors who  had  expected 

to  spend  a  quiet  afternoon  confiding  to  Mary  Pickford 
that  she  was  their  favorite  star,  but,  after  all,  it  did 
give  them  a  chance  to  get  at  least  a  fleeting  glimpse  of 
dozens  of  players. 

"One  woman  there — who,  alas,  is  unknown  to  me — 
will  always  be  my  ideal.  One  of  the  press  agents  had 
been  piloting  Esther  Ralston  and  Eva  von  Berne  around 
all  afternoon,  introducing  them  at  the  various  tables. 


Photo  by  Spun- 


Edna  Murphy's  most  dramatic  scene  in  "My  Man 
will  not  appear  on  the  screen. 


Talking  pictures  are  bringing  Gladys  Brockwell 
back  to  eminence. 


The  second  time  she  paused  by  my 
heroine's  table  and  started  introduc- 
ing them,  the  lady  remarked  wearily, 
'Yes,  we're  all  thoroughly  impressed 
now  by  who  they  are;  possibly  they 
would  like  to  know  who  we  are.' 
And  thereupon  she  introduced  Mrs. 
Smith,  Mrs.  Jones,  and  Mrs.  Doakes, 
or  whoever  they  were. 

"I'll  probably  never  find  out  who 
she  was,  but  there  will  be  moments 
at  every  Hollywood  party  when  I 
am  going  to  wish  that  she  was  with 
me. 

With  a  sudden  and  characteristic 
change  of  subject  Fanny  said,  "It's 
months  since  I've  seen  or  heard  of 
Anna  Q.  Nilsson — not  since  she  met 
with  an  accident  while  horseback  rid- 
ing, though  I've  been  told  she  is  al- 
most completely  recovered.  But  I 
don't  imagine  her  convalescence  has 
been  helped  by  having  two  splendid  roles  given  to  an- 
other star  after  she  had  expected  to  play  them."  Fanny 
looked  mysterious. 

"No,  I  won't  tell  you  what  parts  they  were,  because 
one  just  couldn't  help  making  comparisons,  and  that 
wouldn't  be  quite  fair. 

Fanny  steadfastly  refused  to  divulge  any  of  this  secret 
information,  and  thereby  broke  a  record. 


34 


Little  Sister  to  Lucrezia  Borgia 

Kathleen  Key,  the  first  Movietone  player  to  visit  New  York,  shares 
a  new  addition  to  her  public,  and  tells  about  talking  pictures. 

Malcolm  H.  Oettinger 

AS  the  First  Lady  of  the  Movietone,  Kathleen  Key  joyed  looking  at  her  for  an  hour,  without  let  or  hin- 

was  bound  to  be  interesting.    Even  if  Movietone  drance. 

had  never  been  invented,  Kathleen  would  still  be  The  Key  eyes  are  large  and  melting,  the  Key  nose 

interesting.    But  that  point  will  be  reached  with  proper  pointed  and  sensitive,  the  Key  lips  artfully  curved  and 

regard  for  coherent  climax.                                        ^  prettily  tinted.    Here  is  a  subject  for  the  spectacular 

In  Hollywood  she  was  a  hit  in  "The  Family  Picnic"  Mr.  Zuloaga,  in  one  of  his  most  riotously  colorful 

on  the  same  program  with  her  fellow  countryman,  Mr.  moods.     Here  is  a  black-haired,  brown-eyed  beauty, 

Bernard  Shaw — such  a  hit,  indeed,  that  the  astute  Mr.  lush,  dominant,  intriguing.     A  Ziegfeld  graduate  at 

Fox  shipped  her  East  to  make  a  personal  appearance  Sforza  Castella.    Circe's  daughter  at  the  age  of  twenty. 


with  the  picture  when  it 
opened  on  Broadway. 

Thus  she  was  in  New 
York,  and  not  unhappy  at  the 
thought.  There  were  the  lions 
at  the  Public  Library  to  be 
fed,  trolling  at  the  Aquarium, 
and  seeing  Grant's  Tomb 
again.  Good  old  Grant!  It 
had  been  years,  it  seems,  since 
Manhattan  had  swum  into  her 
ken,  and  her  ken  enjoyed 
nothing  better. 

Miss  Key,  who  is  one  of 
the  six  most  pictorial  bru- 
nettes in  Hollywood — or  out, 
for  that  matter — received  me 
calmly,  but  cordially,  in  her 
suite  at  one  of  the  unostenta- 
tiously elegant  apartment  ho- 
tels abutting  Central  Park. 

"The  last  time  I  was  in 
this  great  metropolis,"  she 
said,  "I  was  on  my  way  home 
from  a  two-year  party  with 
'Ben-Hur.'  Surely  you,  as  an 
expert,  will  remember  that 
'Ben-Hur'  was  a  picture  with 
a  chariot  race,  a  galley  scene, 
and  a  few  thousand  actors 
who  were  eventually  discov- 
ered on  the  cutting-room 
floor.  But  it  was  a  swell  trip. 
You  see,  I  went  for  the  ride." 
She  paused  to  light  a  cig- 
arette. "Artistically  speaking, 
I  had  to  walk  back.  My  part 
was  a  shadow  in  the  final  film- 
ing." 

The  Key  beauty  is  of  high 
sex-voltage,  reminding  one  of 
a  youthful  fusion  of  Alma 
Rubens  and  Evelyn  Brent.  As 
a  result,  producers  have  seen 
fit  consistently  to  deploy  her 
for  ingenues.  If  these  for- 
ward-looking gentlemen  will 
pardon  my  pointing,  it  will  be 
noted  that  the  Key  talents 
would  gleam  most  successfully 
in  a  torrid,  sultry  role.  This, 
at  least,  is  the  wide-eyed  sus- 
picion of  one  who  has  en- 


Photo  by  Brown 


Kathleen  Key,  a  black-haired,  brown-eyed  beauty, 
lush,  dominant,  intriguing. 


A  little  sister  to  Lucrezia 
Borgia. 

Whether  she  admits  it  or 
not,  Kate  Key  must  spring 
from  the  bold,  bad  Borgias. 
Her  extravagant,  renaissance 
beauty  is  decidedly  suggestive 
of  the  wicked  Lucrezia,  al- 
though her  sparkling  wit  is  of 
the  variety  most  often  asso- 
ciated with  the  Irish.  Kate  is 
Irish,  she  will  tell  you.  But 
she  is  not  for  Smith.  As  a 
native  daughter  of  California, 
she  is  all  Hoover,  and  mili- 
tant about  it. 

Speaking,  as  we  just  were, 
of  native  daughters,  Mrs. 
Key's  daughter  is  one  of  the 
few  luminaries  in  Hollywood 
who  boasts  a  California  birth. 
Before  she  was  out  of  high 
school  she  was  in  films,  mak- 
ing an  auspicious  debut  in 
"The  Three  Musketeers,"  in 
which  she  played  A  Fright- 
ened Peasant;  and  had  a  de- 
lightful time  in  the  company 
of  the  Messrs.  Fairbanks, 
Niblo,  and  Menjou,  then  just 
climbing  the  ladder. 

Following  extra  bits  in  a 
few  other  productions,  Kate 
did  a  very  artistic  and  equally 
unsuccessful  picture  for  Fer- 
dinand Pinney  Earle.  The 
best  part  of  that  venture,  ac- 
cording to  the  enthusiastic 
Miss  Key,  was  the  leading 
man,  one  Ramon  Novarro. 
The  name  is  familiar  to  most 
readers  of  the  magazines  of 
the  celluloid  spaces.  In  addi- 
tion to  acting,  it  seems  Mr. 
Novarro  played  the  guitar, 
told  funny  stories,  and  sang 
sad  songs. 

"I'd  love  to  be  original," 
said  Kate,  "knowing  how 
you  admire  originality,  but 
New  York  is  so  warm.  It 
melts  one's  best  intentions." 
Continued  on  page  118 


35 


Photo  by  Lansing  Brown 


KATHLEEN  KE"V  has  a  vivid,  ex- 
travagant, renaissance  beauty  that 
is  suggestive  of  the  bold,  bad  Borgias; 
but  her  wit  is  of  the  sparkling,  au- 
dacious variety  distinctly  associated 
with  the  Irish,"  says  Malcolm  H. 
Oettinger,  whose  interview  opposite 
throws  new  light  on  the  timely  sub- 
ject of  a  player's  experiences  with 
talking  pictures. 


SCARCELY  two  years  have  passed  since  Gary  Cooper  first 
strode  upon  the  scene,  and  now  he  is  as  deeply  rooted  in  the 
regard  of  the  fans  as  the  trees  of  his  native  Montana,  nor  will 
the  strongest  blast  of  popularity  sway  his  balance. 


37 


Photo  by  Ernest  A.  Bachrach 


AFTER  her  magnificent  success  as  Sadie  Thompson,  every  fol- 
•  lower  of  the  movies  joins  in  hoping  Gloria  Swanson  will  sur- 
pass herself  under  Von  Stroheim's  direction  in  "The  Swamp," 
which,  whatever  its  final  title,  will  reveal  Gloria  surprisingly. 


38 


Photo  by  Harold  Dean  Carsey 

I  F  you  are  looking  for  Lloyd  Hughes  as  a  great  lover,  or  the 
»  sheik  of  sheiks,  you  may  as  well  give  up.  But  if  you  admire 
him  because  of  his  wholesomeness,  you  can  prepare  to  do  so  until 
the  sands  of  the  desert  grow  cold. 


39 


ALICE  JOYCE,  in  the 
•  serenity  of  her  har- 
monious home,  is  seem- 
ingly oblivious  to  the  call 
of  the  fans  to  return  to 
the  screen.  This,  after 
all  the  pleasure  she  has 
given  them,  is  incredible. 
Picture  Play  herewith 
adds  its  voice  and  begs 
her  not  to  be  domestic, 
but  altruistic. 


Photo  l>y  F.  L.  Roya 


41 


BEING  pretty  and 
pertly  provocative  is 
far  from  Nancy  Carroll's 
only  stock  in  trade,  for 
she  is  a  skillful  and 
piquant  comedienne  as 
well,  and  has  never  given 
an  indifferent  perform- 
ance. Her  Irish  eyes 
will  next  twinkle  as  the 
vis-a-vis  of  Richard  Ar- 
len,  in  "The  Upstart 
Gentleman." 


Pholo  by  Hendrickson 


TOO  long  Conrad  Nagel  has  been  misjudged  by  those  who 
insist  that  he  play  role's  in  keeping  with  his  exemplary  char- 
acter off  the  screen.  This  is  the  gist  of  Alma  Talley's  story 
opposite,  in  which  the  popular  leading  man  explains  himself. 


43 


Too  Good  to  Be  Romantic 

That's  what  producers  and  the  fans  have  been  thinking  about 
Conrad  Nagel,  but  Conrad  has  some  ideas  on  the  subject 


By  Alma  Talle? 


IT  can't  be  true  that  there's  such  a  thing  as  having 
too  spotless  a  reputation!  That,  despite  what  all 
the  copy-book  maxims  tell  us,  there  might  be  times 
when  it  doesn't  pay  to  be  too  good — when  goodness  is 
a  handicap. 

Look  at  Conrad  Nagel.  Indeed,  he's  very  nice  to 
look  at — Conrad,  of  the  irreproachable  reputation.  In 
fact,  that's  the  trouble,  that  irreproachable  reputation, 
Not,  of  course,  that  he  regrets  his  quiet,  domestic  life, 
and  the  absence  of  any  scandal  in  his  career.  Conrad 
is  not  a  young  man  to  go  around  with  regrets.  A  high 
sense  of  honor  is  inherent  in  him.  He  wouldn't  know 
how  to  go  wrong,  even  if,  by  a  sudden  miracle,  he 
wanted  to.    It  just  isn't  in  him. 

But  virtue,  along  with — no  doubt — its  own  reward, 
has  brought  «him  one  distinct  annoyance.    That  is,  the 
fact  that  .his  private  life  has  been  so  mixed  up 
with  his  career. 

Some  one  once  said  about  Conrad  that  he  went 
to  Christian  Endeavor  meeting  every  Sunday 
night.  Perhaps  he  does,  perhaps  not.  But  the 
fact  that  such  a  story  was  published  about  him 
made  it  as  good  as  true,  so  far  as  the 
public  was  concerned.  It  expressed 
the  popular  conception  of  Mr.  Nagel. 

Well,  that's  all  right  with  Conrad. 
That's  okay  with  him,  as  they  say  on 
Broadway.  But  it  isn't  all  right  that 
the  public  should  label  him  as  that 
type  for  screen  purposes,  that  they 
should  consider  his  screen  personality 
"too  good  to  be  romantic." 

"What  is  an  actor  anyway?"  he  de- 
manded. "Isn't  an  actor  a  man  who 
can  adjust  his  stage  or  screen  per- 
sonality to  the  demands  of  a  role? 
Who,  in  other  words,  can  bury  him- 
self entirely  and  become,  temporarily, 
an  altogether  different  kind  of  per- 
son? 

"Well,  all  these  years  I've  tried  to 
be  an  actor.  I've  played  every  type, 
of  role  in  the  whole  category.  Yet 
the  public  persists  in  cataloguing  me 
as  a  definite  type,  as  the  kind  of  man 
they  imagine  I  am  in  real  life.  What 
have  I  got  to  do — go  out  and  stir  up 
some  sort  of  scandal?" 

This  outburst  was  occasioned  by 
my  comment  that  suddenly,  after 
some  years,  Metro-Goldwyn  thought 
Conrad  romantic  enough  to  play  op- 
posite Greta  Garbo  in  "The  Mysterious  Lady." 

Conrad  has  been  under  contract  to  the  Gold- 
wyn  half  of  Metro-Goldwyn  since  the  days  be- 
fore all  the  big  companies  ran  around  asking 
other  big  companies  to  merge  with  them.  He 
has  played  all  kinds  of  roles,  but  the  illusion  has 
.persisted  that  he  was  the  type  for  the  noble  hero 
oh — such  a  noble  hero. 


After  Conrad's  famous  and  heroic  defense  of  the 
actors,  last  year,  in  the  general  Hollywood  melee  over 
cutting  salaries,  Metro-Goldwyn  became  annoyed  with 
him.  They  had  him  under  contract,  but  they  lent  him*  to 
Warner  Brothers  most  of  the  time. 

He  played  in  one  Warner  picture  after  another  and 
then,  perhaps  because  he  had  a  good  Vitaphone  voice, 
trained  for  the  stage,  he  was  cast  opposite  Dolores  Cos- 
tello,  in  "Tenderloin,"  and  then  in  "Glorious  Betsy." 

Then  it  was  that  the  Metro-Goldwyn  executives  woke 
up  to  Conrad's  possibilities.  They  saw  him  in  'Glori- 
ous Betsy,"  in  which  he  achieved  a  personal  success. 
"Why,"  they  marveled,  "what  a  romantic  screen-lover 
he  is !"  It  was  like  the  sudden  discovery  that  a  piece  of 
furniture  that  has  been  in  the  family  for  years,  and 
relegated  to  the  barn,  is  really  very  valuable. 

Metro-Goldwyn  suddenly  realized  that  this 
young  man,  whom  they  had  been  lending  so 
willingly  to  other  companies,  was  really  quite 
an  asset  to  their  roster  of  romantic  heroes. 

So,  promptly  after  the  release  of  "Glorious 
Betsy,"  Conrad  was  recalled  to  the  home  lot, 
and  was  given  the  prize  roman- 
tic role,  opposite  Greta  Garbo. 

In  his  European  military  cos- 
tume, with  the  high  collar  so  fre- 
quently inflicted  on  John  Gilbert, 
and  with  lots  of  gold  braid,  I 
must  say  that  Conrad  looked 
very  handsome  indeed.  There 
seemed  to  be  no<  reason  at  all 
why  Greta,  on  the  screen, 
shouldn't  fall  heavily  in  love 
with  him. 

I  congratulated  Conrad  on  the 
fact  that  at  last  he  had  been 
found  out.  Here,  all  this  time, 
this  romantic  lover  had  been,  so 
far  as  films  were  concerned, 
smothered  under  that  spotless 
reputation  of  his,  and  now  it  had 
come  to  light.  He  could  sigh 
and  look  as  sultry  as  any  Romeo. 

"But  I've  always  played  ro- 
mantic roles,  off  and  on,  all 
during  my  career,"  he  insisted. 
"And  I  don't  see  why  this  to-do  ; 
why  this  sudden  discovery  that 
I  can  make  love  on  the  screen." 

I  distinctly  got  the  impression 
that,  under  his  quiet  exterior,  his 
always  courteous  manner,  Mr. 
a  little  annoyed.    He  very  much 
disliked  his  belated  acceptance  as  a  romantic 
type.    Well,  what  young  man  wouldn't? 

"The  trouble  is,"  he  complained,  "the  public 
persists  in  fitting  you  into  a  type,  in  identify- 
ing you  with  the  kind  of  person  they  imagine 
you  are  in  real  life.    Now,  take  my  case. 
Continued  on  page  116 


"The  no- 
tion has  got 
about  that 
I'm  a  sort 
of  goody- 
goody." — 
Conrad 
Nagel. 


Nagel  was 


44 


Dolores  del  Rio  feels  that  she  is  now  doing  something 
worth  while,  and  that  her  idle  life  in  Mexico  City  is 
a  thing  of  the  past. 


Ik  T  EW  YORK  is  all  agog  once  more.  The  mov- 
I  ^  ing-picture  studios,  which  for  months  past  have 
been  deader  than  the  proverbial  doornail,  are 
quietly  and  speedily  showing  signs  of  life,  and  one 
by  one,  like  the  Arabs,  are  silently  stealing  into  activ- 
ity. Monta  Bell  has  taken  charge  of  the  Paramount 
studio  on  Long  Island.  A  new  sound-stage  has  been 
erected,  and  an  equipment  of  booths,  cameras,  and 
microphones  expertly  installed,  and  daily  tests  of  stage 
stars  are  being  made.  Plans  are  being  made  for  short 
talkies,  with  no  less  personages  than  Florence  Reed, 
Jeanne  Eagles,  Fay  Painter,  and  Helen  Mencken. 
Eddie  Cantor,  spurred  on  by  the  popularity  of  the 
talkies,  appeared  at  the  studio  for  one  of  the  daily 
try-outs.  In  fact,  Astoria  has  been  converted  into 
Broadway  for  the  nonce,  judging  by  the  long  stream  of 
stars  who  motor  weekly,  in  their  high-powered  auto- 
mobiles, to  the  Long  Island  mecca  of  the  talking  films. 

Metro-Goldwyn  has  taken  possession  of  the  old 
Cosmopolitan  studio  in  Harlem,  and  hereafter  will  re- 
cord the  musical  excursions  of  the  Capitol  Theater 
Orchestra,  and  the  intonations  of  Mary  Eaton,  Louise 
Groody,  and  Oscar  Shaw. 

Universal  has  gone  across  the  river  for  the  scene  of 
its  operations.  The  dust  and  cobwebs  have  been  re- 
moved from  the  old  Fort  Lee  studio,  which  is  being 
equipped  with  every  electrical  device  necessary  for  the 
making  of  "the  squawkies." 

Lillian  Gish  Marks  Time. 

Lillian  Gish  continues  to  keep  her  diminutive  person 
in  the  playgrounds  of  Europe,  but  she  has  her  eye  and 


ankaUan 


Latest  gossip  of  the  comings  and 
glimpsed  in  Manhattan,  and  at  the 

her  mind  on  her  work.  We  learn  that  she  is  deep  in 
the  throes  of  working  on  a  scenario,  written  for  her  by 
Hugo  von  Hoffmanstal  and  Max  Reinhardt.  Upon 
Joseph  Schenck's  recent  arrival  in  Europe,  Professor 
Reinhardt,  who  will  direct  Miss  Gish's  next  production, 
gave  a  dinner  party  for  his  future  star,  at  Schloss 
Leopoldskron,  whereafter  the  wizard  of  Leopoldskron 
took  occasion  to  settle  much  of  the  speculation  as  to  the 
future  plans  of  himself  and  Miss  Gish. 

"I  hope  to  be  able  to  start  on  the  screening  of  Miss 
Gish's   picture  in  Hollywood,   in  the   early  part  of 


Photo  by  Boris 

Gilda  Gray  shook  the  dust  of  America  from  her  feet  and 
sailed  away  for  London  town. 


December,"  said  the  Herr  Direktor.  "While  both  Miss 
Gish  and  myself  would  like  to  make  the  picture,  which 
is  as  yet  unnamed,  on  this  side  of  the  Atlantic,  technical 
considerations  make  American  production  preferable. 

"I  am  going  to  produce  this  one  American  film,  to 
see  whether  I  am  competent  to  remain  in  the  motion- 
picture  field.  If  the  experiment  is  reasonably  success- 
ful, I  shall  embark  upon  production  in  Germany,  with 
the  help,  I  hope,  of  my  American  friends  and  collab- 
orators. Mr.  Schenck  and  I  are  in  complete  accord 
as  to  the  necessity  for  international  cooperation  in 
making  pictures  which  should  have  an  international 


45 


d/eV 


r Eileen  StJohn-Brenon 

goings  of  screen  personalities 
rejuvenated   Eastern  studios. 


appeal.  Both  of  us  want  to  place  the  whole  on 
an  artistic  basis. 

"In  my  opinion,  some  system  of  permittin-g 
players  to  talk  on  the  screen,  in  a  manner  that 
will  prove  satisfactory  throughout  the  world, 
will  be  perfected  before  long.  What  it  will  be, 
and  how  similar  to  existing  devices,  I  cannot  say 
at  present,  but  vocal  pictures  are  here  to  stay. 

''I  want  to  emphasize  that  my  present,  and 
possibly  my  future,  film  plans  do  not  in  any 
sense  mean  I  shall  neglect  European  theaters  in 
general,  and  the  Salzburg  festival  in  particular." 

Lya  Becomes  An  Air  Bird. 

Lya  de  Putti  of  the  raven  tresses  is  no  more! 
An  auburn-haired,  slender  being  has  taken  the 
place  of  the  black  locks  and  plump  figure  of  the 
little  vagabond  who,  a  few  seasons  ago,  appeared 
so  seductively  to  tempt  the  sturdy  trapeze-artist 
to  his  downfall. 

"For,"  explains  the  voluble  De  Putti,  ever  out- 
spoken, "I  find  that  red  hair  photographs  better 
than  black" — only  she  calls  it  "bleck" — "and  that 


■HHBaBB 


Photo  by  Bull 


George  K.  Arthur  would  still  be  in  Paris  if  Metro- Goldwyn  hadn't 
packed  him  back  to  Hollywood. 


America  doesn't  like  fat  girls" — only  she  calls  them 
"fet."  "So,  I  not  only  change  my  hair,  but  I  change 
my  figure,  hoping  the  American  people  will  like  me 
better  so." 


Photo  by  Freulich 

Lya  de  Putti  has  forsaken  her  raven  tresses  and  has 
succumbed  to  the  Hollywood  disease  of  "auburnitis." 

Miss  de  Putti  is  frank  to  admit  that  up  to 
the  present  her  particular  brand  of  European 
allure  has  failed  to  make  its  mark.  "Half  my 
fault,"  she  says,  "and  half  the  producers'. 
They  always  wanted  me  to  roll  my  eyes  and 
wear  sequins,  and  I  did  it.  It  is  very  difficult 
to  adjust  oneself  to  the  different  technique  de- 
manded by  American  audiences.  And  while 
I  was  learning  to  adjust  myself,  producers 
began  to  think  I  mightn't  be  what  they  call 
'a  good  bet.'  But  I've  learned,  while  I  am 
here,  to  better  understand  American  audi- 
ences, and  I  know  that  in  my  new  picture, 
'The  Scarlet  Lady,'  I  shall  win  back  much 
of  the  ground  lost  during  these  few  seasons." 

Equally  cheerfully  the  De  Putti  admits  that 
she  may  not  live  to  see  "The  Scarlet  Lady" 
enjoy  Broadway  sojourn.  Lya  has  become  an 
air  bird,  and  during  her  holiday  in  New  York 
she  arose  each  day  at  seven  o'clock  to  take  her 
morning  spin  in  an  airplane,  at  Curtis  Field. 
She  took  lessons,  determined  to  become  an 
expert. 

"I  love  it  better  than  almost  anything — next 
to  my  work.  My  work  comes  first,  because 
you  may  have  a  place  to  sleep,  and  plenty  to 
eat,  and  lots  of  nice  clothes,  but  what  do  they 
you  are  not  happy  in  your  work?  I  know 
that  I,  for  one,  am  perfectly  miserable  without  work. 
I  find  a  joy  and  a  thrill  in  flying  equal  to  nothing.  It 
is  dangerous,  I  know.    Foolish,  too,  perhaps,  but  I  love 


mean  if 


46 


Manhattan  Medley 


John  Loder  now  possesses  a  five-year  contract  with 
Paramount,  after  the  briefest  interview  on  record  with 
Jesse  L.  Lasky. 

it,  and  what  I  love  I  do.  To  say  I  am  not  frightened 
would  be  untrue.  I  am  scared  to  death  every  time 
I  read  of  an  accident.  Fred  Stone's  fall  was  par- 
ticularly frightening  to  me,  but  I  refused  to  let  my 
mind  dwell  on  the  subject  of  accidents.  I  won't  even 
read  about  them.  'My  friends,  however,  probably 
as  a  caution,  insist  upon  making  me  listen  to  all  their 
gloomy  recitals.  All  my  friends  think  I  am  a  little 
bit  crazy  on  the  subject,  but  since  I  am  determined  to 
enjoy  my  seven-o'clock  spin,  I  do  not  heed  their 
words.  And  once  I  am  in  the  air,  I  forget  every 
foreboding,  and  give  myself  up  to  the  intense  delight 
of  its  freedom  and  joy." 

Gilda  Wriggles  Away. 

Gilda  Gray  shook — as  only  Gilda  can  shake— the 
dust  of  America  from  her  feet  and  sailed  away, 
aboard  the  Aquitania,  for  London  town.  There  she 
will  fulfill  fifteen  weeks'  engagement  with  British 
National  Pictures.  The  first  picture  will  be  "Picca- 
dilly," adapted  from  a  story  by  Arnold  Bennett. 

Marianna  Michaeska,  born  on  a  little  farm  in 
Krakow,  Poland,  schoolmate  of  that  little  girl  across 
the  street  in  Wisconsin,  Lenore  Ulric,  having  wig- 
gled her  way  to  success,  no  longer  wishes  to  be 
known  merely  as  a  dancer.  Ambition  is  stirring  in 
that  little  Polish  heart.    She  has  gone  to  England, 


because  of  all  the  offers  she  received  after  her 
return  from  a  year's  tour  throughout  the 
country  with  her  picture,  "The  Devil  Dancer," 
the  English  producer  alone  offered  her  an  op- 
portunity to  heave  and  stamp  and  register 
emotion — not  merely  shake  a  wicked  shoulder. 
A  unique  figure  in  American  entertainment, 
naughty  Marianna — or,  if  you  insist,  Gilda — ■ 
would  pack  her  straw  petticoats  and  her  string 
of  beads  in  a  matchbox  and  embark  upon  a 
histrionic  career,  merely  because — "I  don't 
want  to  do  the  same  thing  all  the  rest  of  my 
life.  I  have  made  a  reputation  for  myself  as 
a  dancer,  and  now  people  think  I  can  do  noth- 
ing but  dance.  As  a  matter  of  fact,  I  began 
by  singing." 

She  used  to  sing  lugubrious  ballads  in  .a 
cabaret,  jbut  it  was  her  ceaseless  struggle 
against  poverty  and  hardship  which  prompted 
her,  untaught  and  unskilled,  to  shake  and 
shiver  her  way  from  "the  sticks"  to  Broadway, 
where  her  natural  gifts,  though  self-developed, 
placed  her  at  the  top  of  her  profession. 

"In  this  British  picture,  which  is  to  have  the 
directorial  genius  of  E.  A.  Dupont,  I  feel  I 
shall  progress  rather  than  just  cash  in  on  my 
past  experience.  Under  his  guidance  I  can 
foster  my  desire  to  become  a  real  actress.  I 
feel  I  can  learn." 

However,  .Miss  Gray's  dancing,  like  Topsy's 
growth,  "just  come  natural."  She  developed 
a  line  to  the  accompaniment  of  ukuleles,  and 
so  perfected  her  famous  wriggle  that,  as  an 
exponent  of  Hawaiian  terpsichore,  she  has 
been  in  demand  both  on  the  stage  and  screen. 


Photo  by  Binder 


Camilla  Horn  is  back  again,  and  with  a  long-term  contract, 
which  Joseph  M.  Schenck  brought  all  the  way  to  Europe 

for  her. 


Manhattan  Medley 


47 


Since  she  is  eager  to  prove  that  it  is  the  coconut,  not  the  little 
Polish  maiden,  which  is  indigenous  to  Hawaii,  the  ukuleles  are 
silent  while  she  ventures  into  fresh  fields  and  pastures  new. 

Meighan  Wins  Out. 

W  hen  Thomas' 'Meighan  donned  a  uniform  and  a  policeman's 
badge,  he  laid  down  the  law :  "  'The  Racket'  must  prove  success- 
ful, or  I  shall  abandon  the  screen  henceforth  and  forevermore, 
amen !" 

Much  to  the  consternation  of  his  many  admirers,  he  had  al- 
ready announced  his  intention  of  making  only  two  productions 
yearly,  and  his  ultimatum  well-nigh  made  them  tremble  with 
apprehension  and  regret.  Meighan,  emerging  from  a  slough  of 
fifth-rate  program  pictures,  was  adamant.  He  was  suffering 
from  one  of  those  doldrums  common  to  all  Irishmen,  no  matter 
how  jaunty  or  combative  their  exterior.  He  had  a  sneaking  sus- 
picion that  maybe,  as  the  saying  goes,  "he  was  through."  What 
matter  if  his  weekly  stipend  did  equal  an  ordinary  man's  yearly 
income?  What  matter  if  his  fan  mail  did  continue  to  be  de- 
livered by  the  trunkload  at  his  Great  Neck  doorstep?  If  his 
pictures  showed  a  tendency  to  call  for  red  ink,  he  was  not  going 
to  foist  his  manly  countenance  on  an  indifferent  world  until,  in 
1975,  they  presented  him  with  a  wheelchair,  a  pair  of  crutches 
and  a  certificate  for  valiant  conduct  in  the  service  of  the  screen. 

But  "The  Racket"  rescued  Meighan  from  the  celluloid  oblivion 
to  which  he  might 
have  consigned 
himself.  It  vindi- 
cated his  two-a- 
year  policy  b)^ 
proving  to  be  his 
most  successful 
picture  since  "The 
Miracle  Man." 
Business  was  so 
strong  at  the  Para- 
mount Theater  in 
New  York,  where 
it  opened  for  a 
week,  that  it  was 
removed  to  the 
Rialto  Theater  for 
an  extended  run. 
Meighan's  face 
beamed  with  pleas- 
ure as  he  viewed 
the  long  lines  of 
standees  awaiting 
their  turn  to  enter 
the  crowded  por- 
tals, and,  all  doubts 
cast  to  the  winds,- 
he  repaired  to  his 
home  in  Great 
Neck  to  spend 
many  months  pre- 
paring another 
photodrama — with 
spoken  words  and 
music,  they  do  say. 

It  was  foresight 
and  careful  plan- 
ning which  aided 
and  abetted  "The 
Racket"  in  its 
march  to  success. 
Here  is  no  slap- 
dash, hurried  han- 


dling-  of  a  movie 


Thomas  Meighan   determined   to    leave   the    screen  if 
"The  Racket"  wasn't  a  success,  whereas  it  is  one  of 
the  hits  of  the  year. 

plot.    Step  by  step 

"The  Racket"  shows  the  result  of  intelligent  and  ful  and  happy  and 
thoughtful  development.    Each  scene  is  clean-cut,  def-     "Could  any  one  ask 


Estelle  Taylor 
is  rehearsing 
with  Jack 
Dempsey,  un- 
der David  Be- 
lasco,  for 
"The  Big 
Fight,"  a  stage 
play. 


inite,  well  balanced,  and  splen- 
didly acted  from  first  to  last  by 
a  band  of  carefully  selected  play- 
ers, and  an  amusing  and  unhack- 
neyed story  is  dominated  by  the 
winning  and  wholesome  person- 
ality of  the  repressed  hero,  Mr. 
Thomas  Meighan. 

Dolores  del  Rio  Reminisces. 

Bag  and  baggage,  with  her 
mother  and  her  director,  Edwin 
Carewe,  Dolores  del  Rio,  she  of 
the  Spanish  eyes  and  dusky  com- 
plexion, parked  her  jewels  and 
her  trousseau  at  the  Ritz  for  a 
few  days,  en  route  for  Paris, 
Constantinople,  Athens,  and  the 
Balkans. 

Miss  del  Rio  is  frankly  de- 
lighted with  life.    "I  am  success- 
loved,"  she  exclaimed  ecstatically, 
for  more  ?         [Continued  on  page  96j 


48 


"Oh,  Daddy,  Buy  Me  One?' 

Don't  be  a  gold-digger — let  Dorothy  Sebastian 
show  you  how  to  make  a  turban  for  yourself. 


In    the    third    step,    left,  the 
material  is  drawn  tightly  across 
the  head   and   crossed  at  the 
back. 


Right,  the  material  is  then 
brought    forward,  crossed 
over  in  front,  shin}'  side  out, 
and  laid  in  folds. 


Left,  the  ends  are  tucked 
in  at  the  back,  and  the  folds 
neatly  arranged.  The  longer 
you  fuss  with  the  folds,  the 
better  the  effect.  A  pin  is 
stuck  in  the  side. 


49 


The  Saga  of  the  Hobo 

Wallace  Beery  will  relive  many  of  his  own  experi- 
ences in  "Beggars  of  Life,"  a  story  of  "the  road." 

By  Myrtle  Gebhart 

IN  the  Texas  twilight,  which  isn't  twilight  at  all,  but 
a  misty,  slate-gray  envelope  of  gloom,  two  kids  sat 
by  a  water  tank,  just  outside  the  town  of  Gains- 
borough, and  jawed.  It  was  odd,  the  uncommon  lot 
of  things  they  found  to  talk  about,  when  there  was  no 
life  stirring  in  all  that  stretch — either  way.  In  the 
fraternizing  of  the  road,  community  of  interest  usually 
ends  with  such  matters  as  food  and  cops. 

But  "Red"  had;  found  the  arrow  on  the  tank — the 
direction  of  a  pal  who  had  preceded  him  West.  "The 
Fox"  had  made  a  pretense  of  combing  the  shock  of 
matted  hair  above  his  rough-hewn,  big-boned  face. 
Wearied  by  such  effort,  they  had  appraised  each  other 
and  decided  upon  confidence — guardedly. 

"They're  gettin'  horstile  down  here,"  Red  observed. 
"Never  saw  them  Dallas  dicks  stir  their  dogs  so  much 
before."  His  chuckle  carried  a  note  of  appreciative  mem- 
ory. "I'm  headed  for  the  Coast.  Some  day  I'm  goin' 
to  write  books."  His  eyes  indicated  that  sarcasm  would 
be  resented. 

"Yeah?"  The  Fox  shifted  a  leg,  stretched,  and  said: 
"You  and  I  got  ambition,  'bo.  I'm  goin'  to  be  an  actor, 
wear  swell,  silk  tights,  and  play  Rom-eo.  No  more 
moochm'  for  me." 

Just  two  bums,  about  twenty-two  years  ago,  dreaming 
dreams.  Their  keen  ears  picked  up  a  distant  rumble, 
and,  as  it  sang  down  to  them  along  the  shining  rails,  they 
ambled;  into  a  thicket.  When  the  train  had  picked  up 
its  speed  again,  Jim  Tully  and  Edwin  Carewe  slept 
contentedly  on  the  rods,  despite  the  sand  and  stone  that 
was  blown,  like  hail,  against  their  faces. 

About  the  same 
time,  a  roughneck, 
overgrown  boy,  with 
a  widespread  grin 
over  his  spatulate  fea- 
tures, swung  with  the 
lurch  of  the  speeding 
express.  He  was  rid- 
ing, as  an  experienced 
bum  should,  the  blind 
baggage.  His  bulk  did 
not  fit  well  in  the 
lower  berths  used  by 
the  more  slim  and 
wiry  'bos.  Soon,  when 
his  vehicle  slowed  into 
the  yards,  he  would 
make  his  way  to  an 
outgoing  freight  and 
into  a  cattle  car,  un- 
mindful of  the  stench 
that  was  blown  in  his 
face. 

They  called  h  i  m 
"Jumbo,"  because  of 

his  elephantine  hugeness,  and  those  big  hands — like 
hams— that  slapped  the  pachyderms  such  resounding 
smacks. 

At  present,  he  was  making  the  best  of  an  experience 
common  to  all  nomads  of  the  little,  gyp  circuses.  He 


Louise  Brooks,  Richard  Arlen,  and  Wallace  Beery  in  a 
scene  from  "Beggars  of  Life." 


Wally  Beery  hopes   "Beggars  of  Life"  will  be  a 
success,  so  he  will  have  an  opportunity  to  play  more 
roles  of  the  same  type. 


had  been  "red-lighted"  (thrown  off  the  pay  roll  for  a 
minor  offense),  and  forbidden  to  come  on  the  grounds. 
In  that  way  they  wouldn't  have  to  pay  him  his  dollar 

fifty  a  week  "hold- 
back" at  the  end  of 
the  season.  Three 
and  a  half  a  week, 
and  a  dollar  fifty 
hold-back,  if  you  got 
it,  had  looked  grand 
to  him  a  few  months 
before.  So  had  the 
scuffed  brogans  that 
had  hardly  any  soles 
left  now.  All  his 
life  he'd  never  had 
new  clothes  of  his 
own,  nothing  but 
hand-me-downs,  un- 
til the  brogans. 

But  he  was  pro- 
gressin'.    Having,  as 
bull  man,  broken  the 
toughest  elephants 
under   the  painted 
top,  he  was  growing 
ambitious.  Barnum 
didn't  know  what  he 
was  missing.  Why, 
hadn't  he  disciplined  the  stubbornest  elephants?  The 
world  held  possibilities,  all  of  which  he  was  capable  of 
realizing. 

If  anybody  had  told  Jumbo  Beery,  nineteen  and  care- 
free, that  he  would  some  day  be  an  actor,  that  he  would 


50 


The  Saga  of  the  Hobo 


Louise  Brooks  has  the  role  of  a  girl  who  evades  the 
law  by  donning  boy's  clothes  and  mingling  with  hobos. 

live  in  a  mansion,  be  waited  on  and  have  a  beautiful 
wife,  his  hearty  guffaw  would  have  rumbled  down  the 
length  of  cars,  and  shaken  the  scared  schoolmar'm  out 
of  her  berth 


Such  thoughts  never  entered  his  head. 


Years  later,  two 
men  in  ragged 
shirts  and  nonde- 
script pants  swung 
onto  the  rods  of  a 
freight  on  a  siding, 
under  the  Califor- 
nia sunshine.  They 
were  Red  and 
Jumbo.  The  water 
tank  was  there,  and 
the  atmosphere 
seemed  right.  But 
there  were  cameras 
and  mirrors  reflect- 
ing the  light,  and 
the  two  men  had 
grown  heavier  and 
older.  They  were 
filming  "Beggars 
of  Life,"  which 
stars  Wallace 
Beery.  It  is  the 
saga  of  the  hobo. 


"The  kangaroo  court"  is  the  hobo  tribunal  which  meets  in  the 
woods,  and  "tries"  members  of  its  fraternity  according  to  their 

own  code. 


At  nineteen  Wally  Beery  bade  the  family  a  nonchalant 
farewell,  unmindful  of  his  Irish  dad's  storming,  but 
embarrassed  by  his  Swiss  mother's  rare  outburst  of 
tears,  and  got  a  job  with  a  circus.  His  first  week's 
wages  paid  for  a  pair  of  brogans. 

For  five  years  he  ridiculed  steady  employment.  For 


three  years  he  was  with  the  circus,  and  for  two  years  , 
— just  bumming.  He  wore  the  black  satine  "thousand- 
mile"  shirt,  the  bothersome  washing  of  which  could  be 
postponed  indefinitely.  He  sat  down  to  "mulligan" 
with  many  a  likewise  begrimed,  but  happy,  confrere 
of  the  rails  in  many  a  moonlit  "jungle"  in  the  woods — 
the  rendezvous  of  the  leisurely  gents.  Many  a  back 
door  was  slammed  in  his  face,  but  not  every  housewife 
could  resist  his  bland  humor. 

"Couldn't  get  away  with  the  pathetic  stuff.  So  I 
always  asked,  just  to  be  polite,  if  there  was  any  wood 
they  wanted  cut,  but  I  explained  I'd  cut  my  thumb 
at  the  last  place,  or  sprained  my  wrist,  and  if  they  didn't 
insist  on  my  taking  off  the  dirty  bandage  so  they  could 
see,  I'd  get  my  'lump.'  "  "Lump"  being,  in  the  elegant 
parlance  of  the  'bo,  a  handout.  "Or  else  I'd  have  some 
jokes  on  tap,  and  get  'em  laughing. 

"Sure,"  he  replied  to  my  observation,  "you  work 
harder  as  a  hobo  than  you  do  earning  an  honest  living. 
You've  got  to  use  your  brains." 

Curious  how  interesting  it  is  to  find  out  how  the 
other  half  lives.  A  hobo,  to  me,  has  always  been  a 
very  soiled  individual,  to  whom  you  gingerly  held  out 
sandwiches.  That  there  could  be  castes — a  social  and 
ethical  system — among  them,  and  dreams,  talents  and 
ambitions,  was  one  of  the  surprises  Beery  and  Tully 
handed  me,  along  with  memories  of  their  bumming 
days,  and  words  which  my  typewriter  has  not  been 
trained  to  record.  A  lady  of  delicate  sensibilities  is 
instantly  shocked  at  their  language.  I  was  shocked. 
But  it  had  this  to  its  credit :  it  was  different. 

"There  are  classes  of  hobos,"  they  explained.  "The 
road  kid,  in  search  of  adventure,  is  usually  out  only 
a  few  months.    He  gets  his  fill  and  goes  home.  Fellows 
get  tired  of  sedentary  life,  and  want  a  thrill.  Another 
gets  strapped,  and  has  to  ride  the  rods  home  to  the 
wife  and 'kids.    Those  are  the  transients.   The  seasoned 
'bo  just  has  the  wanderlust.    He  can't  stand  the  mo- 
notony of  steady  work.    He  is  visionary,  and-  a  dreamer. 
The  yegg  is  -the  aristocrat.    He  robs  country  banks  and 

always  has 
money ;  he  rides 
at  the  company's 
expense,  because 
it's  against  his 
principles  to  pay 
railroad  fare. 
He  swaggers 
around  the  'jun- 
gle' and  often 
brings  the  mak- 
in's  for  a  'set- 
down'  (a  regu- 
lar meal)  and 
the  treats. 

"H  o  b  o  s  are 
mostly  Irish. 
There  are  no 
Jews.  Few  who 
have  been  on  the 
moo  c-h  for  a 
couple  of  years 
ever  settle  down 
to  commonplace 
life.  Jack  Lon- 
don was  on  the  road.  Jack  Dempsey,  'Kid'  McCoy, 
and  Stanley  Ketchell  were  road  kids.  Many  of  them 
become  pugilists.  William  Wellman,  who  is  directing 
'Beggars  of  Life,'  was  a  road  kid,  beating  his  way  to 
the  lumber  camps.  For  five  years,  intermittently,  James 
Cruze  was  on  the  bum.  He  would  connect  with  a  theater 
Continued  on  page  109 


51 


H 


er  Strange 
Interlude 

Though  popular  in  the  movies,  Greta 
Nissen  has  been  forced  to  make  a 
detour  in  her  march  toward  stardom. 

By  William  H.  McKegg 

IN  Hollywood  you  may  rise  to  the  top  and 
flourish,  or  sink  to  the  -bottom  and  dis- 
appear. The  most  delusive  trail  in  film- 
land is  where  you  start  out  with  wonderful 
prospects,  only  to  find  yourself  between  both 
places,  and  with  no  apparent  means  of  getting 
to  either. 

Stars,  happily,  get  their  opportunities.  The 
bit  players  feel  elated'  when  they  are  offered 
small  roles,  but  a  featured  player,  who  hap- 
pens to  get  caught  in  a  rut  on  her  way  for- 
ward, is  the  one  to  feel  the  incongruity  of  her 
position.  Producers  know  she  is  good,  but 
don't  know  just  what  to  do  with  her.  Con- 
sequently she  remains  in  the  rut. 

That's  where  Greta  Nissen  is  right  now. 

On  February  12th,  1924,  as  «Grete  Ruzt- 
Nissen,  she  flashed  into  notice  for  her  ex- 
quisite dancing  in  a  pantomime  called  "A  Kiss 
in  Xanadu"— an  episode  in  the  play  "Beggar 
On  Horseback."  She  was  eagerly  snatched 
up  by  Paramount,  and-  renamed  Greta  Nissen. 

For  more  than  a  year  the  blond  Nissen  went 
from  film  to  film.  Her  name  was  always  be- 
fore the  public,  and  she  was  always  to  be 
seen.  She  reaped  enthusiastic  approval  from 
the  fans  at  large — especially  the  male  con- 
tingent. Then,  a  couple  of  years  ago,  as  sud- 
denly as  she  had  appeared*  so  did  she  seem  to  disappear. 

Rumors,  via  the  underground  telephone  of  Holly- 
wood, stated  that  Paramount  let  the  Nissen  go,  rather 
than  put  up  with  her  temperament.  Also  that  Madame 
Nissen  meddled  too  much  with  daughter -Greta's  career. 

That  such  a  glittering  personality  should  no  longer 
be  flashing  before  their  gaze  gave  many  youths  much 
troubled  wonderment.  When  the  news  spread  about 
that  Greta  was  to  play  with  Charlie  Farrell  in  "Fazil" 
every  one  took  heart  again. 

So  strong  an  effect  had  these  expectations,  they 
caused  me  to  find  myself  sitting  in  the  vast,  luxurious 
lobby  of  one  of  Hollywood's  most  fashionable  apart- 
ment houses.  An  expensive  radio  was  transmitting 
music  to  charm  my  ears,  so  I  did  not  at  all  mind  the 
absence  of  her  who  was  to  be,  by  previous  appointment, 
my  companion  for  the  next  thirty  or  forty  minutes. 

I  had  come  determined  to  fulfill  my  grim  duty,  and 
to  find  out  from  this  fair  charmer  what  truth  there 
was  in  the  rumors  about  temperamental  breaks  with  her 
employers.  Also  to  discover,  if  possible,  what  was 
keeping  her  in  the  rut  she  is  now  in. 

To  the  harmonies  of  Verdi's  "A'ida"  Greta  appeared. 
She  walked  toward  me,  holding  out  her  hand. 

"I  am  so  sorry  to  have  kept  you  waiting,"  was  her 
first  phrase.  This  is  the  opening  speech  of  most  play- 
ers. It  rather  bores  one  to  hear  it;  but  from  Greta  it 
sounded  beautiful. 

Her  fair  hair  showed,  beneath  a  soft  red-velvet  hat, 
like  sunlight.    Her  eyes,  a  cerulean  blue,  seemed  ex- 


Photo  by  Ball 

Greta  Nissen  is  Norwegian,  not  Swedish,  as  has  been  commonly 

supposed. 

cessively  large  and  disturbing.  Her  very  red  lips  were 
parted,  as  she  smiled  her  welcome,  revealing  strong, 
white,  Scandinavian  teeth. 

I  have  no  idea  what  the  expensive  radio  played  from 
then  on. 

"Never  have  I  known  a  person  so  rushed  as  I  have 
been  to-day,"  Greta  remarked,  still  smiling,  but  with  a 
sigh  to  arouse  compassion.  "I  leave  for  New  York  to- 
morrow. I  should  get  some  one  to  do  everything  for 
me.    Will  you  ?" 

I  wa's  on  the  point  of  offering  my  humble  services, 
but  realized  her  two  last  words  only  invited  me  to  take 
a  cigarette. 

"I  like  New  York,"  she  went  on.  "When  I  first 
landed  there,  four  years  ago,  I  was  the  most  foreign 
of  foreigners.  I  knew  not  a  word  of  the  language.  I 
can  tell  now  that  I  was  terribly  homesick.  Never 
did  I  believe  I  could  stay  in  America.  Though  my 
mother  was  with  me,  I  wanted  my  brother,  too.  He 
is  now  at  Columbia  University.  I  shall  see  him  when 
I  get  to  New  York.  I  have  missed  him  much.  We 
are  great  pals." 

Greta's  accent  is  impossible  to  reproduce.  As  she 
talks,  she  has  a  way  of  tilting  her  head  slightly  on  one 
side,  and  smiling.  She  suggests,  rather  than  states,  her 
comments.  The  picture  business,  viewing  it  from  her 
present  vacillating  position,  is  strange. 

"When  Paramount  signed  me  I  made  nine  pictures  in 
one  year.    Then  we  disagreed.    I  did  not  like  the  roles 
Continued  on  page  108 


52 


It's  the  Breaks  tkat  Make  'Em 

Hardly  a  player  gains  a  foothold  in  the  movies  without  the  aid  of  that 
lucky  chance,  which  is  called  in  Hollywood  "a  break."  Some  of  the  more 
extraordinary  examples  of  luck  are  entertainingly  recounted  in  this  article. 

B))  Houston  Branch 


The  break  of  the  year  was 
that  of  Ruth  Taylor. 

June    Marlowe    owes  her 
break  to  the  fact  that  she 
lived  next  door  to  a  direc- 
tor. 


IN  the  dictionary 
the  word  "break" 
has  a  rather  woe- 
ful definition,  which 
places  it  in  the  class 
of  things  most  per- 
sons wish  to  avoid. 
Webster's  estimation 
of  the  word  is  not 
shared  by  Hollywood. 
In  the  chimerical  land 
of  the  cinema,  nine 
persons  out  of  ten  are 
looking,  hoping,  and 
praying  for  what  they 
call — a  break. 

In  fact,  the  greater  part  of  the  population  of  Hollywood  subsists 
on  the  vague  notion  that  a  'break  will  come,  and  in  one  stroke  set 
them  well  on  the  road  to  fame,  with  a  secretary  to  answer  fan 
mail,  and  a  home  in  Beverly  Hills.  For  a  break,  in  the  vernacular 
of  the  studios,  is  a  strange  quirk  of  circumstance  which  suddenly 
lifts  the  struggling  unknown  from  the  depths  of  obscurity  to  a 
precarious  perch  on  the  portals  of  success,  and  sometimes  cata- 
pults the  lucky  one,  in  a  meteoric  blast,  into  the  brilliant  glare  of 
public  adulation,  where  they  either  wither  under  the  intense  rays, 
or  blossom  into  the  luxuriant  flowerings  of  the  celluloid  bouquet. 

The  odd  thing  about  the  worship  of  this  elusive  word  is  that  it 
can  offer  a  hundred  tangible  miracles  a  year,  and  as  a  result  attract 
disciples  by  the  thousands.  It  keeps  the  apartment  houses  and 
hotels  of  Hollywood  filled  faster  than  the  real-estate  operators 
can  build  them.  Scoff  if  you  will,  but  a  fortnight's  sojourn  in 
Hollywood  will  quickly  convince  you  that  the  whole  structure  of 
filmdom  is  founded  on  breaks. 

The  Klondike  had  its  sour  doughs  who  were  just  about  to  turn 
their  backs  on  fortune,  when  they  tripped  and  uncovered  the  hidden 


pocket  of  the  yellow  mineral.  Hollywood  has  its 
George  Bancroft. 

Bancroft  prospected  in  Hollywood  for  two  years,  and 
didn't  strike  pay  dirt.  He  had  packed  up  and  had 
bought  reservations  on  a  train  to  New  York,  when 
James  Cruze  sent  for  him  to  play  Jack  Slade,  in  "The 

Pony  Express." 

Gwen  Lee,  the  seductive 
blonde  of  Metro-Goldwyn  pic- 
tures, owes  her  present  con- 
tract to  a  fly.  Just  an  ordi- 
nary house  fly  of  the  too-com- 
mon variety.  Gwen  was  just 
a  bit  of  atmosphere  in  "Pretty 
Ladies,"  one  of  several  girls 
supporting  a  human  chande- 
lier in  a  studio  reproduction 
of  a  Ziegfeld  revue,  when  a 
fly  took  upon  itself  to  light  on 
her  bare  and  shapely  limbs. 
Now  Gwen  was  not  in  a  posi- 
tion where  she  could  use  her 
hands  to  brush  the  fly  off  her 
— ahem — knee.  She  wriggled. 
The  fly  didn't  notice  her  wrig- 
gling, but  Monta  Bell,  the  di- 
rector, did.  It  struck  him  as 
a  very  funny  bit  of  business, 
and  Gwen  struck  him  as  a 
very  pretty  girl.  The  result 
was  that  a  fly  was  painted  on 
her  limb  for.  the  rest  of  the 
picture,  and  a  contract  was 
the  ultimate  reward. 

James   Murray  and  Ray- 
Johnny   Mack   Brown's  spec- 
tacular work  in  a  football  game 
won  him  a  contract. 


It's  the  Breaks  that  Make  'Em 


53 


George  Bancroft  was  pre-  joseph  M.  Schenck  told 
paring  to  return  to  New  Reginald  Denny  he  would 
York  when  his  chance  came.      never  succeed  in  pictures. 

mond  Keane  to-day  are  two  very  promising  juvenile 
actors,  possibly  on  their  way  to  stardom.  Yesterday 
they  were  struggling  extras  in  Hollywood's  long  line. 
Their  breaks  were  almost  identical;  and  are  of  the  kind 
that  ever-hopeful  Hollywood  loves  to  nourish.  Ray- 
mond Keane  was  one  of  three  hundred  extras  sum- 
moned by  Dimitri  Buchowetzki  to  play  members  of  the 
Queen's  guard  in  "Graustark."  Buchowetzki,  ever  dra- 
matic, was  passing  down  the  extra  line,  selecting  pros- 
pective guardsmen,  when  his  eyes  lighted  on  young 
Keane. 

"There's  a  thousand-dollar-a-week  juvenile!"  the  ex- 
citable Russian  exclaimed. 

Then  it  was  up  to  Buchowetzki  to  prove  that  he  was 
correct  in  his  assumption,  and  this  he  did  by  selling 
Keane  to  Uncle  Carl  Laemmle  as  the  leading  man  in 
Buchowetzki's  only  Universal  production,  "The  Mid- 
night Sun."  Buchowetzki  has  passed  on  to  less 
lucrative  fields,  but  Keane  still  remains  at  Universal. 

James  Murray  had  a 
less  ostentatious  but 
more  satisfactory  de- 
but under  the  guidance 
of  King  Vidor.  Vidor 
saw  him  in  the  extra 
ranks,  and  immediately 
cast  him  for  the  lead 
in  "The  Crowd."  He 
has  been  favored  with 
other  good  roles  by 
Metro-Goldwyn. 

The  Cocoanut  Grove 
of  the  Ambassador 
Hotel  may  well  be 
called  the  happy  hunt- 
ing ground  of  the 
break,  as  it  is  practiced 
in  Hollywood.  For 
though  break  or  cut-in 
dances  are  banned  at 
the  Grove,  it  is  on  its 
glassy  floor  that  many 
of  screendom's  bright- 
est stars  have  been  dis- 
covered.   Sally  O'Neil 

first  caught  Marshall  Neilan's  eye  during  a  crowded 
Friday,  night  at  the  Cocoanut  Grove,  and  stepped  into  the 
leading  role  in  "Mickey." 

The  Young  sisters,  the  beautiful  trio  that  has  con- 


Tim  McCoy  went  to  a  studio  to  rent  his  ranch  for 
picture  purposes,  and  received  a  contract  instead. 


Raymond  Keane  was  discovered  by  Buchowetzki  from 
among  three  hundred  extras. 

quered  Hollywood's  citadels  in  the  past  six  months, 
probably  owe  the  Cocoanut  Grove  the  largest  debt  of 

gratitude.  Each  of  the 
girls  owes  her  contract 
to  having  been  seen  at 
the  Grove.  Sally  Blane, 
nee  Betty  Jane  Young, 
was  doing  a  mean 
Black  Bottom  when 
Wesley  Ruggles  was 
casting  the  "Collegi- 
ans" series  at  Univer- 
sal. From  Universal  it 
was  but  a  step  to  fea- 
tured roles,  and  a  con- 
tract with  Paramount. 
She  is  now  playing  op- 
posite Jack  Holt. 

Polly  Ann  Young  had 
a  double  break  on  the 
Cocoanut  Grove  floor. 
One  evening  she  was 
dancing    with  Robert 
Agnew,  when  the  cast- 
ing director  of  Metro- 
Goldwyn  was  looking 
for  a  double  for  Do- 
lores del  Rio,  and  the 
next  day  she  was  summoned  to  the  studio  to  understudy 
Miss  Del  Rio  in  "The  Trail  of  '98."  Metro-Goldwyn 
planned  to  do  big  things  for  her,  but  something  went 
Continued  on  page  114 


- 


Mary  Pick- 
ford,  left,  is 
known  the 
world  over 
a  s  "Amer- 
ica's Sweet- 
heart." 


Lillian  Gish, 
right,  has 
often  been 
referred  to 
as  "The 
Duse  of  the 
screen." 


Christened      tke  Fans 

Parentage  and  lineage  are  not  consulted  when  the  fans  choose  to  give  names  to  their  favorites. 


Corinne  Griffith,  above,  manages  to  carry  on  under  the  uncertain 

compliment  of  being  called  "The  Orchid." 
Clara  Bow,  left,  has  never  told  any  one  whether  she  enjoys  being 

known  as  "The  'It'  Girl." 
Florence  Vidor,  right,  is  known  to  the  fans  as  "The  Aristocrat," 
but  some  facetious  wits  have  been  heard  to  call  her,  in  a  whisper, 
"The  Frozen  Dainty  of  the  Movies." 


55 


Robert  Armstrong  says  he's  in  Hollywood  for  good,  and  he's  bought  an  attractive  bungalow  to  prove  it. 

He  Doesn't  Look  Like  An  Actor 

And  he  doesn't  talk  like  one,  but  Robert  Armstrong,  of  "is  Zat  So?"  fame,  is  making  his  way  in  Hollywood. 

Myrtle  Gebhart 


ROBERT  ARMSTRONG,  who  scored  on  the 
stage  as  the  prize  fighter  in  "Is  Zat  So?"  and  for 
whom  screen  success  is  predicted,  doubtlessly 
had  been  interviewed  many  times.  But  probably  never 
before  had  a  lady  interviewer  looked  him  over  squint- 
ingly  the  instant  he  stepped  out  of  the  car  which  brought 
him  from  the  back  lot,  and  remarked,  "You  don't  look 
like  an  actor."  And,  a  bit  later,  "You  don't  talk  like 
an  actor." 

The  young  lady  had  as  her  excuse — not  apology — the 
fact  that  she  had  just  been  engaged  in  spirited  conver- 
sation with  Bill  Boyd,  had  been  called  "peanut"  for  the 
millionth  time,  resented  it  exceedingly,  and  was  now 
hungry  and  ready  to  bite  nails. 

A  tough  prize  fighter  was  just  her  meat,  right  then. 
But  he  happened  to  be  a  gentleman,  which  was  discon- 
certing. He  looked,  not  surprised,  but  blankly  stupe- 
fied.   Then,  he  smiled  and  murmured,  "Thank  you !" 

Later,  after  the  lady  had  been  fed,  and  had  thought 
of  a  suitable  revenge  upon  one  William  Boyd,  and 
therefore  was  mollified  and  willing  to  be  pleasant,  he 
amplified  the  above  response. 

"What  you  said,  acknowledging  our  introduction  in 
such  explosive  fashion,  is  a  compliment.  I  look  like  an 
ordinary  human  being.  Every  actor  is,  but  few  like  to 
seem  so." 

I  knew  right  away — as  soon  as  the  other  two  matters 
were  settled — that  I  would  like  this  Robert  Armstrong. 
Though  I  knew  he  had  achieved  a  reputation  for  fine 
work  on  the  stage,  I  had  never  seen  him.  Only  three 
of  the  six  films  in  which  he  has  appeared  have  been 
released,  and  I  had  missed  them.  So  I  met  him  with 
only  the  idea  that,  being  of  the  stage,  he  would  be  a 
stage  actor.  He  would  let  it  be  understood  that,  through 
some  mysterious  demand,  he  was  fulfilling  his  duty 


by  living  in  the  West,  but  that  the  movie  engagement 
would  be  temporary,  his  heart  being  in  the  Broadway 
theater.  He  would  swagger  and  swank  a  bit,  or  a  lot, 
but  some,  anyhow.  He  would  talk  of  the  ideals  of 
the  theater,  and  use  very  big  words. 

Instead,  he  said  point-blank  that  he  thought  he  was 
in  Hollywood  for  good,  if  he  got  over  with  the  public. 
He  didn't  seem  to  think  the  theater  so  superior  to  the 
little  orphan  movies.  With  a  little  encouragement, 
which  he  didn't  get,  he  would  have  been  cross,  because 
his  golf  was  being  interfered  with.  He  had  worked 
only  two  out  of  five  days  that  week,  but  stayed  around 
the  set,  waiting,  while  a  truck  wrecked  an  armored  car 
properly. 

"Pretty  good,  at  that,"  I  remarked.  "You're  doing 
better  than  most  extras.    May  get  ahead  yet." 

If  you  know  your  Hollywood,  you  know  there  are 
some  people  you  can  talk  to  that  way,  and  some  you 
can't.    He  grinned.    A  regular  guy,  I  decided. 

Instead  of  the  actor's  accent,  he  has  a  slow  drawl. 
It  sort  of  drags  along  a  chuckle,  with  a  quizzical  under- 
tone, as  though  he  was  just  getting  ready  to  talk,  and 
meantime  was  enjoying  you  and  everything  hugely. 
Dressed  for  his  role  in  "The  Cop,"  he  looked  like  the 
sort  of  a  bird  a  respectable  girl  wouldn't  want  to  be 
seen  with.  I  might  have  known  the  scar  over  one  eye 
was  the  movies'  label  of  a  gangster,  but  it  looked  so 
real  that  I  didn't  mention  it  until  he  did.  I  can  be 
polite  and  tactful.  . 

He  ate  bacon  and  eggs,  a  man's  dish.  I'm  not  so  keen 
about  the  salad  men.  He  didn't  start  complaining  about 
anything,  except  missing  golf,  which  is  one  of  the  things 
you  have  to  endure'patiently  from  Hollywood  men. 

Very  browned,  with  strong  features  and  piercing 
eyes,  and  a  face  the  lines  of  which  indicate  experience, 


56 


He  Doesn't  Look  Like  An  Actor 


he  might  be  anywhere  be- 
tween the  ages  twenty-five 
and  forty,  and  your  guess 
would  probably  be  as  wrong 
as  mine. 

"No  place  like  Califor- 
nia."   He  settled  comfort- 
ably. "Guess 
I   ought  to 
stick  up  for 
the  home 
town,  Seat- 
tle, and  it  is 
beautiful  up 
there,  some- 
times." He 
told  about 
the  hills  and 
the  lakes. 
"But  it's  as 
they  say, 
'Two  sea- 
sons: rainy 
and  August.' 
And  New  York's  a 
great   town,   and  I 
wouldn't  mind  see- 
ing some  shows,  and 
dropping  in  to  jaw 
with  the  boys  at  the  club 
And  I  thought,  when  I 
left  there,  I  never  would 
get  transplanted  out  here 
But,  say,  I'm  a  native 
son,  now.    A  trip  would 
interfere  like  the  dickens 
with  my  golf." 

The  difference  in  the 
public's  attitude  toward 
stage  and  movie  actors 
interests  him  immensely. 
During  his  years  on  the 
stage,  he  said, 
hardly  any  publicity.  But 
the  minute  he  went  into 
pictures,  papers  and 
magazines  began  to  print 
such  nice  things  about 
him  that  even  his  family 
sat  up  and  took  notice. 

"Listen,  this  is  good. 
As  a  stage  actor,  I  received  a  few  good 
notices  from  the  critics,  which  meant  a 
great  deal  in  New  York,  but  nothing  to 
which  my  relatives  attached  any  signifi- 
cance. I  had  to  go  into  the  movies  to  win 
their  esteem.  The  theatrical  journals  are 
read  only  by  the  profession ;  the  movie 
magazines  are  for  the  people.  When  my 
relatives  began  to  read  articles  about  me, 
they  suddenly  took  an  interest  in  me. 
Since  my  name  has  been  in  electric  lights," 
he  smiled,  "I've  been  getting  fan  mail  from 
my  second  cousins. 

"Stage  doesn't  mean  a  thing  out  here. 
Right  in  Los  Angeles,  mind  you,  I  played 
the  prize  fighter  in  'Is  Zat  So?'  Yet,  when 
friends  introduced  me,  the  new  acquaint- 
ance looked  at  me  disgustedly  and  said 
behind  his  hand,  'Stop  your  kidding. 
George  O'Brien  played  the  prize  fighter.' 
Never  thinking  of  the  play." 


He  confessed  to  a  deep  admiration  for  Jannings. 
"He's  the  only  movie  actor  that  I  can  say  this  of :  that 
I  have  seen  three  of  his  performances  in  three  consecu- 
tive pictures,  and  consider  them  masterpieces.  Others 
give  flawless  portrayals  in  instances,  but  not  consistently. 
Jannings  has  genius — drama,  power,  clean-cut  gesture, 
gradations  of  expression.    I'd  like  to  watch  him  work. 
Does  he  speak  his  subtitles  aloud?    Rudolph  Schildkraut 
doesn't,  and  he  is  marvelous.    On  the  stage,  it's  the  voice. 
For  a  picture  scene,  it's  the  thought,  and  that  is  better 
expressed  by  whispering  the  words." 

We  talked  of  the  speaking  movies,  of  technique,  and  of 
art,  a  subject  familiar  and  dear  to  him,  as  during  his  child- 
hood he  spent  much  time  with  his  uncle,  Rolf  Armstrong, 
the  artist. 

The  progress  of  the  play,  "Is  Zat  So?"  from  a  poor, 
country  pumpkin  to  a  metropolitan  success,  I  found  absorb- 
ing, though  perhaps  half  the  interest  lay  in  the  manner  in 
which  Armstrong  told  its  history.  When  he  settles  back 
to  relate  an  anecdote,  scarcely  a  flicker  passes  across  his 
rough,  brown  face.  But  his  eyes,  peculiarly  set,  hold  you  ; 
they  are  direct,  piercing ;  you  can't  read  them.  His  graphic 
illustrations  are  a  slight  twist  of  the  mouth,  a  still  further 
narrowing  of  his  eyes. 

"When  I  was  in  stock,  Jimmy  Gleason,  being  manager, 
wrote  the  play.  I  was  a  hero — slick  hair,  mash  notes,  some 
swell.  I'd  never  done  any  dialect  or  real  characterizations, 
but  they  interested  me.  Jimmy  claimed  he  had  a  wide 
acquaintance  with  prize  fighters  and  knew  their  stuff,  so  he 

coached  me  and  it  went  over. 
Mrs.    Armstrong,    shown      "Two  years  later,  he  decided,  with 
with  him  here,  was  known   no  capital  but  enough  nerve  to  weight 
on  the  London  stage  as   his  shoulders  down,  to  put  it  on  in 
Ethel  Kent.  Continued  on  page  106 


57 


A  Girl  Comes  to  Hollywood 

Excitement  grows  apace  in  this  installment  of  our  mystery  serial,  for  Lady  Gates,  rejuvenated  by  science 
and  artifice,  starts  on  a  career  of  pleasure,  and  "Miss  Smith"  makes  a  disturbing  confession  to  Malcolm  Allen. 


CHAPTER  XIII. 

THE  QUARREL. 

MALCOLM  stood  staring, 
bewildered.  It  was  the 
voice  of  his  aunt  that 
greeted  him,  but  the  words  came 
from  the  mouth  of  a  different 
person.  This  woman,  in  a  knee- 
length,  decollete  and  sleeveless 
slip  composed  of  pale-pink  se- 
quins, surely  wasn't  Lady  Gates. 
She  couldn't  be ! 

"Well !"  the  vision  exclaimed, 
joyously.  "What  do  you  think 
of  me?" 

"Why — why,  it  isn't  you, 
Aunt  Kate!"  stammered  Mal- 
colm. "What  has  happened  to 
you  ?" 

"Happened?"  repeated  Lady 
Gates,  with  the  pertness  of  a 
girl  who  knows  she  is  pretty. 
"I've  had  the  clock  of  time 
turned  back  for  me,  that's  all! 
If  you'd  never  seen  me  before, 
and  didn't  know  anything  about 
me,  how  old  would  you  take  me 
for?" 

Malcolm  was  still  confused  in 
the  presence  of  this  new  and 
flapperish  relative.  She  did 
look  younger,  of  course — much 
ycunger.  She  seemed  to  have 
lost  many  pounds  in  weight.  Her 
double  chin  was  gone,  and  her 
face  was  smooth  as 


B$  Alice  M.  Williamson 

Synopsis  of  Preceding  Chapters 

Malcolm  Allen,  a  young  English  novelist  in 
Hollywood,  is  attracted  to  a  beautiful  girl,  who 
attempts  to  leave  the  popular  Restaurant  Mont- 
parnasse without  paying  for  an  expensive  din- 
ner she  has  eaten.  Malcolm  goes  to  her  res- 
cue. Dazzled  by  her  beauty,  'he  later  offers  her 
a  chance  in  pictures,  and  is  dumfounded  when 
she  tells  him  she  prefers  to  be  a  cigarette  girl 
at  Montparnasse.    Malcolrn  gets  her  the  job. 

Lady  Gates,  Malcolm's  wealthy  aunt  from 
Leeds,  England,  arrives  unexpectedly.  Pos- 
sessing a  fortune,  Lady  Gates  is  anxious  to 
participate  in  the  gay  life  of  Hollywood.  Her 
attention  is  attracted  to  Marco  Lopez,  a  pro- 
fessional dancer  at  Montparnasse.  Lopez  is 
attracted  to  Lady  Gates'  diamonds  and  evident 
wealth.  Under  the  pretext  of  arranging  danc- 
ing lessons,  he  later  suggests  that  Lady  Gates 
visit  a  certain  Veiled  Prophetess.  Lady 
Gates,  willing  to  do  anything  to  become  part 
of  the  eternally  youthful  Hollywood  crowd, 
consents.  The  Prophetess  is  actually  a  confed- 
erate'of  Marco  Lopez.  She  tells  Lady  Gates 
she  can  regain,  her  youthful  appearance,  and 
once  more  become  susceptible  to  love,  if  she 
will  but  follow  her  advice. 

Meanwhile,  at  the  insistence  of  Malcolm, 
Lady  Gates  makes  stiff  overtures  to  "Miss 
Smith,"  as  the  cigarette  girl  calls  herself.  Mal- 
colm hopes  to  learn  more  about  her  through 
his  aunt,  and  penetrate  the  secret  of  "Miss 
Smith's"  presence  in  Hollywood  and  her 
guarded,  though  intense,  interest  in  Marco 
Lopez.  At  this  time  Oscar  Sonnenberg,  a  pro- 
ducer, tries  to  persuade  Miss  Smith  to  at- 
tempt motion  pictures,  and  the  girl  maneuvers 
the  proposal  so  skillfully  that  she  gains  his 
promise  to  produce  Malcolm's  scenario. 

Lady  Gates  employs  Miss  Smith  as  her 
companion  during  the  weeks  she  is  in  retire- 
ment undergoing  the  elaborate  and  costly 
beauty  treatment,  from  which  she  emerges  suc- 
cessfully. 


Illustrated  by  Modest  Slein 

eyes  flashed,  and  she  stiffened 
all  over. 

"You  do !"  she  flung  at  him 
furiously.  "I  might  have  known ! 
I  did  hope  you  had  a  little  un- 
selfishness in  your  make-up.  But 
you  haven't.  I'm  your  aunt,  and 
you  thought  of  me  as  old.  You 
wanted  me  to  live  and  die  quietly 
and  leave  you  my  money  and 
jewels,  instead  of  having  a  little 
life  and  fun  of  my  own !  Lots 
of  widows  older  than  I  am 
marry  and  are  happy.  That's 
what  you're  afraid  of — my  mar- 


rying 


!     You   needn't   think  I 


a  billiard 

ball — not  a  wrinkle  to  be  seen,  even  under  her  eyes. 
Her  snub  nose  had  been  changed  to  a  Grecian  effect. 
Her  once-gray  hair  was  a  bright  auburn,  bobbed,  and 
marceled  in  glittering  waves.  The  thickish  eyebrows, 
which  had  given  a  certain  individuality  to  the  face,  were 
gone.  They  had  been  plucked,  and  in  their  place  faint, 
arched  lines  had  been  drawn  according  to  taste.  The 
eyes  themselves  seemed  to  have  been  lengthened,  and 
the  .lashes  were  heavily  blacked. 

The  strange  vision  was  of  a  pink  and  pearly  radiance, 
as  if  it  had  been  carefully  enameled  from  the  roots  of 
its  brilliant  hair  to  the  low  neck-line  of  its  still-more- 
brilliant  dress. 

"Why  don't  you  speak?"  Lady  Gates  urged,  her  new 
.brows  drawing  together.  "Don't  you  think  I  look  nice  ?" 

"You  look — extraordinary,"  Malcolm  managed  to 
ejaculate. 

"Well,  is  that  a  compliment,  or  the  reverse?"  she 
snapped. 

"To  tell  the  truth,  if  I  must,"  he  said,  "you  do  look 
younger,  of  course,  in  a  strange  sort  of  way,  but  I  can't 
help  preferring  you  as  you  were." 

If  Lady  Gates  flushed,  the  color  was  invisible  under 
her  lily  balm  and  smooth  coat  of  pink  rouge;  but  Tier 

*  Copyright,  1928,  by  Alice  M.  Williamson. 


don't  understand !" 

Malcolm  was  startled,  for,  in 
truth,  such  a  fear  had  jumped 
into  his  mind.  It  was  not  for 
himself  that  he  feared.  He 
really  did  exonerate  himself 
there;  but  a  fat,  elderly  woman 
who  would  go  through  weeks  of 
martyrdom  to  make  herself  over 
into  a  cheap,  wax  figure  was  in 
peril  from  the  first  adventurer. 
If  he  said  anything  of  that  sort 
she  wouldn't  believe  a  word,  and 
would  be  angrier  than 'before. 

"You  do  me  an  injustice, 
Aunt  Kate,  I  assure  you,"  he 
tried  to  defend  himself  without 
floundering  into  a  morass  of  in- 
tricate explanations. 

"Injustice !"  she  sneered. 
"That's  nonsense.  There's  only 
one  thing  to  think,  an3  I  think  it !  You're  selfish.  Here 
I  am,  back  here  at  my  comfortable  hotel  after  putting 
in  the  most  awful  three  weeks  of  my  life.  The  surgical 
part  came  first.  That  wasn't  so  bad,  for  I  was  under 
ether  during  the  operations.  But  I've  had  a  rolling 
treatment  to  take  off  flesh  in  a  hurry,  and,  oh,  my  good- 
ness !  Heaven  alone  knows  what  I've  gone  through  be- 
sides. I  told  Miss  Smith  not  to  say  a  word  to  you, 
Malcolm,  for  I  was  so  happy,  looking  forward  to — to 
giving  you  a  grand  surprise.  And  this — this  is  what 
I  get !"  - 

"If  you  are  pleased,  I'm  pleased,  Aunt  Kate*"  said 
Ma-lcolm.  "Anyhow,  it  isn't  my  affair.  You've  no  one 
but  yourself  to  consult.  Only,  you  took  this  long  jour- 
ney half  across  the  world  because  I  was  here,  so  I  feel 
responsible  for  you  in  a  way.  I'd  hate  to  have  any 
trouble  come  to  you." 

"Don't  worry!"  she  snapped.  "I  don't  expect  any 
trouble.  My  troubles  are  all  over  now.  and  my  fun  be- 
gins. I  have  made  one  or  two  good  friends  here,  and 
I  don't  have  to  depend  on  you,  young  man!" 

"Don't  let's  quarrel,  Aunt  Kate,"  Malcolm  said,  sti- 
fling his  own  quick  temper  which  bristled  at  Lady  Gates' 
harsh  words.  "I'm  fond  of  you  for  the  sake  of  the 
past,  and  I'm  afraid  you  may  be  sorry  if  you  throw  me 


58 


A  Girl  Comes  to  Hollywood 


off.  At  least  I'm  sincere.  I've  told  you  the  truth  as 
I  saw  it." 

"The  truth!"  she  threw  back.  "The  truth,  in  my 
experience,  is  mostly  something  disagreeable  about 
somebody  else.  You're  a  gloom,  Malcolm  Allen,  that's 
Avhat  you  are!  I  expected  to  enjoy  such  a  gay  evening 
with  you!  Well,  I'll  enjoy  it  without  you,  that's  all. 
Since  you  don't  like  to  have  an  aunt  young  enough  to 
make  a  new  life  of  her  own,  you  can  run  away  and 
forget  her,  my  boy.    Good-by !" 

Malcolm  stood  still  for  a  moment.  He  hated  to  take 
the  angry  woman  at  her  word,  for  if  he  did,  most  likely 
it  would  mean  a  definite  break  between  them.  Just  be- 
cause he  had  had  an  ax  to  grind,  pride  would  forbid 
his  trying  to  come  back  and  grind  it !    He  was  sharply 


me  to  go  out  with  you  this  evening,  I  had  to  say  I'd 
made  an  engagement  with  my  nephew.  Well,  the  en- 
gagement's off.  Is  your  invitation  still  open?  Then 
do  come  to  the  Ambassador  as  soon  as  you  can.  We'll 
dine  here.    No,  I  don't  mind  waiting  for  you  one  bit!" 

When  his  aunt  hung  up  the  receiver,  Malcolm  stood 
as  he  had  been  standing  when  she  ran  to  the  tele- 
phone. 

"Oh!  Are  you  still  present ?"  she  inquired  coldly.  "I 
thought  you'd  gone." 

"I'm  going,"  said  Malcolm.  "But,  dear  Aunt  Kate, 
before  I  go,  do  let  me  beg  you  for  your  own  best  good 
to  be  careful  about  this  Lopez.  He  may  be  all  right, 
but  he's  only  a  gigolo  at  Montparnasse,  hired  to  dance, 
and  ready  to  accept  tips.    He's  a  foreigner.      No  one 


"Miss    Smith,  I 
can't  help  think- 
ing   that  you've 
fallen     in  love 
with   Mr.  Lopez 
yourself,  and  are 
afraid  I  may  take 
him  away. 
Go!"  cried 
Lady  Gates 
angrily. 


sorry  this  thing  had  happened,  yet,  picking  up  the 
threads  of  the  conversation  he  didn't  see  how  he  could 
have  spoken  differently.  Compliments  upon  this  poor, 
stretched,  painted  face,  dyed  bob,  and  stiff  figure  would 
have  burned  his  lips.  He  couldn't  have  uttered  them 
without  a  sense  of  shame  for  himself. 

Yet  he  hesitated  to  go  and  shut  the  door  between  his 
friendship  and  the  foolish  old  woman  who  might  soon 
be  needing  it.  He  would  have  begged  her  to  think  twice, 
but,  without  glancing  at  him  again,  she  walked  defiantly 
to  the  telephone. 

There  she  called  a  number,  and  got  it  almost  at  once. 

"Hello,  is  that  you,  Mr.  Lopez?"  she  cooed,  her  tones 
and  her  whole  personality  softened.  "Yes,  Lady  Gates 
speaking — Kathy  Gates.    You  know  when  you  invited 


knows  anything  about  him.  You  have  your  dignity  to 
think  of.    People  will  say  the  usual  thing  " 

"Oh,  do  hold  your  tongue!"  Lady  Gates  shrilled. 
"Prig!  You're  terribly  proper  for  me,  but  what  about 
yourself?  What  about  the  pretty  cigarette  girl  you've 
almost  stuffed  down  my  throat  ?  Maybe  she's  a  perfect 
lady !  I've  accepted  her  for  your  sake,  and  I've  been 
nice  to  her.  But  you  don't  give  her  fellow  professional 
at  Montparnasse  even  the  benefit  of  the  doubt.  Down 
with  him!  Heavens,  you're  not  young,  Malcolm. 
You're  older  than  I  am.  You  bore  me.  We'll  speak  to 
each  other  after  this,  not  to  make  gossip,  and  that'll  be 
all:    You  understand?    Good  night  again." 

There  was  nothing  for  Malcolm  to  say  but  to  echo 
her  "Good  night." 


A  Girl  Comes  to  Hollywood 


59 


But  as  he  shot  down  in  the  elevator,  a  voice  seemed  to 
chuckle  in  his  ear:  "You've  cooked  your  goose,  young 
man  !"   Well,  he  had  ! 

There  was  no  chance,  now,  that  Lady  Gates  would  in- 
terest herself  financially  in  getting  "Red.  Velvet"  produced. 
And  not  only  that,  it  was  probable  that  she  was  angry 
enough,  spiteful  enough,  to  change  her  will  and  cut  him 
completely  out  of  it. 

CHAPTER  XIV. 

"i  CAME  TO  HOLLYWOOD  BECAUSE  OF  HIM  !" 

Malcolm's  first  thought,  after  parting  from  Lady  Gates, 
was :  What  about  the  twenty-five  thousand  dollars  Sonnen- 
berg  had  demanded  ?  Would  the  fellow  go  on  with  the 
production,  adding  twenty-five  thousand  of  his  own-  to  the 
suggested  fifty  thousand,  provided  that  the  author  agreed  to 
accept  smaller  profits  ? 

A  short  time  ago  he  had  been  reluctant  to  sell  his  scenario 
to  a  man  like  Sonnenberg.  He  had  thought,  vaguely,  that 
his  aunt  might  possibly  be  interested  enough  in  his  success 
to  put  down  the  whole  sum  needed,  in  which  case  he  could 
have  become  his  own  producer,  and  would  only  have  needed 
to  find  a  good  release.  To  do  that 'hadn't  seemed  impossible, 
for  he  still  had  important  friends  in  the  picture  game,  who 
might  have  been  willing  to  use  their  influence  as  well  as  to 
give  advice.  But  he  had  been  dreaming — counting  his 
chickens  before  they  hatched. 

His  dinner  engagement  with  his  aunt  was  off,  but 
he  was  anxious  for  a  few  words  with  Mary  Smith. 
He  wondered  if  her  disappointment  at  losing  the  .| 
chance  of  a  good  role  would  be  very  severe.  He 
hardly  thought  so,  for  Mary  Smith  was  one  of  the 
few  girls  on  earth  whom  you  might  perhaps  believe  \ 
when  she. said  she  didn't  really  care  about  getting 
into  pictures.  V/' 

In  any  case,  no  matter  how  Miss  Smith  might 
regard  the  news,  the  sooner  she  had  it,  the  better. 

Malcolm  went  to  Montparnasse,  and  had  not  been 
seated  long  at  his  own  table  when  an  imploring  look 
brought  the  sparkling  green  figure  to  him. 

"Cigarettes  ?"  asked  Madeleine,  with  a  less 
"carved  in  marble"  smile  than  she  gave  to  other 
admiring  men. 

"Thanks,  yes,"  said  Malcolm.  "Miss  Smith, 
you've  been  seeing  my  aunt,  so  you  must  know  what 
a  fool  the  poor  dear  has  made  of  herself." 

"I  know  what  you  mean,"  Madeleine  admitted. 
"But  I  don't  know  that  I  quite  agree  with  you  about 
her  being  a  fool.    I  think  she's  pathetic." 

"Pathetic,  but  ludicrous,  too,"  said  Malcolm. 

"Well,  if  she  can  do  it,  she  may  have  a  much 
better  time,"  Madeleine  argued. 

"But  she  can't  do  it." 

"Perhaps  we're  not  fair  judges,"  suggested  the  girl. 
"You've  always  thought  of  her  as  your  nice,  stodgy,  old 
aunt  from  Leeds.  As  for  me,  I've  seen  her  in  the  sani- 
tarium while  she  was  under  treatment,  and  I  can't  get 
the  picture  out  of  my  mind.  But  to  people  who  have 
not  known  her  before,  the  poor  lady  may  look  a  perfect 
thirty-six !" 

"You're  charitable !"  Malcolm  exclaimed.  "She  made 
me  tell  her  what  I  thought  of  the  change,  and — well,  I 
was  like  George  Washington.  With  my  little  hatchet 
of  truth  I  felt  forced  to  strike.  I  hit  where  the  lady 
lived,  and  now  she's  made  up  her  mind  to  shed  her  one 
and  only  nephew." 

"She  has !"  echoed  Madeleine.  "She  won't  help  you 
with  'Red  Velvet'?" 

"I  didn't  even  ask,"  said  Malcolm.  "I  knew,  when 
she  flung  out  hints  about  her  will,  that  she  wasn't  likely 
to  help  finance  me." 


"You  can't  believe  that  of  me!"  exclaimed  Madeleine.  She 
could  do  no  more.    Poor  Lady  Gates  was  in  the  hands  of  fate. 


"Did  she  say  she'd  cut  you  out  of  her  will?"  asked 
the  girl,  distressed. 

"She  accused  me  of  counting  on  her  money  and 
jewels  when  she  died,  and  wanting  her  to  stay  old,  and 
grudging  her  any  fun." 

"I  see,"  said  Madeleine.  "But  surely  she'll  be  sorry, 
and  change  her  mind.  She  came  all  this  distance  just 
to  visit  you." 

"And  to  revel  in  the  joys  of  Hollywood.  She  seems 
to  have  made  at  least  one  friend  here,  whom  she  can 
depend  upon.  Heaven  knows  how  he  may  exploit  her. 
Mr.  Marco  Lopez,  our  handsome,  patent-leather-haired 
gigolo  at  Montparnasse,  for  instance." 

"Marco  Lopez!"  repeated  the  girl,  a  sharp  note  of 
surprise,  and  something  more,  in  her  voice. 

Malcolm  was  startled  by  her  tone.  A  question  came 
to  the  tip  of  his  tongue,  but  before  he  could  speak,  she 
had  gone.  She  had  either  been  called  to  a  table  at  some 
distance,  or  else  she  had  invented  an  excuse  to  escape 
in  a  hurry.    He  could  not  see  the  expression  of  her 


60 


A  Girl  Comes  to  Hollywood 


face,  for  she  stood  with  her  back  turned  to  him ;  and 
-he  wondered  if  even  that  had  a  motive  in  it.  Marco 
Lopes!  This  was  not  the  first  time  she  had  shown — 
no,  betrayed  was  the  word — a  peculiar  interest  in  the 
professional  dancer.  The  way  in  which  she  looked  at 
the  man  .had  disturbed  Malcolm  once.  Now  it  was  the 
stifled  emotion  in  her  voice,  as  she  repeated  the  name, 
which  worried  him. 

What  had  he  said  to  upset  the  girl?  He  tried  to  re- 
call his  own  words,  and  couldn't  exactly.  But  he  had 
hinted  that  Lopez  might  make  an  unscrupulous  use  of 
the  rejuvenated  lady's  favor.  Had  Miss  Smith's  evi- 
dent anxiety  sprung  from  friendship  for  Aunt  Kate,  or 
— from  something  other  than  friendship  for  the  Argen- 
tinean ? 

Luckily,  'Malcolm  had  come  to  the  restaurant  late, 
after  his  scene  with  Lady  Gates  at  the  Ambassador,  so 
that  it  wasn't  difficult  to  pass  the  time  there  until  the 
hour  when  Mary  was  free.  He  had  had  no  further 
chance  to  speak  to  her,  and  of  late  she  no  longer  al- 
lowed him  to  take  her  home.  But  she  couldn't  send 
him  away  without  a  word  if  he  "happened"  to  run 
across  her  at  a  discreet  distance  from  Montparnasse. 

He  contrived  to  do  this,  by  lying  in  wait  in  the 
shadow  of  the  huge  pepper  trees  in  the  street  through 
which  she  must  pass.  But  he  didn't  make  the  mistake 
of  pretending  he  was  there  by  accident. 

"I  know  you  won't  be  pleased  to  see  me,"  he  said, 
"and  that  you  must  have  some  more  or  less  good  reason 
for  wanting  to  go  home  alone  these  days,  but  " 

"I  have  a  very  good  reason,"  ^Madeleine  broke  in. 
"Haven't  you  guessed  what  it  is — you,  a  writer,  sup-' 
posed  to  read  people's  inner  workings,  like  those  of  a 
watch  ?" 

"No,  I  haven't  guessed,"  said  Malcolm.  "I  hope  it 
isn't  because  you  " 

"I'll  save  you  the  trouble  of  guessing,"  the  girl  cut 
him  short  again,  not  crossly,  but  gravely.  "That  is,  I 
will  if  you'll  promise  not  to  misunderstand." 

"I  do  promise,"  he  answered.  They  were  standing 
still  under  drooping  branches  jeweled  with  coral  ber- 
ries, for  Miss  Smith  had  stopped  short  at  his  greeting, 
and  had  not  taken  another  step  since. 

"Well,  frankly  then,  it's  on  account  of  Mr.  Sonnen- 
berg,"  she  said.  "I'd  be  an  idiot  if  I  didn't  know  that 
he  is — what  he  would  probably  call  'gone'  on  me.  That's 
why  he  wants  to  put  me  into  a  picture,  of  course.  I 
suggested  your  picture,  and  instantly  the  man — imagined 
things.  I  told  him  you  had  a  wonderful  part  in  'Red 
Velvet'  that  I'd  love  to  play,  and  so  on  and  so  on. 
But  I'm  sure  he  still  has  ideas  in  his  head  about  us, 
and  I  don't  want  him  to  have  t1'  i.  He  might  be  spite- 
ful enough  to  turn  down  you.,  scenario  after  all,  if  he 
felt  sure  I  was  'stringing  him  along'  for  you." 

"He  will  turn  down  the  scenario,  anyhow,  now  that  I 
can't  put  in  the  money  he  wanted,"  Malcolm  reminded 
her. 

"No,  he  won't,  if  I  play  my  cards  well,"  said  Made- 
leine.   "I'm  almost  sure  that  stuff  about  the  twenty- 
five  thousand  was  bluff.    He  has  loads  of  money.  He 
won't  want  to  give  up  producing  'Red  Velvet,'  now  he's 
gone  as  far  as  he  has." 

"Because  you'll  play  your  cards  in  such  a  way  as  to 
make  him  think  he  will  lose  you  if  he  throws  me  over!" 
Malcolm  exclaimed. 

"Yes.  That's  what  I  mean,"  coolly  agreed  the  girl. 
"But  remember  your  promise  to  me  just  now!  .I'm 
not  afraid  of  him.  I  can  manage  the  man.  Only,  if  he 
is  having  me  watched,  as  he  very  likely  is,  it  will  be 
best  if  you  and  I  are  not  seen  going  about  together  as 
if  we  had  some  secret  understanding  behind  his  back. 
That  would  defeat  our  object." 


"You  don't  realize  the  position  you  place  me  in !" 
broke  out  Malcolm.  "You  are  doing  this  for  me — 
putting  yourself  in  this  fellow's  power  " 

"Pooh!"  laughed  Mary.  "Don't  be  Victorian.  I 
thought  you  were  one  of  the  most  up-to-date  authors !" 

"I'm  a  man!"  Malcolm  defended  himself. 

"And  I'm  a  woman,  old  enough  to  vote,  so  I  ought 
to  be  old  enough  to  take  care  of  myself.  It's  perfectly 
true  I'm  working  for  your  interests,  but  it  may  have 
occurred  to  you  that  I  shan't  be  ignoring  my  own  if  I 
make  a  success  in  a  picture — yours  or  anybody  else's!" 

"It  has  occurred  to  me,"  said  Malcolm.  "Otherwise 
I  couldn't  have  let  you  go  on." 

"You'd  have  had  harder  work  to  stop  me  there  than 
you've  had  to  stop  me  here  in  the  street,"  the  girl 
laughed.  "Now  there's  one  thing  you  must  'let'  me  do : 
go  my  way  home  alone." 

"If  you  insist,"  Malcolm  had  to  agree.  "But  let  me 
ask  you  a  question  first.  I  can't  sleep  unless  I  do.  Why 
did  you  seem  upset  about  Marco  Lopez  and  my  aunt? 
I  know  I  haven't  any  right  to  catechize  you.  But  do 
tell  me.  Once  or  twice  I've  thought  you  seemed  inter- 
ested in  that  'sap'  as  they  call  him  at  Montparnasse. 
I — I've  tortured  myself,  Mary,  wondering  if  you 
wanted  to  work  there  because  of  him.  You  see,  I  love 
you,  dear,  and  " 

"Don't !"  Madeleine  stopped  him.  "I  haven't  any 
right  to  love  and  be  loved.  You've  been  a  wonderful 
friend  to  me.  Oh,  please,  go  on  being  a  friend.  I 
needed  one  the  night  we  met  first,  and  I  need  one  almost 
as  much  now.  Believe  me,  you  are  the  friend  I  want 
and  wish  to  keep,  even  if — I  tell  you  that  I  did  come 
to  Montparnasse  because  of  Marco  Lopez.  I  came  to 
California — I  came  to  Hollywood — because  of  him  !" 

She  spoke  in  a  low  tense  voice,  with  a  bare  hand  on 
Malcolm's  arm.  But  as  she  uttered  the  last  words 
breathlessly,  the  girl  withdrew  her  hand  and  ran  away 
from  him. 

He  knew  that  he  must  not  follow.  She  had  told  him 
why,  and  it  had  not  made  him  too  unhappy.  He  had 
been  very  far  from  losing  hope,  and  even  though  there 
might  be  troubles  ahead,  their  futures  had  seemed  to 
lie  together.  She  was  acting  for  him.  She  cared  for 
him.  But  now,  in  a  second,  everything  was  changed. 
The  mystery  of  her,  which  had  seemed  the  mystery  of 
a  wandering  princess,  was  beautiful  and  romantic  no 
longer.  It  had  become  sordid,  because  it  was  connected 
with  this  swarthy,  smooth-headed  dancer,  Marco  Lopez. 

CHAPTER  XV. 

LADY  GATES  SPURNS  A  FRIENDLY  WARNING. 

Madeleine  Standish  almost  ran  home  to  her  rooming 
house  on  Hawthorne  Avenue.  It  was  not  the  same 
place  in  which  she  had  lived  before  taking  up  work  at 
Montparnasse.  The  first  money  she  earned  from  Lady 
Gates  paid  her  debt  there,  and  thankfully  she  had 
moved  out  of  sordid  disorder  to  comfort  and  cleanli- 
ness. 

It  was  necessary  to  her  plans  that  she  should  save 
money,  for  any  day  she  might  need  a  considerable  sum. 
But  her  room  and  bath  cost  her  only  twelve  dollars  a 
week,  and  she  had  all  her  meals,  save  an  early  cup  of 
coffee  which  she  made  herself,  at  Montparnasse.  Soon, 
too,  she  would  be  receiving  a  good  salary  for  her  work 
in  "Red  Velvet."  Oscar  Sonnenberg  didn't  pay  his 
stars  four  and  five  thousand  dollars  a  week,  as  the  big 
companies  did ;  but,  amateur  that  she  was,  Madeleine 
counted  on  five  or  six  hundred  dollars  a  week  to  begin 
with.  He  wouldn't  dare  offer  less,  for  fear  of  losing 
her.  He  knew  very  well  that  she  wasn't  screen  mad  and 
Continued  on  page  92 


A  Stepson  of  the  Movies 

The  unprecedented  activity  of  the  fans  in  behalf  of  a  newcomer  explains  the  appearance  of 
this  story  of  the  path  that  has  brought  Paddy  O'Flynn  to  the  beginning  of  the  starlit  road. 


61 


HIS   father's  name  was  Patrick  David,  and  his 
mother's  maiden  name  was  Elizabeth  Gordoon. 
Irish!    On  both  sides!    That  same  Elizabeth, 
grown  older  and  gray,  but  with  none  of  the 
twinkle  gone  from  her  eyes  and  her  smile,  wished 
her  son  to  be  an  electrical  engineer.    But  things 
just  didn't  turn  out  that  way.    Her  son  took  the 
name  of  Paddy  O'Flynn,  and  came  to  Hollywood 
instead. 

When  his  parents  first  left  Dublin  they 
settled  in  Canada,  but  it  was  not  until 
after  they  had  moved  to  Pittsburgh  that 
Paddy  was  born. 

When  he  was  seven  the  family  sent  him 
back  to  Toronto  to  attend  school  there. 
He  was  never  a  distinguished  scholar,  but 
he  excelled  in  athletics  throughout  his 
school  years.  Hockey  holds  the  sport 
limelight  in  Canada,  and  Paddy  was  slim 
and  wiry — built  for  speed  on  skates.  He 
was  also  a  piano  student  at  St.  Joseph's, 
and  displayed  considerable  promise  as  a 
musician.  But,  as  with  many  other  things, 
Paddy's  interest  waned. 

That  interest  was  an  elusive 
thing  in  those  days,  and  it  con- 
tinued to  be  fickle  until  he  came 
to  Hollywood.  Good  music,  as 
taught  at  St.  Joseph's  School, 
was  not  for  Paddy. 

A  battered  banjo  came  into  his 
possession,    and   the  half-mad, 
half-dreamy  jazz  he  learned  to 
play  on  it  amused  and  enter- 
tained  him   far  more 
than  his  lessons  at  the 
piano.    Paddy's  buddy, 
Mose  Yokum,  was  also 
a   piano   student,  and 
loved   music,   but  he, 
like   Paddy,  preferred 
jazz  tunes  to  the  melo- 
dies of  the  masters. 

While  the  family  was 
in  consultation  as  to 
the  most  suitable 
school  to  which  Paddy 
might  be  sent  for  his 

training  as  an  engineer,  word  came  that 
Paddy  had  already  returned  to  the  States. 

They  managed,  by  some  hook  or  crook,  to  secure  a 
brief  vaudeville  engagement,  and  considered  themselves 
on  their  way  to  prominence  as  actors.  Both  boys  were 
awkward  and  green,  with  no  theatrical  training  what- 
ever. But  they  played  "hot"  music,  and  the  audience 
responded  to  their  youthful  enthusiasm. 

Vaudeville  knew  Mose  and  Paddy  for  a  number  of 
years.  Mose  managed  to  organize  his  own  orchestra, 
but  Paddy  didn't  relish  being  just  one  of  the  band. 
The  banjo  was  discarded  in  favor  of  a  ukelele,  and  he 
continued  his  act  alone.  He  was  billed  in  vaudeville, 
and  frequently  over  the  radio,  as  "Paddy  O'Flynn  and 


Paddy  O'Flynn's  jinx  has  apparently  taken  flight,  and 
he  has  been  given  a  chance  to  do  some  real  work  in 

pictures. 


Mose  and 


His  Galloping  Ukelele."  During  a  vacation  he  visited 
Hollywood,  and  incidently  played  there  at  KFQZ. 
Hollywood  was  friendly,  and  likedr  Paddy's  Irish  smile. 

^  A  producer  gave  him  a  lead  in  a  serial. 
From  the  first  moment  he  experienced  be- 
fore the  camera,  Paddy  knew  that  his  wan- 
dering fancy  had  found  its  true  love.  At 
first,  of  course,  he  was  camera  shy  and  ig- 
norant of  screen  values.  He 
soon  overcame  this  diffi- 
culty, and  all  through  the 
filming  of  the  picture  he 
was  constantly  being  told 
that  he  was  a  real  "find." 

If  he  thought  his  career 
in  films  would  be  easy  sail- 
ing, after  his  work  in  that 
first  lead,  he  was  doomed 
to  bitter  disillusionment.  In 
the  two  years  which  fol- 
lowed, he  worked  almost 
constantly,  and  was  still 
called  "a  find,"  but  the 
parts  he  appeared  in  never 
seemed  to  get  past  the  cut- 
ting room.  His  bits  were 
always  eliminated  as  either 
not  important  to  the  story, 
or  because  of  some  change 
in  continuity.  But,  during 
all  this  time,  Paddy  studied 
as  he  had  never  studied  be- 
fore, despite  the  disap- 
pointments he  was  contin- 
ually suffering. 

Finally  his  reward  came, 
and  it  was  well  worth 
working  and  waiting  for. 
Henry  Irving  Dodge,  au- 
thor of  "Skinner's  Dress 
Suit,"  and  "Skinner  Puts 
It  Over,"  came  to  Holly- 
wood in  connection  with 
the  production  of  one  of 
his  stories.  He  met  Paddy, 
and  announced  that  he 
"could  write  a  story  every 
hour  for  that  boy."  He 
compliments,  which  Paddy 
was  used  to  praise  by  this 
time,  and  it  never  seemed  to  get  him  anywhere,  so  he 
was  a  bit  cynical.  Mr.  Dodge,  however,  was  actually 
in  earnest.  He  created  the  role  of  Skinner's  son,  and 
called  him  Bill  Skinner,  Jr.,  and  explained  in  no  uncer- 
tain terms  that  Paddy  was  the  one  he  wanted  for  the 
part. 

Thus  Paddy's  jinx  has  taken  flight.  With  his  tem- 
perament, his  famed  Irish  grin,  his  ability,  and  backed 
by  a  loyal  following  of  fans,  Paddy  is  destined  to  write 
some  romantic  chapters  into  the  story  of  his  career.  The 
fan  following  which  he  has  gathered  will  be  back  of  him 
every  inch  of  the  way. 


paid  Paddy  many  other 
didn't  take  seriously.  He 


62 


PAULINE  FREDERICK,  we  predict,  will  be  the 
next  sensation  of  talking  pictures.  It  is  in  the 
cards  that  she  should  be.  She  is  playing  in  the 
emotional,  courtroom  drama,  "On  Trial,"  which  will 
probably  have  some  "Madame  X"  trimmings.  Pauline 
has  a  lovely  voice,  and  she  is  a  wonderful  actress. 

The  speakie  medium  is  very  choosey  about  its  per- 
sonalities, and  seems  to  favor  the  maturer  players.  It 
is  consequently  going  to  mean  a  number  of  come-backs 
for  the  older  favorites — those  who  know  their  screen 
technique,  and  whose  voices  qualify,  because  at  some 
time  or  other  they  have  had  stage  experience. 

Some  of  the  most  attractive  of  the  younger  stars  are 
having  a  frightful  time  trying  to  match  their  voices 
with  their  screen  presences. 

Talkies  or  Squawkies? 

The  recent  outstanding  hit  in  talkies — sometimes 
called  the  squawkies — has  been  scored  by  Gladys  Brock- 
well.  Everybody  seemed  to  like  her  work  in  an  emo- 
tional scene  in  "Lights  of  New  York,"  and  she  was 
engaged  immediately  afterward  for  "The  Home-town- 
ers,"  based  on  a  George  M.  Cohan  play. 

The  cast  includes*  Richard  Bennett,  the  stage  actor, 
Doris  Kenyon,  Robert  McWade,  Robert  Edeson,  Stan- 
ley Taylor,  and  Vera  Lewis.  The  picture  is  all  talkie. 
The  line-up  of  players  doesn't  look  a  bit  like  the  ordi- 
nary cast  of  a  si- 
lent feature.  /' 


Some  Strange 
Newcomers. 

The  Fox  com- 
pany has  launched 
on  their  sound- 
film  era,  with  a 
m i  1  l.i  on-dollar 
plant  and  a  whole 
host  of  talent  re- 
cruited from  the 
spoken  drama 
and  the  musical 
shows. 

Such  names  as 
the  following  will 
certainly  sound 
strange  to  the 
movie  fans :  Gil- 
bert Emery,  Clif- 
ford Dempsey,  Lumsden  Hare, 
McCullough,  Sylvia  Field,  Paul 
Chick   Sale,   Arnold   Lucy,  and 
That's  the  new  Fox  list  of  speakie  stars 


Transmitting  the  latest  news 
and  gossip  from  the  studios. 


Even  pictures  that  have  only  sound  effects,  such  as 
Paramount's  "Warming  Up,"  with  Richard  Dix,  are 
great  drawing  cards.  But  those  that  have  dialogue,  and 
the  most  dialogue,  are  the  biggest  hits  of  all. 

Filmland  in  the  Dumps. 

Aside  from  sound  films,  the  studios  are  inclined  to  be 
terribly  quiet,  and  players  are  not  overly  cheerful.  It 
will  be  two  or  three  months  before  most  of  the  sound 
stages  are  completed,  and  even  then  things  may  move 
very  slowly.  This  is  the  most  severe  period  in  all  film 
history,  and  prophecies  of  a  long,  cold  winter  are  heard 
everywhere. 

More  and  more,  the  smarter  players  are  turning  to 
the  stage  as  an  outlet  for  suppressed  ambitions.  Among 

the  most  recent  is 


rhoto  by  Ball 

The  mutual  love  of  Kenneth  Harlan  and  Marie  Prevost  for  their  police  dog 
opened  the  door,  so  we  hear,  to  the  reawakening  of  their  love  for  each  other. 
Their  difficulties  are  settled,  and  they're  happy  again! 


Robert 
Fung,  Ben 
Helen 


trees  is  an  ingenue 


Clark,  Paul 
Holmes, 
Twelvetrees. 
Miss  Twelve- 
find,"  and  Paul  Fung,  despite  any 
illusions  you  may  have  to  the  contrary,  is  not  a  Chinese 
actor. 

New  Lure  of  Gold. 

The  stock  of  Warner  Brothers,  who  sponsor  Vita- 
phone,  recently  took  a  flight  skyward  on  the  market, 
and  various  stars  and  directors  were  among  the  profit- 
takers.  We  hear  that  Al  Jolson  and  Monte  Blue  were 
among  those  to  strike  it  lucky."  And  there  were  a  score 
of  others. 

A  year  ago  Warner  Brothers  earned  a  meek  little 
$30,000  as  the  annual  recompense  for  their  picture- 
making.  This  year  they  showed  net  returns  of  nearly 
$2,000,000.  This  munificent  increase  was  attributed  to 
the  success  of  "The  Jazz  Singer,"  "The  Lion  and  the 
Mouse,"  "Tenderloin"  and  two  or  three  other  pictures. 
At  every  theater  where  Vitaphone  or  Movietone  is  in- 
stalled, the  audiences  seem  immediately  to  increase. 


Leatrice  Joy.  who 
played  in  a  re- 
vival of  "Clar- 
ence" at  the  Vine 
Street  Theater  in 
Hollywood.  Lois 
Wilson  was  there 
previously,  but  is 
now  quite  busy 
with  sound  pic- 
tures. On  her  de- 
but, Leatrice  was 
literally  over- 
whelmed with 
floral  tokens,  in- 
dicative of  the 
audience's  friend- 
ly admiration  for 
her.  She  garnered 
the  praise  of  ev- 
en-body,  for  the 

pleasing  quality  of  her  voice  and  her  stage  presence. 
Leatrice  is  certain  to  speak  a  piece  on  the  screen  ere 
long. 

Accordion  Infliction  Taboo. 

Helen  Ferguson  is  playing  almost  continuously  be- 
fore the  footlights,  in  the  Henry  Duffy  Coast  Theaters. 
Pier  progress  has  been  remarkable. 

Helen  gave  a  huge  party  to  signalize  her  home-coming 
from  the  Northwest,  where  she  played  a  stage  role  or 
two,  and  told  us,  during  the  evening,  that  she  had  been 
in  communication  with  the  talkie  producers. 

"A  man  from  one  of  the  studios  called  me  up,  and 
asked  me  all  sort  of  questions  over  the  phone,  about 
my  voice  and  my  experience,"  she  related,  "and  when 
he  got  through  with  that,  he  inquired  what  instrument 
I  played. 

"Jokingly,  I  told  him  the  accordion.  Whereupon  he 
hung  up,  and  I  haven't  heard  from  him  since.  At  least, 
I  thought  it  bespoke  a  higher  accomplishment  to  be  able 
to  play  an  accordion  than  a  victrola,  but  seemingly  it 
didn't."  Just  the  same,  it  would  surprise  no  one  if  Helen 
made  a  talkie  debut  before  long. 


63 


T  T  .    .1  "I 

I  1         l/\  I 

■  •  1  ~~ 


j  if        w  mf  mm 


ScLaHert 


Ruth's  Ruddy  Hosiery. 

At  Helen's  party,  Ruth  Roland  dazzled  the  guests  by 
wearing  a  pair  of  short,  red  stockings,  and  was  accused 
by  her  fiance,  Ben  Bard,  of  attempting  to  register  "sox 
appeal." 

Problem  in  Emotion. 

Charles  Delaney  is  one  of  the  newest  good-cheer  am- 
bassadors. He  has  a  blustering  sort  of  naturalness  that 
wins  you  immediately.  Delaney  usually  plays  leads, 
and  will  be  seen  in  Alice  White's  starring  picture,  "Show 
Girl."  Before  working  in  that,  he  had  a  season  in  dog 
films,  often  the  stepping-stone  to  higher  prominence. 

"I  quit  the  dog  pictures,"  Delaney  said,  "because  in 
the  last  one  I  made,  the  canine  star  was  required,  by 
the  script,  to  'look  deliciously'  at  the  hero  and  heroine, 
while  they  were  enacting  a  love  scene.  I  haven't  seen 
the  actor  yet  who  can  'look  deliciously'  at  anything,  so 
I  thought  if  a  dog  could  do  it,  that  was  the  time  for 
me  to  give  up  the  job,  because  it  would  mean  too  much 
competition." 

Murray  Answers  Back. 

Charley  Murray  had  his  troubles  with  a  dog,  during 
a  recent  picture.  The  animal  was  particularly  obstinate 
about  performing  certain  stunts.  Finally,  Charley  broke 
out  in  expostulations  about  it,  and  after  he  had  finished, 
one  of  the  visitors  on  the  set,  impressed  by  the  fact  that 
the  dog  did  not  seem  very  prepossessing  in  appearance, 
asked,  "What's  the  matter,  is  he  a  pick-up?" 

"Pick-up,"  exclaimed  Charlie.  "Pick-up !  Why  he's 
not  even  a  reach-to." 

Pacific  Tendency. 

Here's  a  problem  for  psychologists,  sociologists,  or 
somebody — the  number  of  girl  babies  that  are  born  in 
the  colony.    Three  within  the  space  of  a  few  weeks  was 
the  recent  record.    And  mean- 
while, not  a  single  boy. 

The  new  arrivals  are  Judith 
Niblo,  the  third  child  of  Fred 
Niblo  and  Enid  Bennett;  Mar- 
garet Marsh,  the  third  also  for 
Mae  Marsh,  wife  of  Louis  Lee 
Arms ;  and  Pamela  Novak,  the 
second  daughter  of  Eva  Novak 
and  William  Reed,  a  director. 
The  Niblos  and  Miss  Marsh 
each  have  two  girls  and  a  boy. 

Out  of  forty-odd  film  players 
who  have  children,  we  checked 
up  to  find  more  than  thirty  of 
the  offspring  were  girls,  and 
only  about  twenty  were  boys. 
The  average  probably  runs  about 
three  to  two,  girls  first. 

Bull  Montana,  our  philosophi- 
cal friend,  muses  that  this  high 
percentage  means  that  the  world 
will  not  engage  in  another  war 


for  fifty  years  !  We 
certainly  hope  he's 
correct. 

Film  players, 
who  are  parents  of 
girls,  include  Har- 
old Lloyd,  '  Monte 
Blue,  Jack  Gilbert 
a  n  d  Lea- 
trice  Joy, 
Lina  Bas- 
quette.  Pat 
O'M  alley, 
Eleanor 

Boardman,  Irene  Rich,  Conrad 
Nagel,   Agnes   Ayres,  Conrad 
Veidt,   Gloria   Swanson,  John 
Barrymore,  Tom  Mix,  George 
K.  Arthur  and  others.  Boys 
seem  preferred  -by  Ernest  Tor- 
rence,  Buster  Keaton,  Jean  Her- 
sholt,    Eileen  Percy, 
Mrs.    Wallace  Reid, 
Charles   Chaplin,  Lon 
Chaney,  Lupino  Lane, 
and  Erich   von  Stro- 
heim. 


Millions  will 
now  be  able  to 
see  and  hear  the 
inimitable  and 
beloved  Fanny 
Brice,  in  a 
Vitaphone 
film,  "My 
Man." 


From  Mike  to  Antonia. 

A  name  has  been  de- 
cided on  for  the 
King  Vidor- 
Eleanor  Board- 
man  baby.  She 
is  now  called 
Antonia.  It 
was  under  the 
spell  of  classic 

traditions  abroad,  so  we  hear,  that  this  euphonious  and 
rather  Shakespearean  selection  was  made.  At  one  time, 
you  may  remember,  the  baby  was  temporarily  called 
"Mike."  The  Vidors  believe  in  contrasts,  but,  even  at 
that,  from  Mike  to  Antonia  is  a  large  jump. 


Hayakawa 

Among  actors  whose 
cated  shortly  is  Sessue 
his  first  picture  will  be 
he  himself  is  the  author 


In  "West  of  Zan- 
z  i  b  a  r  ' '  Lon 
Chaney  has  one 
of  the  most 
unique  roles  of 
his  entire  career. 


's  Return  Proposed. 

return  to  the  screen  is  prognosti- 
Hayakawa.  It  is  probable  that 
"The  Bandit  Prince,"  of  which 
.  Sound  and  color  will  be  com- 
bined in  the  making  of  this 
picture. 

There  have  been  rumors, 
which  we  are  inclined  to  dis- 
count, that  Fannie  Ward  might 
be  brought  back  to  do  an  en- 
tirely new,  speaking  version  of 
"The  Cheat"  with  him.  Dear 
old  Fannie !  She'll  be  with  us 
again  some  time.  Make  no  mis- 
take about  it ! 

Josephine  a  Punster. 

The  worst  pun  of  the  season 
is  attributed  to  Josephine  Dunn. 
She  was  guilty  of  it  while  she 
and  Marceline  Day  were  pos- 
ing for  publicity  stills,  in  cos- 
tumes that  were  exact  dupli- 
cates. While  the  photographer 
was  getting  ready  to  take  the 
pictures,  Josephine  surveyed 
Marceline  with  a  critical  eye, 


64 


Hollywood  High  Lights 


and  then  slyly  said,  "Do  you  know  what  the  title  of 
this  photo  ought  to  be?" 
"What?"  queried  Marceline. 

"Why,  we  look  so  much  alike  that  they  should  call  it 
'When  Day  is  Dunn' !" 

Whereupon  the  press  agent  let  out  a  loud  guffaw, 
and  immediately  grabbed  his  notebook.  But  Josephine's 
friends  are  off  her  for  life,  and  she  is  barred  from  the 
Metro-Goldwyn  commissary  as  punishment. 

The  Cowboy's  Version. 

The  effect  of  working  in  Westerns  was  recently  noted 
at  one  of  the  studios,  in  the  conversation  of  a  cowboy 
star,  who  had  been  asked  to  judge  a  beauty  contest. 
His  description  of  the  event  was  as  follows : 

"There  were  about  fifty  head  of  women  there,  and  we 
finally  picked  out  one  of  them,  about  five  hands  high, 
and  weighing  about  110  pounds  on  the  hoof.  We  cut 
her  and  a  couple  of  others  out  of  the  herd,  and  finally 
gave  her  the  blue  ribbon." 

Tim  McCoy  sponsors  this 
story,  and  even  if  we  don't  be- 
lieve it  ever  happened,  it  is  prob- 
ably worth  repeating. 

Caroling  Lights  of  the  Cinema. 

Paramount  has  discovered  two 
singing  stars.  One  is  Wallace 
Beery,  and  the  other  is  Nancy 
Carroll.  The  voice  of  Wallie 
will  be  heard  in  a  tramp  song  in 
"Beggars  of  Life,"  and  Nancy 
will  warble  a  little  ballad  in 
"Abie's  Irish  Rose." 

Wallie  was  on  the  musical- 
comedy  stage  many  years  ago, 
but  the  fact  that  he  was  once  a 
singer  had  almost  been  forgot- 
ten. Miss  Carroll's  vocal  ex- 
perience is  comparatively  recent. 

Buddy  Rogers  is  doing  some 
musical  stunts  in  "Varsity,"  for 
the  "soundies." 

Thou  Shalt  Not  Pass. 

The  rules  regarding  visitors  at 
the  studios  are  becoming  stricter 
again.  A  written  and  much- 
stamped  pass  is  necessary  even 
for  those  whom  business  calls 
to  the  picture  workshops,  but 
who  do  not  actually  labor  there. 

When  sound  stages  are  in 
operation,  practically  nobody  will 
be  admitted  to  see  a  film  in  the 
making.  Every  one  who  is  engaged  on  these  stages 
lives  in  dread  of  somebody  sneezing,  and  spoiling  sev- 
eral hundred  feet  of  film,  not  to  speak  of  a  nice  wax- 
recording  of  the  players'  vocalizations.  Hence  the  visi- 
tor restrictions. 

The  sound  stages  are  tomblike  in  their  quiet,  and  any- 
body who  causes  even  the  slightest  commotion  during 
a  scene  immediately  finds  himself  the  target  for  angry 
and  fiery  glances  from  the  director  and  all  his  various 
assistants. 

Incidentally,  in  hot  weather,  a  Turkish  bath  is  cool, 
by  comparison  with  these  air-tight  structures.  Movie 
life  is  anything  but  what  it  used  to  be. 

Fannie's  Slang  Confuses. 

Al  Jolson  and  Fannie  Brice  have  both  set  a  new  style 
for  studio  hours.    They  make  many  of  their  scenes  at 


night 


They  prefer  this  way  of  working,  because  it  con- 
forms with  the  theatrical  routine  to  which  they  are 
accustomed. 

Fannie  told  us  that  she  was  "all  excited"  about  her 
first  screen  experience.  "It  is  terribly  hard  on  the 
dogs,  though,"  she  said. 

Following  which  comment,  a  tourist  who  happened  to 
be  with  us,  looked  curiously  around  to  see  where  the 
Pomeranians,  collies  or  chows  were,  that  he  thought 
Fannie  was  talking  about. 

"Here  are  the  dogs — right  on  the  floor  in  front  of 
me,"  volunteered  the  zestful  comedienne,  pointing  to 
her  feet.    "A  pair  of  them,  and  they  sure  are  yelping!" 

Connie's  Baffling  Fortunes. 

When  will  Constance  Talmadge  work  again? 
Originally  just  a  plaintive  little  inquiry,  this  has  be- 
come a  crying  question.    Nobody  seems  to  know  the 
answer — least  of  all  Connie  herself. 

It  has  been  said  that  she 
would  soon  make  a  picture  for 
United  Artists,  but  then  abso- 
lutely nothing  has  been  done 
about  this.  "East  of  the  Set- 
ting Sun"  was  mentioned  for 
her  once,  as  a  possibility,  and 
then  "The  Last  of  Mrs.  Chey- 
ney."  But  both  have  been 
dropped,  as  far  as  she  is  con- 
cerned, and  still  nothing  is  in 
sight  for  her. 

When  we  saw  her  last,  Con- 
nie looked  unusually  well  and 
attractive — and  gay,  as  is  her 
wont. 

Buster  Collier  is,  these  days, 
generally  her  escort.  But  then, 
there's,  nothing  startlingly  new 
in  that.  She  and  Buster  have 
been  going  about  together  in- 
termittently from,  it  would  al- 
most seem,  time  immemorial. 

A  Colorful  Excursion. 

Pauline  Starke  has  had  a 
sudden  burst  of  good  luck.  She 
is  the  heroine,  and  in  fact  prac- 
tically the  only  important  fem- 
inine player  in  "The  Thrall  of 
Leif  the  Lucky,"  the  new  color- 
sound  feature.  It  is  a  story  of 
the  vikings. 

Many  girls  wanted  the  role, 
because  the  film  is  bound  to  at- 
tract attention.   Pauline  won  it, 
and  then  had  to  dye  her  hair  a  radiant  blond,  so  that 
she  could  play  it. 

Mary  Becoming  a  Gadabout. 

Mary  Pickford  has  done  the  unprecedented  thing  of 
going  to  several  movie  parties  lately,  and  lunching  at 
the  Montmartre.  She  attended  a  farewell  function 
given  for  Dolores  del  Rio,  and  brought  Dolores  a  hand- 
some leather  diary,  in  which  to  keep  a  record  of  her 
trip  to  Europe.  At  the  Montmartre  she  was  the  guest 
of  Marion  Davies. 

Social  activities  with  Doug  and  Mary  have,  in  the 
past,  mainly  been  confined  to  Pickfair,  and  to  their 
semiprofessional  association  with  affairs  given  by  the 
Academy  of  Motion  Picture  Arts  and  Sciences,  and  a 
few  very  large  and  formal  banquets. 

Mary  also  entertained  the  "Our  Girls"  Club  not  long 


Photo  by  Dyar 

Ruth  Elder  seems  to  be  as  happy  on  the 
ground,  and  in  Hollywood,  as  we  are  led  to 
believe  that  she  was  when  in  the  air,  and  over 
the  Atlantic. 


Hollywood  High  Lights 


65 


ago,  at  her  home.  She  is  honorary  president  of  this 
organization,  which  numbers  among  its  members  Laura 
La  Plante,  Julanne  Johnston,  Virginia  Valli,  Virginia 
Fox,  Ruth  Roland,  Gertrude  Olmsted,  Claire  Windsor, 
Anita  Stewart,  Billie  Dove,  Gloria  Hope,  Carmelita 
Geraghty,  May  McAvoy,  Lois  Wilson,  Mildred  Lloyd, 
Carmel  Myers,  Edna  Murphy,  Patsy  Ruth  Miller,  Helen 
Ferguson,  Leatrice  Joy,  Pauline  Garon,  Marjorie  Daw, 
Colleen  Moore,  and  Clara  Horton. 

"Our  Girls"  Club  is  one  of  the  oldest  organizations  in 
social  film  life,  having  been  formed  fully  five  years  ago. 

A  Duel  Averted. 

And  now  all  Hollywood  can  draw  an  easy  breath 
again.  For  Jetta  Goudal  and  Lupe  Velez  have  played 
their  first  scene  together,  in  "The  Song  of  Love,"  and 
neither  asked  for  pistols  and  seconds. 

Carmines  Her  Coiffure. 

Lya  de  Putti  has  turned  red-headed.  We  didn't  see 
her  before  she  left  for  New  York,  but  we  hear  that  the 
shade  she  has  adopted  is  very  giddy.  Lya's  doll-like, 
raven  bob  has  always  been  distinguishing,  and  it  is  a 
pity  that  she  has  been  caught  by  the  Hollywood  epi- 
demic of  "auburnitis." 

Echoes  "The  Three  Musketeers." 

Doug  Fairbanks'  decision  to  engage  Marguerite  de 
la  Motte  as  leading  lady  of  "The  Iron  Mask"  is  an  echo 
of  past  history.  You  may  remember  that  Marguerite 
played  the  heroine  in  "The  Three  Musketeers."  And, 
of  course,  "The  Iron  Mask"  is  the  sequel. 

Several  other  players  from  the  earlier  D'Artagnan 
tale  are  cast  in  the  new  one,  among  them  the  French 
actor,  Leon  Bary,  and  Nigel  de  Brulier.  The  latter 
will  be  Cardinal  Richelieu  again. 

We  wonder  if  anybody  remembers  now  that  Adolphe 
Menjou  played  the  comparatively  small  part  of  the 
King  of  France  in  "The  Three 
Musketeers,"  when  it  was 
made  six  or  seven  years  ago? 

Buster  Has  a  Good  One. 

Buster  Keaton  has  made 
his  funniest  comedy  in  ages. 
We  saw  it  at  a  preview,  and 
it  should  be  sure-fire  with 
audiences.  The  story  is  about 
a  news-reel  photographer,  who 
gets  mixed  up  in  a  Chinese 
tong  war.  Buster  not  only 
wins  many  laughs,  but  also  achieves  a 
note  of  pathos  in  his  latest  picture. 

Mary  Charms  Collegiates. 

Mary  Brian  may  be  in  love,  but  she 
won't  admit  it.  Anyway,  she  probably 
believes  there  is  safety  in  numbers. 

"Peter  Pan's"  pretty  Wendy,  whose  career 
is  one  of  the  bright  records  of  youth  in  the 
movies,  is  constantly  being  reported  engaged 
to  some  one  or  other.  First  it  was  the  son  of 
a  millionaire  from  San  Francisco — then  Buddy 
Rogers,  and  still  more  re  cently,  "Biff"  Hoff-  L 
man,  football  player  on  the  Stanford  team. 

The  facts  are  that  Mary  isn't  really  affianced 
to  any  of  the  gentlemen  mentioned.  She  told  \ 
us  herself,  so  earnestly  and  sincerely  that  we  \ 
waived  further  third-degree  questioning,  and 
are  now  prepared  to  admit  that  we  really  be- 
lieve her.  But  it  isn't  in  the  game,_  appar- 
ently, for  a  sweet  and  appealing  girl  like  her-  ^ 


self,  with  gentle,  old-fashioned  ways,  not  to  be  admired 
by  the  opposite  sex. 

It  probably  denotes  some  sort  of  renaissance,  that  the 
collegiates  are  in  her  first  line  of  attendants.  Who 
knows,  maybe  our  rah-rah  boys  are  growing  weary 
of  the  flapper  type,  who  has  rendered  such  valiant  serv- 
ice, and  whose  first  direct  claim  to  masculine  attention 
has  been  a  right  arm,  grown  hefty  through  ukulele 
strumming  and  saluting  the  cocktail  brigade? 

Their  Ultimate  Gifts. 

Sad  echoes  come  out  of  the  past  occasionally,  and 
memories  of  stars  whose  names  are  half  forgotten  in 
the  maelstrom  of  Hollywood  life  are  revived  by  some 
chance  word  or  news  item. 

Not  long  ago  we  read  that  Lucille  Ricksen,  the  little 
girl  who  died  a  few  years  ago,  just  as  she  was  growing 
into  a  delicate-featured  ingenue,  left  an  estate  valued  at 
$35,000,  which  is  aiding  her  young  brother  to  go  through 
college. 

The  instance  of  Charlie  Mack,  too.  At  one  time  it 
was  thought  he  had  left  nothing.  But  we  note  that  the 
final  accounting  showed  $15,000,  left  to  his  widow  and 
their  young  son.  Not  much,  but  it  will  help,  because 
Mrs.  Mack  was  having  a  very  difficult  time  of  it  about 
a  year  or  so  ago. 

Mack's  death  occurred  just  when  he  was  getting  on 
his  feet,  you  may  remember,  after  a  long^  bitter  strug- 
gle to  procure  a  foothold  in  the  Western  studios.  That 
was  the  reason  his  estate  was  comparatively  small. 

"Whither  Thou  Goest  " 

Wherever  Cecil  DeMille  goes,  his  museum  follows 
after.  Doubtless  you  have  heard  more  than  once  about 
his  famed  curio  collection.  It  consists  of  everything  in 
the  world,  from  mammoths'  tusks  down  to  a  Phoenician 
thimble.  We  don't  know  whether  the  Phoenicians  used 
thimbles,  but  if  they  did,  DeMille  must  possess  one, 
since  his  assemblage  of  trophies  and  relics  is  sp  com- 
prehensive. 

The  honorable  Cecil  has  always  derived  great  in- 
spiration from  this  celebrated  accumulation  of  memen- 
toes, for  it  has  added  to  the  atmosphere  of  every  office 
which  has  been  the  setting  for  his  labors.  He  has 
moved  the  collection  from  the  Pathe-DeMille  studio, 
where  he  was  formerly  located,  to  the  Metro-Gold,wyn 
lot,  where  he  is  at  present  working  on  a  new  produc- 
tion. 

DeMille  was  variously  reported  as  joining  United 
Artists  and  going  back  to  Paramount,  but  he  finally 
settled  on  M.-G.-M.  This  brings  him  to  the  same  lot 
where  James  Cruze  recently  filmed  "Excess  Baggage." 

It  is  rather  curious  how  the  affairs  of  these  two  men 
progress  along  channels  somewhat  similar.    Both  were 
formerly  with  Paramount;  then  both  were 
connected  with  Pathe,  and  now  they  touch 
hands  in  passing,  so  to  speak,  at  Metro.  At 
the  time  Cruze  made 
  "The    Covered  Wag- 
on," and  DeMille  "The 
*^«-*v  Ten  Commandments," 
\       at   Paramount,  they 
\;    were  considered  rivals. 


Now,  we  honestly 
believe  that  this 
is  no  way  for  a 
real,  he-man  to 
act,  even  if  it 
does  happen  to  be 
Karl  Dane. 


Reunited — Sue  and  Nick! 

The  old  wheeze  about  Mahom- 
et and  the  mountain  may,  with 
modifications,  be  resurrected  to 
fit  the  case  of  Sue  Carol,  who  set 
off  a  month  or  so  ago  on  a  jaunt 
to  Europe  Sue,  while  on  tour 
Continued  on  page  99 


66 


James  Hall,  .left,  does  some  lively 
stepping  in  Paramount's  new  pic- 
ture, "The  Fleet's  In." 


Nobody  loves  a  fat  man — not  even 
when  he's  a  sailor — so  Oliver 
Hardy,  below,  right,  has  a  monkey 
for  a  companion  in  "Two  Tars." 


Trie  Fleet 

No,  you're  wrong — it's  only  the 
querading  as  the  popular  sons 


Gary  Cooper,  above,  in  "Half  a  Bride,"  might  be  known  as 
"a  white-collar  sailor,"  one  of  the  kind  that  owns  a  yacht. 

Olive  Borden,  right,  boarded  "The  Albany  Night  Boat"  about 
noon — to  the  evident  satisfaction  of  Ralph  Emerson. 


67 


Must  Be  In! 


children  of  Hollywood  mas- 
and  daughters  of  Neptune. 


his  own  business,  in 


Stan  Laurel, 
above,  just  a 
capable,  efficient 
sailor,  minding 
Two  Tars." 


Jack  Oakie,  right,  is  James  Hall's 
rival  for  the  love  of  Clara  Bow 
in  "The  Fleet's  In." 


Dorothy   Mackaill,   below,  makes 
the  best-looking  sailor  that  we've 
seen  -in  a  long  while,  in  "Water- 
front." 


Nick  Stuart,  left,  gets 
the  dope  from  Victor 
McLaglen  in  a  scene 
from  "The  River  Pirate." 


Billy  Dooley  and  Mar- 
guerite    Hoffman  give 
their  "It"  to  the  camera 
in  a  Christie  comedy. 


68 


A STUDY  of  madness  that  ends  in  tragedy  is  the 
portrait  Emil  Jannings  gives  us  in  "The  Patriot," 
a  story  of  Russia  in  1801,  when  the  destiny  of 
the  empire  was  tossed  about  like  a  toy  by  the  insane 
Czar  Paul.  It  is  a  magnificent  portrait,  as  inspired  as 
any  the  great  Jannings  has  undertaken.  If  his  pre- 
eminence were  ever  in  doubt  it  is  undisputed  now,  not 
only  because  of  the  sweeping  emphasis  Jannings  gives 
the  darker  aspects  of  the  Czar's  mind,  but  because  in 
spite  of  his  cruelty  on  one  hand  and  his  pettiness  on 
the  other,  the  actor  makes  the  madman  pitiable  and 
sympathetic.  And  so  sure  is  the  hand  of  Ernst  Lu- 
bitsch, the  director,  that  these  extremes  of  character 
remain  in  perfect  balance.  The  Czar  is  a  fiend  and  a 
spoiled  child  at  one  and  the  same,  time — a  menace  and  a 
buffoon.  All  this  dovetails  with  the  motivation  of  the 
story,  which  is  the  assassination  of  the  emperor  that 
Russia  may  be  freed  from  the  yoke  of  the  mad  despot. 
The  murder  is  instigated  by  Count  Pahlen,  the  one  hu- 
man being  the  Czar  trusts  and  loves,  to  save  his  country 
from  ruin.  He  is  The  Patriot.  His  crime  is  made  fo 
seem  the  sublimation  of  patriotism,  for  he  forces  the 
very  man  whom 
he  incited  to  kill 
the  Czar  to  be  his 
own  executioner. 

But,  stark  trag- 
edy though  the 
picture  is,  it  is 
lightened  by 
many  human, 
amusing  touches, 
some  of  them  be- 
ing the  childish, 
sly  antics  of  the 
tragic  figure  of 
the  Czar  himself. 
There  is  little  or 
no  love  story,  if 
the  mild  liaison 
of  Count  Pahlen 
and  the  Countess 
Ostermann  be  ex- 
cepted. Even  this 
is  discounted  by 
the  fact  that 
Pahlen  uses  the 
Countess  as  a 
pawn  in  his  de- 
struction of  the 
Czar.  Because  of 
this  very  lack,  it  is  therefore  deeper  and  more  specialized 
— truly  a  study  of  disintegration. 

Whether  the  appeal  of  "The  Patriot"  will  be  lessened 
because  of  this,  remains  to  be  seen.  But  whatever  the 
final  verdict,  there  can  be  but  one  opinion  of  the  acting  of 
Jannings  and  the  direction  of  Lubitsch.  Likewise  there 
will  be  little  diversity  of  thought  regarding  the  efforts 
of  the  entire  cast — Lewis  Stone,  Florence  Vidor,  Neil 
Hamilton,  Tullio  Carminati,  Harry  Cording,  and  Vera 
Voronina.  Rarely  has  a  more  perfect  ensemble  been 
seen,  Mr.  Stone,  according  to  prevailing  standards,  ap- 
proaching what  many  will  consider  brilliance.  It  is  he 
who  plays  the  final  scene  as  well  as  the  title  role,  surely 
a  state  of  affairs  unusual  enough  to  justify  further 
praise  of  Jannings,  this  time  on  the  score  of  a  star's 
generosity  to  a  supporting  player.  I  dispute  the  degree 
of  brilliance  which  will  probably  be  accorded  Mr.  Stone, 
because  to  me  his  performance  is  only  that  of  a  con- 
summate technician,  an  actor  whose  command  of  the 
resources,  the  tricks,  of  acting  is  so  complete  and  facile 
that  he  employs  them  with  a  fluency  that  robs  his  acting 


of  inner  warmth,  and  reduces  it  to  the  functioning  of  a 
fine  mechanism.  Florence  Vidor,  as  the  Countess,  on 
the  other  hand,  has  never  seemed  less  mechanical.  Not 
only  is  she  delicately  beautiful,  but  her  politely  glacial 
quality  has  melted  into  almost  saucy  provocativeness ! 
This  is  attributable  to  the  directorial  mesmerism  of 
Lubitsch,  as  any  one  -who  saw  "The  Marriage  Circle" 
will  realize.  As  the  Crown  Prince,  Neil  Hamilton  has 
several  eloquent  moments,  notably  that  in  which  he 

pleads  for  his 
father's  love  and 
is  repulsed,  and 
at  all  times  he 
is  sensitive,  and 
conveys  his 
awareness  of  the 
responsibilities 
of  an  emperor's 
son.  The  pic-fc 
ture  has  been 
given  a  superb 
production,  but 
as  much  cannot 
be  said  of  the 
sound  effects, 
which  lend  no 
aid  to  realism 
at  all — u  n  1  e  s  s 
you  demand  that 
the  sound  of  ex- 
pectoration ac- 
company the  ac- 
tion, as  it  does 
in  one  instance. 


Colleen  Moore,  in  "Lilac  Time,"  plays  opposite  Gary  Cooper  who, 
as  her  aviator  sweetheart,  has  more  than  his  share  of  trouble — and 
not  always  in  the  skies. 


Life's  Hardships 
at  Lilac  Farm. 

The  subject  of 

airplane  warfare  has  been  pretty  thoroughly  covered  in 
"Wings,"  "The  Legion  of  the  Condemned,"  and  a  score 
of  lesser  photoplays.  The  war  itself  has  been  given 
memorable  representation  in  "The  Big  Parade"  and 
"What  Price  Glory?"  It  would  seem  that  nothing  new 
could  be  said,  and  that  any  attempt  to  do  so  might  be 
reminiscent  of  what  had  gone  before.  Exactly  this  hap- 
pens in  "Lilac  Time." 

And  as  almost  every  star  has  made  at  least  one  con- 
tribution to  the  staggering  total  of  war  pictures,  it 
should  occasion  no  surprise  to  find  Colleen  Moore  doing 
her  bit  somewhat  belatedly.  It  is  a  pretentious  bit,  with 
all  the  signs  of  having  been  considered  an  epic  by  those 
responsible  for  it. 

Which  means  that  the  first  part  is  a  long-drawn-out 
prelude  to  the  expensive  airplane  sequences  in  the  sec- 
ond half,  and  that  the  production  boasts,  besides  the 
usual  aids,  a  technical  flight  commander,  a  technical  ex- 
pert, a  French  military  expert,  an  ordnance  expert,  and 
a  research  expert.  Perhaps  the  superabundance  of  ex- 
pertness  necessary  to  achieve  realistic  airplane  maneu- 


69 


The  new  season  opens  auspiciously  with  some 
superb  performances  in  memorable  pictures,  but 
the  dregs  of  the  old  season  are  still  with  us. 


vers,  is  why  the  supposed  heart  throbs  of  the  human 
beings  are  distinctly  faint.  But  the  endeavors  of  Miss 
Moore,  as  Jeannine,  to  brighten  the  lives  of  the  seven 
English  aviators  billeted  at  Lilac  Farm,  are  far  from 
faint-hearted.  They  seem  imbued  with  the  energy  of  a 
star  comedienne  with  unlimited  footage  at  her  disposal, 
and  the  entire  cast  the  butt  of  her,  practical  jokes. 

Much  as  I  admire  Miss  Moore's  pantomime  and  her 
spontaneity,  and  her  simplicity  and  sincerity  at  times, 
her  pranks  in  "Lilac  Time"  came  perilously  near  caus- 
ing me  to  forget 
that  I  had  ever 
admired  her.'  I 
wondered  why 
the  aviators  did 
not  do  her  vio- 
lence. Then  I  re- 
membered they 
were  actors  on 
hire,  and  perforce 
gallant  knights  of 
Hollywood,  to 
whom  a  star  is  a 
pay  check. 

Comedy  is  all 
very  well,  and 
Miss  Moore's  can 
be  deft  and  amus- 
ing at  times,  but 
the  high  jinks  at 
Lilac  Farm  are 
of  a  sort  to  make 
one  ask  if  Jean- 
nine  is  only  tact- 
less, or  just  brain- 
less. Comes  Cap- 
tain Philip  Blythc, 

in  the  person  of  Gary  Cooper,  to  be  another  victim  of 
Jcannine's  girlish  high  spirits.  She  gives  him  a  mus- 
tard sandwich,  and  that  the  spectator  may  be  sure  of 
what  she  is  up  to,  a  big  close-up  shows  a  tin  of  English 
mustard'  such.as  no  French  farm  would  have  in  the  larder, 
especially  during  the  war.  But  Jeannine  must  have  her 
way,  and  no  littlest  joke  must  be  overlooked.  Presently 
Jeannine  and  Philip  are  calling  each  other  "dearest"  and 
"beloved"  with  the  suddenness  of  another  joke,  and 
soon  his  father  appears  with  Lady  Iris  in  the  offing, 
and  Jeannine  undergoes  heartbreak  on  the  side  lines, 
because  of  Philip's  aristocratic  fiancee.  The  aviators 
fly  away  to  do  battle  in  the  clouds,  and  Jeannine  is  left 
to  ponder  on  Philip's  farewell :  "I  shall  never  smell  lilac 
blossoms  without  thinking  of  you.  Love  never  dies." 
Philip  is  shot  down,  and  Philip's  father  tells  Jeannine 
that  his  son  is  dead.  She  sends  lilacs  to  be  placed  close 
to  him-,  whereupon  Philip  is  brought  to  his  senses.  Thus 
parental  objections  and  every  other  obstacle  to  a  happy 
ending  dissolve  in  a  whiff  of  lilac. 

Miss  Moore  does  not  succeed  in  giving  Jeannine  that 
wistful  pathos  required  by  the  role  to  realize  its  fullest 


value,  though  when  she  ceases  her  hoydenish  capers 
the  relief  is  so  great  that  her  subsequent  efforts  are 
comparatively  soothing.  Gary  Cooper  will  not,  I  am 
sure,  in  years  to  come  gather  his  grandchildren  around 
his  knee-  and  say;  "That  was  a  part!"  Because,  for 
him,  it  isn't  a  role  at  all.  He  is  agreeable,  for  he  could 
not  be  otherwise,  but  the  fine  tenseness  of  which  he  is 
capable,  and  the  deep  feeling  which  underlies  his  casual 
self-containment,  I  find  not  there.  The  mustard  sand- 
wich is  held  responsible.  He  was  sacrificed  to  it  by  di- 
rection which  failed  to  touch  the  vital  spark  in  him. 

The  Terror  of  Too  Much  Talk. 

The  grip  of  the  talkies  further  tightens  with  the  pro- 
duction of  the  first  feature-length  picture  of  that  sort, 
"The  Terror."  Its  forerunner  was  "Lights  of  New 
York,"  the  story  of  which  was  told  entirely  in  dialogue. 
It  was  only  a  program  offering,  but  the  new  picture  is 
nearly  twice  as  long.  The  elimination  of  the  printed 
word  is  carried  further  by  having  a  masked  speaker 
announce  from  the  screen  the  names  of  the  players,  as 
well  as  all  the  other  credits  that  heretofore  have  been 
lettered  on  the  film.     Ah,  out,  it  is  talkie  with  a 


John  Miljan,  Holmes  Herbert,  May  McAvoy,  Louise  Fazenda,  and 
Alec  B.  Francis  have  much  to  say  in  "The  Terror,"  the  new  picture 
played  entirely  in  dialogue. 


But  this  orgy 
of  speech  is  en- 
joyed, if  enjoyed 
it  is,  at  a  sacri- 
fice of  move- 
ment, of  action.' 
For  a  real  mys- 
tery melodrama, 
"The  Terror"  is 
much  too  slow 
to  realize  its  ul- 
timate chills  and 
thrills.  This  is 
because  the  ex- 
igencies of  the 
recording  proc- 
ess demand-  that 
dialogue  be  car- 
ried on  while  the 
players  remain 
stationary.  Con- 
sequently there 
are   long  se- 


quences that  re- 
semble a  stage 
play  more  than 
a  movie.  Thus  the  story,  which  is  really  one  of  action, 
is  slow  moving  and — to  me  at  least — tiresome.  Yet  it 
is  plainly  seen  that  without  dialogue  and-  sound  effects, 
it  would  have  been  a  corking  thriller  on  the  order  of 
"The  Cat  and  the  Canary,"  which  remains  at  the  high- 
water  mark  among  eerie,  spooky  yarns.  Opportunity  is 
given  the  spectator  to  share  this  opinion  in  the  latter 
part  of  the  picture,  when  the  dialogue  subsides  and  clear 
action  comes  into  its  own.  There  is  the  old,  reliable 
thrill  of  physical  violence  actuated  by  primitive  emo- 
tions. 

The  story  concerns  a  number  of  characters  more  or 
less  expected  in  a  murder  mystery.  They  are  Doctor 
Redmayne,  who  conducts  what  the  English  call  a  "rest 
home";  his  daughter  Olga,  various  guests,  including  a 
toad,  and  some  unexpected  visitors,  among  them  a 
whimsical  fellow,  the  eventual  unmasker  of  The  Terror, 
whose  accomplishments,  besides  murder  and  embezzle- 
ment, include  ghostly  organ-music  which  rumbles  at 
midnight  from  nowhere.  Louise  Fazenda  plays  a  com- 
edy role,  of  course,  but  it  is  a  much  more  restrained 
than  her  usual  eccentrics.    She  is  Mrs.  Elvery,  a  spir- 


70 


The  Screen  in  Review 


"Forgotten  Faces. 


itualistic  "fan,"  given 
to  seances  and  the 
ouija  board.  Her 
make-up  is  subtly 
funny,  and  one  waits 
for  her  voice  with  sus- 
pense. All  the  voices 
are  clear  and  distinct, 
and  every  one  in  the 
cast  gives  a  good,  if 
not  memorable,  per- 
formance. Besides 
Miss  Fazenda,  the 
players  are  May  Mc- 
Avoy,  Edward  Everett 
Horton,  Alec  Francis, 
Mathew  Betz,  Holmes 
Herbert.  John  Mil j an, 
Otto  Hoffman,  Joseph 
Girard,  and  Frank  Austin 
just  lots  to  talk  about. 


Every  one  has 


The  South  Seas  As  They  Really  Are. 

At  least  "White  Shadows  in  the  South 
Seas"  is  authentic  for  the  picture  was  photo- 
graphed on  the  natural  locations,  with  the 
ancient,  native  tribes  of  the  Marquesas  Island, 
save  for  the  three  principal  players  from 
Culver  City — 'Monte  Blue,  Raquel  Torres, 
and  Robert  Anderson.  The  sound  effects 
that  have  been  added  in  a  frantic  effort  to 
give  the  picture  additional  drawing  power 
are  not  of  the  South  Seas,  but  of  the  studio 
with,  it  is  suspected,  the  aid  of  the  ukulele 
players  always  on  tap. 

It  goes  without  saying  the  picture  is  beauti- 
ful— riotously  so.    The  lush  vegetation,  the 

tall,  feathery  palms,  the  vistas  of  sea  and  sky  are  all  pictorial 
poems.  What  there  is  of  story  constitutes  a.  rather  poignant  tract, 
rather  than  a  narrative  steadily  mounting  to  a  climax.  In  fact, 
to  many  the  most  interesting  part  of  the  picture  is  its  introduc- 
tion before  any  story  is  discernible.  This  includes  episodes  of 
pearl  diving,  its  perils  and  the  toll  of  human  life  exacted  in  return 
for  little  or  nothing,  for  the  natives  are  ignorant  of  the  value  of 
the  pearls  they  retrieve  from  the  deep. 

Slight  though  the  story  is,  its  motive  is  strong.  Purporting  to 
show  the  corrupting  influence  of  the  white  man,  it  begins  when 
Sebastian,  a  villainous  storekeeper,  trades  a  dollar  watch  for  a 
magnificent  pearl,  and  urges  the  diver  to  get  more  of  them.  Doc- 
tor Lloyd,  a  drink-sodden  derelict,  upbraids  Sebastian  and  eventu- 
ally is  fashed  to  the  steering  wheel  of  a  vessel  by  the  storekeeper, 
who  expects  never  again  to  see  the  disturber.  A  typhoon  wrecks 
the  ship,  and  Doctor  Lloyd  is  cast  upon  the  shore  of  a  distant  island 


inhabited  by  a  virgin  tribe.  When  he  is  about  to  wed  the  chief's 
daughter,  Sebastian  reappears,  bent  on  exploiting  these  natives  as 
he  has  the  others.  Against  the  entreaties  of  Doctor  Lloyd,  Sebas- 
tian and  his  crew  are  allowed  to  land,  and  in  the  ensuing  melee 
Lloyd  is  killed.  But  Sebastian  gains  his  ends,  for  the  conclusion 
of  the  picture  shows  the  innocent  natives  in  the  throes  of  civiliza- 
tion as  practiced  by  the  whites. 

Monte  Blue  is  capable  as  Lloyd,  Robert  Anderson  is  Sebastian, 
and  a  newcomer  named  Raquel  Torres  makes  Fayaway,  the  chief's 
daughter,  vital,  naive,  and  charming. 

At  Last  a  Story  for  Grown-ups! 

"The  Perfect  Crime"  suffers  from  no  such  complaint  as  is  found 
in  most  pictures — a  feeble,  tenuous  story.  In  this  case  the  plot  is 
marvelous,  full-bodied,  adult.  It  is  somewhat  weakened,  however, 
by  obvious,  moviesque  treatment.  But  even  this  does  not  dim  the 
brilliant  acting  of  Clive  Brook, 'as  Doctor  Benson,  the  detective 
who,  in  despair  of  there  ever  being  a  perfect,  unsolvable  crime, 

commits  one.  The  result  is  only  one  of 
the  most  interesting  pictures  of  the 
month,  when  a  bit  of  polish  would  have 
made  it  the  outstanding  gem.  But  don't 
let  this  deter  you  from  seeing  it,  espe- 
cially if  Clive  Brook  is  a  favorite. 

There's  an  unwritten  law  against  tip- 
ping off  mystery  stories  in  detail,  so  I 
shall  not  break  it,  except  in  general  out- 
line. Doctor  Benson  has  become  es- 
tranged from  his  fiancee,  because  he  will 
not  give  up  his  detective  work.  He  re- 
signs from  the  police  force  when  it  is 
too  late  to  restore  Stella  to  him.  Sub- 
sequent'events  are  caused  by  the  madness 
that  overcomes  him  at  the  loss  of  Stella, 
and  the  great  detective  becomes  a  crimi- 
nal. The  arrest  and  trial  of  an  innocent 
man  are   responsible   for  a  courtroom 

 scene  more  exciting' 

than  any  recent  one. 
This  is  because  it  is 
played  with  spoken 
dialogue,  which  is 
employed  intermit- 
tently throughout  the 
film.  It  is  so  pat- 
ently an  improve- 
ment upon  all  simi- 
lar scenes  that  we 
have  seen  before, 
that  it  is  hoped  si- 
lent proceedings  will 
hereafter  be  a  thing 
of  the  past. 


"The  Mysterious  Lady." 


"Powder  My  Back 


'Forbidden  Hours.' 


The  Screen  in  Review 


71 


Carroll  Nye  and  Ethel  Wales  show  themselves  to  possess  clear, 
modulated  voices,  but  Mr.  Brook,  who  is  similarly  endowed  in  real 
life,  is  not  permitted  to  make  himself  heard  in  any  part  of  the 
him.  Irene  Rich  is  rather  unfoitunately  cast  as  Stella,  because 
the  role  is  a  Pollyanna,  but  the  cast  as  a  whole  is  A-l. 

The  Grandeur  That  Is  Baclanova. 

Baclanova's  is  a  face  you  won't  forget  in  "Forgotten  Faces." 
The  strangely  fascinating  Russian,  and  her  catlike  eyes,  conspire 
to  hold  the  spectator  in  a  hypnotic  spell  throughout  her  iniquitous 
doings.  This  is  one  spectator  under  her  spell,  who  thinks  she  could 
have  played  every  role  in  the  picture,  with  Pollyanna,  Peter  Pan, 
and  Bcn-Hur  thrown  in  for  good  measure  to  test  her  skill  in  idle 
moments.  But  this  happy  state  of  affairs  is  the  pure  fantasy  of  a 
susceptible  critic  who,  too  often  cast  into  lethargy  by  players  who 
cannot  act  at  all,  goes  haywire  when  confronted  by  acting  so 
spacious  and  grand  that  there  seems  enough  of  it  to  vivify  the 
Hollywood  wallflowers,  and  make  them  all  tiger  lilies.  Long  may 
Baclanova  reign,  says  he  with  gratitude  too 
full  for  further  words. 

"Forgotten  Faces"  is  an  underworld  melo- 
drama shrewdly  directed,  interestingly  pho- 
tographed and  well  acted  by  Clive  Brook, 
Mary  Brian,  William  Powell,  Fred  Kohler, 
and  Jack  Luden.  It  is  a  story  of  mother 
hatred,  not  love,  and  because  of  this  you 
won't  find  Baclanova,  as  Lily  Harlow,  the 
parent  of  Mary  Brian,  wasting  any  time  in 
maternal  sentimentalities.  Her  husband, 
"Heliotrope  Harry"  Harlozv,  a  crook,  takes 
their  child  from  her  when  he  discovers 
Lily's  unworthiness,  and  serves  a  life  term 
in  the  penitentiary  for  murder.  Lily  dis- 
covers the  whereabouts  of  the  child,  now 
grown  up  as  the  foster-daughter  of  wealthy 
people,  and  is  bent  on  wrecking  her  life. 
Heliotrope  Harry,  released  on  parole  with 
the  promise  not  to  lay 


"White  Shadows  in  the  South  Seas." 


At  Yale. 


hands  on  his  wife, 
formulates  a  plan  to 
save  his  daughter  by 
terrorizing  Lily.  He 
does  this  largely 
through  the  -  scent  of 
heliotrope,  until  she 
meets  her  death. 
These  sinister  pro- 
ceedings are  not  as 
closely  knit  as  they 
should  have  been,  but 
the  picture  as  a  whole 
is  an  enormously  ef- 
fective movie. 

"Hot  News." 


"Loves  of  An  Actress 


The  Troubles  of  a 
Tragedienne. 

Pola  Negri's  next 
to  the  last  picture  for 
Paramount,  "Loves  of 
An  Actress,"  cannot 
fail  to  please  those 
who  have  remained 
loyal  to  her.  It  is  a 
handsome  and  meticu- 
lous reproduction  of 
life  in  Paris  when 
Rachel  was  the  trag- 
edy queen  of  the  day. 
The  story  which  has 
been  created  to  ex- 
ploit this  personality 
is  pure  fiction — and  it 
has  the  ring  of  nothing  else — but  it  en- 
ables Miss  Negri  to  dominate  situations 
congenial  to  her,  and  to  wear  a  succes- 
sion of  crinolines  and  chignons  such  as  a 
belle  of  the  mid-nineteenth  century  would 
have  envied.  An  attempt  has  been  made 
to  trace  the  life  of  the  actress  from  birth, 
when  as  the  daughter  of  strolling  players, 
she  is  taken  by  her  parents  on  their  hum- 
ble peregrinations  from  one  village  to  the 
next.  The  girl's  career  as  a  street  singer 
leads  to  her  meteoric  rise  to  the  pinnacle 
of  theatrical  fame.  With  its  attainment 
she  achieves  all  the  pomp  and  glamour  of 
a  daughter  of  the  gods,  but  with  wealthy 
admirers  galore,  she  is  not  happy  until  she 
meets  young  Raonl  Duval,  who  promptly 
becomes  the  love  of  her  life.  When 
Rachel  decides  to  marry  him,  the  villain 
threatens  to  publish  her  letters  in  his  newspaper,  and  convinces 
Rachel  that  she  may  pass  through  the  scandal  unscathed,  but 
Raoul's  diplomatic  career  will  be  ruined.  So  the  actress  pretends 
to  the  young  man  that  she  has  only  been  playing  with  his  love, 
and  as  the  game  is  about  up  for  her.  she  dies  operatically.  Scarcely 
a  distinguished  story,  or  even  a  mildly  original  one,  but  the  most 
has  been  wrung  from  it  by  director,  star,  and  cast.  Nils  Asther 
heads  the  support,  which  includes  excellent  work  by  Philip  Strange, 
Paul  Lukas,  Richard  Tucker,  and  Helen  Giere,  as  Rachel's  tire- 
less maid. 

A  Sphinx  Without  a  Secret. 

At  least  Greta  Garbo  has  a  fitting  title  in  "The  Mysterious 
Lady,"  even  though  the  picture  falls  short  of  living  up  to  it.  But 
the  Swedish  actress  contrives  to  invest  the  movements  of  Tania, 

Continued  on  page  98 


72 


A  Confidential  Guide  to  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Trail  of  '98,  The"— Metro-Goldwyn. 
Magnificent  glorification  of  the  historic 
gold  rush  to  Alaska,  directed  with  great 
care  and  skill.  Effective  performances 
given  by  Dolores  del  Rio,  Ralph  Forbes, 
and  Harry  Carey. 

"Street  Angel"  —  Fox.  Beautifully 
done,  but  lacking  the  vitality  of  the  sis- 
ter film,  "Seventh  Heaven."  Yet  Janet 
Gaynor  and  Charles  Farrell  reach 
heights  of  great  appeal. 

"Speedy"  —  Paramount.  Rollicking 
comedy  with  kaleidoscopic  New  York 
as  locale.  Harold  Lloyd  expertly 
comic  and  sympathetic  performance. 

"Sunrise" — Fox.  One  of  the  best  of 
the  season.  Skillfully  directed  tale  of 
a  farmer,  his  wife  and  a  city  vamp. 
George  O'Brien,  Janet  Gaynor,  and 
Margaret  Livingston. 

"Two  Lovers"— United  Artists.  Tale 
of  a  sixteenth-century  maiden  whose 
treacherous  uncle  negotiates  a  mar- 
riage for  reasons  of  state,  and  her 
eventual  love  for  her  husband.  Vilma 
Banky  and  Ronald  Colman. 

"Tempest,  The"— United  Artists.  A 
story  of  the  Russian  Revolution.  Mo- 
ments of  great  pictorial  beauty.  John 
Barrymore  excellent.  Camilla  Horn, 
Boris  De  Fas,  and  Louis  Wolheim. 

"Blue  Danube,  The"— Pathe-DeMille. 
Leatrice  Joy  splendid  and  Nils  Asther 
does  really  fine  work.  Settings  are 
beautiful  and  true.  Joseph  Schildkraut 
will  amaze  those  who  have  never  seen 
him  in  a  character  role. 

"Four  Sons" — Fox.  A  simple  and  su- 
perbly told  tale  of  the  effects  of  the 
war  on  a  German  mother  and  her  four 
sons — three  of  whom  are  killed,  the 
other  migrating  to  America.  Margaret 
Mann,  James  Hall,  Francis  X.  Bush- 
man, Jr.,  and  June  Collyer. 

"Man  Who  Laughs,  The"— Universal. 
No  one  should  fail  to  be  engrossed  by 
its  strange  story,  or  fascinated  by  its 
weird  beauty.  Conrad  Veidt's  character- 
ization is  magnificent,  Mary  Philbin 
pleasing,  and  Olga  Baclanova  gives  dis- 
tinctive performance.  Brandon  Hurst, 
Josephine  Crowell,  Sam  De  Grasse,  Stu- 
art Holmes,  Cesare  Gravina,  and  George 
Siegmann. 

"King  of  Kings,  The"— Producers  Dis- 
tributing. Sincere  and  reverent  visual- 
ization of  the  last  three  years  in  the 
life  of  Christ.  H.  B.  Warner  digni- 
fied and  restrained  in  central  role. 
Cast  includes  Jacqueline  Logan,  Joseph 
Schildkraut,  Victor  Varconi,  and  Ru- 
dolph Schildkraut. 

"Laugh,  Clown,  Laugh"— Metro-Gold- 
wyn. Lon  Chaney  gives  one  of  his 
finest  portrayals.  Story  inspires  entire 
cast  to  do  their  best.  Loretta  Young 
plays  with  heart-breaking  quality.  Nils 
Asther  is  good,  as  well  as  Bernard 
Siegel. 

"Ladies  of  the  Mob" — Paramount.    A  ■ 
crook  story.     Clara  Bow  gives  finest 
performance   since   "Mantrap."  Rich- 
ard Arlen  also  has  best  role  he  has 
ever  had. 


"Lights  of  New  York"— Warner.  Re- 
gardless of  merits  or  demerits,  picture 
stands  unique  as  the  first  of  its  kind 
ever  made — entirely  in  'spoken  dia- 
logue. Not  much  of  a  story.  A  trust- 
ing country  boy  duped  by  a  couple 
of  bootleggers.  Gladys  Brockwell  ex- 
cellent in  her  part.  Cullen  Landis  is 
effective.  Robert  Eliot  and  Tom  Dugan 
are  fine.  Mary  Carr,  Wheeler  Oak- 
man,  and  Helene  Costello. 

"Happiness  Ahead" — First  National. 
Tense,  dramatic  and  human.  Colleen 
has  exceptional  opportunity  and  avails 
herself  fully  of  its  possibilities.  Story 
of  a  girl's  love  for  a  man  who,  un- 
known to  her,  is  a  crook.  The  inci- 
dent of  the  girl's  discovery  is  played 
with  fine  skill  by  Colleen  Moore  and 
Edmund  Lowe.  Lilyan  Tashman, 
Edythe  Chapman,  Charles  Sellon,*  and 
Diane  Ellis  are  all  good. 

"The  Racket" — Paramount.  Thomas 
Meighan  gives  a  fine  performance  in 
a  fine  picture.  Best  of  recent  under- 
world films.  Louis  Wolheim  is  superb 
in  the  role  of  "Scarsi."  Marie  Prevost, 
now  a  blonde,  is  wholly  convincing. 

FOR  SECOND  CHOICE. 

"We  Americans"  —  Universal.  A 
Ghetto  heroine,  in  love  with  a  blue- 
blooded  hero,  scorns  the  family  hearth 
for  a  studio.  But  the  old  people  go  to 
night  school  and  blossom  forth  as  true 
Americans,  with  nothing  for  the  hero- 
ine to  be  ashamed  of.  Patsy  Ruth  Mil- 
ler, George  Sidney,  and  John  Boles. 

"Red  Hair" — Paramount.  Pleasing 
film  of  Clara  Bow  as  a  manicurist,  who 
wins  the  heart  of  a  millionaire,  only  to 
find  that  her  three  "papas"  are  her 
fiance's  guardians.  Climax  comes  when 
they  object  to  her  marriage,  where- 
upon she  strips  herself  of  the  "bor- 
rowed clothes." 

"Cheating  Cheaters" — Universal.  Ex- 
cellent and  amusing  tale  of  crooks 
masquerading  as  idle  rich  to  loot  their 
supposedly  rich  neighbors — who  turn 
out  to  be  crooks,  too.  Betty  Compson 
at  her  best ;  others  are  Kenneth  Har- 
lan, Lucien  Littlefield,  and  Sylvia  Ash- 
ton. 

"Chicago"— Pathe-DeMille.  The  play, 
which  was  a  clever  satire  on  a  murder 
trial,  is  made  into  a  sentimental  melo- 
drama. While  there  E.re  some  clever 
bits  of  acting  by  Phyllis  Haver  and 
Victor  Varconi,  the  film  fails  to  click. 

"Enemy,  The"  —Metro-  Goldwyn. 
Moderately  interesting  story  of  the 
Austrian  side  of  the  late  war.  Lillian 
Gish  is  excellent,  but  hasn't  nearly 
enough  to  do.  Ralph  Forbes,  Frank 
Currier,  and  George  Fawcett. 

"Finders  Keepers" — Universal.  Laura 
La  Plante,  an  excellent  comedienne, 
who  attempts  to  disguise  herself  as  a 
soldier  to  be  near  her  sweetheart,  and 
her  discovery  by  her  father,  who  is  the 
colonel.    John  Harron. 

"Girl  in  Every  Port,  A" — Fox.  Lively 
tale  of  a  sailor  who  sets  out  to  "get" 


his  rival,  but  both  men  discover  the 
unworthiness  of  the  girl  and  end  by 
swearing  eternal  friendship.  Victor 
McLaglen  excellent  in  his  first  star- 
ring film— Robert  Armstrong  and  Lou- 
ise Brooks. 

"High  School  Hero,  The"— Fox.  Gay 
comedy  of  high-school  life,  featuring 
youngsters  who  really  look  like  high- 
school  girls  and  boys.  Nick  Stuart  and 
Sally  Phipps. 

"Love" — Metro-Goldwyn.  Superficial 
and  unsatisfying.  However,  the  beauti- 
ful sets  and  romantic  situations  will 
make  it  a  box-office  attraction.  The 
principals  are  John  Gilbert,  Greta 
Garbo,  George  Fawcett,  and  Brandon 
Hurst. 

"Love  and  Learn"  —  Paramount. 
Esther  Ralston  clever  in  the  role  of 
a  girl  who  gets  into  amusing  situations 
to  distract  her  parents  sufficiently  to 
avoid  a  divorce.  Lane  Chandler  is  the 
hero. 

"Mockery" — Metro-Goldwyn.  Lon 
Chaney  in  realistic  film  of  dull-witted. 
Russian  peasant  whose  doglike  devo- 
tion to  a  countess  leads  to  his  death 
at  the  hands  of  the  bolsheviks.  Bar- 
bara Bedford  and  Ricardo  Cortez. 

"Mother  Machree"— Fox.  Maudlin 
film  of  a  sacrificing  Irish  mother  who 
does  all  for  her  son.  Belle  Bennett, 
Neil  Hamilton,  and  Constance  Howard. 

"Patent  Leather  Kid,  The"— First  Na- 
tional. Richard  Barthelmess  in  unusu- 
ally good  film  of  conceited  little  prize 
fighter  who  tries  to  evade  the  war,  is 
drafted,  proved  a  coward,  but  finally 
redeemed  by  an  heroic  act. 

"Show  Down,  The"  —  Paramount. 
Convincing  and  well-acted  film  of  two 
oil  prospectors  in  the  tropics,  both  lov- 
ing the  same  girl.  All  ends  happily. 
George  Bancroft,  Neil  Hamilton,  Eve- 
lyn Brent,  Leslie  Fenton,  and  Fred 
Kohler. 

"Thirteenth  Juror,  The" — Universal. 
Interesting  yarn  of  an  unscrupulous 
criminal  lawyer  accused  of  murder, 
who  can  save  himself  only  by  com- 
promising the  woman  he  loves.  Fran- 
cis X.  Bushman  is  unique  as  the  law- 
yer and  Anna  Q.  Nilsson  and  Walter 
Pidgeon  capably  assist  him. 

"Three's  a  Crowd" — First  National. 
Harry  Langdon  is  his  usual  plaintive 
self  in  monotonous  film  of  a  boy  who 
rescues  a  runaway  wife  in  a  snowstorm 
and  develops  a  dumb  devotion  for  her, 
only  to  be  deserted  in  the  end. 

"My  Best  Girl"— United  Artists.  Mary 
Pickford's  latest,  and  one  of  her  best. 
Tale  of  stock  girl  in  the  5-and-lO  who 
falls  in  love  with  a  new  clerk — Buddy 
Rogers — without  knowing  he's  the 
owner's  son. 

"Night  Flyer,  The"— Pathe-DeMille. 
Simple,  human  railroad  story  of  1894, 
having  to  do  with  struggles  of  the 
president  of  a  Western  road  to  save 
his  company  from  bankruptcy.  William 
Boyd  and  Jobyna  Ralston. 

Continued  on  page  120 


73 


An  InterViev?  Enters  His  Life 

You  will  like  William  Bakevvell  all  the  more  for  being  bowled  over  by  the  visit  of  his  first  reportorial  caller. 


B?  William  H.  McKegg 


"What  is  the  angle 
you  are  using?     Have  you 


GETTING  wise  to  film 
fame  takes  time,  at  the 
beginning.  If  an  in- 
terview enters  an  actor's  life, 
he  knows  he  is  getting  to  be 
rather  important.  When  he 
has  had  two  or  three  visits 
from  the  press,  he  becomes 
partially  wise  to  the  game.  He 
learns  that  an  interview  has 
to  be  shaped  out ;  that  it  has 
to  have  a  distinctive  angle  on 
him,  if  possible.  To  talk  good 
copy  and,  by  such  talk,  sug- 
gest good  angles,  are  the  bane 
of  the  actors'  hectic  existence. 

Many  of  the  players  to-day 
are  so  wise  to  this  interview- 
ing game,  and  are  so  very 
anxious  to  be  good  copy — 
they  even  know  the  argot  of 
the  press — that  they  concoct 
angles  for  themselves. 

One  young  player  was  so 
desirous   that   I    should  get 
good  copy  on  him,  that  lie 
frankly  asked,  in  an  imperi 
ous  tone 

•? 

any  in  mind  ?"    When  told  the 
angle  would,  be  either  acute  or 
isosceles,    he    gave    a  weak 
laugh,  not  knowing  whether 
he  was  being  made  fun  of,  or 
whether  I  was  trying  to  be 
funny.    All  the  same,  he  sug- 
gested what  he  thought  was  a  good  angle.    Sad  to  re- 
late, it  was  not  used,  as  the  story  in  which  he  was  be- 
ing mentioned  did  not  need  any  distinctive  angle.  So 
the  helpful  young  player  went  to  press  angleless. 

Coming  face  to  face  with  these  very  knowing  play- 
ers is  rather  a  bore.  Therefore,  it  is  refreshing  to  meet 
one  who  lets  the  interviewer  work  out  his  problems  in 
his  own  way. 

The  refreshing  newcomer,  in  this  case,  is  William 
Bakewell.  You  very  likely  saw  him  in  'West  Point," 
as  Bill  Haines'  hero-worshiping  roommate.  You  will 
also  see  him  in  "Harold  Teen."  He  is  now  playing  in 
D.  W.  Griffith's  new  picture,  "The  Battle  of  the 
Sexes." 

Phoning  the  Bakewell  abode,  I  fully  expected 
the  young  gentleman  would  readily  accept  my  sug- 
gestion of  an  interview,  as  something  quite  comme 
il  fant.  Something  he  had  expected  would  some 
time  happen  to  him.  So  new  is  Bill  to  this  in- 
terviewing game  that,  in  spite  of  his  budding  fame, 
he  first  of  all  firmly  refused  to  believe  he  was  to 
be  interviewed  at  all. 

"Cut  out  your  kidding,  Arth,"  came  back  over 
the  phone.  "I  know  it's  you.  It's  Arthur  Lake, 
isn't  it?" 

Arthur  may  possess  a  cultivated  voice,  but  I 
tried  to  persuade  Mr.  Bakewell  that  Arthur  wasn't 
the  only  one.    Once  more  I  tried  to  get  over  my 


reality.  Where  should  we 
meet?  ("Come,  come,  sir! 
This  is  quite  genuine !  No 
kidding!") 

"Oh,  what  about  New  York, 
Arthur?  Let's  stop  off  half- 
way and  have  the  interview  at 
Chicago." 

This  went  on  and  on.  Fi- 
nally, by  suggesting  that  he 
call  up  some  one  like  Julie 
Lang  of  Paramount,  or  How- 
ard Strickling  of  M.-G.-M.— 
promising  to  produce  my  pass- 
port, and  other  signs  of  iden- 
tification— Bill  commenced  to 
think  there  might  be  some 
truth  in  my  assertions. 

He  dubiously  set  it  for 
ten  o'clock  the  next  morning. 

With  many  laughs  and  guf- 
faws, the  skeptical  Mr.  Bake- 
well  said,  as  a  parting  phrase 
over  the  telephone,  "I  don't 
believe  it  yet,  really — say,  for 
the  last  time,  Arthur — come 
across,  now — be  honest — no 
kidding — who  is  it?  I  know 
it's  you,  Arth." 

"At  ten  to-morrow  morn- 
ing.   Good-by."    I  hung  up.  ' 

Possibly  Mr.  Bakewell  had 
found  out  that  I  was  not 
Arthur  Lake  after  all,  even  if 
I  had  spoken  as  Mr.  Lake 
would  speak  if  disguising  him- 
self as  an  interviewer  to  deceive  a  pal,  for  he  phoned 
me  later  during  that  same  evening. 

Gosh !  He  never  thought  any  one  wanted  to  inter- 
view him.  Listen.  Would  I  have  lunch  at  the  Mont- 
martre?  Say,  wouldn't  I  rather  do  that  than  meet  him 
at  ten? 

No,  I  wouldn't.  At  ten  the  next  morning.  Good-by ! 
The  appointment  was  kept,  as  arranged,  in  the  Bake- 
well  apartment. 
The  meeting  was 
preceded  by  many 
Continued  on  page  112 


Bill  is  entirely  devoid  of 
self-consciousness,  con- 
ceit or  pose. 


Photo  by  Lansing  Brown 

Very  likely  you  remember  Bakewell  as  Bill 
Haines'  hero-worshiping  roommate  in  "West 
Point." 


74 


Photo  by  Louise 

Eleanor  Boardman  can  seldom  be  prevailed  upon  to  voice 
her  personal  opinions  for  publication. 


Eleanor— As  Sne  Is 

An  intelligent  and  comprehensive  portrait  of  one  of 
filmdom's  most  vibrant  but  least-known  personalities. 

By  Margaret  Reid 

OF  any  one  in  pictures,  Eleanor  Boardman  is  at  the 
same  time  the  hardest  to  interview  and  the  most 
entertaining.  She  is  the  despair  of  reporters 
who  are  after  a  story,  and  their  delight  when  all  hope 
of  getting  one  has  been  abandoned.  Not  only  her  well- 
known  frankness,  but  her  disinterest  in  herself,  make 
her  a  difficult  subject.  It  is  impossible  to  write  about 
her  as  an  actress.  She  is  so  much  more  a  person  than  a 
personage.  If,  some  day,  there  is  an  influx  of  fan- 
magazine  reporters  into  the  novelists'  field,  it  will  be 
because  that  is  the  only  medium  of  getting  Eleanor 
Boardman  onto  paper. 

She  is  not  glamorous,  she  is  not  sensational,  she  is 
not  quotable.    She  is  wretched  magazine  copy. 

In  a  few  cases,  reporters  have  dared  to  quote  her 


frankness.  Each  time,  she  has  been  put  on  the  official 
carpet  and  reprimanded  severely.  Two  or  three  times 
it  has  precipitated  her  into  really  unpleasant  jams,  and 
still  she  refuses  to  be  politic.  She  speaks  her  mind 
without  reserve,  and  if  any  one  objects — it's  too  bad, 
of  course,  but  not  important.  Compromise  is  impos- 
sible to  her.  Black  and  white  and  just  that — as  are 
right  and  wrong — with  no  midway  shades. 

She  has  a  rigid  moral  code,  and  could  never  do 
anything,  no  matter  how  trivial,  which  she  felt  to  be 
other  than  right.  This  strict  rule  of  conduct  is  not 
the  result  of  the  fear  of  ultimate  punishment,  upon 
which  most  exemplary  conduct  is  based.  It  is,  instead, 
a  fervent  belief  in  the  intrinsic  beauty  of  living — in- 
stinctive preference. 

She  is  intolerant  of  meanness,  of  dishonesty,  of 
vulgarity,  and  does  not  hesitate  to  denounce  manifesta- 
tions of  them,  no  matter  in  what  quarter.  This  she 
does  so  openly  that  it  is  very  disquieting  to  the  per- 
sons concerned.  She  has  been  accused  of  tactlessness 
and  rudeness — and  calmly  admits  both.  She  is,  as  a 
matter  of  fact,  guilty  of  the  former  but  never  of  the 
latter.  Rudeness  constitutes  an  unwarranted  attack, 
and  Eleanor  has  never  been  guilty  of  that.  Her  sense 
of  fair  play  extends  to  those  whom  she  dislikes,  and 
her  private  prejudices  never  color  her  spoken  opinions. 

Her  opinions  are  all  very  definite,  logically  arrived 
at,  and  not  lightly  changed.  She  can  seldom  be  pre- 
vailed upon  to  voice  them  for  publication. 

"Who  cares,"  she  argues,  "what  I  think  about  a 
thing?  Mine  is  no  expert  judgment.  'Eleanor 
Boardman  considers  Willa  Cather  the  greatest  Ameri- 
can novelist,'  "  she  suggested,  and,  replying  for  the 
public,  "  'Does  she,  indeed !  Well,  that's  just  dandy — • 
and  what  of  it?'  " 

If  you  try  to  interview  her,  you  will  come  away 
with  a  fine  story  on  Greta  Garbo.  Greta  is  one  of 
her  closest  friends— and  Eleanor  would  like  to  look,  act 
and  be  just  like  her.  She  admires  Greta  with  all  the 
fervor  of  a  schoolgirl,  and  never  tires  of  quoting  her. 

Eleanor  is  impulsive  in  the  forming  of  friendships, 
but  her  first  impressions  are  usually  accurate,  and  she 
is  seldom  mistaken  in  people.    She  is  equally  impul- 
sive in  her  dislikes,  and  will  not  go  out  of  her  wav 
to  change  her  first  impressions,  whether  good  or  bad. 
Impatient  of  bigotry  and  stupidity,  she  is  quick  to 
anger  at  them.    Her  cheeks  grow  very  pink  and  her 
eyes  very  wide  and  blue.    She  becomes  voluble  in  her 
indignation,  and  can  argue  any  one  off  the  mat.  After- 
ward, she  is  always  depressed,  and  wonders  if  she  will 
never  be  able  to  improve  her  bad  disposition. 

She  is  intensely  proud,  but  neither  cold  nor  aloof. 
Although  she  shrinks  from  contact  with  people  in  the 
bulk,  her  understanding  of  human  nature  is  deep,  tem- 
pered with  tenderness  and  sympathy  for  its  struggles. 
More  than  ordinarily  courageous  herself,  she  is  in- 
dulgent of  timidity  in  others.  It  is  her  compassionate 
insight  into  the  prisoners  of  the  prosaic  that  made  pos- 
sible her  magnificent,  heart-breaking,  real  performance 
in  "The  Crowd." 

She  is  keenly  interested  in  her  career  only  when 
there  is  the  possibility  of  a  picture  like  "The  Crowd." 
She  hates  doing  mediocre  pictures,  no  matter  how  pro- 
fuse her  close-ups  might  be.  When  a  picture  does 
turn  out  well,  her  gratification  is  not  for  her  own  work, 
but  for  the  production  as  a  complete  work  of  skill. 
She  is  probably  one  of  the  greatest  artists  on  the  screen, 
but  the  first  glimpse  of  her  real  potentialities  did  not 
come  until  "The  Crowd." 

Although  she  has  had  a  generous  share  of  trouble, 
sorrow  and  distress,  she  is  still  avid  of  life.  She 
Continued  on  page  105 


Alice  White,  as  Dixie 
Dugan,  left  and  right, 
depicts  the  modern  idea 
of  a  girl  who  is  bound 
to  succeed. 

Dixie  is  seen,  below,  with 
Donald    Reed,    as  her 
dancing  partner. 

Miss  White,  lower  left 
and  right,  further  illus- 
trates the  evolution  of 
Dixie. 


A  Girl  Shov? 

Who  is  better  able  to  be  the  whole  show 
than  Alice  White,  in  "Show  Girl?" 


82 


Money,  Religion,  LoVe 

Around  these  dominant  impulses 
Rex  Ingram  has  built  his  new 
picture,  "The  Three  Passions " 


Ivan  Petrovich,  whose  reap- 
pearance will  delight  his  fans, 
is  seen,  upper  left  and,  above, 
with  Alice  Terry,  who  is,  of 
course,  the  heroine. 

She  is  seen  again,  left,  with 
Shayle  Gardner,  as  the  ship- 
builder who  believes   he  has 
lost  his  son. 


83 


"  Katsudoshashin" 

What  is  it?  Well,  read  this  article  and 
find  out  for  yourselves.  Here's  a  hint — it 
has  to  do  with  Japan,  and  American  movies. 

By  Kimpei  Sheba 

\  MERICAN  motion  pictures  have,  in  recent 
f\  years,  been  an  influence  greater  than  any 
other  in  altering  the  daily  mode  of  living 
of  the  people  of  Japan. 

The  writer  recently  traveled  three  quarters  of 
the  way  around  the  world,  and  believes  he  can 
safely  say  that  no  other  people  are  being  more 
immensely  impressed  and  rapidly  transformed  by 
the  movies  than  the  Japanese. 

In  Shanghai  and  Singapore;  in  India,  Egypt, 
and  Italy ;  in  France,  Germany,  and  the  British 
Isles,  American  photoplays  are  tremendously  popu- 
lar ;  but  in  these  cities  and  nations  it  cannot  be 
said  that  they  serve  any  purpose  other  than  that 
for  which  they  are  intended.  The  exception  is 
in  Japan. 

In  Nippon  the  customs  of  the  people  have  been, 
in  many  respects,  considerably  altered  since  Amer- 
ican films  were  introduced.  Even  the  national 
psychology  has  been,  to  some  extent,  affected.  The 
attitude  of  the  people  toward,  and  their  knowledge 
of,  the  American  and  European  races  have  im- 
proved to  a  startling  degree. 

Japan's  motion-picture  companies  have  grown  in 
the  last  four  years  from  next  to  nothing,  to  one 
of  the  important  industries  of  the  land  of  cherry 
blossoms,  and  are  producing  to-day  more  feature- 
length  photoplays  than  any  country 
in  the  world,  not  excepting  America. 

Startling,  this  seems,  but  true 
nevertheless.  In  1927  Japan  produced 
more  than  one  thousand  feature- 
length  pictures,  the  United  States  less 
than  six  hundred,  and  Germany  but 
two  hundred. 

And  this  despite  the  fact 
that  but  ten  per  cent  of  the 
films  produced  in  the  far- 
eastern  island  empire  end  with 
a  happy  fade-out.  Japanese 
pictures  almost  never  end  with 
the  hero  and  the  heroine  in 
each  other's  arms.  The  public 
wouldn't  stand  for  such  a  thing 
in  a  native  picture. 

They  demand  unhappy  end- 
ings— fade-outs  in  which  lov- 
ers are  portrayed  leaping  into 
the  bottomless  pit  of  a  water- 
fall, or  the  crater  of  a  volcano, 
"to  live  happily  ever  after- 
ward, in  the  next  world." 

This,  because  the  people  of 
the  Land  of  the  Rising  Sun 
find  eternal  happiness  only  in 
death.  "Until  death  do  us 
part,"  to  them  becomes,  "until 
death  do  us  unite."  As  love 
marriages  still  continue  to  be 
frowned  upon,  though  this 
condition  is  changing  rapidly 
as  a  result  of  the  introduction 


Note  the  "implied"  kiss  on  the  cheek  of  Toyohiko  Okada — a 
clever  way  of  evading  Japanese  censors. 


of  American  movies,  death  is  seen  as  the 
only  happy  ending  of  love. 

Consequently,  the  majority  of  Japanese 
"love"  pictures  end  unhappily.  For  this 
reason,  perhaps,  there  is  almost  always 
crying  in  the  movie  houses — more  crying, 
in  fact,  than  is  to  be  found  anywhere 
outside  of  a  funeral. 

There  are  to-day  thirty-six  Japanese 
motion-picture  studios.  These  companies 
produce  a  picture  on  an  average  of  once  a 
fortnight.  Some  pictures,  however,  have 
been  completed  in  forty-eight  hours.  The 
record  was'  thirty-six  hours.  Seventy-two 
hours  later  the  picture  had  been  cut,  titled 
and  censored  and  was  being  shown  in 
one  of  the  theaters  in  Tokyo. 

American  pictures  naturally  form  the 
bulk  of  imported  productions.  Ardent 
love  scenes  are  clipped,  pictures  of  up- 
risings-— especially  those  in  which  a 
crowned  ruler  is  overthrown — are  barred 
altogether,  and  blood  in  no  form  what- 
ever is  permissible.  Censors  have  re- 
cently prohibited  the  showing  of  "The 
Volga  Boatman."  They  have  scissored 
a  considerable  amount  of  footage  from 
such  pictures  as  "Love"  and  "Flesh  and 
the  Devil." 

This,  however,  is  merely  the  prelimi- 
"Until  death  do  us  narY  censorship, 
unite"  is  the  Japanese  After  the  films 
version  of  the  happy  pass  the  central 
ending.  censorship  board 


84 


"Katsudoshashin" 


Yoshiko   Okada   and   her   leading  man 
were  dismissed  from  a  movie  company 
because  they  eloped. 

in  Tokyo,  they  are  examined  by  the 
prefectural  police.  Besides  this,  every 
theater  in  the  country  is  equipped  with 
a  police  officers'  booth.  One  officer  oc- 
cupies this  booth  at  all  times,  and 
every  picture  shown  is  at  his  mercy. 
This  officer  has  it  in  his  discretion  to 
delete  any  part  of  any  picture. 

As  the  films  are  sent  to  the  various 
provinces,  they  are  examined  by  the 
prefectural  authorities,  and  by  the  time 
a  picture  of  an  amorous  nature  returns 
to  the  capital,  it  is  about  two  thirds  of 
its  original  length,  if  not  less.  In  many 
instances,  in  fact,  a  picture  has  been 
cut  to  such  an  extent  that  it  is  difficult 
to  follow  the  continuity  of  the  story. 

But  here  again  the  Japanese  have  a 
panacea.  This  is  in  the  form  of  sub- 
title readers  or  translators,  who,  with 
their  vivid  descriptions  supply  audi- 
ences with  a  verbal  picture  of  the 
scenes  deleted  by  the  censors. 

The   subtitle   reader   plays  a 
very  important  part  in  Japanese 
theaters.    What  he  says  is  forty 
per  cent  of  the  entertainment. 
He,  moreover,  has  it  in  his  power 
to  make  or  break  a 
picture.    There  are  M 
nearly     ten  I 
thousand  subtitle 
readers    in  Japan 
to-day. 

These  men  have 

Denmei   Suzuki,  the 
handsomest    star  in 
Japan,  with  two  of 
his  leading  ladies. 


established  their  own  schools  of  subtitle  translating,  just 
as  jujutsu  experts  in  olden  Japan  founded  schools  in 
which  their  method  was  taught,  experimented  with,  and 
improved. 

It  may  surprise  movie  fans  of  the  United  States  to 
learn  that  while  most  of  the  subtitle  reading  in  Japan 
is  done  in  theaters,  numerous  phonograph  records  have 
been  produced,  on  which  the  verbal  descriptions  of  sub- 
title readers  have  been  recorded.  Another  source  of  en- 
tertainment is  listening  to  subtitle  readers  over  the  radio. 

So  vivid  are  the  descriptions  provided  by  some  readers, 
over  the  radio  and  phonograph,  that  persons  who  have 
sat  through  one  performance  of  a  good  picture  can  almost 
imagine  seeing  it  over  again,  merely  by  listening  to  the 
subtitle  reader. 

Thus,  instead  of  going  to  a  theater  twice,  or  even 
thrice,  to  yiew  the  same  picture,  a  Japanese  fan  needs 
merely  to  purchase  a  record  and  run  it  in  his  home  and 
be,  figuratively,  transported  into  a  playhouse.  The  phono- 
graph recording  of  an  old  picture,  "The  Sea  Beast," 
starring  John  Barrymore,  was  so  vivid  that  tens  of  thou- 
sands of  records 
have  been  sold. 

Turning  now  to 
the  influence  which 
American  pictures 
have  had  on  Japan. 

Most  people  ac- 
quainted with  the 
Far  East  know  that 
osculation  was 
quite  unknown  to 
the  Japanese  before 
the  introduction  of 
American  motion- 
pictures,  and  that 
kissing  scenes  in 
films  were,  until 
very  recently, 
clipped  by  the  cen- 
sors. It  probably 
will  be  surprising, 
therefore,  to  most 
readers,  to  be  told 
that  kissing  is  to- 
day widely  prac- 
ticed in  Japan,  and 
while  not  yet  in- 
dulged in  publicly, 
is  done  with  con- 
siderable fervor  and 
frequency  in  pri- 
vate. 

Let  us  now  turn 
to   the  matter  of 
The    kimono,  the 
lovely  national  attire  of  the  land 
of  cherry  blossoms,  is  fast  dis- 
appearing, and  in  its  place  one 
finds  to-day  an  array  of  Amer- 
ican apparel.    If  one  were  to 
visit  Japan  to-day,  he 
would   no    doubt  be 
astonished,  during 
even  so  brief  a  stay 
as  a  month,  to  per- 
ceive   the  constantly 
increasing  number  of 
girls  who  are  doffing 
their  native  dress  to 
appear  in  foreign  cos- 
Continued  on  page  107 


Kurishima  Sumiko  is  known  as 
"the  Gloria  Swanson  of  Japan," 
and   is   Nippon's  most  capable 
actress. 

costumes. 


85 


Minus  Nicotine 


Though  none  of  the  pipes  pic- 
tured below  is  in  action,  we  are 
assured  that  they  are  the  favor- 
ites of  their  respective  owners. 


Richard  Barthelmess,  left,  is 
decidedly  prejudiced  in 
favor  of  his  short,  English 
pipe. 


Robert  Armstrong, 
right,  wants  you  to 
know  that  the  lady 
pictured  on  his  pipe  is 
his  wife. 

Richard  Arlen,  below, 
doesn't  smoke  this 
pipe  in  public,  but  he 
likes  his  German  pipe 
in  private. 


Lane  Chandler,  above,  seems  contented — nay, 
very  happy — with  his   long-stemmed,  corn- 
cob-bowl pipe  of  German  make. 


A   French   brier  pipe,   with   a  hand-carved 
bowl,  is  the  reputed  favorite  of  Clive  Brook, 
above. 

A  German  pipe,  of  antique  design,  with  an 
orange-wood  bowl  and  cherry-wood  stem,  is 
most  often  used  by  Gary  Cooper,  left. 


86 


Clara  Bow  is  only  one  of  many  stars  to  have  roses  named 
them,  which  means  that  she  must  pose  with  them. 

RICHARD  DIX  strode  across  the  Paramount  lot 
with  a  determination  that  indicated  he  had  some- 
thing on  his  mind.  His  face  was  another  cue 
that  all  was  not  well.  His  first  remark,  consisting  of 
one  word  and  censored  by  this  recorder,  proved  it. 

"King  of  the  Raisin  Festival !"  he  sang,  in  as  high 
a  pitch  as  he  could  achieve.  "King  of  the  Festival,  tra- 
la-la!  They  want  me  to  be  King  of  the  Raisin  Show, 
ma,  call  me  early— blah!" 
\  It  developed  that  he 
had  received  a  request  to 
perform  just  that  very 
duty.  I  recall  Lew  Cody 
riding  royally  in  the 
float  marked  "Rex"  and 
throwing  out  raisins  to 
the  crowds  ;  but  that  'was 
in  the  days  when  the 
public  gaped  admiringly 
at  anything  a  movie  star 
condescended  to  let  them 
watch  him  do.  Somehow 
Lew  ruled  the  event  with 
dignity.  It's  different 
now.   It's  as  Dix  said  : 

"Anybody  who  has  a 
'name'  is  not  allowed 
time  to  work.  A  boat 
can't  be  launched  any- 
more, an  air  flight  start, 
a  (banker  arrive  from 
New  York,  a  new  car 
come  out,  a  raisin  show 
be  put  on — unless  an 
actor  or  actress  is  there 
to  'grace'  the  event." 
Before  he  related  some 


for 


Do  Wallace 
Beery,  Esther 
Ralston,  and 
Micky  McBan 
appear  enthusi- 
astic about  their 
part  in  the  open- 
ing of  a  new 
street-car  line? 


The  High  Cost 

Do  you  know  many  demands  are  made  upon 
orange  shows  and  grape  harvests,  to  say 
this  and  that?    Well,  Richard  Dix  has  his 

By  Caro 


of  the  peculiar  things  he  has  been  asked  to  do  as 
publicity  stunts,  usually  benefiting  some  one  else 
more  than  himself,  a  highly  intellectual  game  was 
indulged  in.  One  brilliant  director,  one  eight- 
cylinder  author,  one  third-gear  star,  and  one  inter- 
viewer took  part.  You  give  the  first  two  letters  of  a 
word,  each  adding  a  letter — you  know  it.  Soon  the 
brilliant  director  was  out — "framed,"  he  insisted, 
simply  because  he  couldn't  spell  "pneumatic" — the 
author  was  sunk,  and  Richard  and  yours  truly  fought 
it  out  to  a  bitter  finish.  No,  I  will  not  tell.  , 
There's  always  an  atmosphere  of  kidding,  like 
that,  around  Richard  Dix. 

Then  Richard  launched,  'with  many  a  chuckle,  into 
his  tale  of  tribulations.  He  wasn't  cranky  about  it, 
though  these  unceasing  demands  for  a  star's  appear- 
ance at  this  or  that  show,  or  to  support  some 
"cause,"  might  irritate  a  more  volatile  person.  He 
spoke  of  these  stunts  merely  because  he  had  found 
some  of  them  interesting,  many  of  them  amusing, 
and  most  of  them  ridiculous. 

In  spite  of  the  frequency  of  their  appearance,  and 
the  roughening  of  glamour's  sheen,  the  stars,  "in 
person,"  continue  to  be  good  drawing  cards.  Rich- 
ard's situation  is  duplicated  and  tripled  on  every  lot. 
At  each  studio  there  are  two  or  three  stars  who,  because 
of  their  amiability  in  responding,  are  much  in  demand 
to  plant  trees  in  parks,  open  realty  subdivisions,  and — 
but  let  Richard  tell  it. 

"The  actor  is  often  both  exhibit  A  and  exhibitor. 
I've  been  asked  to  preside  at  cat  shows,  the  opening  of 
beauty  parlors,  ball  games,  commencement  exercises,  re- 
vival meetings,  and  what  not.    I  thought  the  limit  had 

arrived  when  they 
sent  me  out  to  be 
exhibited  with  the 
horses.  Sure,  had  to 
take  charge  of  a 
horse  show  not  long 
ago. 

"These  fruit 
shows,  however,  are 
getting  too  frequent 
around  California. 
The  people  who  put 
them  on,  apparently 
think  that  an  actor 
can  stop  work  when- 
ever they  SOS  for 
a  king  or  queen. 

"How  many  kinds 
of  oranges  grow  in 
California?  Bebe 
Daniels,  a  native 
daughter,  asked  me. 
Seems  she  and  I  are 
on  schedule  to  pick 
the  next  crop  —  at 
least,  long  enough  to 
take  publicity  pic- 
tures and  autograph 
a   few.    There  are 


87 


of  Popularity 

the  stars  to  officiate  at  raisin  festivals, 
nothing  of  being  photographed  to  advertise 
say  on  the  subject — and  he  says  plenty. 

line  Bell 


navel  oranges  and  Valencia  oranges,  and  enough 
brands  to  put  on  an  orange  show  every  week.  The 
movie  star  presides,  usually  pressing  a  button  for 
some  reason  or  other,  and  feeling  awkward,  and 
shaking  hands  until  his  mitt  is  numb. 

"No  California  product  can  be  put  on  the  market 
until  somebody  from  Hollywood  has  given  the 
official  O.  K.  There's  the  grape  harvest,  the  walnut 
show,  and  the  almond  show,  but  they'll  never  take 
a  picture  of  Dix  wearing  a  raisin  crown,  or  heading 
the  prune  show,  if  I  have  anything  to  say  about 
itt    I  will  not  pose  as  a  prune,  intentionally!" 

His  ■  declamatory  tone  continued  :  "When  the 
avocados  are  ripe,  they  send  for  an  actress.  When 
the  tomatoes  are  ripe,  they  send  for  an  actor. 
Somebody  from  a  studio  has  to  pick  the  first  dates 
— and  even  the  dates  have  seasons. 

"New  flowers  are  always  being  named  after  peo- 
ple in  pictures.  That  signal  honor  pleases  the  girls, 
but  when  a  florist  asked  permission  to  name  a  new 
rose  'The  Dix,'  I  said  'No.!'  vehemently. 

.  "Somebody  wanted  me  to  pose  with  yeast.  Was 
I  supposed  to  illustrate  how  to  look  like  a  banker 
in  twenty-four  hours?  How  do  /  know  whether 
you  swell  up  and  burst,  or  not?"  He  could  not 
answer  my  question.  "I  didn't  eat  it,  nor  did  I 
pose  for  the  picture. 

"When  I  was  driving  a  flivver,  I  got  a  great  kick 
out  of  posing  with  a  Rolls-Royce.  And  now  the  pub- 
licity stunt  everywhere  is  to  pose  with  the  new  Ford. 

"Just  informally,  I  can  talk  all  day  or  night  without 
hurting  my  vocal  chords  at  all.    But  professionally — ■ 
I'm  as  nervous  as  other  victims" — he  grinned — "who 
get  up  and  stutter  and  twiddle  their 
coat  cuffs.    But  I've  been  asked  to 
talk  on  all  sorts  of  subjects  by  charity 
organizations  and  women's  clubs.  I 
was  asked  why  I  know  spring  had 
come  to  Hollywood  " 

"If  you  were  married,  you'd  know 
by  the  bills  for  new  finery  " 

"Ah,  hut  a  single  man  might  know, 
too  \" 

But  the  object  of  his  devoted  atten- 
tions right  now  has  no  place  in  this 
article. 

"I  like  to  talk  to  the  Boy  Scouts, 
and  to  the  orphaned  kids.  You  see 
those  youngsters  looking  up  at  you ; 
bright  little  faces — gee,  makes  you 
feel  they're  a  kind  of  responsibility 
of  yours,.  Paternal,  you  know.  You 
want  so  much  to  tell  them  something 
helpful. 

"The  only  place  I  haven't  been  asked  to  talk,  is  at 
an  insane  asylum.  And  that" — he  leaned  back,  thumbs 
in  his  vest — "is  the  only  place  where  my  speechmaking 
would  be  appreciated. 

"Toothpaste  ads,  collar  ads,  cigarette  ads,  saxophone 
ads  " 

"Think  of  all  the  free  samples  of  shaving  creams  and 
dental  pastes  you'd  collect." 


Richard  Dix  is  called  upon  to  autograph  everything  from  Easter 

eggs  to  shirts. 


The  idea  didn't  seem  to  appeal  to  him. 
"Judging  contests,"  he  resumed.  "  'A  contest  a  day 
will  keep  the  newcomers  away,'  must  be  the  slogan  here. 
Beauty  contests,  dance  contests,  personality  contests, 
even  'idea'  contests.  Some  of  these  are  worth  doing. 
Now,  when  a  young  man  is  sent  out  on  really  important 
business,  like  judging  a  beauty  contest,  and  all  the  girls 
are  fair  and  sweet,  if  he  is  in  ear- 
nest about  his  work,  he  will  give  his 
full  attention  to  it  and  not  ibe  at  all 
bored. 

"But  when  he  has  to  have  his 
picture  taken  with  every  personage 
who  visits  the  city — or  with  a  prize 
cow  that  won  a  blue  ribbon  in  an 
exhibit — the  young  man  may  lose 
interest  in  his  art.  Last  week  I 
posed  with  a  laundry-tub  king — no, 
not  showing  the  housewife  how  to 
make  the  soap  lather,  but  I  was  once 
asked  to  pose  with  a  vacuum 
cleaner.  I  guess" — he  sighed — "I 
was  to  represent  the  modern  hus- 
band. 

"Location  always  means  a  flood 
of  invitations,  and  the  actor  usually 
accepts,  because  sometimes  he  en- 
joys himself,  and  sometimes  just  because  he's  good- 
natured.  He's  got  to  Ibe.  I  remember  one  country 
dance,  in  a  little  town  miles  from  a  railroad.  We  had 
to  ride  horseback  to  get  there,  yet  crowds  had  come  all 
the  way  from  Canada  and  Mexico,  it  seemed.  A  jolly, 
embarrassed,  red-faced  bunch  of  farm  hands  and  their 
sisters  and  wives.  Babies  were  parked  in  the  hall. 
Sure,  had  to  kiss  all  the  babies,  and  have  my  picture 
Continued  on  page  115 


Richard  has  become  pretty  calloused 
about  officiating  at  contests. 


88 


The  Birds  Give 
Their  All 


And  the  stars  deck  them- 
selves in  gay  plumage, 
that  they  may  follow  the 
fashion  in  helmetlike  hats. 


Lil3'an  Tashman,  above,  a 
ways  a  leader  in  matters  sar- 
torial, combines  white  coq 
feathers  with  black  felt,  in 
"Happiness  Ahead." 


Evelyn  Brent,  below,  in 
"The  Dragnet,"  wears  a  suc- 
cession of  birdlike  hats,  of 
which  this  is  the  most  strik- 
ing. 


Nancy  Carroll,  above,  is  all 
a-twitter,  because  of  her 
mauve-colored  felt  hat  with 
feathers  to  frame  her  merry, 
little  face. 


Myrna  Loy,  below,  with  a 
swirl   of  gray   feathers  on 
one  side  of  her  face,  might 
lure  any  hunter. 


Ethlyne  Clair,  top, 
what  with  feathers 
and  fur,  is  prepared 
for  the  forest  as  well 
as  the  Boulevard. 


Olga  Baclanpva, 
above,  not  only  dons 
a  hat  that  resembles 
the  head  of  a  bird,  but  also  as- 
sumes the  expression  of  a  bird 
of  prey. 


89 


Stars  at  Auction 

Believe  it  or  not,  actors  in  Hollywood  are 
"sold"  in  a  way  to  recall  the  old-time  slave  trade 
— but  they  don't  mind  being  bartered  at  all. 


H 


By  Ann  Sylvester 

OLLYWOOD  has  its  auction  block,  its 
trading  post,  and  its  star  market ! 
Lovely  ladies  are  "sold"  over  mahogany 
desks,  and  handsome  gentlemen  are  "mort- 
gaged" for  a  consideration.  You  must  read 
about  it — it's  terrible. 

There  is  this  difference  from  the  old- 
fashioned  slave  market — the  slaves  were  quite 
menial  people,  and  stars  aren't.  In  place  of 
Old  Black  Joe  the  Hollywood  marts  deal  with 
beautiful  Claire  Windsor,  peppy  Patsy  Ruth 
Miller,  and  others  equally  in  ermine.  How- 
ever, the  distinction  ends  there.  Believe  it  or 
not,  the  practice  of  selling  actors  "up  and  down 
.  the  river,"  is  as  flourishing  in  Hollywood  to- 
day as  it  ever  was  below  the  Mason-Dixon  line. 

"What  am.  I  bid?"  is  the  daily  cry  of  the 
auctioneers  throughout  the  studios.  "What 
am  I  bid  ?"  Only  they  are  not  called  auc- 
tioneers ;  they  call  themselves  agents.  If  they 
are  good  enough,  they  are  called  managers. 

It  is  a  great  and  lucrative  business,  this  star- 
trading,  and  is  probably  the  most  prosperous 
subgrowth  of  the  movie  industry.  "Actors  as 
actors  are  interesting,  Watson,  but  actors  as 
merchandise  are  probably  the  second  largest  in- 
dustry in  Hollywood." 

Ask  the  agents — they  know. 
Before  we  go^  on,  I  hope  I'm  not  giving  the 
impression  that  agents  are  glorified  Simon 
Legrees,  because  that  wouldn't  be  right,  as  most 
of  them  are  amiable, 
popular  people  who 
deal  in  celebrity,  in 
preference    to  the 
cloak  and  suit  busi- 
ness.   It  is  true  that 
actors  are  their  live- 
lihood, but  it  is  also 
true  that  they  are  the 
livelihood  of  actors. 

The  slogan  of 
every  agent  might 
well  be:  "You  fur- 
nish the  talent — we 
get  the  job." 

Agents  came  into 
being  for  the  good 
and  simple  reason 
that  actors,  as  a 
class,  are  notoriously 
poor  business  men. 
I  don't  mean  Harold 
Lloyd,  or  Douglas 
Fairbanks.  These 
two  are  exceptions. 
But  for  the  most 
part  you  will  find  the 
average  actor  an 
easy-going  individ- 
ual, with  little 
thought   of  to-mor- 


John  Boles  inspires  much  lively  b. el- 
ding, hence  his  appearance  in  many 
pictures. 


Photo  by  Spurr 

Claire  Windsor  is  looked  upon  as  valuable  "merchan- 
dise" by  those  whose  business  it  is  to  "sell"  stars. 

row,  or  even  of  to-day.  They  have  been  known 
to  manage  their  contracts  so  badly  as  to  accept  two 
engagements  at  the  same  time,  to  take  salary  cuts 
when  they  did  not  need  to,  or  foolishly  raise  their 
salary  demands  to  such  a  figure  that  weeks  of  idle- 
ness followed. 

That's  why  such  business  firms  as  Rebecca  & 
Sikon,  Edward  Small,  Lamson  &  Collier,  Ben 
Rothwell,  Harry  Lichtig,  Guy  Coburn,  John  Lan- 
caster, Bill  Dunn,  Jack  Gardner,  and  others  came 
into  being.  Needless  to  say,  it  is  the  job  of  these 
manager-agents  to  attend  to  all  those  little  things 
like  salary,  engagements,  renewals  of  contracts, 
canceling  of  contracts,  and  other  details  so  irksome 
to  the  artist.  For  this  little  attention  they  work  on 
a  commission  basis  and,  considering  the  salaries  of 
most  of  the  actors,  it  isn't  a  bad  job. 

Most  people  are  under  the  impression  that  only 
free-lance  players  are  under  contract  to  agents. 
But  that  is  not  always  the  case. 

Take  Phyllis  Haver,  piece  de  resistance  of  Jack 
Gardner's  office.  Phyllis  is  under  contract  to 
DeMille,  but  it  was  Jack  who  negotiated  the  deal 
— for  a  percentage  of  the  salary  involved. 

All  the  time  Olive  Borden  was  a  Fox  star,  a  tidy 
sum  for  commission  was  .sroing  to  Ben  Rothwell, 
who  originally  discovered^  Olive  and  sold  her  to  Fox. 


90 


Stars  at  Auction 


Photo  by  Spurr 

Clever  salesmanship  placed  talented  Georgia  Hale  with 
Paramount  as  a  result  of  her  work  in  one  picture. 


Let's  consider  for  a  minute,  not  the  sex  appeal  of 
some  of  our  favorites,  but  their  selling  value  as  com- 
mercial commodities. 

Claire  Windsor  is  one  of  the  most  beau- 
tiful women  on  the  screen.  She  is  also 
one  of  the  finest  articles  of  merchandise 
in  Hollywood.  The  canny  little  Miss 
Rebecca,  of  Rebecca  &  Silton,  told  me 
this,  and  that  firm  ought  to  know.  They've 
been  selling  Claire  to  producers  for  several 
years  now.  If  Claire  were  placed  on  the 
auction  block  and  sold  to  the  highest  bidder  \ 
among  producers,  she  would  probably 
draw  a  larger  figure  than  almost  any  other 
free-lancing:  lady. 


V*1 


great 


"Claire  has 
beauty,"  observed-  the 
little  agent,  "which 
makes  her  easy  to  sell. 
But  she  has  splendid 
box-office  value,  which 
makes  it  even  easier  to 
get  her  contracts.  Her 
years  with  Metro-Gold- 
wyn  established  her  as 
a 'box-office  hit  through- 
out the  country,  and 
this  makes  her  particu- 
larly desirable  for  con- 
tracts with  companies 
that  produce  for  the 
small  towns.  Although 
Claire  is  not  technically 


a  star,  she  draws  more  money  than  many  ladies 
who  enjoy  that  distinction.  Also,  she  is  easy  to 
manage,  because  she  trusts  our  judgment.  Many 
people  have  advised  Claire  that  she  should  not  ac- 
cept some  of  the  quickie  contracts  we  have  pro- 
cured for  her.  But  she  wisely  realizes  that  not  all 
movie  glory  is  confined  to  a  picture  in  a  million-dol- 
lar temple.  Her  salary,  now,  is  nearly  three  times 
what  it  was  when  she  was  under  contract,  and  she 
works  constantly.  Claire's  engagements  overlap. 
While  she  is  working  on  one  picture,  we  will  have 
several  bids  for  her  to  consider  before  she  finishes. 

"Patsy  Ruth  Miller  is  another  girl  who  is  easier 
to  sell  than  lemonade  in  July.  Everything  I  said 
about  Claire  goes  for  Pat,  too.  Neither  of  these 
girls  has  an  exggerated.  sense  of  her  own  impor- 
tance. They  look  on  the  movies  as  a  business  and 
a  profession,  rather  than  as  a  means  of  fostering 
their  vanity  with  cheap,  starring  contracts  which 
offer  nothing  but  the  name." 

Conway  Tearle  was  formerly  under  contract  to 
Rebecca  &  Silton,  but  he  boosted  his  salary  to 
such  an  exorbitant  figure  that  it  detracted  from  his 
value,  and  he  has  not  worked  much  in  consequence. 

Although  Eugene  O'Brien  is  not  the  big  draw- 
ing card  he  was  several  years  ago,  Rebecca  pauses 
to  speak  of  him  as  one  of  the  most  agreeable  actors 
she  has  ever  managed. 

"Gene  never  complained  because  he  was  not 
working  all  the  time,"  she  says  of  him.  "He  used 
to  say:  'Well,  Rebecca,  I  guess  this  is  the  day  of 
the  younger  fellow.  They  don't  seem  to  want  me.' 
In  spite  of  this,  Gene  worked  a  great  deal.  It  was 
a  pleasure  to  get  him  a  contract.  We  have  sold 
Gene  many  times,  and  never  have  we  had  any  com- 
plaints about  his  temperament,  or  his 
refusal  to  work  overtime,  or  any  of 
the  other  eccentricities  of  artists." 

She  went  on  to  say  that  one  of  their 
most  popular  bets,  now,  is  John  Boles, 
and  they  are  the  discoverers  of  Jeanette 
Loff.  Eddie  Silton  signed  her  under 
personal  contract,  and  later  sold  her  to 
DeMille,  where  she  is  being  featured. 

Jack  Gardner  does  not  allow  his 
managerial  work  to  end  with  studio 
business.  He  attends  to  all  Phyllis 
Haver's  outside  interests  as  well.  This 
leaves  Phyllis  free  from  all  worry 
while  she  is  busy  becoming  a  star. 
Another  important  client  of  Gardner 
is  Jobyna  Ralston,  and  still  another  is 
Priscilla  Bonner.  It  is  Jack's  belief 
that  the 


One  of  the  best  bets  in  the 
star  trade  is  Jobyna  Ral- 
ston. 


'big  names' 
are  not  the  only  lucra- 
tive merchandise  among 
actors.  He  can  prove 
to  you  that  heavies  and 
character  people  are 
just  as  profitable  to  an 
agent  as  a  "big  name." 
Mathew  Betz  is  under 
contract  to  Gardner, 
and  while  he  is  not  a 
star,  he  works  with 
fewer  vacations  than 
Jack  Gilbert. 

It  is  a  great  little 
business — this  auction- 
eering. The  career  of 
no  star  is  complete 
without  it. 


1 


HERE  ARE  THE  FIRST 
OF  THE  NEW  M-G-M 
PICTURES— SUPERB 
ENTERTAINMENT 


(u>mo 


LADY 
LUCK 

TAKES  A 
BACK  SEAT 

Luck! 

Sure!  One  smashing  hit 
that  sets  all  fandom  talking 
might  be  "luck". 

Two  country-wide  suc- 
cesses might  even  be  wished 
onto  Lady  Luck — if  you're 
good  at  wishing — 

But  one  long  unbroken 
parade  of  record-breaking 
wows — that's  something  else 
again! 

Lady  Luck  didn't  make 
Smash  hits  like  "The  Big 
Parade",  "Ben  Hur",  "Tell 
it  to  the  Marines",  "The 
Merry  Widow"  and  "White 
Shadows  in  the  South  Seas". 

More  stars  than  there  are 
in  Heaven,  plus  brilliant 
directors  plus  great  stories 
plus  the  great  resources  of 
the  Metro-Goldwyn-Mayer 
organization  are  some  rea- 
sons for  the  long  and  im 
posing  list  of  M-G-M's 
smash  hits. 

If  you  want  a  guarantee 
for  the  future  it  lies  in  the 
performance  of  the  past. 

When  the  lion  roars — 

M-G-M  sound  or  silent, 
will  always  mean 

More 
Great 
lovies 


METRO 

"Mo 


Broadway  and  Los  Angeles  hailed  this  flaming  romance 
of  the  South  Seas  in  Sound  at  $2  admission.  Sound  or 
Silent  it  will  be  the  year's  picture  sensation. 


LP 


Laughs— tears— thrills— you'll  find  them  all  packed 
into  the  screen  version  of  the  Broadway  success,"Excess 
Baggage."  Bon't  miss  William  Haines'  desperate  slide 
for  life  and  love  in  this  pulsating  comedy-drama.  Sound 
or  Silent — a  hit! 


AUCHTI 


OAN  _ 

RAW  FORD  ,  i~  Hciro 


Flaming  youth  de  luxe — the  epics  of  a  jazz-mad  age — 
youth!  beauty!  luxury!  drama!  You'll  cheer  "Our  Dancing 
Daughters"— Sound  or  Silent. 


tCHANEY 

Wf'te  Qty  Sleeps 

\        H^Hl     -. -a^  *- ,  i~rV  ■  -  -^ANilA PACE'-*  M 

■  — «.  ..  ■•wx£fflw& 


Lon  Chaney  gives  you  another  great  characterization  in  a 
throbbing  tale  of  underworld  intrigue  and  hopeless  love. 
See  him  as  the  fearless  guardian  of  the  public  peace  in 
"While  the  City  Sleeps."  Sound  or  Silent  you'll  be  thrilled. 


for  the 
keenest  eye! 

Test  your  powers  of  obser- 
vation— it  may  bring  you  a 
prize.  See  how  well  you  can 
answer  the  questions  below. 
The  man  sending  the  best 
answers  will  receive  $50.00 
and  the  riding  crop  used  by 
Anita  Page  in  "Our  Danc- 
ing Daughters,"  and  for  the 
best  set  of  answers  from  a 
lady  I  will  give  $50  and  the 
ukulele  I  play  in  the  same 
picture. 

And  I'll  also  send  auto- 
graphed photographs  for  the 
fifty  next  best  answers.  I 
hope  you'll  find  my  ques- 
tions interesting. 


1 —  What  M-G-M  picture  was 
filmed  on  an  atoll? 

2 —  What  M-G-M  picture  has  the 
title  of  a  famous  wartime  ditty? 

3 —  In  what  new  kind  of  part  has 
Marion  Davies  captivated  the 
public's  heart  and  fancy? 

4 —  What  M-G-M  picture  is  based 
on  the  life  of  Sarah  Bernhardt 
and  who  is  its  star? 

5 —  What  M-G-M  picture  with  a 
Canadian  background  was  a 
famous  musical  hit  in  a  long; 
run  on  Broadway? 

6 —  Why  do  you  think  Buster 
Keaton's  "frozen  face"  is  so 
effective  in  comedies?  (Not 
more  than  75  words.) 

Write  your  answers  on  one  side 
of  a  single  sheet  of  paper  and 
mail  to  Question  Contest,  3rd 
Floor,  1540  Broadway,  New 
York.  All  answers  must  be  re- 
ceived by  November  15th.  Win- 
ners' names  will  be  published  in  a 
later  issue  of  this  magazine. 

Note:  If  you  do  not  attend  pic- 
tures yourself  you  may  question 
your  friends  or  consult  motion 
picture  magazines.  In  event  of 
ties,  each  tying  contestant  will  be 
awarded  a  prize  identical  in  char- 
acter with  that  tied  for. 


MAYER 


The  Make-believe  Wife 

cA  netv  serial  by 

RUBY  M.  AYRES 

begins  in  the  September  29th  issue  of 

LOVE  STORY  MAGAZINE 


was  starved  for  love  and  a  man's  attentions 
"   — so  dear  to  a  woman's  heart.    So  she  resolved 
lhat  she  would  pretend  to  be  matried  and  thereby 
secure  happiness.    €|J  Don't  miss  the  first  installment 
of  this  wonderful  love  story. 

LOVE  STORY  MAGAZINE 

Published  Every  Week,  J  5c  per  copy 


91 


Good  is  *Vour  Memory? 


These  players  are  representing  the  names 
of  popular  song  hits  of  a  few  years  ago. 


92 


A  Girl  Comes  to  Hollywood 


Continued  from  page  60 
ready  to  snap  at  anything.  As  for 
his  turning  down  Malcolm  Allen's 
story  for  lack  of  twenty-five  thou- 
sand dollars,  Madeleine  was  not  wor- 
rying. He  wanted  her  too  much! 
But  what  Malcolm  had  said  about 
Lopez  and  Lady  Gates  troubled  the 
girl. 

She  sat  down  in  the  one  com- 
fortable seat  the  little  room  provided, 
a  rocking  chair,  and  thought  over  the 
whole  conversation. 

Had  she  said  too  much  about  Lo- 
pez to  Malcolm?  she  asked  herself. 

She  knew  that  Malcolm  had  fallen 
in  love  with  her,  and  she  was  deeply 
in  love  with  him.  She  thought  he 
was  handsome  and  charming  and  al- 
together perfect.  She  sympathized 
with  him  in  his  Hollywood  disap- 
pointments so  warmly  that  her  heart 
ached.  She  felt  like  his  sweetheart 
and  his  mother.  In  other  words,  she 
adored  him.  But  she  had  spoken  the 
truth  in  saying  that  she  felt  love  was 
not  for  her.  Before  long  she  might 
be  involved  in  a  scandal.  She  might 
be  driven  to  a  deed  that  would  be 
called  a  crime,  if  discovered,  and  she 
mustn't  let  Malcolm  be  involved  with 
her,  as  he  would  be  if  she  admitted 
her  love  for  him.  Even  if  they  were 
not  actually  engaged,  once  he  knew 
that  she  cared  he  would  proclaim 
himself  her  lover  and  fiance  before 
the  world,  in  order  to  protect  her 
from  the  wolves. 

The  girl  looked  round  the  room. 
The  blue-and-white  hangings  and 
chair  covers,  and  the  bright  nastur- 
tiums presented  by  an  admiring  land- 
lady, gave  a  look  of  pleasantness  and 
peace ;  but  Madeleine  Standish  knew 
that  there  was  to  be  little  peace  for 
her.  She  had  not  come  to  Holly- 
wood for  peace,  but  for  a  battle,  and 
each  day  was  bringing  her  nearer  to 
it.  She  had  done  the  only  decent 
thing  in  putting  Malcolm  off,  by  tell- 
ing him  the  truth  about  Lopez — the 
truth,  so  far  as  it  could  be  told  now. 
But,  in  hurting  him,  she  had  hurt 
herself,  and  she  felt  very  sad  to- 
night. 

^  Besides,  there  was  poor  Lady 
Gates  to  be  considered. 

Madeleine  had  grown  fond  of  the 
foolish  old  woman,  who  was  kind 
at  heart  and  stanch  in  her  way  un- 
der all  the  silliness.  Knowing  more 
or  less  what  Marco  Lopez  was,  the 
girl's  fears  ran  ahead  of  Malcolm's 
hints.  She  thought  him  capable  of 
attempting  to  marry  Lady  Gates,  and 
it  was  on  the  cards  that  he  would 
succeed.  Better  for  Katherine  Gates 
to  die  than  become  Lopez's  wife! 
Better  for  herself,  and  better  for 
Malcolm !  Married  to  Lopez,  he 
would  inherit  everything  she  had, 


and  her  nephew  would  be  left  out  in 
the  cold. 

Madeleine  wondered  if  Malcolm's 
thoughts  had  run  ahead  as  far  as 
that  when  he  spoke  of  his  aunt  and 
the  dancer.  She  hardly  imagined 
that  he  had  pictured  Lady  Gates  ac- 
tually married  to  Lopez ;  but  the 
more  she  dwelt  on  the  idea,  the  more 
probable  it  seemed  that  marriage 
with  the  rich,  elderly  woman  had 
been  the  Argentinean's  aim  from  the 
first. 

"It  mustn't  happen !"  the  girl  said 
to  herself,  half  aloud.  "I — I  won't 
allow  it !  I'll  do  something  to  save 
poor  Malcolm's  inheritance  from  go- 
ing to  that  wretch." 

There  were  several  things  she 
could  do,  none  of  them  certain  of 
success  and  none  of  them  wise;  but 
the  easiest  and  best,  Madeleine 
thought,  would  be  to  speak  with 
Lady  Gates. 

She  was  no  longer  in  her  lady- 
ship's employ.  The  odd  engagement 
had  ended  with  the  patient's  release 
from  the  hospital,  but  the  two  were 
on  friendly  terms,  so  there  was  no 
reason  why  Miss  Smith  shouldn't 
call  at  the  Hotel  Ambassador  before 
going  to  work  next  morning. 

It  was  nine  o'clock  when  the  girl 
telephoned  from  one  of  the  hotel 
booths  downstairs,  and  Lady  Gates 
answered,  having  just  ordered  break- 
fast in  bed. 

"My  dear,  I'm  so  happy,"  she  said. 
"This  is  the  first  time  in  about  fif- 
teen years  I  haven't  hated  to  see  my 
own  face  in  the  mirror.  I  used  to 
think  that  every  year  I  was  growing 
to  look  more  and  more  like  a  with- 
ered, baked  apple,  or  a  puffy  muffin. 
But  now — well,  by  the  time  'I've 
learned  to  make  myself  up  accord- 
ing to  expert  instructions,  I  won't  be 
such  a  blot  on  Hollywood.  Yes,  do 
come  up.  It's  nice  of  you  to  call. 
I  shall  be  delighted  to  see  you — and 
to  have  you  see  me !" 

Madeleine  was  touched.  "Poor 
old  dear!"  she  thought.  "If  only  she 
can  be  saved  from  Lopez." 

Lady  Gates  had  already  tried  an 
experiment  in  make-up  for  the  bene- 
fit of  the  waiter  who  had  brought  in 
her  breakfast.  She  had  blackened 
her  plucked  eyebrows  and  short 
lashes,  rouged  her  cheeks,  painted 
her  lips  to  represent  a  crimson  Cu- 
pid's bow,  and  pulled  a  gold-net 
boudoir  cap  over  her  auburn  crop. 

"Well,  my  dear,  what  do  you  think 
of  me?"  she  gayly  inquired.  "Am  I 
a  success?" 

"You're  quite  wonderful,"  was 
Madeleine's  answer,  and  it  was  in- 
deed true.  She  hesitated,  not  know- 
ing how  to  work  up  most  tactfully 
to  what  she  had  come  to  say.  But 


Lady  Gates  unconsciously  gave  the 
opening  she  sought. 

"I'm  so  glad  you  think  so,  because 
I  believe  you  are  sincere,"  she  said. 
"Didn't  my  nephew  mention  me  to 
you  last  night  at  Montparnasse  ?" 

"Yes,"  said  Madeleine.  "He 
knows  we're  very  friendly,  you  see; 
so  he  told  me,  just  in  a  few  words, 
how  sorry  he  was  to  have  offended 
you.  It  was  only  through  his  fond- 
ness for  you,  and  respect." 

"Please  don't  try  to  defend  my 
nephew  to  me,  Miss  Smith,"  said 
Lady  Gates,  her  tone  stiffening  a  lit- 
tle, "though  no  doubt  you  mean  well. 
Did  he  ask  you  to  call  on  me  this 
morning  ?" 

"Certainly  not !"  the  girl  protested.^ 
"He  has  no  idea  I've  come.  I  made 
up  my  mind  in  the  night  that  I'd 
try  to  see  you,  because  of  something 
Mr.  Allen  said — but  not  about  him- 
self." 

"Not  about  himself?"  Katherine 
Gates  repeated.    "What  then?" 

"He  mentioned  that  you  had 
thrown  over  your  dinner  engagement 
with  him  to  dine  with  Marco  Lopez 
at  Montparnasse." 

"Well,  what  if  I  did?"  demanded 
her  ladyship.  "I  suppose  I'm  free  to 
dine  with  any  one  I  like  ?  And,  any- 
how, why  should  you  be  interested, 
my  dear  Miss  Smith?  Are  you  a 
friend  of  Mr.  Lopez?" 

"No,"  said  Madeleine.  "I  never 
even  spoke  to  him  until  a  short  time 
ago.  But,  dear  Lady  Gates,  please 
don't  be  angry!  You've  been  nice 
to  me,  and  I  "like  you  so  much  and 
want  you  to  be  happy.  A  man  like 
Mr.  Lopez  isn't — isn't  a  good  friend 
for  you  to  have." 

"Well,  upon  my  word  !"  exclaimed 
her  ladyship.  "Why  this  sudden 
anxiety  for  me,  my  dear?  You  knew 
that  I'd  made  Mr.  Lopez's  acquaint- 
ance and  that  he'd  been  of  use,  ad- 
vising me  about  this  and  that.  I 
told  you  how  kind  he'd  been,  before 
I  asked  you  to  go  and  see  the  sur- 
geon with  me.  Don't  you  remem- 
ber?" 

"I  do,"  said  Madeleine.  "And  I 
was  a  little  worried  for  you  even 
then.  But  I  didn't  know  you  very 
well.  And,  besides,  it's  rather  differ- 
ent now.  You're  launching  out  on 
a  sort  of  new  career,  as  a  younger 
woman.  You'll  probably  be  dancing 
a  good  deal  with  Mr.  Lopez  at  Mont- 
parnasse, unless  he  " 

"LTnless  he  what?"  Lady  Gates 
echoed  sharply. 

"I  was  going  to  say,  unless  he 
should  decide  to  accept  a  part  in  a 
picture.  I've  heard  that  he's  likely 
to  receive  an  offer.  One  hears  every- 
thing at  Montparnasse.  But  even  if 
Continued  on  page  94 


To  B 


e  m 


Styl 


You  should  have  a  nom  du  cinema  for  the  work 
you  do  in  behalf  of  art,  but  usually  there's 
another  reason  why  players  change  their  names. 


Sally  Blane,  left,  changed 
her  name  from  Betty 
Jane  Young,  because  she 
had  two  sisters  in  pic- 
tures— Loretta,  and  Polly 
Ann  Young. 


Dorothy  Kitchen,  right, 
changed  her  name  to 
Nancy  Drexel,  because 
she  didn't  like  Kitchen 
for  picture  work. 


Molly  O'Day,  above,  comes 
from  the  Clan  Noonan.  Her 
sister  changed  her  name  to 
Sally  O'Neil,  so  Molly,  to 
avoid  confusion,  became 
Molly  O'Day. 

Carol  Mason,  below,  who 
used  to  be  Lola  Todd,  found 
she  was  being  mistaken  for 
Thelma  Todd,  so  she 
changed  her  name. 


Kathryn  McGuire, 
left,  took  the  name 
of  her  husband,  and 
was  known  as  Kath- 
ryn Landy.  The  ex- 
hibitors, however, 
protested,  and  so  she 
changed  back  to  Mc- 
Guire again. 


94 


A  Girl  Comes  to  Hollywood 


Continued  from  page  92 
Mr.  Lopez  gets  this  offer,  and  does 
accept,  he'll  have  enough  time  at  his 
own  disposal  to  be  dangerous  to  you 
if  you're  not  careful,  Lady  Gates. 
Oh,  do  believe  I'm  speaking  for  your 
good !  Though  I  hardly  know  Mr. 
Lopez  personally,  I  do  know  his  rep- 
utation." 

Lady  Gates'  natural  color  now 
more  than  rivaled  her  rouge,  and 
flushed  her  whole  face  darkly  red. 

"Anybody  would  think  I  was  your 
age,  and  you  mine !"  she  said.  "I'm 
trying  my  best  to  be  young,  as  you 
very  well  know,  but  I'm  not  so  young 
as  all  that !  At  least,  I'm  old  enough 
to  judge  for  myself  what  men 
friends  to  make !  I  really  do  wonder 
at  your — your  check,  Miss  Smith.  I 
can't  help  thinking  that  my  nephew 
did  send  you,  or  else — or  else  that 
you've  fallen  in  love  with  Mr.  Lopez 
yourself,  and  are  afraid  I  may  take 
him  away !  Yes,  that's  what  you 
make  me  think — that  you're  jeal- 
ous!"   •  • 

"Oh,  Lady  Gates !"  the  girl  ex- 
claimed, springing  to  her  feet.  "You 
can't  believe  that  of  me." 

"Why  not?"  the  other  snapped. 
"I'm  not  so  old  and  hideous  now, 
that  nobody  can  be  jealous  of  me. 
You  must  have  had  some  strong  mo- 
tive for  daring  to  lecture  me  like 
this.  If  you  come  from  Malcolm, 
tell  him  from  me  that  I'm  going  to 
live  my  own  life.  I  don't  need  him 
in  it,  and  after  last  night  I  don't  want 
him.  If  you  came  on  your  own  ac- 
count, my  answer  to  you  is  the  same. 
I  intend  to  enjoy  myself  here,  and 
in  my  own  way,  with  my  own 
friends.  I'm  afraid  you've  traveled 
quite  a  long  distance  this  morning 
for  nothing.  And  I  suppose  by  this 
time  you  must  be  hurrying  off  to 
your  work  at  Montparnasse." 

Madeleine  resigned  herself  to  the 
inevitable.    She  could  do  no  more. 

CHAPTER  XVI. 

ALL  SET  TO  BEGIN  WORK. 

Madeleine  had  been  right  in  her 
estimate  of  Ossie  Sonnenberg.  She 
had  only  to  hold  him  up,  to  make 
him  see  the  twenty-five  thousand 
dollars  that  hadn't  materialized,  as 
she  saw  twenty-five  cents.  . 

If  she  wanted  to  play  Serena  Rob- 
bins,  in  "Red  Velvet,"  she  was  going 
to  play  it,  Sonnenberg  said.  If  she 
wished  the  part  to  be  turned  into  a 
star  part,  why  Allen  must  turn  it 
into  one.  What?  She  didn't  want 
to  be  a  star  yet?  Well,  then,  Serena 
Robbins  could  stay  as  she  was,  the 
ingenue.  She'd  be  sitting  pretty,  at 
that,  for  all  she  had  to  do  was  to  be 
nice  to  poor  old  Ossie,  and  he'd  buy 
the  next  story  after  "Red  Velvet," 


with  a  wow  of  a  part  in  it — a  reg- 
ular Clara  Bow  part ! — for  little 
Mary  Smith. 

Madeleine  had  no  mid-Victorian 
qualms  about  what  "being  nice"  to 
Ossie  might  entail.  She  knew  what 
he  meant,  and  she  knew  even  better 
what  she  meant.  The  two  meanings 
were  at  opposite  poles.  But  hers 
would  prevail,  and  there  would  be 
no  hitch  in  the  progress  of  the  film, 
or  of  the  maiden. 

Malcolm  was  surprised  when  Mr. 
Sonnenberg  informed  him  that  his 
failure  to  raise  the  sum  suggested 
was  going  to  make  no  difference  at 
all.  Sonnenberg  explained  that,  hav- 
ing read  the  scenario,  he  liked  it  bet- 
ter than  he  had  expected,  and  thought 
it  worth  risking  a  bit  of  money  on. 
But  the  surprise  was  less  agreeable 
tcf  the  author  of  "Black  Sleeves," 
alias  "Red  Velvet,"  than  it  would 
have  been  if  Marco  Lopez  had  not 
been  included  in  the  cast  engaged. 

No  mention  was  made  of  a  sug- 
gestion from  Miss  Smith,  but  after 
her  admission  concerning  Lopez,  Mal- 
colm had  no  doubts  as  to  why  Marco 
Lopez  had  been  selected  by  Sonnen- 
berg to  pla*y  the  dancer  in  the  ball- 
room scene. 

Once  more  Malcolm  was  in  funds. 
Once  more  he  was  a  figure  of  some 
importance,  if  not  of  his  old  im- 
portance, in  Hollywood.  He  had 
been  redeemed  from  the  humiliation 
of  failure. 

He  had  tried  to  convince  himself 
after  that  strange  admission  of  hers, 
that  though  the  dancer  was  im- 
portant in  the  girl's  life,  she  hated 
rather  than  loved  him.  But  this 
■couldn't  be  true,  after  all,  for  a 
woman  couldn't  wish  to  act  in  a  pic- 
ture with  a  man,  if  she  disliked  him. 
Malcolm  knew  that  Mary  had  read 
his  book,  for  he  had  given  it  to  her, 
and  told  her  in  detail  exactly  how 
he  had  changed  the  story  for  the 
film.  She  was  aware  that  Serena 
Robbins  would  have  to  dance  with 
Marco  Lopez  and  try  to  save  his  life 
when  attacked  by  the  indignant  hero 
in  a  garden  overhanging  an  Italian 
lake.  No,  Malcolm  assured  him- 
self again  and  again  if  hope  arose  in 
his  heart,  there  couldn't  be  any  real 
doubt  of  what  the  mysterious  Mary 
Smith's  feelings  were  for  the  equally 
mysterious  Marco  Lopez. 

As  for  Miss  Smith,  so  highly  were 
her  services  valued  by  Pierre,  that 
she  was  invited  to  come  back  to 
Montparnasse  when  her  picture 
work  should  be  finished,  at  a  salary 
of  fifty  dollars  a  week  instead  of 
thirty.  But,  Pierre  and  his  patrons 
asked  each  other,  when  would  the 
girl's  picture  work  be  finished? 

Every  one  who  came  to  Montpar- 


nasse was  so  interested  in  the  future 
career  of  the  green-spangled  harem 
girl  that  the  reappearance  of  Lady 
Gates,  dazzlingly  changed,  took  place 
comparatively  unnoticed. 

"Well,  she  couldn't  have  been 
worse  than  she  was,  so  she  must  be 
better!"  remarked  a  woman  who 
knew  by  experience  just  what  Lad}' 
Gates  had  gone  through,  but  had  not 
made  the  mistake  of  arriving  before- 
hand in  Hollywood.  "And  even  if 
she  is  a  nightmare,  her  new  clothes 
are  dreams !" 

His  aunt  would  have  been  pleased 
could  she  have  known  that  her  too- 
frank  nephew  actually  admired  her 
pluck,  when  he  had  had  time  to  think 
things  over.  But  she  gave  him  no 
opportunity  of  expressing  contrition, 
if  he  had  been  ready  to  do  so.  Though 
she  came  on  every  dance  evening  to 
Montparnasse,  and  sometimes  to 
luncheon,  the  cool  nod  and  "Keep 
your  distance"  look  she  bestowed 
on  Malcolm  was  from  the  first  en- 
counter a  warning  not  to  approach. 
She  sat  at  her  table,  and  Malcolm 
sat  at  his.  The  polite  bows  they 
vouchsafed  each  other  modified  gos- 
sip, but  of  course  those  interested 
saw  that  Malcolm  Allen  and  his  rich 
aunt  must  have  had  some  sort  of 
quarrel. 

"Perhaps  he's  peeved  about  the 
lounge  lizard,"  suggested  a  man  to 
Pierre,  who  merely  shrugged  his 
shoulders  and  knew  nothing. 

But  Pierre  thought  that  the  sug- 
gestion was  probably  correct.  Lady 
Gates  was  evidently  very  rich.  Her 
jewels  had  always  been  remarkable, 
and  now  the  dresses  she  wore  were 
as  beautiful,  as  well  chosen,  as  those 
of  the  most  famous  star.  Even  her 
shoes  were  perfect,  with  real  dia- 
mond buckles  and  heels.  Her  lace- 
clocked  stockings  must  cost  a  hun- 
dred dollars  a  pair. 

Pierre  chuckled  to  himself  when 
Lopez  announced  that  he  had  been 
asked  to  play  the  role  of  a  dancer 
in  Sonnenberg's  picture,  but  that  he 
had  arranged  not  to  do  any  night 
work.  He  could,  he  said,  continue 
to  dance  at  Montparnasse  then,  if 
Monsieur  Pierre  would  find  some 
one  to  fill  his  place  in  the  afternoons. 

"When  he  has  landed  his  goldfish 
and  married  her,  the  two  will  con- 
tinue to  come  here  and  spend  mi- 
lady's money,"  Pierre  told  himself, 
well  content.  It  was  not  surprising 
to  him  that  Mr.  Allen  was  annoyed 
with  his  rich  aunt. 

So  time  passed ;  and  then  one  day, 
when  production  of  "Red  Velvet" 
was  about  to  begin,  Marco  Lopez 
broke  the  news  to  the  lady  in  the 
darkened  room. 

[to  be  continued.] 


95 


Bic^cular  Stars 

Is  there  anything  these  favorites  won't 
do?     Congress  ought  to  pass  a  law! 


Josephine  Dunn,  left,  carries  this  little 
bicycle  with  her  wherever  she  goes, 
so  she  has  yet  to  "walk  home." 


Gertrude  Olmsted,  below,  has  a  two- 
wheeler  'n'  everything  in  the  gym  in 
her  home.    But  that's  a  funny  gym 
outfit  she's  wearing,  isn't  it? 


Can  you  imagine  any  one 
getting  pleasure  from 
riding  the  antiquated 
"bone  shaker,"  below  ? 
However,  Tim  McCoy 
and  Dale  Aus- 


Do  you  wonder  why  people  refer  to 
the  "wild  life"  of  Hollywood,  after 
looking  at  Joan  Crawford,  above, 
"carrying  on"  all  over  the  Metro- 
Goldwyn  lot? 

And  Conrad  Nagel,  below,  deserves 
severe  ridicule  for  his  conduct  in  the 
same   studio.     There   should   be  an 
investigation ! 


96 


Manhattan  Medley 


Continued  from  page  47 

"A  few  years  ago,"  she  continued 
reminiscently,  "I  was  leading  a  pur- 
poseless, futile  existence  as  a  young 
married  woman  in  Mexico  City.  And 
now  every  day  I  am  doing  some- 
thing worth  while.  I  lead  a  rich, 
full  life  in  Hollywood,  where  for 
several  years  I  have  worked  and 
worked  and  worked  to  perfect  my- 
self in  this  gorgeous  art  of  acting. 
I  look  back  upon  the  shallow  pur- 
suits I  indulged  in  in  Mexico  City, 
the  ceaseless  round  of  parties,  the 
long,  empty  days  spent  in  merely 
presiding  over  a  household  and  en- 
joying myself,  and  realize  how  far  I 
have  come  from  that  lazy,  useless  ex- 
istence. It  took  courage,  great  cour- 
age to  break  away,  but  once  I  took 
the  step  I  have  never  faltered." 

"Just  what  do  you  mean  by  doing 
something  worth  while?"  we  queried 
when  we  got  a  chance. 

"Why,  I  am  bringing  pleasure, 
recreation,  and  joy  into  the  lives  of 
thousands  of  people  throughout  the 
world.  Isn't  that  worth  while?  I 
realize  that  my  life  is  not  being  spent 
in  vain.  I  used  to  get  up  each  morn- 
ing, faced  only  with  the  prospect  of 
giving  pleasure  to  myself.  Now  each 
day  brings  the  responsibility  of  giv- 
ing my  best  to  the  world  ! 

"And  I  am  not  blase  about  it.  I 
love  it.  It  thrills  me.  I  love  to  hear 
from  my  fans,  to  know  I  am  giving 
them  happiness,  to  hear  their  com- 
ments, to  answer  their  questions.  I 
am  looking  forward  to  meeting  them 
in  all  parts  of  the  world.  And  as  I 
get  to  know  them  better,  I  shall, 
through  my  pictures,  introduce  them 
to  my  beloved  country.  I  shall  make 
a  picture  embodying  the  struggles, 
ideals,  and  characteristics  of  the 
Mexican  people.  I  shall  open  up 
for  them  not  only  the  cultured  world 
of  ladies  and  gentlemen,  but  the  sim- 
ple life  of  the  peon.  That  is  my  am- 
bition, that  is  my  dream." 

Upon  her  return  from  Europe 
Miss  del  Rio  will  portray  Evange- 
line. 

Another  Britisher  for  Hollywood. 

A  tall  young  Englishman,  late  of 
his  majesty's  service,  has  been 
added  to  the  Paramount  fold.  In  all 
likelihood  he  will  play  what  are  tech- 
nically known  as  semi-Westerns. 
Bringing  with  him  the  traditional 
modesty  of  British  heroes,  John  Lo- 
der  confesses  himself  somewhat  ap- 
palled at  the  step  he  has  taken,  and 
fears  the  rigors  of  Hollywood  and 
a  few  harsh  words.  But  assured  by 
Jesse  L.  Lasky  that  the  forces  of 
the  powerful  organization  will  be 
bent  toward  his  success,  he  wafted 


farewell  to  bally  London,  don't  cher 
know. 

Mr.  Lasky  signed  the  young  Brit- 
isher to  a  five-year  contract,  after 
the  briefest  of  meetings.  Loder  was 
working  in  "The  First  Born,"  at  a 
studio  just  outside  of  London,  when 
he  received  word  that  the  American 
impresario  would  parley  with  the 
young  actor. 

"I  was  told  to  be  at  Mr.  Lasky's 
hotel  at  eleven  o'clock  that  evening," 
said  Mr.  Loder.  "I  returned  home, 
put  on  my  swallowtails  and  dashed 
to  the  hotel,  arriving  at  eleven  o'clock 
on  the  dot.  I  had  a  long  wait,  and 
began  to  feel  that  I  was  just  one  of 
those  of  whom  Mr.  Lasky  had  said, 
'Oh,  well,  send  him  along,'  and  then 
had  forgotten  all  about  it.  Just  as  I 
was  about  to  give  up,  Mr.  Lasky 
came  along,  and  asked  me  to  come 
upstairs.  After  we  had  chatted  a 
bit,  he  asked  me  if  I  would  like  to 
go  to  Hollywood.  Of  course  I  said 
I  would,  so  he  told  me  to  bring  two 
hundred  feet  of  film  to  the  Para- 
mount office  at  ten  o'clock  the  next 
morning,  but  to  be  prompt,  as  he  was 
taking  the  eleven-o'clock  train  for 
Paris.  The  agreement  was  that  if  he 
liked  my  test  he  would  send  me  to 
Hollywood. 

"I  was  up  at  the  crack  of  dawn 
the  next  morning,  and  off  to  the 
studio  to  get  the  test.  But  the  man 
who  had  the  keys  and  was  in  charge 
of  the  film  had  not  arrived.  Time 
was  precious,  and  I  was  on  edge.  At 
nine  o'clock  no  one  was  there.  At 
nine-thirty  the  place  was  still  de- 
serted. At  ten  minutes  to  ten  the 
guardian  of  the  film  put  in  an  ap- 
pearance, but  the  dickens  of  it  was 
we  couldn't  find  the  particular  bit  I 
wanted.  I  was  quite  frantic,  but  it 
finally  showed  up,  and  somehow  or 
other  I  got  it  back  to  the  Paramount 
office  by  twenty  minutes  past  ten. 
Mr.  Lasky  was  waiting  on  the  pave- 
ment, with  his  watch  in  his  hand. 
He  waited  long  enough  to  run  the 
film  through  twice,  and  then  offered 
me  a  contract.  I  asked  for  time  to 
pay  my  taxi,  but  he  said  'No,  we 
have  to  sign  this  now.'  I  signed,  and 
he  was  off." 

Mr.  Loder,  late  of  Eton,  Sand- 
hurst, and  the  World  War,  came  to 
the  films  via  a  financial  failure.  He 
tried  his  luck  first  in  the  German 
studios,  where  bits  were  his  lot.  His 
career  nearly  terminated  when  he 
stepped  on  Maria  Corda's  foot  in  a 
scene,  but  she  failed  to  register  the 
anger  he  anticipated,  and  he  left 
Berlin  with  no  further  mishap.  Plis 
first  big  English  role  was  in  "The 
First  Born,"  which  was  being  made 
when  Mr.  Lasky  captured  our  hero 
and  brought  him  to  America. 


Right  Back  Where  He  Started  From. 

George  K.  Arthur,  the  little  Scots- 
man, who  costars  with  Karl  Dane, 
went  to  Europe  to  visit  his  native 
land — only  he  went  to  Paris  and  got 
stuck.  The  allurements  of  Paris 
proved  so  enticing  that  he  was  un- 
able to  tear  himself  away,  so  he  con- 
tented himself  with  a  visit  to  the 
scenes  of  his  early  youth,  as  it  were, 
improving  the  shining  hour  by  mak- 
ing a  pilgrimage  to  the  battlefields  of 
Flanders,  revisiting  the  spots  where 
he  had  served  with  the  41st  British 
Division  in  France.  Believing  that 
his  holiday  abroad  had  been  suffi- 
cient, upon  his  New  York  arrival  on 
the  Mauretania  Metro-Goldwyn 
whisked  him  right  back  to  the  Coast 
that  he  might  proceed  upon  his  com- 
edy way  with  his  team-mate. 

Mr.  and  Mrs.  Dempsey  Rehearse. 

Estelle  Taylor  and  Dorothy  Gish 
have  taken  to  the  stage,  in  company 
with  their  illustrious  husbands — the 
one,  Jack  Dempsey;  the  other,  James 
Rennie.  Dorothy  Gish's  abandon- 
ment is  a  case,  of  course,  of  discre- 
tion being  the  better  part  of  valor, 
since  her  recent  screen  work  has 
been  poor  and  her  lack  of  interest 
only  too  apparent.  But  Miss  Tay- 
lor's desertion  of  her  first  love  is  the 
result  of  a  determination  to  do  or 
die,  in  an  effort  to  cast  overboard 
the  conventional  vamp — her  allotted 
role  on  the  screen. 

"Give  me  liberty,  or  give  me 
straight  roles,"  she  cried  to  the  pro- 
ducers, at  the  height  of  her  film  ca- 
reer, and  she  has  her  liberty  for  the 
nonce.  Her  theatrical  venture  is  still 
on  the  lap  of  the  gods,  but  time  and 
the  box-office  will  tell.  David  Be- 
lasco  took  the  twain  in  charge,  and 
when  "The  Big  Fight"  opens  on 
Broadway,  the  Manassa  mauler  and 
his  bride  will  have  had  every  histri- 
onic advantage. 

Oh,  Joy— Camilla's  Back! 

Camilla  Horn,  young,  blond,  and 
beautiful,  hobbled  down  the  gang- 
plank of  the  He  de  France  with  a 
sprained  ankle,  the  souvenir  of  a 
game  of  deck  tennis  the  day  before. 
With  the  aid  of  a  cane,  and  the 
thought  of  the  new  long-term  con- 
tract which  Joseph  M.  Schenck 
brought  all  the  way  to  Europe,  she 
managed  to  be  pretty  cheerful.  Her 
trip  abroad  took  her  to  Hamburg, 
where  she  visited  her  mother.  Upon 
her  return  to  Hollywood,  she  will 
start  a  new  picture  with  John  Barry- 
more. 


97 


Tfou'd  Better  Watch  Out! 

Some  of  the  stars  show  the  timepieces 
by  which  they  miss  their  appointments 


98 


The  Screen  in  Review 


Continued  from  page  71 
the  heroine,  who  is  a  Russian  spy, 
with  interest.  This  is  largely  be- 
cause Miss  Garbo  is  herself  mys- 
terious, heavy-lidded,  inscrutable. 
Once  again  it  is  the  triumph  of  per- 
sonality, and  the  glamour  cast  by  the 
camera.  In  the  coldest  analysis, 
Miss  Garbo,  as  an  actress,  is  not 
mysterious  at  all,  and  has  never 
shown  either  the  interest  or  the  abil- 
ity to  characterize  her  roles.  At  the 
risk  of  making  an  unintentionally 
comic  comparison,  I  consider  Jackie 
Coogan  an  infinitely  superior  actor. 
Do  you  care  ? 

At  any  rate,  Tania  is  assigned  to 
get  those  papers  from  Karl,  an  Aus- 
trian officer,  but  falls  in  love  with 
him  instead,  and  he  with  her.  Such 
a  business  for  a  woman  to  be  in ! 
Furthermore,  Karl's  love  turns  to 
hate — movie  hate — when  he  discov- 
ers Tania's  identity  and  is  court- 
martialed  for  his  manly  weakness 
in  succumbing  to  her  wiles.  How- 
ever, he  is  released  and,  disguised  as 
a  musician,  sets  forth  to  recover  the 
papers.  When  there  seems  no  way- 
out,  Tania  solves  the  difficulty  by  the 
simple  expedient  of  shooting  the  vil- 
lain. A  canter  across  the  frontier 
assures  the  reunited  hero  and  hero- 
ine of  that  nebulous  state  of  happi- 
ness expected  of  pictures  where  the 
frontier  is  just  around  the  corner 
from  the  scene  of  anguish. 

A  factory-made  story,  but  rich  in 
polish  and  uniforms,  and  with  much 
Garbo.  Conrad  Nagel,  with  a  ro- 
mantic marcel,  is  quietly  heroic  and 
convincing. 

A  Charming  Frolic. 

For  an  engaging,  amusing,  and 
original  comedy,  consider  "Hot 
News,"  Bebe  Daniels'  latest  contri- 
bution to  the  current  cinema.  I  war- 
rant you  will  find  nothing  better  on 
your  shopping  tour.  Promise  to  see 
it  before  we  go  any  further?  At- 
ta  boy!  It  deals  with  the  rivalry  of 
two  news-reel  camera  men — only 
one  of  them  is  a  girl,  Pat  Clancy, 
played  by  Miss  Daniels.  Her  com- 
petitor is  Neil  Hamilton,  as  "Scoop" 
Morgan,  and  their  opposition  leads 
them  into  all  manner  of  exciting, 
comic  and  daring  stunts.  All  are 
good,  but  the  most  important  se- 
quence is  a  melodramatic  one  in 
which  Pat  and  Scoop  separately  at- 
tend a  garden  party,  with  the  avowed 
intention  of  procuring  a  news  reel 
of  the  guest  of  honor,  a  maharajah, 
whose  antipathy  to  the  camera  is 
history.  Pat  is  disguised  as  an  en- 
tertainer, and  Scoop,  in  order  to  gain 
admittance,  dons  the  costume  of 
Pat's  dancing  partner,  giving  no 
thought  to  the  fateful  moment  when 
he  must  perform  with  her  for  the 


guests.  The  two  do  a  burlesque 
apache  dance  which  is  quite  the  fun- 
niest imaginable.  A  jewel  is  stolen 
from  the  maharajah,  Pat  and  Scoop 
are  spirited  aboard  the  yacht  of  the 
villain,  and  are  eventually  rescued  by 
government  cutters  and  airplanes, 
with  Pat's  photographic  record  of 
the  crime  intact.  It  is  all  very  lively 
and  is  interspersed  with  gags  galore. 
A  wholly  refreshing  performance  is 
contributed  by  Mr.  Hamilton,  whose 
sense  of  humor  has  found  outlet  in 
no  other  role  so  fully  as  in  this,  and 
Paul  Lukas  is  an  admirable  villain. 
All  in  all,  "Hot  News"  crackles  with 
spontaneous  combustion. 

Extra!    Bolshevist  Soubrette  Marries 
Prince! 

As  some  one  has  said,  there  was 
no  reason  to  continue  the  Russian 
upheaval  beyond  1917,  because  an- 
other year  would  have  seen  all  the 
princes  married  to  beautiful  peasants, 
and  nothing  more  to  worry  about. 
That  is,  if  we  may  rely  upon  our 
movies  for  the  truth.  It  happens 
again  in  "The  Scarlet  Lady."  Lya 
de  Putti,  as  a  roguish  little  Bolshe- 
vist, described  by  a  subtitle  as  a 
"weed,  but  unsoiled,"  marries  aris- 
tocratic Prince  Karloff,  and  the 
events  that  bring  about  this  now  fa- 
miliar climax  are  far  from  uninter- 
esting. The  vigor  of  the  direction, 
plotting  and  acting  disarms  the  spec- 
tator who  expects  subtlety,  or  fine- 
ness. The  picture  is  effective  in- 
stead. I,  for  one,  found  it  vastly 
more  entertaining  than  many  similar 
stories  on  which  months  had  been 
spent  in  jockeying  for  camera  angles, 
symbols,  and  refinements.  Suspense 
is  not  lacking  from  "The  Scarlet 
Lady,"  for  you  just  can't  help  won- 
dering what  the  minx  will  do  next. 
Something  happens  all  the  time,  from 
the  moment  Lya  is  discovered  under 
Prince  Karloff's  bed,  until  she  shoots 
Zeneriff,  the  "Red"  leader  with  the 
bullet  intended  for  the  Prince,  and 
they  flee  across  not  one  frontier  but 
lots  of  them. 

Miss  De  Putti  has  a  magnetic  per- 
sonality, but  is  hardly  sympathetic  or 
sincere,  nor  is  she  exactly  convincing 
as  an  innocent.  Still,  she  arrests  the 
eye  and  holds  it.  Don  Alvarado  is 
agreeable,  only  because  of  his  con- 
ventional role  rather  than  any  lack 
within  himself,  and  Warner  Oland 
is  ferociously  villainous. 

A  Polar  Adventure. 

"Lost  in  the  Arctic"  is  a  photo- 
graphic record  of  the  recent  expedi- 
tion to  Herald  Island,  which  resulted 
in  the  revelation  of  the  fate  which  be- 
fell the  eight  members  of  Vilhjalmur 
Steffansson's  party,  who  were  sep- 
arated from  their  companions  and 


lost  during  the  explorer's  1913  expe- 
dition. 

Far  from  being  "just  another 
travel  picture,"  "Lost  in  the  Arctic" 
is  a  continuously  interesting  story  of 
a  magnificent  adventure.  The  scenes 
taken  on  board  the  ship  during  a 
storm  are  as  thrilling  a  sight  as  you 
would  wish  to  see.  Unusual  pictures 
of  a  herd  of  reindeer,  views  of  Seal 
Island,  where  vast  families  of  seal 
are  intimately  glimpsed,  the  dangers 
of  ice  floes,  the  harpooning  of  a  giant 
whale,  the  chase  over  snowy  wastes 
to  capture  a  polar  bear  alive,  and 
other  unusual  experiences  form  a 
constantly  changing  panorama  of  in- 
teresting action,  from  the  start  of 
the  voyage  until  the  American  flag 
is  raised  over  the  spot  which  bore 
tragic,  mute  evidence  of  the  fate  of 
the  eight  men.  The  actual  manner 
in  which  they  met  their  death  is  still 
uncertain,  since  their  bones  were 
found  under  rotted  canvas,  and  near 
by  was  enough  food  supply  to  have 
lasted  them  for  months. 

Credit  for  the  unusual  photo- 
graphic effects  goes  to  H.  A.  and 
Sidney  Snow.  The  picture  has  sound 
effects,  and  a  Movietone  musical 
score  arranged  and  conducted  by 
Roxy. 

Mr.  Gilbert  as  a  Tough  Guy. 

Underworld  gangsters  and  their 
rivalry  form  the  backbone  of  "Four 
Walls,"  John  Gilbert's  new  picture. 
Toward  the  end  quite  a  bit  of  sus- 
pense comes  from  the  uncertainty  of 
Benny's  fate ;  that  is,  will  he  be  ar- 
rested for  the  death  of  his  enemy, 
Monk,  and  serve  another  sentence? 
The  picture  may  be  called  an  intimate 
glimpse  of  gang  affairs,  for  it  is 
broad  in  neither  its  physical  nor  emo- 
tional scope  and,  all  told,  is  only  fair. 
It  hardly  deserves  a  place  with  the 
more  exciting  films  dealing  with 
criminals  that  we  have  lately  seen. 
But  it  has  the  added  attraction  of  the 
popular  Mr.  Gilbert  in  what  is,  for 
him,  an  unusual  role.  Simple  though 
it  is,  he  fails  utterly  to  characterize 
the  young  Jewish  fellow,  and  plays 
instead  just  himself.  Dapper,  well 
dressed,  poised,  he  is  the  self-assured 
star.  Even  after  four  years  in  prison,- 
during  which  he  is  supposed  to  have 
undergone  spiritual  awakening,  Ben- 
ny's face  is  without  a  new  line, 
shadow,  or  expression.  This  is 
strange  after  Mr.  Gilbert's  graphic 
and  moving  characteriza'tion  in  "Man, 
Woman,  and  Sin."  Joan  Crawford  is 
likewise  indifferent  to  the  possibili- 
ties of  Frieda,  the  bone  of  conten- 
tion between  Benny  and  Monk.  She 
is  an  emotional  debutante  given  to 
expensive  gowns.  Perhaps  my  ac 
quaintance  with  gangsters  and  their 
girls  is  too  limited  for  me  to  recog- 


The  Screen  in  Review 


99 


nize  the  verity  of  these  portraits,  but 
I  always  bow  to  familiar  screen  types, 
no  matter  what  names  the  roles  may 
be  called.  Carmel  Myers,  shedding 
her  satins  and  sequins,  is  Bertha,  a 
home  girl  and,  with  Vera  Gordon, 
gives  the  most  authentic  performance 
in  the  picture. 

Collegiate,  But  Funny — Really. 

Unless  you  have  discerned  the 
buoyant  humor  underlying  many  of 
Rod  La  Rocque's  serious  roles,  you 
will  be  vastly  surprised  when  you  see 
him  in  "At  Yale."  Come  to  think 
of  it,  you  will  be  surprised  anyhow. 
First,  that  a  college  comedy  could  be 
so  lively  and  funny  at  this  late  day, 
and,  secondly,  that  Mr.  La  Rocque 
could  play  slapstick  and  yet  retain  his 
inherent  elegance.  He  does  both  su- 
premely well.  The  story  is  barely 
more  than  a  kernel — maybe  but  a 
husk — but  it  is  forgivable.  Mr.  La 
Rocque  is  Jaime  Alvarado  Monies, 
of  the  Argentine's  flaming  youth,  who 
comes  to  New  Haven  to  enroll  as  a 
freshman.  Under  amusing  circum- 
stances he  has  already  met  one  of 
the  professors  and  his  daughter, 
Helen,  and  on  second  sight  he  im- 
pudently announces  that  he  means  to 
marry  her.  There  are  all'  sorts  of 
complications,  such  as  the  befuddled 
pursuit  of  Jaime  by  a  goofy  detective, 
the  South  American's  exploits  as  a 
boxer  and  a  football  player,  and  his 
participation  in  a  road-house  brawl 
on  the  eve  of  the  big  game.  Above 
all  this,  however,  it  is  the  acting  and 
the  direction  that  make  "At  Yale" 
pleasant  entertainment.  Jeanette 
LofF  is  a  "new  face"  and  a  pretty 
one,  with  a  nice  sense  of  comedy  to 
enhance  her  value ;  and  Hugh  Allan 
has  an  agreeably  normal  quality,  as 
her  mildly  wayward  brother.  Tom 
Kennedy  is  the  hard-working  detec- 
tive, whose  mishaps  are  responsible 
for  numerous  chuckles. 

The  Never-never  Land. 

Ramon  Novarro  invades  the  imagi- 


nary kingdom  of  Balanca,  in  "For- 
bidden Hours,"  and  while  he  is  every 
inch  a  king,  the  result  of  his  presence 
is  not  particularly  gratifying.  This 
is  because  the  narrative  is  thin  in  all 
the  elements  that  comprise  a  story. 
In  fact,  there  is  hardly  a  story  at  all. 
Too  bad,  for  Mr.  Novarro  makes  a 
handsome  young  monarch  with  a 
mischievous  sense  of  humor,  the  set- 
tings are  richly  ornate  and  the  cast 
is  impressive.  But  when  a  king  falls 
in  love  with  the  "wrong"  maiden,  re- 
nounces his  throne  that  he  may 
marry  her,  and  when  his  people  tell 
him  to  marry  her  and  keep  the  crown, 
you  will  admit  there  is  little  worth 
bothering  about,  and  nothing  at  all 
of  suspense.  Yet  so  ardent  are  Mr. 
Novarro's  admiring  legions,  that  they- 
cannot  but  find  in  him  compensation 
for  a  tepid  picture,  and  will  prob- 
ably rejoice  that  they  have  seen  him 
as  Michael  IV.  Renee  Adoree's  per- 
formance as  Marie  is  beautifully  ex- 
ecuted, in  spite  of  the  funny  dresses 
she  wears,  and  Dorothy  dimming, 
Edward  Connelly,  Roy  D'Arcy,  and 
Alberta  Vaughn  are  also  to  be  found 
laboring  valiantly. 

Pleasant  Enough  as  Pastime. 

It's  a  frail  farce  they  call  "Powder 
My  Back" — the  name,  by  the  way,  of 
a  musical  comedy — but  it  is  diverting, 
and  Irene  Rich  gives  a  pleasing,  and 
at  times  amusing,  performance.  She 
is  Frit  si  Foy,  star  of  the  show,  who 
is  denounced  during  a  performance 
by  John  Hale,  a  mayoralty  candidate. 
Though  she  does  nothing  more  than 
prance  about  in  a  gaudy  costume,  she 
is  a  menace  to  the  community,  he 
thunders.  But  he  succeeds  in  clos- 
ing the  show.  Why  it  means  that 
the  company  cannot  proceed  to  an- 
other city,  I  do  not  know,  unless  it  is 
that  Frit  si  Foy  must  stay  in  this  par- 
ticular place  for  the  purpose  of  con- 
tinuing the  story.  Continue  it  she 
does,  by  vowing  to  get  even  with  John 
Hale.  A  faked  accident  causes  her 
to  be  taken  into  his  home,  where  she 


succeeds  in  gaining  his  interest  and 
his  son's  love.  She  cures  the  boy  of 
his  infatuation  for  the  sake  of  his 
fiancee,  and  by  that  time  his  father 
has  become  the  suitor.  The  story, 
you  see,  is  riddled  with  improbabili- 
ties, but  in  spite  of  them  the  picture 
holds  one's  attention  because  of  its 
worth-while  moments.  Many  of  them 
are  supplied  by  Andre  Beranger,  who 
gives  another  of  his  precisely  comic 
performances  as  a  pseudo-romantic 
orchestra  leader  given  to  harp  solos 
and  other  characteristic  frailties. 
Anders  Randolf,  Carroll  Nye,  and 
Audrey  Ferris  are  others  in  the  cast. 

Prepare  to  Make  Allowances. 

Two  rather  musty — no,  very  musty 
— situations  inspire  the  picture 
known  as  "Beau  Broadway."  If  you 
can  condone  them,  you  will  find  the 
remainder  of  the  entertainment  fair. 
As  for  myself,  I  cannot  condone. 
When  a  worldly  bachelor  is  asked  to 
look  after  the  granddaughter  of  a 
dying  friend,  promptly  assumes  that 
she  is  a  child  and  discovers  her  to  be 
an  ingenue  with  lots  of  sex  appeal, 
I  recall  two  hundred  and  forty-six 
versions  of  this  in  novels,  plays,  and 
movies.  And  when  the  roue  marries 
the  ingenue  in  the  end,  I  find  the 
conjunction  repellant.  When,  in  ad- 
dition, the  roue,  who  is  a  prize-fight 
promoter,  elaborately  keeps  secret 
his  occupation  from  the  girl,  I  know 
the  circumstance  has  been ,  fabricated 
by  a  tired  mind  just  to  make  a  movie. 
Apart  from  this,  however,  the  pic- 
ture has  bright  moments  and  is  not 
as  dull  as  it  is  absurd.  Lew  Cody, 
as  the  fight  promoter,  gives  a  clever 
and  believable  performance,  and  Sue 
Carol  lifts  her  role  of  the  ingenue  far 
above  what  it  would  have  been  in 
less  pretty  and  appealing  hands.  But 
as  for  pairing  them  off  as  man  and 
wife — well,  when  it  happens  in  real 
life  there  is  a  cry  of  protest.  Aileen 
Pringle,  though  costarred,  has  little 
to  do  except  espouse  the  juvenile 
when  the  other  romance  is  assured. 


Hollywood  High  Lights 


Continued  from  page  65 
of  the  Continent,  will  have  a  chance 
to  see  Nick  Stuart,  the  young  Fox 
leading  man,  who  is  reported  very 
much  devoted  to  her,  and  who  is  at 
present  somewhere  abroad,  with  a 
director  and  camera  man,  making 
scenes  for  his  latest  picture,  "Chas- 
ing Through  Europe,"  a  news-cam- 
era story. 

Other  young  girls  are  being  lured 
by  the  fascination  of  foreign  travel 
— among  them  Sally  O'Neil  and 
Betty  Bronson.  When  Betty  goes  it 
will  be  for  work,  in  all  probability, 


since  she  is  to  play  in  "Peer  Gynt" 
for  Ufa  in  Berlin.  Betty,  by  the 
way,  was  given  numerous  lines  to 
speak  in  "The  Singing  Fool,"  star- 
ring Al  Jolson.  Since  her  natural 
voice  has  a  pleasing,  ringing  quality, 
it  may  register  well  for  Vitaphone. 
Let's  hope  so,  because  the  voices  of 
most  of  the  younger  girls,  as  we 
have  noted  before,  are  consistently 
disappointing. 

Crashing  the  Portals. 

A  joke,  or  something  resembling 
one,  was  recently  perpetrated  on  a 


party  of  visiting  attorneys.  They 
had  come  to  Los  Angeles  for  a  con- 
vention, and  naturally,  having  the 
same  disposition  as  every  one  else 
who  visits  that  fair  city,  the  verv 
first  desire  they  expressed  was  to  see 
the  studios. 

In  some  way  they  were  lured  into 
a'  sight-seeing  bus,  the  driver  of 
which  boldly  proclaimed  that  he 
could  show  them  all  the  sights  of 
movieland,  and  that  he  would  get 
them  right  through  the  studio  gates, 
without  any  obstacles. 

How  he  expected  to  accomplish 


100 


Hollywood  High  Lights 


this,  only  he  himself  knew;  or  maybe 
he  didn't  really  know,  but  was  simply 
taking  a  chance,  like  thousands  of 
other  optimists  Avho  learn  better  after 
their  first  encounter  with  the  wrath 
and  indignation  of  a  studio  gateman. 

Whatever  his  scheme,  his  effort  to 
effect  an  entrance  at  the  first  studio 
the  party  reached  was  duly  repulsed 
by  the  ogre  who  extends  similar 
welcome  to  all  strangers  knocking 
at  the  gates.  The  rubber-neck  im- 
presario decided  to  carry  the  bluff 
through,  and  raged  and  stormed  and 
proclaimed  that  he  had  permission  to 
enter.  The  attorneys,  feeling  that 
they  had  received  unjustifiable  treat- 
ment, also  joined  in  the  fray.  Or 
maybe  it  was  just  instinct  for  them 
to  enlist  in  the  verbal  battle. 

At  any  rate,  the  gateman  eventually 
was  impressed  by  all  the  hubbub  and 
eloquent  phraseology,  so  he  decided 
to  phone  the  publicity  office,  which 
took  the  matter  under  immediate  ad- 
visement, and  after  heated  parley 
concluded  it  would  be  the  better  part 
of  diplomacy  to  show  the  attorneys 
around. 

It  should  be  noted  that  the  bus 
driver  was  allowed  to  languish  out- 
side the  gates,  and  that  the  moral  of 
this  anecdote  is  that  if  you  can't 
crash  into  Hollywood  one  way, 
there  is  always  the  bus-ballyhooer  to 
remember.  His  racket  worked  once 
— maybe  it  will  again. 

On  to  Leningrad. 

A  mild  rage  for  Russian  pictures 
is  on.  "The  Patriot,"  "The  Woman 
from  Moscow,"  "Wheel  of  Chance," 
"The  Mysterious  Lady,"  and  "The 
Cossacks"  are  among  the  releases 
disclosing  this  tendency.  Billie  Dove's 
new  picture  will  have  a  Slav  setting. 

Billie's  latest  film,  "The  Night 
Watch,"  has  been  rated  very  .highly 
by  those  who  have  seen  it.'  She  is 
said  to  do  more  acting  in  it  than  in 
any  picture  she  has  made.  Her 
beauty  is  always  abounding — but 
good  stories  haven't  come  her  way 
any  too  often. 

Destinies  Rejoined. 

Conrad.  Veidt  and  Mary  Philbin 
are  teamed  again  in  "Erik  the 
Great."  Veidt  plays  the  role  of  a 
magician,  and  Miss  Philbin  plays  his 
assistant.  The  story  is  a  murder 
thriller. 

Veidt  and  Mary  were  teamed  in 
"The  Man  Who  Laughs,"  but  there 
seem  to  be  definite  obstacles  to  the 
acceptance  of  this  film  as  a  romance, 
which  it  inherently  is.  Nobody  can 
view,  with  any  enthusiasm,  the  spec- 
tacle of  a  mature  man  making  love 
to  a  pretty,  young  girl,  and  at  the 


same  time  displaying,  on  all  occa- 
sions, a  wide  expanse  of  teeth. 

"Erik  the  Great,"  while  it  may 
have  its  gruesome  moments,  is  not 
handicapped  by  any  such  drawback. 

Tut,  Tut,  Adolphe. 

How  much  can  an  actor's  career 
be  hurt  by  the  sale  of  ties,  of  alleged 
inferior  quality,  bearing  his  name? 

This  is  the  very  interesting  ques- 
tion which  will  have  to  be  settled 
by  the  courts.  Adolphe  Menjou  is 
the  one  responsible  for  bringing  it 
before  the  legal  tribunal. 

In  a  suit  demanding  $25,000  dam- 
ages, he  recently  charged  that  a  cer- 
tain company  had.  manufactured 
neckerchiefs  of  a  negligible  grade, 
and  called  them  the  "Menjou."  He 
asserted  this  had  lowered  his  stand- 
ing in  the  public  eye,  because  he  was 
recognized  as  a  fastidious  and  very 
correct  dresser. 

Isn't  that  too  bad? 

Tom  Speaks  His  Mind. 

In  the  past  year  or  more,  numerous 
rumors  have  been  circulated  that 
Tom  Mix  and  his  wife,  who  is  very 
popular  in  the  social  life  of  the  col- 
ony, would  separate.  When  Mrs. 
Mix  went  to  Paris  last  year,  the  sup- 
position was  that  she  would  quietly 
seek  a  French  divorce,  but  her  re- 
turn home  to  Tom,  with  their  charm- 
ing little  daughter,  Thomasina, 
promptly  dispelled  the  idea. 

Again,  the  past  summer  Mrs.  Mix 
and  Thomasina  journeyed  to  Europe 
for  a  six-month  stay,  with  Italy  and 
France  their  main  itinerary,  and  ru- 
mors of  a  divorce  once  more  took 
wing,  but  they  were  vigorously  de- 
nied by  both  Tom  and  Victoria. 

However,  Tom  subsequently  made 
a  statement  to  the  press,  in  which  he 
avowed  that  he  would  never  seek 
separation  from  his  wife,  because  his 
devotion  to  her  and  his  daughter  was 
great,  and  would  always  be  constant. 

But  he  did  add  that  if  ever  his 
wife  sought  a  separation  he  would 
blame  her  action  unequivocally  upon 
Hollywood  and  its  "parasites." 

"My  home  is  Victoria's  and  my 
baby's  as  long  as  they  live,"  said 
Tom.  "I  don't  want  them  ever  to 
leave  it.  They  can  have  everything 
I've  got.  Victoria's  happiness  is  my 
happiness,  and  if  a  divorce  will  add 
to  her  peace  of  mind,  why  I'll  even 
consent  to  that.  But  I  pray  she 
never  will  ask  it,  for  both  our  sakes, 

"We  were  divinely  happy  when 
we  lived  in  a  two-room  shack,  and 
Victoria  did  her  own  housework.  I'd 
love  to  go  back  to  it  again.  Man- 
sions and  $15,000  automobiles  don't 
make  me  happy.  As  soon  as  we 
bought  the  big  house  in  Beverly, 


things  weren't  the  same.  Too  many 
servants — too  many  frills — too  many 
people  I  wouldn't  ever  accept  as 
friends — a  lot  of  Hollywood  para- 
sites and  hangers-on,  who  used  my 
swimming  pool  as  though  it  were  a 
public  tank,  played  on  my  tennis 
court  all  hours  of  the  day,  ate  and 
drank  everything  in  the  house,  and 
still  weren't  satisfied. 

"I'm  a  simple  man  of  simple 
tastes,  and  I  like  real  people,  real 
men  and  women.  Most  of  that 
crowd  who  filled  my  house,  making 
me  feel  like  a  stranger  under  my  own 
roof,  hadn't  the  brains  or  the  back- 
bone even  to  make  a  respectable  liv- 
ing. 

"I  never  would  blame  Victoria  for 
breaking  up  our  home,  if  such  a  sad 
thing  occurred.  But  I  would  fix 
the  blame  on  Hollywood's  parasites !" 

After  Hollywood  came  up  for  air, 
following  Tom's  frank  expressions, 
there  were  many  people  who  asked 
the  question,  "Have  you  ever  been  in 
the  Mix  swimming  pool?" 

"Old  Man  River"  Absent. 

From  the  present  outlook,  nobody 
will  sing  "Old  Man  River"  when 
"Show  Boat"  is  presented  on  the 
screen.  If  anybody  does,  it  will  have 
to  be  some  caroling  basso  behind  the 
scenes  in  the  picture  theater.  Uni- 
versal, which  is  producing  the  Edna 
Ferber  story,  had  at  one  time  hoped 
to  make  it  with  the  music  of  the 
stage  ve'rsion  that  has  been  running 
in  New  York,  but  the  plan  suffered 
shipwreck  when  they  were  unable  to 
obtain  the  rights.  In  any  event,  the 
film  will  be  synchronized,  probably 
with  dialogue,  when  shown,  and 
there  will  be  musical  numbers  spe- 
cially written. 

Laura  La  Plante,  of  course,  won 
the  plum  role  of  Magnolia,  after  va- 
rious other  players  had  been  men- 
tioned for  it,  including  Mary  Phil- 
bin and  Alice  Day. 

The  Cohens  and  Kelly s  Are  Returning. 

Good  news  for  those  who  like  that 
sort  of  entertainment  is  the  fact  that 
another  "Cohens  and  Kellys"  com- 
edy is  maturing  at  Universal.  This 
time  the  ultra-distinguished  quartet, 
if  one  may  call  them  that,  frolic  in 
Atlantic  City.  George  Sidney  and 
Vera  Gordon  are  Mr.  and  Mrs. 
Cohen,  while  the  Kellys  are  played 
by  Mack  Swain  and  Kate  Price. 
Cornelius  Keefe  and  Nora  Lane  are 
responsible  for  the  love  interest, 
while  Tom  Kennedy,  the  prize 
fighter,  is  listed  in  the  cast  as  the 
"murderer."  We  covet  his  role, 
particularly  if  he  is  out  to  get  the 
Cohens  and  Kellys  themselves,  or 
any  comedies  that  they  may  appear 
in  from  this  day  forth. 


'Youthful 

Futurists 


Members  of  "Our  Gang"  illustrate  what 
they  hope  to  be  when  they  grow  up. 


101 

Farina,  below,  is  going  to  preach  the  Gos- 
pel when  he  gets  too  old  to  enjoy  himself 
in  the  movies. 


Mary  Ann  Jackson,  above,  has  a  ca- 
reer as  a  dressmaker  all  planned  out 
for  herself. 

Little  Wheezer,  right,  is  starting  in 
right  now  to  be  another  Lindbergh. 

Jean  Darling,  outer  right,  is  getting 
an  early  start  toward  a  career  as  a 
movie  vamp. 

Joe  Cobb,  below,  intends  to  apply  his 
fat  self  to  being  the  engineer  of  a 
railroad  express. 


102 


Information,  Please 


WHAT  is  this,  old-home  week  for  Gary- 
Cooper?  I  don't  like  to  keep  repeat- 
ing myself,  so  let's  get  this  over  with  right 
now.  Gary  was  born  in  Helena,  Montana, 
May  7,  1901.  Height,  six  feet  two;  weight, 
180.  Black  hair,  blue-gray  eyes.  Real 
name  is  Frank  Cooper.  And  he's  not  mar- 
ried ! 

Nils  Asther  is  causing  a  stir  this  month, 
too.  He  was  born  in  Malmo,  Sweden, 
January  17,  1902.  Six  feet  one ;  brown 
hair  and  hazel  eyes.  Unmarried. 

And  Lupe  Velez— what  a  hit  she's  mak- 
ing!  Born  in  Mexico  City,  July  18,  1909. 
Five  feet  two;  weight,  about  110.  Black 
hair,  dark-brown  eyes. 

Curious. — There  you  go,  wanting  to 
know  what  I  look  like.  It's  the  truth  that 
hurts.  Colleen  Moore  is  five  feet  three. 
Weight,  110.  Brown  hair.  One  brown 
eye,  one  blue  eye — though  they  look  alike 
to  me. 

Betsy  B. — If  only  all  questions  were  as 
easy  as  yours,  I  wouldn't  get  this  pain  in 
the  neck  from  overwork.  Conrad  Nagel 
was  born  in  Keokuk,  Iowa,  March  16, 
1897.  That's  his  real  name.  Married  to 
Ruth  Helms,  and  there's  a  Ruth,  Jr.,  about 
six.  He's  been  in  pictures  nine  years. 
"Tenderloin"  was  his  first  talking  picture, 
with  Dolores  Costello.  May  McAvoy  plays 
opposite  him  in  "Caught  in  the  Fog." 

Dorothy  Moul. — See  above.  Conrad 
lived  for  years  in  Des  Moines,  so  it 
wouldn't  surprise  me  a  bit  if  he  once  took 
dancing  lessons  there. 

Jania. — "Some"  questions  is  right !  The 
postman  drove  up  with  them  in  a  truck. 
Picture  Play  has  tried  to  get  an  inter- 
view with  Nils  Asther,  but  it  takes  a  bet- 
ter man  than  we  are  to  make  him  talk ! 
However,  an  interview  will  appear  shortly. 
Bill  Haines'  next  film  is  "Excess  Bag- 
gage." Mary  Philbin :  Born,  Chicago, 
July  16,  1904;  five  feet  two;  weight,  96. 
Blond  hair,  hazel  eyes.  Flora  Bramley  is 
a  nineteen-year-old  English  girl  who  came 
to  America,  was  "discovered"  in  a  New 
York  musical  show,  and  engaged  for  Bus- 
ter Keaton's  "College."  Since  then  she 
has  played  in  "Sorrell  and  Son"  and  "We 
Americans."  James  Hall  is  separated 
from  his  wife.  Alice  White  was  born  in 
Paterson,  New  Jersey,  about  twenty  years 
asro.    Red  hair.  .  Sue  Carol  was  born  in 


1908 ;  brunette,  about  five  feet  two.  Rod 
La  Rocque  is  nearly  thirty ;  six  feet  three ; 
weight,  181.  Loretta  Young  was  born  in 
1912 ;  blue  eyes ;  blonde ;  height,  five  feet 
three ;  weight,  100.  Ruth  Taylor's  new 
picture  is  ''Just  Married."  Don  Alvarado 
is  twenty-four ;  five  feet  eleven.  I  don't 
know  whether  First  National  will  still  send 
out  photographs  of  Barbara  La  Marr. 

Squeeps. — Well,  I'm  no  surer  of  your 
name  than  you  are  of  mine.  I'll  bet  you 
weren't  christened  that,  either !  The  girl 
in  "Freckles"  was  Gene  Stratton,  grand- 
daughter of  the  author,  Gene  Stratton- 
Porter.  She's  not  a  regular  screen  actress 
but  perhaps  F.  B.  O.  studio  would  forward 
letters  to  her.  Neil  Hamilton's  new  film 
is  "Take  Me  Home."  Janet  Gaynor  is 
twenty-one ;  Larry  Kent  doesn't  give  his 
age. 

E.  Thomas. — Janet  Gaynor  is  a  Phila- 
delphia girl,  so  I  shouldn't  be  at  all  sur- 
prised if  your  friend  knew  her.  But  Janet 
has  lots  of  friends  she  never  told  me  any- 
thing about. 

Rosalie  Gordon. — This  "how  to  get  into 
the  movies"  is  life's  greatest  problem ! 
Extras  all  register  at  the  Central  Casting 
Bureau,  but  they  won't  register  newcomers, 
so  there  you  are — stymied,  as  they  say  on 
the  golf  links.  Extras  are  supposed  to 
have  a  complete  wardrobe,  though  some- 
times studios  furnish  costumes.  Good 
photographic  features  are  necessary — large 
eyes,  set  well  apart,  are  considered  desir- 
able. Girls  should  not,  as  a  rule,  be  taller 
than  five  feet  four.  Lila  Lee  was  for- 
merly in  Gus  Edwards'  revue.  Dozens  of 
girls  were  dancers  before  their  film  ca- 
reers began :  Joan  Crawford,  Mae  Mur- 
ray, Josephine  Dunn,  Lupe  Velez,  Myrna 
Loy,  the  Costello  girls.  Janet  Gaynor  now 
has  red  hair  and  brown  eyes.  The  only 
actresses  I  know  of  from  Kentucky  are 
Jobyna  Ralston  and  Alberta  Vaughn. 

Ann  L. — See  Rosalie  Gordon,  above. 
Betty  Francisco  is  from  Arkansas. 

Dorine  J.  Davidson. — If  questions 
caused  my  hair  to  turn  gray,  I'd  long  since 
have  been  the  white-haired  boy.  Those 
inconsiderate  stars — none  of  them  has  a 
birthday  on  May  16th.  Billie  Dove's 
comes  nearest,  on  the  14th.  Arthur  Lake 
is  twenty-three,  born  in  Corbin,  Kentucky. 
Six  feet  tall ;  blue-eyed  blond.  • 


Gladys  Rexicker. — You  write  a  charm- 
ing letter,  and  then  I  have  to  go  and  spoil 
it.  The  rules  force  me  to  speak  up  rudely, 
and  make  my  customary  speech  that  we 
have  to  omit  fan-club  announcements. 
There  were  so  many  we  had  no  room  left 
for  questions. 

Miss  Julia  Hoight. — The  picture  you 
describe,  in  which  the  bride  leaves  her 
wedding  and  escapes  with  a  strange  avi- 
ator, later  getting  lost  with  him  in  the 
African  jungle,  was,  I  feel  sure,  "White 
Man,"  with  Alice  Joyce — not  Corinne 
Griffith. 

Funny. — Well,  I  don't  think  that's  so 
funny,  your  asking  me  about  colleges  in 
California,  exposing  my  ignorance  like 
this  !  Shucks,  I'm  no  college  expert !  Yes, 
you  can  get  back  numbers  of  Picture 
Play — twenty-five  cents  for  each  copy  re- 
quested. Full-page  picture  of  Greta  Garbo 
accompanies  both  interviews  in  the  issues 
of  Picture  Play  for  which  you  mean  to 
send.  Adolphe  Menjou  is  thirty-seven; 
Gloria,  twenty-nine ;  Pola,  thirty.  Pola  is 
five  feet  four;  weight,  120.  Her  new  film 
is  "Loves  of  an  Actress."  Esther  Ralston 
is  five  feet  five ;  weight,  125.  Alice  White 
is  a  blonde,  but  she  dyed  her  hair  red,  so 
now  she  looks  dark  on  the  screen.  Olive 
Borden's  new  film  is  "The  Albany  Night 
Boat."  Greta's  is  "War  in  the  Dark"; 
Norma's  "The  Woman  Disputed."  Ivan 
Petrovitch  is  a  European  actor ;  I  be- 
lieve he  is  to  play  in  Rex  Ingram's  new 
picture  made  at  Nice,  "Three  Passions." 
The  girl  in  "Dress  Parade"  was  Bessie 
Love.  Ronald  Colman's  new  leading  lady 
is  Lili  Damita. 

Q.  C.  B. — Answer  in  the  next  issue ! 
Ha-ha !  I'm  no  miracle  worker.  That's 
already  in  print,  and  the  one  after  is  being 
printed.  Besides,  I've  a  long  waiting  list; 
I'm  wav  behind  in  my  work.  The  fop  in 
"The  Fifty-fifty  Girl"  was  Johnny  Mor- 
ris. Paddy  O'Flynn  was  born  in  Pitts- 
burgh, but  he  keeps  the  date  in  the  family 
Bible.  He  grew  up  in  Toronto.  Blue 
eyes ;  five  feet  eleven ;  weight,  140.  His 
fan  club  has  headquarters  with  Miss  Mary 
Florentine,  Box  707,  Elkins,  West  Virginia. 
I  don't  know  why  girl  magazine  covers 
sell  better  than  men's — but  circulation  de- 
partments have  found  that "  out !  Both 
sexes  like  to  look  at  pretty  girls,  n'est-ce- 

pas?  (Continued  on  page  104) 


Advertising  Section 


103 


What  could  be  easier ! 


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And  the  cost  is  only  a  fraction  of  what  people  used  to  spend 
on  the  old,  slow  methods ! 

You  don't  need  a  private  teacher.  You  study  entirely  at  home, 
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just  like  the  'best  musicians  do.  And 
almost  before  you  realize  your  prog- 
ress, you  begin  playing  real  tunes  and 
melodies  instead  of  just  scales.  There 
are  no  trick  "numbers,"  no  "memory 
stunts."  When  you  finish  the  U.  S. 
School  of  Music  course,  you  can  pick 
up  any  piece  of  regular  printed  music 
and  play  it !  You'll  be  able  to  read 
music,  popular  and  classic,  and  play  it 
from  the  notes.  You'll  acquire  a  life-  - 
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how  a  thing  is  done,  then  a  picture  shows  you  how.  then  you  do  it 
yourself  and  hear  it.  No  private  teacher  could  make  it  any  clearer. 
The  lessons  come  to  you  by  mail  at  regular  intervals.  They  consist 
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"I  am  making  splendid 
progress  and  can  play  almost 
any  piece  of  music  I  pick  up. 
My  friends  used  to  laugh  when 
I  first  took  up  music  with  you, 
but  now  when  I  play  pieces  of 
Grand  Opera  and  selections 
from  Verdi,  Mozart.  Bach, 
etc.,  it  is  I  who  laugh.  I 
owe  all  I  have  learned  to  the 
XT.  S.  short-cut  method." 
J.  W.  R.,  Telstad,  Mont. 


"I  have  found  the  lessons 
very  interesting  and  exceed- 
ingly easy.  They  could  not 
he  made  any  clearer  in  the 
English  language.  I  will  al- 
ways give  the  TJ.  S.  School 
of  Music  my  best  approval." 
A.  F.  B.,  Clinton,  N.  C. 


"I  do  not  understand  how 
you  can  give  so  much  for  the 
money.  The  course  is  a  musical 
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ize that  one  can  really  suc- 
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your  course,  without  the  aid 
of  a  teacher."  W.  E.  W., 
Montesano,  Wash. 


Do  you  sit  "on  the  sidelines"  at  a  party? 
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Many,  many  people  are  !  It's  the  musician 
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104 


Information,  Please 


Continued  from  page  102 

Lola. — A  letter  from  Germany  !  How 
far  this  little  candle  sheds  its  beam ! 
Doug  Fairbanks  is  forty-five  and  weighs 
165.  Mary  is  thirty-five.  Anna  May 
Wong  doesn't  give  her  age.  Her  late  films 
are :  "The  Devil  Dancer,"  "The  Chinese 
Parrot,"  "The  Crimson  City,"  and  "China- 
town Charlie."  At  last  accounts  she  was 
making  one  for  Ufa,  called  "Schlamm." 
American  films  may  be  released  in  Europe 
immediately,  or  sometimes  not  for  years. 
The  situation  is  too  complicated  for  me  to 
keep  track  of  what  goes  where,  and  when. 
Dolores  del  Rio  is  twenty-three.  "Donna 
Juana"  has  not  been  released  in  America, 
I  think.  Apparently  none  of  Elizabeth 
Bergner's  films  have  come  to  this  country. 

A  Gish  Fan. — Good  girl.  Still  loyal  to 
the  Gishes.  Usually  the  newcomers  get  all 
the  breaks.  "The  White  Sister"  and  "Ro- 
mola"  were  Lillian's  only  Inspiration  pic- 
tures. In  "Romola,"  Tito  was  played  by 
William  Powell.  Ronald  Colman  played 
Carlo  Buccllini.  Dorothy  Gish  and  her 
husband,  James  Rennie,  live  at  132  East 
Nineteenth  Street,  New  York.  But  I'll  bet 
you  won't  have  any  luck  getting  a  picture 
from  her.  Dorothy's  such  a  harum- 
scarum,  it's  my  guess  that,  if  she  has  any 
pictures  at  all,  they're  up  in  the  attic  in  a 
trunk.  Lillian  is  in  Europe,  but  as  Metro- 
Goldwyn  still  have  another  of  her  pictures 
unreleased,  I  fancy  they  still  accept  mail 
for  her.  "The  Ancient  Mariner"  is  such 
an  old  film,  I'm  sorry  I  haven't  the  cast. 
Do  you  know  who  produced  it?  A  pen 
name  is  sufficient  in  writing  to  What  the 
Fans  Think. 

Madge  Bellamy,  Jr. — Now,  Madge, 
you're  not  one  of  my  readers,  or  you'd 
know  that  stars'  addresses  are  always 
given  in  the  list  printed  at  the  end  of  this 
department.  Buster  Collier  lives  at  1400 
Havenhurst  Drive,  Hollywood.  Roland 
Drew,  care  of  Edwin  Carewe,  Hollywood. 
Try  Alma  Rubens  at  Universal  City — 
she's  playing  in  "Show  Boat"  for  Univer- 
sal. Pierre  Gendron  just  up  and  retired 
from  the  screen;  perhaps  you  can  reach 
him  at  the  Lambs'  Club,  130  West  Forty- 
fourth  Street,  New  York  City.  You  and 
your  sister  were  both  wrong;  Laska  Win- 
ter was  the  gypsy  bride  in  "The  Night  of 
Love."    Sally  Rand  was  a  gypsy  dancer. 

An  English  Reader. — You've  been  a  fan 
since  you  were  eight,  but  this  is  your  first 
venture  asking  questions !  And  how 
you've  been  saving  them  up,  is  my  answer 
to  that  one!  The  Wampas  is  the  Western 
Association  of  Motion  Picture  Advertisers 
— in  other  words,  press  agents.  Each  year 
they  elect  whom  they  consider  the  thir- 
teen most  promising  new  girls  in  pictures, 
and  call  them  the  Wampas  Baby  Stars. 
Yes,  you  may  send  self-addressed,  stamped 
envelopes  for  quick,  personal  replies  to 
your  questions.  Write  to  What  the  Fans 
Think,  just  as  you  wrote  to  me.  Ricardo 
Cortez  at  the  Tiffany  studios.  Alma  Ru- 
bens' previous  husbands  were  Franklyn 
Farnum  and  Doctor  Daniel  Carson  Good- 
man. She  was  born  in  San  Francisco.  I 
think  she  went  into  movies  right  out  of 
school.  She's  now  in  John  Gilbert's  "Mask 
of  the  Devil"  and  in  Universal's  "Show 
Boat."  John  Barrymore  is  married  to 
Michael  Strange.  Josef  Swickard  played 
Bebe's  father  in  "Sehorita."  Just  "Holly- 
wood, California,"  would  reach  Mae  Mur- 
ray, Lya  de  Putti,  and  Sally  Rand,  none 
of  whom  has  a  permanent  studio  address. 
See  Madge  Bellamy,  Jr.,  above.  I 
couldn't  find  out  who  the  villain  was  in 
"The  Valiant  Rider." 


A  Charles  Rogers-Bebe  Daniels  Fan. 
— I'm  not  supposed  to  answer  questions 
about  stars'  religion.  But  I  know  my 
Kansas,  and  the  little  town  of  Olathe, 
where  Buddy  Rogers  was  born,  probably 
has  no  Jewish  inhabitants.  Buddy  is 
twenty-three.  He  uses  his  real  name.  Yes, 
he  is  seen  frequently  with  Claire  Windsor, 
but  I  never  heard  tell  that  they  were  en- 
gaged. Bebe  Daniels  uses  her  real  name. 
Pronounced  "B  B."  The  1923  Wampas 
stars  were :  Eleanor  Boardman,  Evelyn 
Brent,  Dorothy  Devore,  Virginia  Brown 
Faire,  Betty  Francisco,  Pauline  Garon, 
Kathleen  Key,  Laura  La  Plante,  Jobyna 
Ralston,  Ethel  Shannon,  Margaret  Leahy, 
Helen  Lynch,  and  Derelys  Perdue.  Bebe 
was  never  a  Wampas  star.  See  An  Eng- 
lish Reader. 

Kays. — I  hope  I've  got  that  name  right. 
John  Gilbert  was  christened  John  Gilbert 
thirty-three  years  ago.  He  is  divorced 
from  Leatrice  Joy,  and  before  that  from 
Olivia  Burwell.  Greta  Garbo  is  twenty- 
two  and  unmarried.  That's  her  real  name. 
Ricardo  Cortez  is  twenty-nine,  married  to 
Alma  Rubens.  His  real  name  is  Jack 
Krantz.  Pola  Negri  was  born  Apollonia 
Chalupez,  December  30,  1897.  She  is  mar- 
ried to  Prince  Serge  Mdivani.  Laura  La 
Plante  (Mrs.  William  Seiter)  was  born 
November  1,  1904.  Vilma  Banky  (Mrs. 
Rod  La  Rocque)  is  twenty-five.  That's 
her  real  name.  Ruth  Taylor  is  twenty-one 
and  unmarried.  Marian  Nixon  is  divorced 
from  Joe  Benjamin.  She's  twenty-four. 
See  A  Charles  Rogers  Fan,  above. 

Mary  Astor's  Loyal  Fan. — So  "Don 
Juan"  has  been  barred.  And  you  ask  me 
why !  The  answer  is — you  live  in  Ohio. 
No  one  knows  the  why  of  an  Ohio  censor. 
Picture  Play  had  an  interview  with  Mary 
Astor  in  the  issue  for  December,  1925. 

Bubbles. — I  do  hope  you  are  over  your 
illness  by  now.  Renee  Adoree  was  born 
in  Lille,  France,  about  1901.  Lars  Hanson 
is  from  Sweden,  where  he  has  returned, 
and  is  in  his  late  twenties.  George  K. 
Arthur  was  born  in  Ealing,  London — he 
doesn't  say  when.  Greta  Garbo  works  for 
Metro-Goldwyn.  Norma  Shearer's  two 
latest  films,  at  the  time  your  letter  was 
written,  were  "The  Latest  From  Paris" 
and  "The  Actress."  She  was  a  traveling 
saleswoman  in  the  former.  Ramon  No- 
varro  was  born  in  Mexico  City ;  yes,  he 
is  quite  a  musician.  Antonio  Moreno  was 
born  in  Madrid. 

F.  E.  B. — I'm  quite  sure  if  you  ever 
wrote  to  me  before,  your  questions  were 
answered.  But  it  takes  about  four  months, 
and  you  probably  expected  replies  too  soon. 
Caryl  Lincoln  works  for  Fox.  Her  film 
following  "Hello,  Cheyenne,"  was  "Wild 
West  Romance."  She  is  about  twenty. 
Leila  Hyams  is  a  Warner  Brothers  player. 
"The  Land  of  the  Silver  Fox"  is  her  next 
film,  at  this  writing.  John  Darrow  ap- 
peared recently  in  "The  Racket,"  a  Caddo 
production.  Martha  Sleeper,  after  "Skin- 
ner's Big  Idea,"  made  "The  Little  Yellow 
House,"  F.  B.  O.  studio. 

Ethel  E.  Davis. — Something  tells  me 
this  deluge  of  questions  all  alike  means  a 
contest  in  the  offing  somewhere !  My  type- 
writer knows  !  Lon  Chaney  was  a  Scot- 
land Yard  detective  in  "London  After 
Midnight,"  without  the  freak  make-up,  and 
a  gangster  in  "The  Big  City."  See  Bub- 
bles. Harry  Rapf,  of  Metro-Goldwyn, 
discovered  Joan  Crawford  when  she  was 
dancing  in  a  musical  show' at  the  Winter 
Garden,  New  York.  Yes,  Greta  Garbo  is 
Swedish ;  Dolores  del  Rio  is  from  Mexico. 
"The  Big  Parade"  was,  to  me,  a  great 


film,  but  I  don't  remember  it  in  sufficient 
detail  to  have  any  opinion  as  to  its  most 
interesting  part. 

Mary  Birch.— Am  I  worn  out  telling 
ages?_  Am  I!  I'm  just  worn  out  doing 
anything.  John  Barrymore  is  forty-six; 
his  next  film  is,  tentatively,  "Conquest." 
Bill  Boyd  is  thirty ;  Buster  Collier,  twenty- 
six.  Dolores  Costello  isn't  specific  about 
her  age. 

Dot. — These  movie  engagements  !  I'd 
have  to  be  a  master  mind  to  know  which 
ones  are  true.  Alice  Joyce  is  thirty-eight. 
Her  daughter,  Mary  Alice  Moore,  is  prob- 
ably about  twelve.  I  don't  know  the  little 
Reagan  daughter's  age.  Both  Costello 
girls  are  in  their  early  twenties;  Maurice 
hasn't  told  his  age  in  years ! 

Dolores. — Yes,  "Metropolis"  was  a  re- 
markable picture.  Mary  was  played  by 
Brigitta  Helm;  John  Masterson  by  Alfred 
Abel ;  Eric  by  Gustav  Froelich.  All,  I  sup- 
pose, players  at  the  Ufa  studio,  Neubabels- 
berg,  Germany. 

D.  E.  A. — A  kind  fan  sends  in  the  cast 
of  "Pollyanna."  Title  role,  Mary  Pick- 
ford  ;  her  father,  J.  Wharton  James ; 
Aunt  Polly,  Katherine  Griffith  ;  Nancy,  the 
maid,  Helen  Jerome  Eddy ;  Tom,  the  gar- 
dener, George  Berrell ;  John  Pendleton, 
William  Courtleigh ;  Doctor  Chilton,  Her- 
bert Prior ;  Jimmie  Bean,  Howard  Ral- 
ston. 

R.  E.  S. — Hooray!  Some  easy  ques- 
tions !  Thomas  Meighan  is  married  to 
Frances  Ring.  It  was  Wallace  Beery  in 
"Robin  Hood." 

E.  C. — Several  fans  write  in  that  the 
Conway  Tearle  film  you  inquired  about 
was  "The  Greater  Glory,"  taken  from 
"Viennese  Medley." 

A  Brunette. — You  not  only  are  one, 
but  I  see  by  the  list  of  your  fiavorites  that 
you  prefer  them.  And  you  like  to  know 
how  to  pronounce  words.  All  right,  here 
goes  !  Renee  Adoree :  Rain-ay — long  "a" 
— Adoree,  same  ending ;  adore  as  spelled, 
only  accented  on  "a."  Lupe  Velez :  Loo- 
pay  Vale-eth.  First  syllables  accented  in 
both  names.  Also  "in  Pola  Negri's  names. 
Pole-a  Neg — eg  as  in  leg — ri,  as  in  agree. 
Rocque  is  Rock.  Menjou  is  Mawn-jew. 
Beery,  as  spelled — as  in  beer  that  you 
drink — or  don't  you?  Sebastian  is  Sea- 
bass-ty-an,  accent  on  "bas."  No  stellar 
birthdays  that  I  know  of  on  July  26th. 
Clara  Bow's  is  the  twenty-ninth.  She  was 
born  in  Brooklyn,  is  an  American,  and 
that's  her  real  name. 

Shirley  Nieman. — You're  just  getting 
me  all  puzzled.  I'd  never  heard  that 
Thelma  Ray  was  Ronald  Colman's  second 
wife,  but  whoever  made  that  statement  in 
a  newspaper  must  have  had  some  basis  for 
it.  Ronald  keeps  his  private  life  very  se- 
cretive. The  1925  Wampas  stars  were: 
Violet  Avon,  Betty  Arlen,  Olive  Borden, 
Anne  Cornwall,  Ena  Gregory — now  Mar- 
ion Douglas — Madeline  Hurlock,  Natalie 
Joyce,  June  Marlowe,  Joan  Meredith,  Eve- 
lyn Pierce,  Dorothy  Revier,  Duane 
Thompson,  and  Lola  Todd.  Whaddye 
mean,  head  of  the  class?    There  isn't  any. 

B.  A.  Gabriele. — At  last,  an  argument 
in  which  both  sides  are  right!  Joan 
Crawford  had  brown  hair,  but  she  dyed 
it  red.  Charles  Rogers  with  Mary  Pick- 
ford  in  "My  Best  Girl."  Jean  Arthur  is 
now  under  contract  to  Paramount.  Lewis 
Stone's  latest  films  are  "Freedom  of  the 
Press"  and  "The  Patriot." 


Advertising  Section 


105 


Eleanor — As  She  Is 

Continued  from  page  74 


loves  it,  and  is  absorbed  by  it.  She 
is  a  sensitive,  aware  person,  and  vi- 
brant in  her  eagerness.  Emotionally 
pliant,  she  has  a  balance  of  common 
sense,  and  her  final  decisions  are  al- 
ways sane  ones. 

She  loathes  night  clubs,  premieres 
and  too-gala  parties.  But  occasion- 
ally she  has  a  sudden  yen  to  go  danc- 
ing. At  such  times  it  doesn't  mat- 
ter to  her  where  she  goes,  just  so  it 
isn't  too  crowded.  When  she  is 
bored,  she  makes  no  effort  to  con- 
ceal it.  When  she  is  enjoying  her- 
self, she  is  scintillating  and  irre- 
sistible. 

She  has  a  rich  sense  of  humor. 
Her  impromptu  imitations — particu- 
larly of  Garbo — are  deliciously  ac- 
curate, and  she  tells  a  story  excel- 
lently. She  finds  humor  in  nearly 
everything  and  laughs  a  great  deal, 
but  never  unkindly. 

There  is  no  possible  doubt  about 
the  authenticity  of  her  beauty.  On 
the  screen  she  wears  scarcely  any 
^make-up,  and  none  at  all  off  it,  not 
'even  powder.  Her  appearance  is 
something  which  does  not  interest 
her.  On  rare  occasions  she  has  an 
impulse  to  dress  up,  when  she  is  to 
attend  some  large  gathering.  She 
feels  a  certain  responsibility  about 
preserving  the  illusion  of  movie 
glamour,  when  she  is  seen  in  public. 
She  has  a  lot  of  fun  assembling  ex- 
quisite wardrobes  against  such  occa- 
sions, but  her  enthusiasm  generally 
stops  short  of  actually  using  them. 
She  adores  severely  plain  sweater- 
suits  and,  if  she  is  going  nowhere  in 
particular,  wears  no  stockings  on 
her  slim,  brown  legs.  She  never 
glances  in  mirrors,  or  pats  her  hair. 
When  there  is  an  impression  to  be 
made  on  some  one  of  importance, 
her  hair  can  be  unwaved  and  she  in 
tennis  shoes,  and  Eleanor  will  be 
sublimely  unconscious  and  at  ease. 

She  learned  to  play  the  piano  so 
she  could  accompany  her  husband. 
King  Vidor,  who  sings  melting  negro 
spirituals.  She  would  like  to  be  an 
expert  pianist,  and  wistfullv  strug- 
gles through  certain  favorite  Debus- 
sys  and  Ravels. 

She  likes  verse,  being  particularly 
keen  on  the  poems  of  Johnnv 
Weaver,  and  every  so  often  she  puts 
aside  whatever  current  book  she  hap- 
pens to  be  reading,  and  returns  to 
Samuel  Butler's  "The  Way  of  All 
Flesh." 

She  plays  a  swift  game  of  tennis 
and  swims  like  a  boy,  but  can  seldom 
be  prevailed  upon  for  bridge.  She 
likes  to  ride  horseback,  but  was  once 
thrown  and  has  never  been  able  to 


conquer  a  subsequent  nervousness. 
She  goes  for  long  walks  among  the 
hills  surrounding  her  home,  and 
gathers  wild  flowers  and  bright 
leaves.  On  one  occasion  she  ven- 
tured innocently  among  poison  oak, 
and  was  away  from  the  studio  for 
a  week. 

She  dislikes  cheap  publicity,  es- 
pecially if  based  on  her  private  af- 
fairs. Her  marriage,  her  recent 
motherhood,  she  does  not  deem  con- 
tingent on  her  career;  which,  she 
thinks,  is  all  that  should  be  public  in- 
terest. 

Married  to  the  brilliant  young  Vi- 
dor, and  herself  of  pictures  for  sev- 
eral years,  neither  is  completely  im- 
mersed in  their  profession.  Their 
friends,  except  for  John  Gilbert  and 
Greta  Garbo,  are  mostly  of  the  lit- 
erary world — Lawrence  Stallings 
and  his  wife,  Johnny  Weaver  and 
Peggy  Wood,  Donald  Ogden  Stew- 
art, his  wife,  and  his  mother,  of 
whom  Eleanor  i^  extremely  fond. 

Eleanor  is  a  delightful  conversa- 
tionalist, and  swears  casually.  Her 
voice  is  mellow,  deep  and  inclined  to 
a  drawl.  Her  wit  is  pungent,  often 
barbed  and  always  very  funny.  If 
she  finds  she  has  inadvertently 
shocked  some  smug  soul  with  her 
candor,  it  is  her  delight  to  continue 
and  increase  the  shock.  She  esteems 
both  conservatism  and  bonhomie,  but 
their  extremes — prudery  and  coarse- 
ness— offend  her  innate  delicacy,  and 
are  her  pet  abominations. 

She  is  disturbed  by  the  fact  that 
she  shows  litttle  inclination  toward 
the  detail  of  housewifery.  She 
thinks  it  would  be  more  fitting  were 
she  able  authoritatively  to  discuss 
menus  and  floor  polishes  with  her 
servants,  but  quails  at  the  prospect 
of  learning  how.  She  is,  however, 
meticulous  about  her  home  and  in- 
sists that  it  always  be  in  perfect 
order. 

She  and  her  husband  are  building 
a  house  on  a  hilltop  near  their  old 
home.  Since  Vidor  is  at  work  on  a 
picture,  the  supervision  of  the  new 
home  falls  to  Eleanor.  She  is  in  her 
glory  and  refuses  to  be  baffled  by 
conduits,  underground  cables  and 
multiple  switches.  She  directs  every 
detail  of  the  construction — and  in- 
telligently, too.  She  loves  to  work 
with'  laths  and  nails,  and  when  she 
couldn't  explain  a  certain  niche 
which  she  wanted  under  an  arch,  she 
set  to  work  and  built  it  herself. 

Aside  from  all  this,  may  one  say — 
and  who  is  there  to  say  one  mayn't? 
— that  she  is  this  reporter's  favorite 
actress. 


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He  Doesn't  Look  Like  an  Actor 

Continued  from  page  56 


New  York.  He  sent  for  me.  We 
rehearsed  for  thirteen  weeks.  No, 
not  for  our  opening,  but  for  possible 
backers.  We  would  rehearse  for 
anybody  we  could  round  up  who 
had  seven  dollars  and  fifty  cents  in 
his  pockets.  Every  one  who  had 
seven  fifty  hung  onto  it,  after  seeing 
us. 

"One  afternoon  an  appointment 
had  been  made  with  Shubert.  We 
waited  for  three  hours.  Bare  stage, 
cold  theater,  everybody  in  the  dumps. 
Finally  a  fellow  came  down,  asked 
what  company  we  were  and  said,  'I 
doubt  that  Mr.  Shubert  even  knows 
you  are  here.  There's  not  a  chance 
he  will  come  down  to  see  your  play 
—he's  busy  in  his  offices  upstairs — - 
but  I  am  associated  with  him,  and  if 
you  care  to  put  it  on  for  me,  I'll 
see  it.' 

"By  that  time  we  would  have  put 
it  on  for  a  horse.  Afterward,  he 
asked  for  the  author  and  said,  'Mr. 
Gleason,  you  have  a  mine.'  We  had 
only  two  nights  'on  the  dog,'  and 
came  into  New  York  practically  cold. 
Shubert  put  us  in  a  small  theater 
seating  seven  hundred,  and  we  drew 
all  the  second-rate  critics,  all  the 
swell  guys  having  gone  to  a  more 
important  opening.  But  the  word 
got  around  that  the  show  was  a 
knock-out,  and-  Shubert  moved  us 
into  a  theater  seating  fourteen  hun- 
dred." 

The  play  ran  for  two  and  a  half 
years  in  New  York,  and  then  started, 
under  chills  of  fear,  for  what  turned 
out  to  be  a  nine-month  run  in  Lon- 
don. 

"We  had  taken  along  an  Ameri- 
can manager.  The  dialect's  East 
Side,  you  know.  In  the  prologue, 
Jimmy  and  I  sit  on  a  dark  street, 
under  an  arc  light,  talking.  Boy,  we 
were  homesick  and  blue.  We  waited 
for  the  laughs  we  were  accustomed 
to  get  in  New  York.  The)'  didn't 
come.  The  silence  out  there  began 
to  get  us.  We  expected  eggs  and 
onions  any  minute.  All  of  a  sud- 
den, a  chuckle.  Not  a  laugh.  But 
nobody  ever  welcomed  that  sound 
more  than  we  did.  We  almost  ran 
right  out  and  hugged  that  person. 

"By  the  end  of  the  prologue, 
they'd  caught  on  that  it  was  a  com- 
edy in  a  lingo  new  to  them,  and  were 
roaring.  We'd  clicked — but  we 
didn't  know  it  then.  There's  what 
they  call  a  First  Night  Club  in  Lon- 
don, that  sits  in  the  gallery.  It  seems 
that  if  they  O.  K.  you,  you're  all  set. 
If  they  razz  you — or  however  they 
show  disapproval — it's  just  too  bad 
for  you.  After  the  first  act,  we  were 
standing  in  the  wings,  shivering  at 


their  call  of  ''Core!'  'Core!'  and 
asked  a  British  lad  to  translate.  That 
meant  'encore,'"  he  told  us,  or  'cur- 
tain.' So,  smiling  blissfully,  we  took 
a  dozen  curtain  calls. 

"While  we  were  still  at  it — willing 
to  continue  indefinite!}' — the  orches- 
tra leader  thought  we  were  through 
and  signaled  for  'God  Save  the 
King.'  All  the  people  stood  up,  but 
our  American  manager,  pressing  the 
button  that  raised  the  curtain,  prob- 
ably had  no  ear  for  music.  Any- 
how," Armstrong  let  that  slow  grin 
break  over  his  tanned  face,  "the  boys 
were  piping  it  up,  'God  Save  the 
King,'  and  there  was  I,  taking  the 
bow." 

It  was  during  the  run  of  the  play 
in  London  that  he  met  and  married 
Ethel  Kent,  an  American  girl  ap- 
pearing on  the  London  stage.  It  was 
there  also  that  he  acquired  the  fox 
terrier,  Huckleberry,  a  plain  mut 
that  he  says  has  more  personality  than 
any  police  dog  or  Russian  wolf- 
hound. 

"Knows  more  than  I  do,"  he  in-' 
sisted  after  a  long  eulogy  on  the 
talents  of  Huckleberry. 

A  year  and  a  half  ago  Armstrong 
came  to  Hollywood  to  appear  in  the 
run  of  the  play.  Is  it  necessary  to 
mention  the  title  again  ? 

He  has  played  about  everything 
during  his  twelve  years  on  the  stage 
— and  the  real  role  of  soldier  for  two 
years  in  the  war — and  on  the  screen 
a  prize  fighter,  crook,  comedy  tough, 
gangster,  and  one  slick  hero.  That 
suits  him  fine  for  a  while,  but  later 
he  wants  to  stick  to  light  comedy,  if 
it  gets  over  well  with  his  new  audi- 
ence. 

During  his  term  of  servitude  in 
college,  he  did  the  usual  amateur  the- 
atricals, and  wrote  plays.  That  is 
expected  of  any  normal  college  lad. 
Only,  he  got  one  of  his  sketches  and 
himself  booked  in  vaudeville.  For  a 
while  he  appeared  in  small  roles  in 
plays  written  and  produced  by  an- 
other uncle,  Paul  Armstrong. 

He  was  never  particularly  crazy 
about  the  stage  in  the  sense  of  its 
glamour,  as  it  has  for  many  youths. 
But  he  liked  acting,  found  himself 
moderately  successful  and  stuck  to 
it.  His  story,  at  least  as  he  tells  it- 
halfway  answering  questions,  when 
an  insistent  young  lady  refuses  to 
give  him  any  peace,  isn't  exciting. 
Though  were  he  less  reticent  about 
himself,  and  as  eloquent  as  he  can  be 
on  other  subjects,  there  might  be 
chapters  in  it.  Even  the  lean  sea- 
sons that  patch  an  actor's  career,  he 
speaks  of  with  a  light  humor,  his 
dominant  note. 


Advertising  Section 


107 


Parents  Keep  Slender 

Youthful  figures  at  all  ages  now 


Science  Fights  Fat 

Through  an  important  gland 


"Katsudoshashin" 

Continued  from  page  84 

tumes.  The  increase  in  the  numbers 
of  such  girls  is  so  noticeable,  just  at 
present,  that  few  visitors  have  failed 
to  observe  this  phase  of  changing 
Japan. 

What  has  been  the  main  factor  in 
bringing  about  this  situation  ?  Amer- 
ican movies,  or,  as  the  people  of 
Japan  put  it,  "katsudoshashin." 

While  such  a  thing  may  sound  in- 
credible, it  is,  nevertheless,  true  that 
Japanese  girls  cannot,  on  discarding 
their  kimonos  and  slipping  into  for- 
eign attire,  walk  at  all  becomingly. 
Generations  of  squatting  on  floors, 
and  the  wearing  of  wooden  clogs, 
have  so  disfigured  their  feet  and  legs 
as  to  make  it  almost  impossible  for 
them  to  walk  faultlessly  in  foreign 
apparel,  although  of  course  they  carry 
themselves  gracefully,  and  with  dis- 
tinction, in  their  kimonos  which  hide 
their  unshapely  legs.  A  Japanese 
maid  out  of  her  kimono,  in  fact,  may 
be  likened  to  a  duck  out  of  the  water, 
so  awkward  is  her  gait. 

So,  whenever  opportunity  presents 
itself,  Miss  Cho-Cho-San  goes  to  the 
theater,  there  to  closely  observe  the 
every  movement  of  Greta  Garbo  or 
Norma  Shearer,  and  painstakingly 
rehearse  the  "steps" — not  dancing, 
but  walking — that  she  has  studied,  on 
returning  home,  in  an  effort  to  affect 
a  comely  gait. 

It  may  not  be  out  of  place  here  to 
state  that  there  are  numerous  "special- 
ist" fans — people  who  go  to  the  the- 
aters not  to  see  movies,  but,  like  the 
girls  described  in  the  foregoing  para- 
graph, who  go  for  some  other  specific 
reason.  Many  go  to  the  theaters  sim- 
ply for  the  privilege  of  listening  to, 
and  memorizing,  the  musical  scores ; 
others  study  architecture  and  inter1  or 
decoration ;  and  still  others  are  in- 
terested merely  in  pictures  in  which 
dancing  scenes  are  included. 

To  what  extent  American  pictures 
are  indirectly  influencing  the  Japa- 
nese people  can,  to  some  degree,  be 
shown  by  stating  that  ninety  per  cent 
of  the  tunes  one  hears  whistled,  or 
played  on  instruments  in  the  prin- 
cipal cities,  were  learned  in  motion- 
picture  theaters,  and  that  the  major- 
ity of  foreign  residences  that  are  be- 
ing constructed  were  designed  by  ar- 
chitects, partly  or  wholly,  after 
houses  that  they  saw  pictured. 

As  far  as  reading  matter  is  con- 
cerned, almost  a  fifth  of  all  American 
magazines  imported  into  Japan  are 
motion-picture  periodicals.  This  may 
not  seem  astonishing,  until  it  is  stated 
that  ninety  per  cent  of  those  who 
purchase  these  magazines  are  unable 
to  read  them.  Their  only  source  of 
interest  are  the  photographs. 


People  used  to  think  that  excess  fat  all 
came  from  overrating  or  under'exer' 
cise.  Some  people  &tarved,but  with  slight 
effect.  Some  became  very  active,  still 
the  fat