Class Book

Scanned from the collections of The Library of Congress

Packard Campus for Audio Visual Conservation www.loc.gov/avconservation

WBER, 1928

e

M ft, ^° /

i

Genuine Model T

HERE'S your chance to own that genuine Model T Corona you've wanted — on the easiest terms ever offered— at 6NE-THIRD OFF regular price! Complete in every de- tail; back spacer, etc., New Ma- chine Guarantee. Recognized the world over as the finest, strong- est, sturdiest portable built.

VoiJtt for lO Day* ff{££

Send Jfo Money

ONLY a limited number of these splendid machines available. To get one, you must act now! Experience the joy this per- sonal writing portable typewriter can give you! Use it 10 days free! See how easy it is to run and the splendidly typed letters it turns out. Ideal for the office desk, home, traveling, bmall, compact, light, convenient. Don't send out letters, manuscripts, reports, bills in poor handwriting when you can have this Corona at such a low orice or on such easy terms.

Carry mg Case

Included- If You Act NOW

Leatheroid carrying case, oiler, instructions free on this offer. Send no money — just the coupon. Without delay or red tape we will send you the Corona. Try it 10 days. If you decide to keep it, send us only $2 — then $3 a month until our special price of $39.90 is paid (cash price $36.40). Now is the time to buy. This offer may never be repeated. Mail coupon now.

Smith Typewriter Sales Corp.

360 E. Grand Avenue Chicago, Illinois

Smith Typewriter Sales Corp. [Corona Div.] 360 E. Grand Ave^ Chicago, Dept. 12-B

Ship me the Corona, F. O B. Chicago , On arrival I HI depos.t

{o^e^kginltho^ll return my 12. Yoa are to E,ve your standard guarantee.

2k

Name

AddrtBS

SCREEN LAND

IVow the livest news becomes living news! Now you not only see it happen — you hear it! Now Fox Movietone captures the

voice of the world as well as its image — its sounds as well as its sights — its words as well as its A miracle has hap-

4fe

actions, pened!

. . .The roar of the crowd which

is half of footbairs thrill— the blare of martial music as the troops wheel past— the thunder of unleashed horsepower as the plane speeds through the air- lanes — all these come to you in Movietone! They make you an

ear-witness as well as an eye- witness! They really take you there!

...Have you heard the news? ... If not, go today to the theatre showing Fox Movietone News, and prepare for the thrill of a lifetime!

Hi

MOVIi:T©VK

a

— developed and presented by

WILLIAM FOX

^4

(Paramount

^Pictures

US LASKY CORP., ADOLPH ZUKOR, PRES., PARAMOUNT BUILDING, N. Y. C.

SCREENLAND

With H. B. Warner, Victor Varccni, Ian- Keith, MatitDmshr. Troduced by Frank Lloyd, uho made "The Sea Hawk." ^Presented by Richard A. 'Rowland.

screen entertainment should be. For with First National's

so glorious it made an un- known author famous over-, night — her novel the season's sensation. One of the most k tempting sirens the world has known, living again a high \ romance that changed the destiny of nations. And unbelievably thrilling sequences in Sound!. . ., f^' Yes, you will need an entirely new standard by which to measure the true greatness of "The Divine Lady;' For there is nothing in screen history to compare it to- -or which can be compared to it! Watch!

A F I R S T N. A T I O N A L P I C T U R E

T A K 1-: S t H 1-: G U 1 S s AV O R K O V T 6 f ""GO 1 N G T O T H I. M O V I E S."

LINDBERGH

The Lone Eagle

THE most romantic hero in history. The shy, bashful lad, who came un- heralded, dear across a continent, to conquer the mighty Atlantic by air. Alone through the many sleepless hours over the ocean? with nothing hut the steady, monot- onous drone of the motor or company Hours of mental agony, when to think meant to fear. And ever uppermost the thought that an injury to his motor meant the oblivion that enveloped Nungesser and Coli.

Lindbergh, the greatest hero of them all, provides the material for the greatest story of them all. "Lindbergh, the Lone Eagle" written by a master biographer, George Buchanan Fife, deals with the aviator's life from early childhood, his fundamental aviation training, his hard- ships in the preparation of the flight, climaxing in a tale, which for human in- terest is unexcelled— of the hero's emotions during the long trip between the New and the Old Worlds.

This is a special edition, bound in hard cover, with an attractive jacket. It is printed on high grade paper in very legi- ble tvpe. This special edition is being offered by the publishers, A. L. Burt Company," to Screexj.axd readers, at the unusual' price of $1.00 per copy. It con- tains thirty-two illustrations.

Fill in the Coupon Below and Send for your copy today.

SCREENLAND, Dept. 11-28,

49 W. 45th St., N. Y. C.

I enclose $1.00 for which please send me a copy of "Lindbergh, the Lone Eagle," by George Buchanan Fife.

SCREENLAND

Schildkraut was the leading ...in Orphan, bhans of the Storm with Lillian and Dor- othy Gish. Joseph was born in Vienna. Aus- tria Other foreign-born players in the same film were Tom Cameron who was born in Derby, England, and Carl De Mcl whose birthplace was Vienna. 1 believe it you write to Ivan Petrovitch, Rex Ingram Stu- dios, -Nice, France, you may-be able to get in touch with that popular player Ivan is a Serbian and is about 30 years old lie is 6 feet tall and weighs 178 pounds. He has black hair and dark brown eyes. i he Garden of Allah was made in France and Northern Africa. Drop in again, for you re always welcome.

P P of Amsterdam, H- T. Will I en- uahten your mind on a few facts about Jack Gilbert? I'll bite but what do you want to know? He is an American. His real name is John Pringle. He is not mar- ried now. He has dark hair and grey eyes that photograph black:" He is 5 feet 10 in- ches tall and weighs 160 pounds He gets more fan mail than any other Metro-Gold- wyn-Mayer star but I think he will send you a picture if you ask him. Am I right, Jack?

Kia Or a Christchurch, X- Zealand. You want facts and figures of your favor- ites in swimming togs, do you? Hey hey. Well that would be easy to look at and 1 U see what can be done about it. Your cre- dentials as a keen swimmer, whatever that is and the assurance that you never miss my department have put you in my good graces forever and a day; but who wants a day to last forever?

Eleanor of Cleveland, Ohio. Haven't you heard? Every one is talking about this speakie or that talkie— some go so tar as to call them squawkies. Take your choice. I like 'em dumb, just as well it anybody asks me, and I don't think they will You can reach Bert Lytell by ad- dressing P. O. Box 235, Hollywood, Lai. Gary Cooper at Paramount Studios 5451 Marathon St., Hollywood, Cal Write to Ralph Forbes at Metro-Goldwyn-Mayer Studios, Culver City, Cal.

don't think that's a nice morsel to roll around one's tongue, just try it I addy still has the same curly brown hair and blue eyes but he has out-grown his old uke days. Paddy wants to be seen and not heard His latest film is Face Value and he has been playing the comedy juvenile in Sweeping Against the Winds.

M Alexander, Norman. 0\la. How should you address Billie Dove? Like a perfect gentleman, of course; but tone down your letter to a few goo-goo s of admir- ation A sincere friendly letter will usually bring a picture of your favorite. You'll find Billie at First National Studios, Burbank, Cal. Ethelyn Claire can be reached at Universal Studios. Universal City Cal She was born in Talladogo, Ala- bama. She has pretty brown eyes and brown hair. Bebe Daniels is at Paramount Studios, 5451 Marathon St., Hollywood, Cal. Alberta Vaughn is with FBO Studios, 780 Gower St., Hollywood, Cal.

Paddy O'Flynn's Fan Friends. If you

A Movie Fan from Pearl Harbor, Hawaii. Where the perfectly precious pearls come from or are you just stringing me? The Understanding Heart, in which Francis A. Bushman Jr. appeared, was a 1927 film. He is Franz in Four Sons, one of the out- standing pictures of the present year. James Hall George Meeker and Charles Morten are the other three sons, who with Mar- garet Mann make a wonderful picture. Mar- garet Mann, after playing small parts and waiting for eleven years for success has finally come into her own. Francis A. Jr was born in 1904. He is 6 feet 2 in- ches tall and has brown hair and dark blue eyes and is married.

Peggy of St. Louis, Mo. I have a cute name, have I? You don't know the half cf it Peggy Do I think Richard Dix and Charles Rogers the handsomest actors of the whole bunch? My word, do I have to tell everything I know? Varsity is Buddy Rogers' next picture, now in production a Paramount Studios. 5451 Marathon St.. Hollywood, Cal. Richard's latest release is Warming Up with Jean Arthur playing opposite. Address him at Paramount Studios.

(Continued on page

€[ It loo\s as if Ciara Bow is hugging herself. Seems a shame!

1

S C R E E N L A N D

HERE ARE THE FIRST OF THE NEW M-G-M PICTURES— SUPERB ENTERTAINMENT

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 again1.

Lady Luck didn't make Smash hits like "The Big Parade", "Ben Hur", "Tell it to the Marines", "The Merry Widow" and "White Shadows of 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

ovies

METRO

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.

||UI

Laughs — tears — thrills — you'll find them all packed into the screen version of the Broadway success, "Excess Baggage." Don't miss William Haines' desperate slide for life and love in this pulsating comedo-drama. Sound or Silent — a hit!

Flaming youth de luxe— the epics of a jazz-mad age- youth! beauty! luxury! drama! You'll cheer "Our Dancing Daughters"— sound or silent.

.w^ ton

wCHANEY

^eTIie Qfy Seeps

i# JACKJfiNWAYj

™ ^exx0^c/tfuyn^ayei picture ^

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 puhlic peace in "While the City Sleeps." Eccnd or Silent you'll be thrilled.

50

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 Competition. Editor, 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

there are in Heaven"

GREENLAND

Her Pretty Hair!

How does she keep it so youthful-looking?

Her secret lies in proper shampooing. Not iust soap-and-water "washings'', but regular use of a shampoo that really beauttfies~-one that was created especially to improve dull, drab hair and add that little something extra so often lacking !

What about your hair? Have you not wished for something that would keep it look- ine prettier-richer in tone? If you really wish to make it bewitchingly lovely-just one Golden Glint Shampoo will show you the way !

No other shampoo, anywhere, like Golden Glint Shampoo! Does more than merely cleanse the hair. There's a youth-imparting

touch— a beauty specialist's secret in its formula Millions use regularly! At your dealers . or send 25c to J W. Kobi Co., Dept. K, 617 Rainier Ave., Seattle, Wash. Money back if not delighted.

Hooks

FANS

(C Alice White as Dixie Die gan in 'Show Girl,' who 'sha\es her scanty at the tired business men.'

EMOTIONS

PICTURES

MOST FASCINATING — HIGHEST PAID OF ALL PROFESSIONS

A Nation-wide survey will be started shortly ,u search of STAR material and all (the Kiddies in- eluded) will be given the opportunity of navin„ a SCREEN T1CST made to determine their fitness lor Motion Pictures.

THIS IS NOT A CONTEST EXPERIENCE IS NOT NECESSARY

The number of TESTS to be made is not UngJ8*™* the time, durina which you may reeiste lor ■ tnese TESTS, is limited. Therefore your reouest lor de tails and registration blanks, which .Wll^ be for- warded FREE upon retiucst, should be sent to us promptly.

CINEMA ARTS TESTING BUREAU Box -125 Hollywood Station

Hollywood. California

(\The Picture Made from 'Show Girl' is as Modern as Tomorrow's Date.

By Alice White

DARKENS AND BEAUTIFIES EYELASHES AND BROWS IN- STANTLY, makes them appear naturally dark, long and luxuriant. Adds wonderful charm, beauty' and expression to any face. Perfectly harmless. Used by millions of lovely omen. Solid form or water-proof Quid. BLACK or BROWN. 75c at your dealer's or direct, postpaid.

MAYBfcLLINE CO., CH1CACO

HEN Al Rockett, who manages production at the First National Studios, asked me how I would like to play Show Girl, I told him I liked the title, but didn't know any- thing about the story.

Mr. Rockett handed me the book, tell- ing me to take it home with me and read the story if I didn't have anything better to do that evening. .

Well, it happened that I was dining alone that night, so I took Show Girl to dinner with me as a companion. When 1 tell you that I never started a story that proved so fascinating from the first page I am only sticking to the truth. I read all through dinner, and during the evening.

I raved about Show Girl for weeks. In fact, I am still raving. I don't pretend to be any judge of literature, but to my way of thinking, J. P. McEvoy has written a story so funny that it is in a class by itself.

I am just crazy about the character of Dixie Dugan, and if I can make her half as natural on the screen as she is in the book, I will be satisfied.

I read the book several times in order to get thoroughly into the spirit of the char- acter and then I studied the continuity written by James T. O'Donohue. I had long talks with Alfred Santell who directed the picture. It was a lot of fun re-creating the girl whose character I felt I under- stood so thoroughly.

Mr. McEvoy seems to know all about

the theatres and the night life of New York He also seems to be pretty thor- oughly acquainted with show girls and how they live. I never read any story which seems so successful in developing real

people. , . ,

In our picture version of the book, which I am told is having a very large sale we tried to get, in every way, the same feeling of reality, and I think we have succeeded.

There will be a lot of laughs in the picture- also there will be plenty of realism in the depiction of behind-the-scenes life m

111 U1C UC^a«-h^" ~* -

the theatre and the doings of night-club entertainers before and after the show.

Lee Moran is immense as Denny Kerri- gan the greeting-card salesman whose mission is to strew cheer throughout the land. Then there are a lot of other char- acters taken straight from Broadway.

An odd feature of the story is Mr. McEvoy's way of telling it. The entire book is made up of letters, telegrams, cables and newspaper clippings with a little dialogue interspersed. The arrangement is so clever that the story is carried on without a break and the interest built up in the principal characters.

Show Girl is a picture in which the film version remains true to the original. If the story had been written directly for the screen, I do not believe it could have been better adapted to the needs of a motion picture.

Here are a few excerpts from the book (Continued on page 99)

SCREENLAND

9

"Faux Pas" I Said... and Everyone Tittered !

IF only I hadn't tried to use that terrible phrase. But I had seen it in print a thousand times and so I thought I knew how to pronounce it — it never occurred to me that my way might not be the right way.

It was the very first time I had been in- vited to the home of Mr. Blake — the President of our Company. Of course I wanted to make the best possible impression. After dinner we were all chatting idly, and somehow the talk got around to golf — my favorite subject. I began to explain some of my pet theories and they went over big — ■ everyone was listening attentively. Encouraged, I launched into an animated description of the last tournament at the club. And then — it happened. "Tyler made a terrible faux pas." I said — and — every- one filtered 1 Embarrassed, ashamed, I flushed and faltered. My self-confidence fled — and for the rest of the evening I didn't dare open my mouth. I'd have given a thousand dollars if

only I hadn't made that awful break I

That little experience opened my eyes to my miserable pronunciation and my meager vocabu- lary. Could that be the reason why I never seemed to get ahead — why I never got the big jobs with the real money? I had always thought it was hick that gave other men chances I never had, but now I realized that they had a surety and a confidence in their speech that I lacked. I was always groping for words — al- ways stammering and stuttering — trying to avoid words I wasn't sure of — and making ■ scores of mistakes daily. Of course no one ever tells you when you mispronounce a word — it is such a personal matter — and I never would have known of my glaring error that evening if it hadn't been for that embarrassing incident when everyone tittered.

One day, glancing through a magazine, I read about an amazing new method of learning cul- tured Speech, Correct Pronunciation and Vocabulary Building that had just been per- fected. Through this new "learn by listening" method, I discovered I could actually hear a college professor — an expert in phonetics — - pronounce each word clearly and distinctly ! And I could hear the same word a hundred times

if need be, so as to get it fixed in my mind the right way.

Of course I lost no time in sending for this new method. I was amazed to find how easily I learned new words — learned how to use them and pronounce them — just by sitting back and listening — 'words I would never have dared use before. The first evening I learned to pro- nounce correctly exactly 39 words that I had been mispronouncing almost every day, and in less than one week I had enriched my vocabu- lary beyond my expectations. Today I find that I am using hundreds of words that I never would have dreamed of using a month ago. Not only that, but my new sureness with words, the new ease with which I express myself, has had a marked influence on my business suc- cess. Already I have asked for and secured a better job with a much higher salary. And what is almost equally important — I know that I am saved forever from the embarrassment of making such an unforgiveable error as I made that night at the Blake's!

At Last a New and Easy Way

At last a new and easy way has been found to really teach Correct Pronunciation, Cultured Speech and Vocabulary Building. Not by the unsuccessful and almost impossible old dic- tionary method, but by a plan absolutely new — phonograph records — talking machine records electrically recorded in the most modern and scientific manner. You hear the actual voice of an expert in phonetics. Every word plainly and correctly pronounced.

This fascinating new method has been developed by a group of educators, writers and speakers under the direction of Prof. Edward H. Gardner, for 18 years a member of the faculty of the University of Wisconsin; and E. Kay Skinner, Phonetician of the Department of Speech at the same university. The instruction is absolutely authoritative. Over 2200 stubborn words are covered — words which should be familiar to every cultured person. Not a correspondence course — no studying — no lessons to send in. Instead, all you need to do is to sit back comfortably in your easy chair — and listen.

Everyone finds it delightful and easy to learn through this wonderful new method. And it is so interesting, so captivating, that the entire family will want to listen — and when sour friends drop in during an eve- ning, you will have a means of entertainment as fas- cinating as bridge or a cross word puzzle. "So that is the way to pronounce that word!" you say as you hear it spoken clearly and distinctly. You have seen

it spelled; you have used it perhaps, hut seldom, and hesitatingly. Now you can be sure! Hundreds of men and women have proved that by spending only a few minutes a day this new way, results are astonishing.

Your speech, perhaps more than any other thing, reveals what you are. Correct speech is the first mark of education, of culture. Cultivated speech is a social and business asset of the first importance. No matter how poor your "ear for words," nor how incorrect your pronunciation, you can now master cultured speech and accurate pronunciation — easily and quickly! "ion can swiftly learn the right way to pronounce hundreds of hard words — as well as scores of popular foreign phrases— French, Spanish, German— which must now be a part of the educated American's vocabulary.

Try It 7 Days FREE- No Money

-Send

Right now we are making a remarkable introductory offer This offer enables you to try the Pronunci- phone Method right in your own home — to see tor yourself how quickly it will add hundreds ot new words to Your vocabulary— how it will disclose to you scores and scores of words you now mispronounce every day — without knowing it.

The coupon entitles you to the special seven-day free examination. Just send it off today, and the Pronunciphone Method consisting of Seven double records (fourteen records in all) and including a unique Instruction Manual "Good Taste in Speech, will go forward to you promptly, all charges prepaid It sou aren't delighted, fascinated— simply return the 1 io- nunciphone Method within the seven-day period ^ and the examination will have cost sou nothing Otherwise send only $3.85 as first payment, and $1.00 a month for four montlis.

Mail the coupon at once and see for yourself how this amazing new method will help you m less . than •-10 days to acuuire a command of speech tnai win win ^cognition ml respect. Tto Pgmwo. Phone , Co., Dept. 6328, Michigan Ave. at 36th Street, untcago.

The Pronunciphone Co., Dept. 6328. Michigan Ave., at 36th Street, Chicago.

You may send me for seven ^days' free "amina^ tion the Pronunciphone Method. Within the seven day period I will return it without obligation, or keep it and send only $3.85 as first payment, and $1.00 a month for four montlis ($19. 8o in all).

Name -. Address City.

10

SCREENLAND

flBST TIME

at Popular

' KING"/

Cecil B.W De Mille's

CECIL B. DeMILLE'S masterpiece, "The King 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.

^he Greatest

Among the thousands of theatres which will season, these beautiful houses will show it

ARKANSAS

HotSprings Royal &Spa Fort Smith Palace Fayetteville Palace El Dorado Mission CALIFORNIA Los Angeles Criterion Long Beach State Santa Barbara

California Sacramento Alhambra Pittsburg California COLORADO Denver State Pueblo Majestic Greeley New Tenth St. Sterling Rialto Montrose Dreamland Delta Colonial CONNECTICUT Hartford Allyn Nor walk

Regent & Palace Waterbury Strand New Britain Strand Middletown Capitol Danbury Empress Ansonia Willimantic

ILLINOIS

Springfield Champaign Danville

V

DeKalb

Kewanee

Lincoln

Belvidere

Princeton

Morris

Watseka

Hillsboro

Pan a

Paris

INDIANA

South Bend Fort Wayne Evansville Terre Haute Elkhart La Porte

Capitol Gem

Lyric Orpheum Terrace DeKalb Rialto Lincoln Apollo Apollo Royal Star Grand Palace Paris

Granada Jefferson Coliseum Indiana Orpheum La Porte

INDIANA

Bloomington Indiana

Frankfort Conley

Hammond De Luxe

Kokomo Indiana

Mishawaka Temple

IOWA

Iowa City Pastime

Mason City Cecil

Oskaloosa Rivoli

Red Oak Beardsley

Shenandoah Empress

Decorah Grand

KANSAS

Topeka Cosy

Coffevville Tackett

Winfield Regent

Emporia Strand Concordia Whiteway

Leavenworth Strand

Dodge City Crown

Newton Regent

KENTUCKY

Louisville

Mary Andersen 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 Lowell Brockton Haverhill New Bedford Salem Fitchburg Greenfield Maiden

Empire Strand Colonial Academy State Plaza Shea's Lawler Strand

MASSACHUSETTS

Milford State

MICHIGAN

Detroit State Grand Rapids Regent

Battle Creek Post

Lansing Capitol

Kalamazoo Capitol

Saginaw Franklin

Bay City Orpheum

Flint Regent

Jackson Rex

Ann Arbor Wuerth

Port Huron Desmond

Pontiac _ Oakland Ypsilanti

MarthaWashington

Alligan Regent

Albion Censor

Ironwood Rex

Calumet Calumet

Hancock Kerredge

MISSOURI

St. Louis

New Grand Central Kansas City Globe Columbia Columbia Hannibal Star Clinton Lee Kirksville Kennedy Trenton 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

If your favorite picture theatre is not listed here, ask the

SCREENLAND

11

The Last Supper

byjeanie Macpherson

Prices

KINGS

Picture Ever Produced *

can now be seen in every motion picture theatre - -

exhibit "THE KING OF KINGS" this within the next few weeks .......

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 Stat? 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

Erie

Lancaster Allentown Harrisburg

Loew's Regent Williamsport Keystone Shenandoah Capitol Bethlehem Savoy Shamokin Capitol Lebanon Jackson New Castle Cathedral Auditorium McKeesporc 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 Redfield Lyric Lead Homestake

TENNESSEE Nashville

Loew's Vendome

TEXAS

San Antonio Austin Galveston Lubbock Brownwood Mineral Wells

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

Bellingham

Olympia

Clemmer Avalon Avalon

WEST VIRGINIA

Wheeling Court Charleston Capitol Clarksburg Ritz Huntington Lyric Morgantown

Metropolitan Fairmount Virginia

WISCONSIN

Milwaukee Alhambra

Racine Kenosha Beaver Dam Superior Two Rivers Waupun

Rex Kenosha Odeon Princess Rivoli Waupun

Knoxsville Johnson City Jackson

TEXAS

Dallas

Booth Liberty Gem

Capitol

Sheboygan Sheboygan

WYOMING

Casper America Laramie Crown Torrington Wyoming Rawlins Strand

Manager when he is going to show "The King of Kings

Raising of Lazarus

Exchange, Inc.

Offices in 32 American Cities

Greenland

NOVEMBER, 1928

Womr Tage

' In 'The Perfect Crime' Clive Broo\ introduced to the screen a new type of villain whose meanness is all above the nec\.

(jive /3

rook

H

"e is a living exhibit in refuta- tion of all the 'Smile-1 slogans. He is a heart-breaker who doesn't try to hide the wife and two babies.

He has had a claim on this page since he played 'Rolls Royce1 in Under' world.

He has given Forgotten Faces never- to-be-forgotten fame.

And he is the rightful owner of this Honor Page because he is the outstanding

artist of the month. CClive Br oo\ wears

his clothes lil^e a gentleman and his honors lightly.

13

(\ Emil J armings 111 his garden in Hollywood. He is making a talking pic- ture about a German- Amer- ican bartender.

EN I U S

An Editorial by ELIOT KEEN

ere is a picture of Emil .farmings with an editorial of its own. He descends the steps to you. His picture, The Patriot, marks the highest art of the screen. To reach this magnificence, Jannings has continuously descended, nearer and nearer - to the common heart of humanity, the fundamental emotions that stay with us through all our days even down to the dregs. Variety was the story of a murderer; The Way of all Flesh revealed the soul of one outcast, and The Last Command told the greater loss of a man's mind. Jannings descends to the true universal realities and all can under- stand him.

These fundamentals are yours to use for your success and to win you friends, are the keys that unlock the hearts of strangers. Robert Browning told us of them long ago:

"Love, hope, fear, faith — these make humanity."

They

14

The newest PICTURE GIRL

KATHRYN leaves

€[ Glenn Tryon has a new leading lady in "The Kid's Clever.' Her name is Kathryn Crawford, and — yes, the Kid's Clever!

GIRL stood behind the counter of a department store measuring off ribbon. "A yard and a half? Yes, madam. Here's your change, madam — thank you." "Say, Kathryn," the girl at the next counter leaned over, "want to go on a party tonight?"

Kathryn Crawford, who had just rolled up the last loop and replaced the bolt of ribbon on the shelf, smiled her thanks and shook her head. ."I've got to study," she replied.

The other girl laughed. "Study!" she exclaimed. "What do you get out of that? Come on and have some fun."

Today the other girl is still measuring ribbon and Kathryn Crawford is driving to the Universal Studio to report for work as leading lady on a new production. The transition has taken three years.

From the time that the sixteen-year-old girl graduated from the Huntington Park High School near Los Angeles, to today, when she is being groomed for individual stardom, she has been out on her own. By her work in a department store during the day, she earned the money to study dancing and singing at night, denying herself many things to accomplish her purpose. A rather stirring picture, that — this frail girl, coming home after a hard (Continued on page 100)

By Ruth Mazer

C[ Give her regards to Broadway — Kathryn Crawford is too busy ma\ing pictures in Hollywood to convey her greetings in person.

1?

SQUEEKJES^

^\ very new mechanical invention claims its martyrs. Early lithography slaughtered the great works j of proud artists. Our immediate ancestors who — ^* faced the exciting adventures of the first pho-

tography are now laughed at in the cardboard pages of the family album. Only the luckiest pioneers of the

primitive movies survived flick' ({Voices must be trained ering destruction. And now today in Hollywood and those excited souls who so gaily Jean Arthur is giving address this new art-expression

the microphone a tittle . i

exercise. known as the talkers, the

16

(^Hollywood is learn- ing to dot its Vs and cross its T's for Talk- ing Pictures.

'speakies, the noisies and the squeakies are tak' ing their artistic lives in their hands. The reason for this martyrdom is based upon the fundamental fact that no mechanical device can ever record that elusive something we feel by di- rect contact. And 'that elusive something1 may be the keynote of the artist's charm. A device such as a mirror or the radio may reproduce the image or the voice with deceptive fideh ity, but the moment the image or the voice are impressed upon a record

C[Vera Stead- man finds 'ier voice in good shape.

C[ Gladys Broc\well, in 'Lights of New York' made the first sound hit in feminine roles.

C[ Chester Con\lin train- ins his warble.

and then reproduced, not from" the thing itself but from the record, we enter the realm of physical mechanics with all its limitations and editings. At its best a mechanical reproduction is imperfect; at its worst it is terrible.

At present voice reproduction from sound records is far from perfect, and though vast strides are being made toward mechanical improvement, there will always lurk strange and unaccountable factors that will edit the result.

Even in its present high state of development we are familiar with the inexplicable mysteries of motion picture photography. How, for instance, when testing two blondes with apparently identical coloring, one will 'wash out' as a minus blonde and the other darken up into a phis blonde. In fact, so deceptive is the mechanical recording process known as photography, that one of the most beautiful stars of the screen is downright plain in real life, while Winifred Kingston, one of the prettiest girls in Movieland, had to give up hopelessly before the camera.

Thus, in the reproduction of the human voice, the speakies are showing some very surprising results, exalting those whose voices are 'in sympathy' with the mechanical device and discarding those who develop discordancies. Yet in spite of these unaccountable results certain definite facts are emerging.

For instance we. are learning that — as in the radio — men's voices generally reproduce better than do women's. Almost without (Cont. on page 93)

17

Hollywood Ladies

Q Fresh Faces Add Zest to Pictures and the Generous Movie Girls Share Their Success with the Newcomers.

By Delight Evans

IIVE

IVE and let love.

Ah, Love! What a wonderful thing it is, anyway — or is it?

Take Hollywood, for instance. Maybe it's the 'wood' in Hollywood that makes it the garden spot for lovers. Sort of a Forest of Arden effect, cr what not. Cupid hangs out in Hollywood. He has tried everything— Venice in moonlight, Paris in June, England in April, and Central Park benches in summer; but he always comes back. He can't help himself. Like the actors, come to rest like tired turtle-doves after their troupings, Cupid too, has settled down in Hollywood— bought himself one of those pink stucco places with swimming pool and patio, and squatted. He says he's happy. There's always plenty of work for him to do. Home, to Cupe, is where the

G[ George Dur- yea, the hoy friend of 'The God- less Girl.'

(( The delicate charm of Vilma Ban\y finds stalwart support in Walter Byron, who is Ronald Colman's suc- cessor as Miss Ban\y's leading man in 'The Awakening.'

heart is. And why not? Love's love, no matter how you splice it. . , T

This seems to be the open season for movie lovers. Is there anything lovelier than Fall, anyway? Yes; falling in ove Oh, now ! Out where the zest begins the pic- ture girls change their lovers with their moods. No wonder the Hollywood leading men are so clean-cut, they

18

A new leading man from England — John Loder.

C[ John Boles is both seen and heard in 'The Last Warning.'

are changed so often. If Hollywood ladies seem fickle it is only the old law of supply and demand asserting itself. The public wants change and the movie stars do, too. There is practically no argument.

Besides, the picture girls are human they ever get tired of being hugged by the same dodo film in, film out? Of course they do. And if they get1 tired, how about (Com. on page 90)

Don't you suppose

Cln 'The Air Circus' David Rollins soars to popularity.

19

jCoved his

Mother

G[ Charlie Chaplin, the genius of comedy.

Q The story of the life of Charles Chaplin.

By Rosa Keilly

IILY

ily Harley lay dying in the Physi- and

cians

Surgeons1 Hospital in Glendale, Califor- nia. She was sixty one years old. Her finely moulded face and finely moulded hands were ravaged by lines of poverty, hard work and bit- ter want. Despite the lux- urious atmosphere that sur- rounded her — the soft satin eiderdown that rested on her

bed, the silver vases filled with flowers, the heavy quilted dressing gown, the bottles of ointments and eau de cologne that covered her dressing table — Lily Harley looked old far beyond her three-score years.

At her bedside sat her son, Charlie Chaplin, the greatest clown in the world. Brown hair streaked prematurely with gray. Brown eyes filled prematurely with sorrow. There was nothing he could do for her now. Three or

20

four times each day, this man, who has achieved his greatness by bringing laughter to half of the people in the world, would steal away from his work and sit quietly by the dying woman hoping that the cloud which had — at intervals— dimmed her brave spirit, might lift. So that she would know he was there to cheer her on her last cheerless journey as she had cheered him through the poverty and misery of his early years.

flights, finally brought to her the highest how ors of his profession.

G[ The first artist of the movies.

'' ■^•';'ii;ri He took his linen handkerchief, dipped

..^ it into eau de cologne and gently wiped the

**-^~^>- wrinkled forehead and the dry, tired lips.

His mind went back thirty-four years to when Lily Harley was celebrated in English music halls for her magnificent voice. She sang character songs. And danced. And did imitations in an inimitable way. Her husband, Charlie Chaplin, (the comedian was named after his father) was a baritone whose memory is still revered in Great Britain. They both travelled in the same com- pany but never in the same act. And their two children, Syd and Charlie, travelled with them. A happy, reckless, hand-to-mouth existence.

One night — the comedian recalled he must have been about five years old then — Lily made her stage entrance to sing her opening song. The first verse was scarcely

commenced when she heard a hoarse whisper from the wings. Smiling and dancing, giving her heart to her audi- ence, she edged towards the voice. It was the wardrobe woman: "'Urry. Your 'usband's took bad."

As Lily Harley came to the end of her program — and to the limit of her endurance — she started offstage. The audience applauded tremendously. Lily Harley was scarcely conscious as she reached the wings, where she was pushed back on the stage. "Tyke your bows, dearie," the wardrobe woman whispered. And then when the singer was out of earshot, she added: "No use to 'urry now." The voice of Charlie Chaplin, England's popular baritone, was stilled forever

In California, five thousand (Continued on page 78)

Dorothy

C[ This heautijul coat will be sent to the writer of the best letter answering the question. Thin\ out your answer and write briefly. It will sharpen your wits; and the prize, if you are the fortunate winner, will add to your appearance.

OROTHY Mackaill is one of the most alluring girls in pictures and she is the most modernistic. Her style is the style of the girl who has made the flapper old-fashioned and obsolete. Her trim- ness has a distinction, her laugh has abandon. Her type is the product of Prohibition and Freud. She is a new note on the screen where romping tomboys have romped and home girls and vamps have shown their stuff.

The modern girl is first of all proud of being a woman and counts sex as not necessarily clashing with intelligence. She wears her clothes with assurance and while she responds to the call of Whoopee, she sets the pace herself.

Do you like the modern girl? Dorothy Mackaill wants to know.

The coat is of needlepoint cloth trimmed with nutria fur and is cut in the stylish boxcoat model.

Address — DOROTHY MACKAILL

Screenland Contest Department 49 West 45th Street New York City

Contest closes November 10, 1923

^VCKAILL./

C| The question you must answer. Do you approve of the modern type of girl? Why? If not, why not?

C[ This stylish coat will be won by a girl who is smart and not afraid to try. Does that de' scribe you? Anyone may enter the contest. If a man wins, the coat is his.

<C Dorothy Mac\aill wearing the coat which she offers for the best answer to her question. Cover the subject cleverly and the coat may cover you.

^ - j

23

ox

PPEAL

Bj/ Grace KJngsley

({Patsy Ruth Miller setting the style.

"1

^0 be

wife

giving

your a birthday party after you have been married to her for five years is surely a sweet gesture, isn't it?" demanded Patsy. "You know by that time it is usually wifie who is giving hubby a birthday party."

All of which led up to the in- formation that Patsy and I were invited to a birthday party which William Russell was giving for his wife, Helen Ferguson, who of late has deserted the screen for the stage, although Billy Russell himelf still sticks to the films.

When we arrived at Helen's and Bill's beautiful home in Beverly Hills, it did just seem as though everybody in the film world was there. Their house is a sort of Old English on the outside, but is largely Italian period within — and somehow so entirely homelike and hospitable in its atmosphere.

"Helen and Bill are very happy," exclaimed Patsy. "Helen gives up a good deal of social life with her old group of girl friends, in order to de- vote herself when not at the theatre to her husband and the care of her home, and Billy allows Helen to play in the theatre, and never thinks of

making another engagement whence can be with her. Both are wise."

Almost the first person we met was Monte Blue, who came back from the South Seas only to go over to Europe. He was very busy debunking the South Sea Islands for a group of listeners, saying that all the romance has gone out of them.

We asked him about the foreign studios, and he said that he found the German studios very formal.

'The studio gate keeper bows to the office boy, and the office boy bows to the stenographer, and the stenographer bows to his boss, and everybody bows to the visitor.

I took seventeen bows at the Ufa studios

<( Phyllis Haver is

2 IZsml Monte Blue's beau-

24

(\New holds and clinches from distant places. Hollywood embraces the opportunity.

C[ Joan Crawford and johnny Mac\ Brown illustrating the old parlor pas- time \nown as Flying Into a Pet or Love at First Jiight.

F^ROM the torrid sands of the Coral Islands to the cold pavements of Broadway the natives are all engaged or about to be on the fine art of petting. It is therefore interesting to see how the techniques compare. In Hollywood making love is, of course, all

timed, Klieg-lighted, and figured out; but still, considering the handicaps, they do as well as could be expected. Their slogan is "Osculate than never." Often a poor little screen player gets so accustomed to forcing her partner's head around back to the camera that when her boy friend comes he thinks he must have called at the wrong house, on Mrs. Zbyssko or something.

Love is grand. You can't fool when it comes to expres- sing a deep classical passion, whether you kiss her in Santa Monica or on her request.

27

€ Phillip Strange, Helen Ludlam, Las\a Winters and Alfred Uic\man on loca- tion with The Rescue' company.

"H

OW about running down to Malibu tomorrow to see what we are doing on The Rescue?" said Herbert Brenon who is directing Ronald Colman and Lily Damita in Joseph Conrad's story.

Malibu! The newest playground of the screen stars! And the wily Mr. Brenon who has one of the loveliest cottages down there had picked out a bit of the ocean not a mile away from the colony and had The Hermit anchored there.

To be sure it was only part of the coast line that matched up with the Santa Cruse location where the land action had taken place, but everyone chaffed Mr. Brenon about the soft spot he had picked for himself. It was fine for Ronald Colman, too, who also has a cottage at Malibu, but for Lily Damita, the French demoiselle Samuel Gold- wyn brought back with him from Paris to succeed Vilma Banky as Ronald's screen sweetheart, and for the rest of the company, it was just too bad, because they had to journey the fifty miles from Hollywood each day. Would I go! Well, try and stop me! It has been said by those who should know that the California Riviera will, in a few years, rival the Italian one I can't step in on that argument, never having been in Italy, but I must say that California's Riviera is lovely

enough to hold me for a season. And then for twenty miles you drive along an almost perfect road with the Sean not two hundred feet away and on the other side the mountains rising sheer.

Lust before you get to the screen colony where the cottates are built right on the sand between the road and he ocean, you comf to a long dock at the end of which a private launch waited to take us to The Herm , nd ng at'anchor just a short distance out. We wer e firs t gre eted by Bill Collins who is water ^^^^^^

Scn^^

got into pictures- 'if it hadn't happened I suppos Td still be workm2 on the coast of our little New England Milage

^rrtt^e built m the centre of*e

^ f Tdlwo^ ^P^^^^ ^J^S^ffr was S0jln Sojin always

plays villains in pictures- I don t know why, ■ ^uf£ he wears scimitars and daggers so successfully. But

28

i

%U\y Damita, Ronald Col- man, Herbert Brenon and Theodore Von Eltz illus- trating the pull they have with the rest of us.

takes a lot of makeup to make his face look cruel, and a heavy frown to hide the kindness of his eyes.

The thing that interested me about the 'natives1 was that they all had, for men, very long and luxuriant growths of hair which I discovered were real.

There was a powerful and handsome young man, stripped, save for a loin cloth and a necklace of human teeth which he had probably extracted from his unfortunate victim's head after the kill. This fierce personage turned out to be none other than Duke Kahanamoku, world-champion swimmer, who gave up his place in the Olympic Games to play in The Rescue, his first important part in pictures.

Oh, Hollywood! Enchantress of the world! Do your eyes grow brighter and your full lips redder while musing on the victims you have lured to disillusionment and death?

€[ Dorothy Arzner direct' ing Richard Arlen in the smiling fashion which has made her our finest woman director.

test of sacrifice, hun- ger, discouragement, the temptations that loneliness brings, and overcome them, hop- ing for a smile from you? Your smile — the fullfillment of their highest thoughts. If that is true then it must be good to serve you. For a smile means happiness, and happiness is a bit of God.

But we digress. We digress indeed!

There in all the glory of the morning sun stood the stalwart

Duke and not far off looking dejectedly out at sea was an Indian Prince — by jove! — another mistake. The In- dian Prince is your old friend John Davidson who, in The Rescue, is Ronnie's friend. His dejected appearance might have been the result of a five-thirty call so that he would be sure to be on the ship all made up at nine. Otherwise he might not be ready for the scene which would be taken at three or possibly Or is your beauty fed by those who have stood the cruel four in the afternoon. What was he (Cont. on page 84)

29

In New

By Anne Bye

Q[ When the Hollywood Workers Come to Broadway to Play.

{{Tommy Meigban, having made 'The Mating Call,' came bac\ to his home in Great Kec\. Long Island, for a rest — and all the rest.

L. ~; - -----

roadway is all a-bucs. We have taken a new lease on life, love, and the pursuit of whoopee, what with fall and screen stars coming on, and new revues and clothes coming off, and— and everything. And just to keep us excited, we have had two Holly- wood beauties in our midst— two stars whom New York has been just palpitating to see. One has never visited us before; the other hasn't been here since she climbed to film fame. I give you — Dolores del Rio and Sue Carol. Wait a minute- stand back, there. I can't give them to you. They belong to Hollywood, and Hollywood is jealous of her rights. But I can give you a glimpse

of them can't I? You can't stop me. . , .

Altogether, then: Dolores-del-Rio! Del Rio means river. No^t doesn'C either. It means Romance. Wait till you see hen Ca-amba. Abo bounds. And hoopla. Dolores, on her first vi^t to Manhattan gave the town such a kick as it hasn't had since Anna Held tookhe: ^ milk shake. You see, Dolores is that kind of a star She d «ot bathe in milk-she drinks it. What I mean is she sparkle, ^tSSS and all those other adjectives. Dark, glowing beauty-the most intense brown eyes I ever saw, with the longest and curliest lashe«e^\£e

may have to have them boyish-bobbed to keep them ^ out of her hair.

Measuring Dolores and Greta Garbo eyelash to eyedasK * f

which would win. Anyway, Dolores T^^g^^^

the middle and drawn back just as it is m her pictures. Ut course, 5

have been seeing her only as Ramona, you poor

souls, and so you'd hardly be prepared for the

vivid, Parisienne figure she presents m person. No

smocks and shifts for the real del Rio Long jade

earrings, jewelled bracelets, beautiful imported

aowns. She is little— much tinier than you d ex- pect • and graceful— you'd know that; and so very much alive. Her gestures are quick and expressive.

CCThe brilliant beauty of Dolores Del Rio gave the Broadway electric signs a little competition, before she sailed for Europe.

CCJoe Brown of "The Hit of the Show' is also a hit on Hew Tory's Main Street, where he played in ?nusical comedies he' fore the movies claimed him.

30

(£ "Howdy!

says

Bebe Daniels

And yet, with all the beauty and charm and glamour, she is curiously direct and honest and outspoken. She'll be frank with you. She says exactly what she thinks. There are none of the coquettries and evasions and posturings you might excuse in so picturesque a creature. 1 Dolores has depth. It shows on the screen, making her the fine actress that she is. It's a quality of sincerity. It makes her not only a fascinating girl, but a gallant one.

"I live for one thing only," she says in her low voice. "Work! I love it. A picture actress must love it to be willing to make all the sacri- fices a film career demands of her. It absorbs her whole life. When she is not actually working before the camera from nine until six or so she is posing for pictures, or hav- ing interviews, or costume fittings. She has no time to herself. She has to love it!

"I was never so happy in my life!" she exclaimed. She has surprisingly lit- tle accent, considering she couldn't speak a word of English when she first came to Hollywood three years ago. "When I lived in Mexico City I was just a girl. I knew nothing but my home, and social

as she alighted at Hadley Field, ~N_. ]., from her trans- continental 30-hour flight by airmail plane from Los An- geles. She came east for a vacation visit with Mr. and Mrs. Tom Meighan.

duties, and my music. It is only since I have been in pictures that I have really found myself. Now I am a woman — I have work to do — and I love it!"

Dolores seems awfully sensible for such a beautiful girl. She says in five years she will leave the screen — absolutely. "You know, a movie star's career is short. Only youth can please the camera. Later, still a young woman, a star is passe. Maybe wrinkles come. Before then I will go. I will try the stage."

She has a voice, you know. She has made records of Ramona and a little Mexican song for Victor. She has also warbled over the radio. But she much prefers to remain silent. No talkers for her.

"I'll bet you do!" I said with a sickly smile. I expected a vase thrown in my gen- eral direction — I had just finished reading Van Vechten's Spider Boy, and Latin stars are supposed to be so temperamental.

Dolores is not. She said: "I'll bet I don't! The motion picture is an art. It is panto- mime. It needs no words. Let it stay so. Sure!"

She'll say 'Sure' right in the midst of her exquisite English. It's nice.

Sixteen pictures in three years — she has earned her European vacation. She'll be back in two or three months and then make Evangeline. She finished Revenge be- fore she left. It's her third picture with an R in it. She named it herself. It completes the trio: (Continued on page 94)

€[ Sweet Sue Carol arriving in J^lew Tor\. She sailed on the Levia- than that after- noon— to play opposite Jiic\ Stuart in the continental loca- tion scenes of 'Chasing Through Europe/

31

burning tftc G^nfJ^cruiarcL

(\Getdown to work and get up in the world.

By Marion

Brooks Ritchie

C[ Director Otto Brower, Leading Lady Doris Hill, Chief Assistant Director Charles Barton and Cameraman Roy Clar\. Below, at wor\ on 'Avalanche,' with ]ac\ Holt.

Just take my hand, and we will see if we can manage to get by Kenneth at the information desk and in onto the Paramount lot. Follow me down First Street, past Star Dressing Room Row — you know, Clara's and Richard's, Emil Jan- ning's and Florence Vidor's — by the quiet-looking Valen- tino bungalow, the Old Barn, the restaurant, and through to the interior of Stage Four.

Be careful! Don't get too close. The Kliegs are all on; the music has started, and they must be all ready to go. "Shh-hh! Quiet, now. "Camera!"

It is obviously a scene from a "western." The bar is on the left. Cowboys and dance-hall girls are around the set, away from the actual shooting, and you certainly can't miss seeing that old nickle-in-the-slot player piano.

32

The cameras are trained on a group seated around a table. They are playing cards. That girl dressed as a dance-hall girl and standing back of the dealer is, I am sure, Baclanova. And the cowboy, dealing the cards, is —why, of course, it's none other than my old friend, Jack Holt.

"Camera!" , In Hollywood, that word is called at least five thousand times a day. It holds the joys and heartaches, the hopes and even fears of almost millions. Today, on this par- ticular set, to at least four people it means glorious joy and the hopes of years, fulfilled.

The picture is Avalanche. The young lady playing the lead opposite Jack Holt is Doris Hill. The good-looking fellow who shouted the word "Camera!" is Director Otto Brower. The smaller one, next (Continued on page 96)

A. Bachrach, Stil! Photographer

The JMost ^Beautiful Still of the <JMonth

TOM MIX

in

Son of the Golden West

How sweet, how passing sweet, is solitude; But grant me still a friend in my retreat, Whom I may whisper — solitude is sweet.

— Cowper

come between them.

Photograph by Hommel

LILLIAN GISH and Lars Hanson are the lovers in the forthcoming special produc- tion, The Wind.

Photograph by Ruth Harriet Louise

km

(][ She Marched Down the Aisle and Right Up Onto the Screen.

By Val Lewton

brief year ago she had been an usher- ette at GraumaiVs Chinese Theatre, Los Angeles. She had watched other stars sweep from their magnifi- cent cars, through the applauding first-night crowds/ and into the' theatre. She had been a little envious of their furs, their jewels, their orchids. - But never had she been hopeful of attaining to their posi- tion, of winning their wealth.

Tonight, however, it was her night. Her pic- ture was opening at the Chinese Theatre. She swept out of her car and into the theatre. Here (Cont. on page 98)

GT Raquel and Monte Blue down in Ta- hiti. She supports Monte in 'White Shadows in the South Seas* and he returns the com' pliment

Raquel Torres as the heroine of a south'sea cinema special casts a wicked shadoiv.

"This way, please," said Raquel Torres in her usherette days — and her Mexican glance is still show- ing the movie cus- tomers to their seats.

37

in

Paris

€[ The latest from Paris.' Jsformd Shearer ' wears a Lanvin evening gown of silver mesh with sequin motifs wor\ed into ecru tulle. At the side is a tulle chou. 7\[ote the pointed hem line. Silver slippers are worn with this froc\.

({Happy Korma — gowned by Paris for Hollywood parties! This froc\ of flesh- colored net is striped in folds of blacf^ net. A double rhinestone coil at the left hip holds a cascade of blac\ tulle in place:

38

C[ T^orma Shearer. went to Paris on her honey moon-vacation with Irving Thalberg, and inspired the foremost couturieres to de- sign some of their loveliest creations for her. Here she is wearing one of the smart new \nee-lengih evening wraps.

C[An old-rose ensemble designed by Chanel for >iorma Shearer is printed in pale yellow and green daffodils. The blouse is fitted and the s\irt is trimmed ; with rows of shirring. Her hat is a lovely shade of green.

Making ^Movies Among the Flsh

(^Director Hat Ross is commander the submarines, George Robinson is at the camera, and Eddie Phillips stands below. The gentleman with the derby hat is doing his bit for art.

40

C[ George Lewis is rescuing Yvonne Howell from a watery sequence. George is a great athlete. He has carried 'The Collegians' into its third edition.

PLIGHT

({ The most sophisticated motion picture ever made

e

PATRIOT

(\Salute,

C[ Lewis Stone and Emil Jannings in the big scene of 'The Patriot' — directed and acted with matchless art.

HEN you come up against a picture like this you wish you had Hooverized your adjectives. Here you have been scattering 'em all over the place on second'rate pictures, when along comes a really great one and leaves you gasping. There is nothing left but to turn hand-springs. Here are a few for The Patriot.

The most sophisticated picture ever made, this is a tri- umph for all concerned, including the audience. It marks the American reunion of those two German giants, Ernst Lubitsch and Emil Jannings. The heavenly twins of the cinema combine their genius on a dramatic story, and the result is inevitably a masterpiece. The Patriot is a little tribute for Paramount Pictures to the great American movie public — an indication that at least one motion picture company has sufficient respect for our intelligence to pre- sent us with a grown-up photoplay.

Here is a picture of imperial Russia in 1801, under the reign of Paul, the mad son of Catherine the Great. From the very beginning you are conscious that you have at last come upon a very nearly perfect motion picture play. Lubitsch directing — Jannings acting ■ — Lewis Stone, Flo- rence Vidor, Vera Veronina and Neil Hamilton assisting — all on their toes — what could be more exciting? It's Lubitsch's very best picture. It abounds in what producers and public have come to know as 'Ernst Lubitsch touches.-' Sometimes they take the form of desperate drama; often they are highly comic — this Teuton has invented the movie epigram. There is no scene in movie history more amusing than that in which Lewis Stone, as Count Pahlen, right- hand-man of the czar, describes to his master in intimate detail his latest amorous adventure. No sub-titles ar<?

42

necessary. And Lubitsch proves that in addition to sup- remacy in the sly innuendo he has a heart — a kind heart. The pathos in The Patriot is never forced. In a picture so stirring, so rich and dark and violent and lusty, it is good to find a tender touch. As for Jannings — he surpasses him- self, and when you remember The Last Laugh, and Var- iety, and The Way of All Flesh, and all the others, you must admit there's no higher tribute. This actor gives what can only be called the greatest performance ever seen on the screen — or the stage either, as far as I'm concerned. His portrait of the imperial madman is perfection. It's a flamboyant part, yet Jannings never overplays. It is a repel- lant, a horrible part — but such is the art of this portly German that the lunatic Paul becomes at times a pitiful small boy lost in the mazes of an awful nightmare. Lewis Stone, too, is fine — very fine, as the conspirator-patriot, Pahlen. It's a typical Lewis Stone role, and has never been better played. The big scene in The Patriot is between the two men, Jannings and Stone. The czar pleads with his trusted Pahlen never to desert him — even as the Count is consummating his plan to do away with the madman whose whims are ruining Russia. This scene is directed and acted with matchless art. The feminine interest is beautifully upheld by Florence Vidor and Vera Veronina. Miss Vidor plays an aristocrat whose attachment for the Count is sacrificed in the interests of a better Russia. She is exquisite, aloof — and very alluring. Veronina, the only real Russian in the cast of this Russian drama, as the czar's mistress, is a delicious bit of feminine dynamite. She makes her occasional scenes count. The Patriot cannot be appre- ciated at one sitting. And when I say sitting, I mean standing room only, and such popularity must be deserved.

C[ It may not be art, but its fun

The 1 ERROR

Q Scaur

O

w!

What was that?

Look behind you! Is that a h'ant? No, just an usher with her little lantern. But anything and everything seems mysterious when you're on the trail of The Terror. Sit next to people you know personally so that when you have to grab somebody in the excitement you'll surely be among friends. Those shrieks — you can't tell whether they are coming from the cast or the audience. The Terror is a' talker on both sides of the screen. A screamer, I mean.

Shrieks and clutching hands and tapping sounds and stabs in the dark — it's a nice, blood-curdling evening you're in for. It seems there were strange doings at the Grange, or the Abbey — the old organ played when there was no- body around to play it; a strange old lady appeared on a stormy night from nowhere; and at intervals Louise Fazenda or May McAvoy or somebody sitting next to you emits a long howl, and you don't see how you can stand the strain a moment longer. Edgar Wallace wrote it, Roy Del Ruth directed, and everybody concerned seems to be in on a conspiracy to scare you to death. The plot? Why, the home of that gentle, peace-loving Alec B. Francis and his lovely little daughter, May McAvoy, is made miserable by the machinations of a sneaking villain. That's all. But it is plenty. Edward Everett Horton solves the mystery, on the screen and also the one about his own position in

C[ Louise Fazenda and Holmes Herbert in the tal\ing mystery thriller, 'The Terror.'

pictures. I know now why Mr. Horton is generally con' sidered such an engaging comedian. Give him any kind of a situation and he will talk his way out of it and right into your regard. He is an ingratiating man, and he will be a big drawing-card as long as the talkers are. Louise Fazenda also fares well in her first talking venture. She is a Beatrice Lillie character, with a voice that adds to her comedy attractions. Mr. Francis, John Miljan and Otto Hoffman are outstandingly interesting. The Terror is a pioneer picture — the very first to eliminate the sub;title in favor of the spoken word. The title, cast, directorial and camera and author credits are all announced by a sort of dignified Mistah Bones, who then retires and lets the cast speak for themselves. And they do a good job of it. Now a lot of people are going to take you aside and tell you that the surface of the speakies has only just been scratched, and more like that. You just agree with them and then go along and see The Terror. It may no: be art but it's fun.

C[ The male version of the Mammy song

FORGOTTEN / ACF.S

Q Pappy!

PAPPA love Mama? Of course he does. Pappa has always loved Mama. But does Mama love Pappa? That's the question— the great, big question staring us in the face right now. Give a thought to Pappa. Father's face has been forgotten long enough. Let this be Pappa Month among the movie theatres. Here's the male version of Mammy— just to make you remembah!

I'm just masking my real feelings when I go on like this, as you may have guessed. Forgotten Faces is a picture that leaves you with that choked-up feeling that can only be relieved by a real good cry, and I can't cry here. Besides, you cant cry over a Pappa picture. It isn't being done. Just the same, I suspect you'll be stealing a sob over Clive Brook before he's through with you. As Helio- trope Harry, gentleman burglar who dedicates his life to his little daughter, he is noble and self-sacrificing and pathetic — but. never too noble.. He always remains a man. There is no one who can assault your sympathies with the

savoir-faire of Mr. Brook. I don't know how the man does it. He's as frozen-faced as Buster Keaton but he manages somehow to achieve tremendous pathos simply by standing still and looking glum. Why, the man must be an actor! Heliotrope stirs me. He'll stir you too. He goes through fire, water and a jail for his little girl, who, grown up, is played by sweet Mary Brian. His object all sublime is to save her from a life of crime — and the slightly soiled clutches of her worthless mother, played by Olga Bac- lanova. Brook's performance could not be improved upon — from the opening scenes which show him as a deft and agile thief, in faultlessly fitting clothes, through his suffer- ings as a betrayed husband, a helpless prisoner, and finally as a butler in his own daughter's home, striving to save her happiness. Forgotten Faces has all the appeal of Sorrell and Son and Underworld with a dash of Stella Dallas. Daddy!

43

{{Recommended to all — except those just married

JUST

H

(T Wives and Otherwise.

"ip ahoy for the Honeymoon Special! Just Mar- ried is one of those cute little comedies that doesn't mean a thing but gives everybody a good time. It has James Hall as an expert farceur. James plays a slightly naughty young boulevardier and makes you believe he is just a little bit frisque without once chucking a cutie uner the chin or pulling a long black silk stocking out of his pocket by mistake. Who'd ever believe that James could do it? I had him on my list as one of those young men who never would be missed. Now I take it all back. He is very charming and most amusing and what more can any one young man be? Just Married also offers the tried-and-true comedy talents of Harrison Ford and William Austin, and a brace of pretty girls — I don't

ARRIED

know what a brace is but they do brace you up. Ruth Taylor, Lila Lee, and Ivy Harris arc the three little bride- madcs. Ruth is engaged to William until James appears on the scene. Lila pursues the English Mr. Austin, and Ivy is married to Harrison Ford. Then they all get mixed up. That's where all the fun comes in. There are several hearty ha-ha's in this comedy and enough snickers to go round. Ruth Taylor is an optic-ful in her chic Paris frocks — f.o.b. Hollywood. Lila Lee plays a part that would have shocked the old Lila out of her demure coiffure. Yes — she is one of those French girls. Very pretty, too. just Married is recommended to all — engaged couples, old mar- ried couples, and in fact all kinds of couples except those just married.

C[ More murder — very polite, pleasant, and well-managed murder

(Me TERFECT

Crime

Q Murder Made Easy.

CC'The Perfect Crime' has a Big Trial Scene — what would a murder picture he without one?

I~t?-ere's to crime — The Perfect Crime. More mur- = der — and this time a very polite, pleasant, well- managed murder. Trust Clive Brook to see to r^- that. Anything this English gentleman under- takes is bound to be charming and well-bred. I don't mean that Mr. Brook steps from his pedestal and does anything we wouldn't do, even in a nice way. But he does intro- duce an entirely new note into the murder mystery motif. He makes you pleased and proud to be, with him, an ac- cessory after the fact, or even before. He plays a famous criminologist immersed in his last case — the murder, under most mysterious circumstances, of our old friend Tully Marshall. It is Mr. Brook's business to track down the murderer, and at the same time retain all the polish and

suavity for which he is justly famed. The solving of the crime involves the happiness of himself and his fiancee, Miss Irene Rich, and also of another couple who have been implicated in the proceedings. An atmosphere of ominous, brood- ing uncertainty hangs over the picture and also over the audience. You sit tight and hardly dare to breathe much less rustle your program as the story slowly and somberly unfolds. Then comes the Big Trial Scene — what is a murder picture without one? This has been done in dialogue and none too accurately. It stands out for its novelty and nothing else. A highly unnecessary old- fashioned dream ending has been tacked on this picture supposedly as a sop to tender-hearted movie-fans. All the picture patrons I know happen to be quite as sturdy and intelligent as the average play-goer and novel- reader, so I am at a loss to understand why it is that the picture producers persist in treating us as if we are child- ren whose mothers never told us. The best part of The Perfect Crime, besides Mr. Brook, is the amusing speak- ing sequence — a prologue and an epilogue employing the talents of Claire Adams and Lynne Overman. You have seen Miss Adams before but you have never heard her, and I think you are going to like her a lot. She is one woman who can never talk too much to suit us.

44

C[ Presenting Billy Haines in a 'different' part

fxcess BAGGAGE

QC$) Excels Baggage.

ERE is what we have all been crying for — Billy Haines in a "different' part. Billy himself, they say, has been fed up on playing smart-alecks all the time. He wanted change — well, he gets it. In Excess Baggage he goes to the other extreme and plays a failure. And he is awfully good, as a young vaudeville actor whose wife inspires him to do his 'slide for life1 over the heads of the audience. When the pretty bride gets an offer to go in the movies, the husband un- selfishly steps aside, though he knows he can't get along alone. With her gone — an over-night success on the screen - — he flops, and joins the only-their-husbands club. But as he sees her apparently drifting away from him and falling for a handsome movie actor — Ricardo Cortes — he sees red,

white and blue and a few other colors, and asserts himself. Now, this should have been a very human little picture. And it is, in spots. But it never seems to realise its pos- sibilities. Boy, a nice new Covered Wagon for Director James Cruse. Haines not only plays an unselfish char- acter; he practically steps aside with a gallant gesture and hands the picture to his leading lady, little Josephine Dunn. I feel like saying "I told you so" when I see Miss Dunn sharing honors with a star of Haines' calibre. Dong ago I told you to keep an eye on her. I hope you have because she is worth seeing. Josephine has beauty and pep and a certain wistful quality of sweetness that makes her just a little bit different from all the other girls. She scores a spanking success in Excess Baggage as you'll see for yourself.

The movie version of the best'Selling mystery story

The BELLAMY TRIAL

F good entertainment. The Bellamy Trial is the movie version of the best- selling murder mystery that ran in the Saturday Evening Post and made strong men and women readers begin biting their nails and picking at the coverlet while waiting for the next chapter. The big-hearted movie producers give it to us all in one pic- ture. They come right out with it instead of teasing us along with 'See Next Instalment for the Solution.' Just one more reason why the movies are my favorite form of entertainment. Movie fans can get all the murder mystery they crave in one dose, and I think they should express their appreciation by refusing to tell their friends just who really did kill Cock Robin — or in this case, Mimi Bellamy.

Monta Bell presents The Bellamy Trial on the screen, with Leatrice Joy as Sue Ives, Kenneth Thompson as Stephen Bellamy, husband of the mur- dered lady; George Barraud as Pat Ives, and Margaret Livingstone as the luckless Mimi. It is a faithful trans- cription of the novel up to a certain point. The story is told in the court-room from the testimony of the witnesses, just as it is in the book, with flash-backs as the characters explain their actions preceding and during the night of the murder. 'Who killed Mimi Bellamy?' is the great ques- tion, and everyone who has not read the book will have

([ The humor and romance in 'The Bellamy Trial' are provided by those two charming youngsters, Eddie Nugent and Betty Bronson.

(J Guilty i

! his own guess. Miss Joy, Mr. Barraud, and Mr. Thompson perform capably as the harassed trio of suspects, while the humor and romance are provided by two very charming youngsters, Eddie Nugent and Betty Bronson, impersonating reporters. In- deed, Betty is so piquant and pretty you wonder why you don't see her more often. She is inimitable. The Bellamy Trial has a summing up of the case in sound by the prosecuting attorney that adds to its effectiveness. But why did they have to deviate from the original by making the murder an accident instead of a deliberate affair? Probably to conform with the old-fashioned idea that a fact may be told in a book or a newspaper and presented on the stage but never, never in a motion picture. It's a quaint old Hollywood custom.

45

(( A great, big special war production

JjLAC CTJIME

(\Sniff, Sniff!

•ou can see and you can hear Lilac rime You should be able to smell it, too— bright theatre managers will doubtless oblige by spraying you with lilac scent as you enter. Pretty soon well have not only talkers but smellers and feelers. See, hear feel and sniff your pictures. But right now it is enough to see and hear them— especially when they are as elab- orate and spectacular as this one. Lilac Time is a great big special war production. You get your money s worth of drama and thrills and then some. As far as I am con- cerned you also feel as if you have been in a couple of battles yourself before it is over. Lilac Time, what with the whirring engines of the airplanes and the explosions as

they crash is a stirring experience comparable only to Wings. Wear your ear-muffs.

Colleen Moore is the star— playing the role of Jeannine of Lilac Farm where the brave boys of the flying corps are billeted. Jeannine is not one of those French girls. Oh no She's a nice American girl in a trick costume, and somehow I could never forget that fact. Gary Cooper is the flying captain who is captivated. It is all directed by George Fiumaurice, which means it has moments ot surpassing beauty. Miss Moore's own share of the drama will continue to be silent as long as she has anything to say Now, you know what I mean! This expert little, pantomimist doesn't have to speak to her audience to make them understand.

((With two kinds of smacks— the oscillatory and the nautical^

e

FIRST TlSS

(\Smack — Smack!

THERE are two kinds of smacks in this picture—the osculatory and the nautical. Both are nice. Gary Cooper and Fay Wray furnish the first; Chesapeake Bay the second. If it hadn't been for those smacks The First Kiss would hardly have kept me up. Just as I would be dozing off— smack!— Fay and Gary would get .to- gether again, or a beautiful boat would come sailing on the screen and the film would take a new tack. Gary is the poor suffering hero as usual. They seem to be trying to -make a sort of male Lillian Gish out of this husky young man. He has to suffer, and suffer, and make sacrifices for the family name and his three brothers. He broods and acts bashful, but comes into his own in a swimming scene. Maybe you can believe this story about the boy who determines to lift himself and his family out of the poor white trash heap; but it was never very real to me. Probably because it keeps a woman waiting Tor an unpardonable length of time-some- thing like five or six reels. Fay Wray is the waitress and she is much too pretty to be stood up for any time at all. She is the daintiest thing on the screen-so cool and detached; almost the last of the 'Don't- dare-touch-me school Well, that may be the reason she was kept waiting. Lane Chandler is cast as one of the weakling brothers. He is so obviously designed by nature to play big, strong-minded men its a wonder he could keep a straight face. I couldn t.

46

((Leslie Fenton, Fay Wray and Gary Cooper against a Chesapeake Day background in 'The First Kiss.

C[ It pac\s a punch at the same time it preaches a sermon

FOUR WALLS

Q Ye Olde Prisoner's Songe.

a j — H, I wish I had someone to love me!" sings ft || John Gilbert. Girls, girls — control yourselves! \\ Jl Let Mr. Gilbert alone. It's only a part he's ^ — ^ playing. And how he plays it, to be sure. Four walls do not a prison make — is that so! But John has to spend a term behind bars to find himself a free man. You see he was one of the bad boys of Greenwich Village — they don't all read Shakespeare down there., And he is sent up for a stretch — only to learn in prison the Better Way. He comes back to his mother — Vera Gordon — resolved to follow the straight and narrow. And he would have had no trouble at all, for he was good at heart — if it hadn't been for Joan Crawford. Now you know as well as I do what Joan can do when she wants to. She is one of the most devastating girls in pictures. This time she sets out to win Jack back to the old gang and — the old girl, herself. He is human — he is tempted — for this Crawford girl never looked so, beautiful. But he summons the strength to repudiate her, never guessing that maybe she, too, would like to leave the old life for some- thing finer. The girl and the man fight it out. A cafe

party — more temptation — lights and jaw and soft arms and mocking eyes — and Jack is right back where he started. He wants to be a bad boy again. This is drama, tense and stirring. The man is licked. But the girl isn't! She has a strain of unsuspected steel in her — and she grabs him and she shakes him and taunts him and shames him, into manhood. It's good stuff. Four Walls is a rather worth-while picture. It packs a punch at the same time it preaches a sermon. The cast is perfect. Vera Gordon — a movie mother who doesn't whine. Carmel Myers — come back not in her usual vamp role but the direct anti- thesis— a plain, shy mouse of a girl, splendidly played. John Gilbert — no Great Lover heroics, but restrained, dignified, human acting; as good as anything he has ever done, and maybe a little better. Joan — oh, Joan! Wait until you see her. I mustn't paint this tiger lily, but I must tell you her work never misses — sincerity shines through — always beautiful, she is also real. This girl is one of the greatest bets who ever stepped on the screen — if they treat her right. They'd better!

G[ Just a little pleasant Davies dallying, with pretty trimmings

The Car^board

OVER

{ O you think you .are too old for paper dolls, do you? You're just an old cross-patch. The rest of us still like to play, and here's The Cardboard Lover to toy with. This little picture will not get you worked up into a lather. But it will keep you mildly amused, especially if you have become addicted to Marion Davies — as who has not? Just a little pleasant Davies dallying, with pretty trimmings. Marion is the screen's foremost comedienne these days and she has only to wink an eye to send her considerable public into convulsions, and she looks so pretty all the time she is being funny that she is a treat to the eyes as well as to the ribs — and if you think that isn't a trick try it over on your own features sometime.

Marion entertains as a cute American cut-up who is doing Europe — and the Europeans. The grand tour is just a personal tour de force for our little heroine. She is seen pursuing a famous French tennis champion, Nils Asther, with her autograph book and also with her atten- tions. If you know your Marion you don't need to be told that she finally emerges triumphant — not only with the young man's signature but also with his affections. And she was up against quite some competition in the person of Mile. Simone — the French demi-mondaine of snappy fiction superbly played by Jetta Goudal. What is

Marion Davies, a treat to the eyes as well as to the ribs in "The Cardboard Lover.'

it about this Goudal that gets you? She gives a delicately decadent impression of a siren in her few scenes — you won't forget her soon. The Cardboard Lover is not The Patsy by a couple of impersonations. Marion does only two here — Marion Davies and Jetta Goudal. Both are good. In fact, when there are better — and keener and crueller — impersonations, Marion Davies will do them — and then heaven help the poor movie girls.

47;

V

(^Revelations that amazed the Hollywood players.

(( Sue Carol was surprised that her numbers \new her past.

A	B|	C | D	E	F	G	H	I
J	K 1	L | M	N	o	P	Q	R
S	T |	U | V	W	X	Y	z
1	i 2 1	3 1 4	5	6	1 7	1 8	1 9
How they arrive at it: suppose your name is Iv M, you will see, is 4; A, 1; R, 9; and Y AJded, these numbers make 21. These two — 2 1 — equal 3. Hence Mary's number is 3.	[ary. , 7. and

C[Mary Pic\ford still is under the spell of 'Gladys,' her numb ers show.'

By Helen ~Ludlam

O you know that your baptismal name or if you have not been baptised the . . . „ jr_rm nf arnuse'

name your mother gave you, and your birthday, the knowledge along and since it is also a Wot amuse

contain your fortune? Well, they do if you ment I have had a lot of ^ «admg die names

know how to read them. Tins discovery has interested me girls in pictures and world knows

so that I am continually looking for opportunities to pass I'll begin with Mary Pickford whom all

D

48

C[ Pulling you this way and that are the influences of your numbers.

was Gladys Marie Smith so I am not giving away any

state secrets. According to

'Numerology1 the vibrations of her life changed when she became Mary Pickford, but her first name is still the greatest influence in her life. With- out going into the technical side of how it is done I will just give you the number of the Ideality or inner nature, the Expression or general ability, ■and the Impression or appearance. Our month, day and year of birth reveal our Path of Life or lesson we have come to learn and tell us in what we can best succeed. It is divided into three cycles, the birth month being the first, which spans the time from birth until about 22 years of age; the second cycle, the day of birth, from 22 to about 42 or 45 and the last cycle, the year of birth from 4? until about 65. These three cycles have vibrations that if lived constructively fit us for the lesson our Path teaches and we are then ready to go on.

Mary Pickford, then, has a 7 Ideality, a 3 Expression, and a ^ 5 Impression. That means that the thing that she really t00^ it good, wanted to do was to get away by herself to (Cont. on page 80) naturedly.

NEW

CREENPLAYS

Reviewed By Rosa Redly

C[ 'Bantam Cowboy' is a great picture for juveniles and everybody else. It features Buzz Barton and ?<iancy Drexel is the heroine.

BANTAM COWBOY

HEN I was in my early teens I used to thumb over countless books and magazines and won- der- "Don't they ever write any stones for airls of fourteen?" You could find stories for arown-ups and stories for mere kids of eight and nine, but for a still growing young person in her teens, m those days there was nothing.

.I've often felt that way about pictures, too. but at last young folks who are neither kids nor yet grown-ups have come into their own with the new western film, Bantam Cowboy. It's a great little picture for juveniles who are tired of watching the heart throbs of elder people It features Buzz Barton, the pint-sized cowboy. And it shows him holding his own and getting away with the girl— Nancy Drexel— against a villain who would make a

couple of him.

Good picture goods even if it is wrapped up in a mini- ature package.

HAROLD TEEN

Come on, jump aboard this high school special!

See your old friend Harold Teen (Arthur Lake) posi- tively in his first appearance on any screen.

See Mary Brian as the innocent little heroine.

And Alice White as a knock-out vamp.

Watch the school kids make a western movie and flash it in the auditorium.

There's a good soda-fountain sequence a toot-ball game and the bursting of a dam to pep up the crowd. And of course, our little friend Harold getting m all sorts of trouble with the girl he loves.

A grand picture for anybody under eighteen.

BEWARE OF BLONDES

There, there, gentlemen. Don't crowd. There's room for ybu all-old and young. This theatre holds six hun- dred people. • .»■"!.* u„

"What the Well Dressed Man Is Choosing might be the name of this film for it's all about Dorothy Revier, the mysterious unperoxided blonde.

Is she bad or is she good?

Is she a crook or is she straight?

These are the thoughts that almost crack Matt Moore t skull when he wakes up one morning to find his beautifu fiancee and his priceless emerald-both missing

Roy DArcy and his gleaming molars don t help Moor much in solving the puzzle. For Roy is the dark darl villain But when the police break into the den in Manila well, that solves the mystery. And Dorothy falls into th, arms of one of the handsome gents.

Dohn'fmgake me laugh. When did the villain ever ge the girl?

LINGERIE

Lingerie— pronounced lan-zhe-re, is a hot little numbe

5 0

about a warm little mama, who on her bridal night in the darkened library inadvertently gets her husband mixed up with her lover.

Right off at the start we have fire-crackers and they keep up right until the end. War, a wounded, paralyzed husband, a cute little French girl and a happy ending— there you are, all the ingredients necessary for a snappy movie where Alice White, Malcolm MacGregor and Mildred Harris carry their ap- pointed roles with dis- tinction.

THE LURE OF THE WEST

The Lure of the West isn't so alluring.

Slow as cold molasses and just that sticky with sentiment. The owner of a saloon hires a quack doctor's daughter as a cabaret girl and then when her father gets out of town, he starts the well-known business of trying to get the girl.

Of course, young Lochinvar rides out of the west and virtue once more triumphs.

THE VORTEX

Noel Coward's stage play, The Vortex, when presented in New York some months ago with Coward playing the leading role, created a little furore. If you've ever lived in England, particularly in those first bitter years after Armistice, you will appreciate what an unmistakable por- trait the play gave of a cross section of English life. It

shows a light mother and a neurotic son finding out the unpleasant truths about themselves and each other

But in the film, it's not the same. For this story deals with certain unsavoury facts which simply cannot oe trans-

lated into plain screen captions. If they were, the police would come in and stop the show.

However, you will be interested in seeing the work of Ivor Novello who plays the leading role of Nicky and of Willette Kershaw as the mother. They have done their best with a deflated story which turns out like a champagne cocktail with' out any champagne.

MIDNIGHT MADNESS

A man never buys a book that he can borrow!

Learn that sentence by heart and the Salvation Army will never have to care for your fatherless children.

In Midnight Madness, pretty Jackie Logan has a right miserable life. She lives in the back of a shooting gallery with her Pa who never draws a sober breath except when her pocket book is empty. And that's not all. Jackie works as a stenographer and falls in love with her high-stepping employer. But his intentions are not— ahem— honorable. So getting kind of desperate, she marries a rich man with diamond mines in Africa. But, like a lot of women, she's a poor little sport. For she says right out that she (Continued on page 82)

C[ See your old friend, 'Harold Teen,' in the person -of Arthur La\e. Alice White plays the \noc\-out vamp.

mi-

I

I J}' >■

*w': ■ ISP-

mm

<{ Dorothy Revier is the mysterious blonde heroine, Roy D'Arcy the dar\, dar\ villain and Matt Moore the puzzled hero in 'Beware of Blondes.'

51

Q The talking pictures have revived the short subject and 'The Trea- surer's Report,' here rebrinted, is one of the best talkers ever made.

OBERT

ENCHLEY

Shoivs that all the talking pictures need is TALENT.

<C 'the treasurer's report' as given

IN THE FOX MOVIETONE.

Robert Benchley is one of the merriest men in America. As dramatic editor of life, he has inaugurated a neiv style of theatrical criticism — with chuckles. His books, such as Love Conquers All, have been best sellers. His fame as a writer of humor is firmly founded. But for Benchley this wasn't enough. He turned actor, and presented a monologue to Broadway audiences — in a revue and in vaudeville — that sent New York into hysterics. It was inevitable that the talking pictures should claim him, and Fox Movietone teas the lucky bidder.

AN: "And now before we go any further in our program perhaps it would be well to pause for a moment to listen to a prac-- tical account of our club's affairs. As you all know, we have to have money, and during the past year we have tried to raise as much as possible and to spend as little as we possibly could. Mr. Benchley, who is our Assistant Treasurer, has con- sented to give us a statement of the year's finances. Mr. Benchley."

Benchley: "I shall take few moments of your time this evening for I realize you would much rather be listening to the inter- esting program than a dry financial statement, but I am reminded of a story which you probably all of you have heard. It seems there were two Irishmen walking down the street when they came to a

(\ Robert Benchley, who also gives a Movietone tal\ on 'The Sex Life of the Polyp.'

C[ Some 'frames' from Benchley's film as he gives 'The Treasurer's Report.'

. to a ... I should have said in the first place, that the store belonging to the first Irishman ... the first fellow's store . . . Well anyway, in connection with read- ing this report, there are one or two points which Dr. Morrison wanted brought up in connection with it, and he has asked me to bring them up ... to bring them up. The first, with regard to the work which we are trying to do up there at our little place on Silver Lake, a work which we feel not only fills a very definite need in the community, but also fills a very definite need in the community. I don't think many ■ of the members of the Society realize just how big the work is that we are trying (Cont. on page 88)

52

remembered Miracle Man.

Photograph by Russell Ball

PR»NUI(D5

ft

LOVELY Virginia Bradford came to Holly- wood to write about pictures and remained to act in them. Craig's Wife is her next picture.

Photograph by Melbourne Spurr

pRFMUIIDg

Screenland

ft i

BARRY NORTON'S appealing performance in What Price Glory? and The Legion of the Con- demned have the touch of greatness. We believe he will someday be one of the great stars.

Photograph, by Autrey

J

Predicts

A FORECAST OF THE FUTURE

the ^MOVIE FAN

gen'tle-man.

Percy Marmont A man well-born, of gen- ■ tie and refined manners, of fine feelings. He is the ideal English hero of polite fiction, but he can delve deeper, too, as Mark Sabre in If Winter Comes. Percy Marmont would al- ways be kind to children and dumb animals and even to third assistant heroines.

he-ro'ic. Ronald Colman Brave, illustrious, larger than life size but smaller than colossal. Colman is not the man next door — he is more commanding; but he is not a god, he is too human. Now he is playing a Joseph Conrad character in The Rescue that is typically Ronald.

in-dif'fer-ent.

Louise Brooks Not interested or con' cerned for one thing, or alternative, more than an- other. She mocked Beery and Hatton; she made a sap of McLaglen in A Girl in Every Port; and now she is making a Beggar of Life. The look that has made Louise famous is the look that says lI don't care.'

in-dom'i-ta-ble.

Douglas Fairbanks Untamable; unconquer- able. No obstacle is too big for Doug to overcome — no mountain too high, no road too rough for him to ride over rough-shod. D'Artagnan, Thief of Bag- dad, Gaucho — we salute you!

i, in'no-cence. Janet Gaynor

Purity of heart; guileless- ness; artlessness. When a comparatively unknown little girl leaped into world- fame as Diane in Seventh Heaven Hollywood asked: 'Why?' The answer is: Janet is virginal sweetness and girlish innocence wrapped in one small pretty package.

ir're-sist'i-ble. Clara Bow

That cannot be success- fully resisted or opposed; overpowering. Clara has swept all before her like a young tornado. Her next is The Fleet's In — that's one port they'll never forget.

in-tense'. Gloria Swanson

Feeling deeply; highly- wrought; expressive of strong emotion. Gloria rose from the Sennett beach brigade to be one of our leading actresses — all because, in scenes like the conversion in Sadie Thompson, she feels so deeply she makes her audi- ences feel, too.

lus'cious. Thelma Todd

Deliciously sensuous; oft- en, honeyed. One look at Thelma in her costume (?) for Vamping Venus in which she burlesqued Helen of Troy to Charlie Murray's consternation, and you'll agree that lus- cious was coined to de- scribe her. As for honeyed — we don't know her well enough for that.

•A,

^TAGE COACH

Conducted hy Uorrie Ryskind

Elmer Gantry

Pw Kearney, who used to be our boss in the publicity department of Famous Players some eiaht years ago, has undertaken the task of making a play out of Sinclair Lewis' novel. By and large, we would say that Pat has"turned out an effective

PlWe say by and large, because we make reservations: the show is effective, but not convincing. The first act, indeed, is perhaps the best of all, and yet it seemed to us incredibly cheap. Lewis is a caricaturist, but for all his distortions, he leaves you some- thing genuine of the character he depicts. Kearney hews to the line of the comic cartoon. Gantry, in the play, sticks to the specialty of seducing women. There are at least four con- quests in the piece, and, even if you allow for some excep- tionally fast work, that doesnt leave the drama to be concerned with much else. Yes, there s a fire that is supposed to be sen- sational, but to us movie ad- dicts, it's just a false alarm.

The Song Writer

Here is one you will prob- ably be able to see and hear as a talker, if you can possibly restrain that impulse and avoid seeing it in its legitimate form. Written by Crane Wilbur, once of ye movies, it marks Georgie Price's first appearance as a dramatic actor. It is a rather cheap play, making no pretensions at art, but aimed only at the box-office. What merit it has is contained in Price's series of imitations, and in some fair performances, nota- bly that of Jennie Moscowitz, as the song writer's mother. Some of the critics have hurled questions of taste, asserting the story parallels that of Irving Berlin. It does not, is our

IN THIS ISSUE:

ELMER GANTRY

THE SONG WRITER

THE FRONT PAGE

HE UNDERSTOOD WOMEN

THE BIG POND

GOIN' HOME

EVA THE FIFTH

RINGSIDE

Photograph by White

<C Claiborne Foster, one of Br™dw«£* favorite actresses, in a new play, 'Eva the Buford Armitage.

a scene from her Fifth.' with

assertion. As one tremendously fond of Irving Berlin, we could resent as strongly as anybody. But the fact that it concerns a tunesmith who marries into so- ciety doesn't make it Berlin any more than Shaw's Cashel By- ron's Profession or Jack Lon- don's The Abysmal Brute con- cern themselves with Gene Tunney. This is said in an effort to be fair to Mr. Wilbur. To be fair to Shaw and Jack London, Mr. Wilbur's writing doesn't resemble theirs.

The Front Page

In the August number of Screen land, we noted that we had been to Newark to attend a try-out of The Front Page and advised our clients to see it when it came to town. The show is here and we must re- luctantly amend our advice to: . try and see it.

For it's a sell-out, and a pretty definite proof that New York will support something worth while. Here is, within the memory of old-timers, the first successful newspaper play. But, being produced by Jed Harris, the boy wonder, written by Ben Hecht and Charlie Mac- Arthur, directed by Geo. S. Kaufman, it is a little more than that. It is a crackling series of incidents and wise- cracks, rushing along with the speed of an airplane, looping the loop and yet keeping you securely in your seat. For pace, it makes Broadway seem like a leisurely one-hoss shay. It is coarse, at times, as Rabelais is coarse: but it has none of the leers that make coarseness un- forgivable. It has the tang of men around it, men who talk in Anglo-Saxon monosyllables, not in polysyllabic Latin deriva- tives. It has a gorgeous atmos- phere of reality about it; it has the life and vividness of that page in the paper from which

66

it takes its name. It is, in brief, a superb show, shrewdly conceived by an association of superb showmen. If you can afford to miss this, you're leading a more exciting life than this correspondent can imagine.

He Understood Women

In contrast to the healthy language of The Front Page, there is the furtive sexy leering of He Understood Women. That we can be shocked will come as a revelation to our readers, and it surprises us, too. But He Understood Women proves it to us. Get us right. There isn't a single 'dirty' word in the latter show. But it hints and points and suggests till it gives you acute symptoms of mal de mer. A stupid, silly, boresome, dull and sickening show.

The Big Pond

If you like smooth, rippling dialogue — and we do — you will like The Big Pond. Here's a neat situation: the girl of an American family of Vernon, Ohio, falls in love with a foreigner under the spell cast by Venice. Her family, disapproving, feel the girl will fall out of love if they can take the foreigner back to Vernon with them. They do. By a strange coincidence, there's a nice American boy around, too. One of them has to get the 'girl; which one, to our bigoted notion, is immaterial. Indeed the authors have tried letting each get her — at different performances to be sure. Which one gets her when you see it, we can't fore tell. But we are cer- tain that you will like the dialogue.

Goin' Home

This could have been the dramatic smash of the year, and if Jed Harris had done it, it would have been. It con- tains a magnificent idea that is allowed to disintegrate into a shoddy play; it could have been, un- der the whip of an able jockey, the black What Price Glor>'?

The war is over, and the troops are going home. One of the colored men has remained in France, married a white girl, and is the pros- perous owner of a cafe, which was her dot. The race prob- lem is over for him; he has won French medals and esteem, and has been ac- cepted by the French as one of their own.

The black forces stopping at his bar, getting their last drinks on French soil,, give him an acute sense of home- sickness. The white major in command turns out to be the head of the family to which the black and his forebears are united by ties that began in slavery. With the Southerner's entrance, and his shock at discovering that

Photograph by White

C[ A scene from 'The Front Pa sensational newspaper play with Fuller, Lee Tracy, and Osgood

ge, the Frances Per\ins.

Photograph by Craine

<C John Meehan, who plays the impor- tant role of the father and manager of the lightweight champion in the prize-fight hit, 'Ringside.'

his old servant has married a white woman, a terrific conflict tears the black's soul. He becomes The Admirable Crichton after the shot has warned him that rescue is* at hand.

That conflict is genuine and real and heart-rending; its solution, unfortunately, is cheap and unconvincing, pulling down even the basic foundation of the story..

Maybe there is no solution in these times; but at any rate, it is not to be found on the stage of the Hudson Theatre.

Eva the Fifth

Some day Claiborne Foster, one of the loveliest ladies on the stage or off, is going to get a vehicle as good as she is. Eva the Fifth is not quite that; but it provides a decent evening's entertainment. It recounts the adventures of a stranded Uncle Tom's Cabin troupe, and does it with some skill and craftsmanship. In the main, an honest and well-managed piece about the strug- gles of our traveling players.

Ringside

A pretty good play about the prize ring. A little slow for two acts, but a racy, vivid third act, laid in Madison Square Garden, with a well-staged prize fight, helps you forget that. It is staged by George Abbott, one of our favorite directors, and written by him in collaboration with Edward E. Paramore, Jr., and Hyatt Daab.

6*/

Chatter

from

^Hollywood

By Martin Martin

((It worries Wallace Beery 's .dogs to see a bite they can't scratch.

NOT HER month and the latest rumor about talking pictures still finds eager

T STt little clarified, for as Cecil B. De Millc confessed -^-to me, "We know nothing and we are all experts. Tn view of Toseph M. Schenck's reactionary statements m London that tafkm

W time is not en rapport with the czar of United Artists.

For" ; greatest ones in the colony are ready to admit the permanence of the

nThad a most interesting talk with De Mille on the subject.

In their Present state," C. B. explains, "talking pictures are an illegitimate :hild of tnePstagf and screen. Like all illegitimate children they are causing Sx^it^ftairir parents. There is talk of assassination and there is talk of sending them to college. But I believe that they are healthy offspring.

One of the prime doubters has been Harold Lloyd. Yet a demonstration by Roy Pomeroy, head of Paramount sound device, sends him away singing the

*S£*i SeTnSXTmost of the talking pictures now being shown are un- behevably crude compared to what the improvements even of these few month.

W"e^ to wire the Lloyd home for talking pictures. This, I

believe is the first private home to be so equipped.

In his new picture, Harold uses his first completed script. This U because of sound effects and dialogue that are to be incorporated.

To return to De Mille, he frankly intends to use dialogue in his first picture for Metro-Goldwyn-Mayer. (How glad C.B is to relinquish the mantle of director-general of Pathe-De Mille for the modest title of director!)

C. B.'s going to make a love story next— the strongest one he can find, it will be modern, too.

Shortl

v before Vilma Banky and Rod La Rocque left for a return visit to

({Molly O'Day, who is winning her Dattle with the weighing machine.

68

SCREENLAND

Lake Tahoe, where they spent part of a delectable honey- production not definitely settled upon will complete the moon, Vilma took her first voice test. quintet.

"It was shocking," she confessed, "but they tell me — o—

the tone is all right — only the English is bad. You see The talking picture presents serious dangers to the I never studied English before. What I know I picked thousands of extras in Hollywood. One of its inevitable up around the studio, and from Rod." results will be smaller casts and fewer spectacular scenes.

Vilma takes an interesting view of the talkers. She In fact, Paramount already is at work on one extra- less predicts that many stars will have to change their screen production. This is The Crime of Interference, which nersonalities Particularly those who continue to play was a stage play with a cast of less than a dozen people, youthful parts Tl\e ^

after the fresh- B— • cast will be used

ness of then voice is gone.

"Age shows nowhere more than in the voice," she says.

It seems to me this is a very pertinent remark. Of 'course Vilma doesn't have to ' worry herself, as the warm blood of youth flows through her veins.

Fortunes have been made al- ready in the new kind of pictures. Jack Warner is said to have taken a $1,000,000 profit from the rise in his com- pany's stock alone.

De Mille grants Warners a three years' start in the talkers. "Fox," he says, "has a start of one year. Of the other com- panies, Metro- Goldwyn - Mayer is by far the most advanced. Most sound stages have been made over from the ordinary type. Those at Metro- Goldwyn - Mayer

have foundations sunk 40 feet. They are really sound- proof and represent the most advanced type of con- struction."

The intense activity at the Fox lot has been surrounded with a veil of secrecy but Winfield Sheehan reveals to me that he expects to have five 100 per cent talking pic- tures .completed by January 1.

The first will be an Earl Derr Biggers mystery story, Behind That Curtain. Through Different Eyes will be another. It is significant that this was written as a play and had been scheduled for fall production in New York when the presiding genius of Fox snatched it to the bosom of the movies. Fox controls every right, stage and all.

A comedy called Badges, an underworld story, and a

<C Adolphe Menjou and his Sealyham terriers.

Clara Bow fans will be interested to know that a disinterested per- son told me her voice reproduc- tion is a sensa- tional success and exactly fits her screen person- ality.

It's easy to see why Charlie Chaplin is worry- i n g. Having created a tramp as his definite characterization, he is faced with the possibility of having the tramp speak with a cul- tured English accent!

— o — ■ The entire United Artists group of stars is being mighty quiet on the sub- ject. Doug Fair- banks is about ready to start on his sequel to The Three Mus\e' teers and John Barrymore has left for the north to take location scenes for Con' quest. Camilla

Horn plays opposite.

"Will I ever stop traveling?" she laments.

The day I saw her she had just arrived from Germany and had to pack up right away to join the Barrymore company on location.

Wouldn't it be ideal if Ramon Novarro were to be given the opportunity to sing the 'Song of the Riffs,' The Desert Song' and 'One Alone,' those lovely Romberg mel- odies in The Desert Song?

Warner Brothers is making every effort to get him, as I write this letter.

Everything depends on whether he is able to finish Pagan in time and on the studio's willingness to let another

69

<C Dolores Costello being initiated into the Breakjast Club by Herbert Rawlinson and ]ac\ Warner.

One impression I always get on visit- ing the M.G.M. Lot. They are always pushing forward; always in the vanguard — ready to experiment.

Bill Haines, who has been so discon- tented with his smart alcck roles, was allowed to vary his characterization in Excess Baggage and even more so in Alms Jimmy Valentine. He is grateful, and eager to experiment even more.

Jack Gilbert is satisfied, too. I was talking with Jack about the approaching termination of his contract (it expires in December) and he expressed the belief he will sign again at M.G.M.

Another important star is to be free in December. This is Dick Barthelmess. He has been seen on the Paramount lot, but so far as I can discover a new con- tract with First National awaits only the company's signature. Dick is away on his yacht with his new wife and I can't confirm this.

Paramount has always wanted Bar- thelmess to play the leading role in An American Tragedy. They offered him the chance two years ago, but Dick couldn't see his way clear to accepting at the time. I happen to know, though, he would like to play in the Theodore Dreiser novel.

It is time someone did! The story has been knocking about Paramount a long time without being made.

Rumors were that the Hays office frowned on it, but I am of the opinion this ban has been lifted or will be if certain changes are made in the story.

Fox is one of the busiest studios in the colony. It is borrowing players

company glean the prestige of first presenting Novarro's voice to the fans.

I can't believe M.G.M. will let him go, which is too bad for Ramon, for this would be a golden opportunity.

Walter Pidgeon also is being considered for the role of the Riffian chieftain.

— o —

It seems very commendable to me the way M.G.M. is allowing King Vidor to choose his own pictures and make them without an eye to expense.

You see King's ideas do not cater slavishly to the box-office.

He now has a plan of filming a picture with an entirely negro cast. It is to be made in the South and will depict the life of an average negro family.

While King is bitterly opposed to talking pictures, I can conceive of marvelous negro spirituals and rich dialect be- ins; worked into such a story.

([Marceline Day stretched out on the sands assisted

by Eddie Nugent. freely from other companies:

Sue Carol is one. What a thoroughly nice person Sue is! I saw her off today and she was in a state of great excite- ment at being allowed to play opposite Nick Stuart in Chasing Through Europe. You see, Nick's her best boy

70

friend, and he's been away in London for some time. The boat can't get over fast enough for Sue, and Nick, too.

Conrad Nagel is another important loan made to Fox. He and June Collyer are to appear in a Movietone picture called The Slice of Life. It is a domestic comedy.

Winfield Sheehan also has persuaded Rudolph Schildkraut to give up his proposed visit to Ger- many to play in Janet Gaynor's next picture which is to be a story laid in Holland.

And F. W. Murnau is trying to borrow Jean Hersholt from Universal for a role in Our Daily Bread. Mary Duncan is to play in this.

Mark my words. Here is the rising star of the Fox lot. Winnie Sheehan has the greatest con- fidence in her and is overwhelming her with fine parts.

As far as I know Universal will be the first to begin production on a story of the north pole.

It was sure to happen. The Nobile disaster was one of the most picturesque in the decade and was enough to fire the imagination of any scenario writer.

An explorer, composite of all the famous ones, is to be the central figure.

Uncle Carl Laemmle has bought the rights to Dracula, too. Here is the most hair-raising play of recent years and a natural vehicle for Conrad Veidt.

I don't know he is to play it, however. My only information is what Uncle Carl told us at a dinner — that he was going to produce the play as a movie.

The most amusing dispute arose this month between Paramount and Clara Bow's father as to whether Clara's name could go on a restaurant.

The parental argument resulted in a sign 'Clara Bow's Steak House' being hoisted over a small eating house on the out- skirts of Los Angeles.

Paramount said no and just to show how much a father has to say the sign now reads 'Robert Bow's Steak House.' (That's Clara's papa.)

I have been wondering how long it would be before Bert Ly tell's name was announced in an important talker and Warner Brothers have sat- isfied my curios-

C[ Jean Hersholt, a graduate of the Danish Rational Academy, draws his own.

THEY SAY

By Marion of Hollywood

I KNEW the talkers would do some secret, hidden good that none of us would even dream of, and yes' terday I found out what it is. Anyone happening to visit one of the studios would doubtless notice, as I did, a number of bells ringing at various intervals— bells like the one on your front door. First there would be a long, drawn-out ring; then, maybe two minutes or five minutes or ten minutes later, there would be two short, snappy rings. I listened to them for a whole day, couldn't understand them for the life of me, and then asked.

"Watch those carpenters," was the

' I watched.

prang loud and long. Every Jcsed pounding and a whole * mmers betook themselves to ts and sat down to rest, ck came the two short, snappy £fp jumped the flock, and on hammering. )lkers, of course! The gentle- working near the sound stage, farally, the banging near the ■rding apparatus had to cease. 7 tough on the poor fellows? * * *

/ O'Day has lost her last part / unt of being too pleasingly i Molly says so herself, and I 4 e is the one who ought to know. - .e is going to the hospital to have .pendix removed, and after that's just watch her melt. No candy,

j iters, no cake 'n pie nor nothing.

I )e it's easy, this being a movie star, 'ou have to admit that it has some

I serious drawbacks.

C[ Ruth Roland and Ben Bard have announced their engagement. Ruth is the original serial and real-estate queen and Ben is doing well as a handsome menace, than?^ you.

net Mrs. Otto Brower at Paramount the other day, and while we were talking end came by, shook her hand profusely and asked her if she isn t terribly J of her husband, who has only recently been made a director after many, / years of working at the studio. iProud of him?" she answered. "Why, I've always been proud of him. I was } as proud of him when he was an assistant director, or an actor, and I'll always /proud of him as long as he does what he has to do well." . Jl think that was pretty good, and I guess when I see Avalanche, Otto Brower's rst picture; I'll feel as if Mrs. Otto Brower ought to be handed at least one tiny little bit of credit.

C[ Lew Cody and' company making a beach sequence for 'The Single Man.' If a man is single it's his own fault.

Maybe the pa'

pers did say that

Mary Brian and

young "Biff"

Hoffman are en- gaged, but from

the way Mary

was talking to

me, Mrs. Brian

doesn't have to

worry yet awhile

about losing her

Mary, Mary,

sweet contrary.

Mary smiled, and

of course, blushed

somewhat, be-

cause after all she

has been having

some mighty nice

times with "Biff,"

but that's not

meaning anything about being seri- ous. As a mat- ter of fact, right while I was talking to her the phone rang, and another young fellow whom you might know called and asked if he couldn't take her to the Cocoanut Grove to dance. Ill have to tell you, too, that Mary accepted, and that the dark-haired swain answers to the name of Mr. Charles Buddy Rogers. Now please don't start getting them engaged, because it might spoil things, and they won't be able to have their pleasant little evenings together every now and then. With Mary playing Buddy's leading lady in his new picture, we certainly wouldn't want to start spoiling things for them.

<( Two famous Irishmen meet in France. George Bernard Shaw, our favorite movie actor, and Rex Ingram, the director — caught between chapters and scenes.

Talking about being engaged, reminds me of Ruth Roland and Ben Bard. Out here folks were quite sure that it was completely settled, but now that it is all an- nounced we are merely doubly sure. And not only that — they are to" be married in a very ■ few months. Some silly person brought up the question of money, and asked Ruth how she figured things would work out inasmuch as she and has saved and invested

has been such a smart girl . so well that she is worth millions (yes, really millions!), which is a great, great deal more than has her husband-to- be. She replied that it certainly isn't any fun to have money and to have no one with whom to share it, and as long as a man is working for all he is worth, what difference is it whose money it happens to be? Anyway, I really started out to tell you that Ruth is coming back into pictures. She assures me that it is not one of these come-backs in name only. It is actually true, and the first of a series of twelve two-reelers is even 'shot' and in the 'can' right now.

73

SCREENLAND

No not a serial Simply a scries of complete two-reel to have her with us again! ^ #

^nv' and 'Douglas Fairbanks Corporation. The httle i Soused toVvc the little curls is jg^^ curls or no curls, ^.^^ -^ seems to me, is something to write home t because you know the produce* I guess it

to install this talking appa- ratus. And what's more, he doesn't even own the thing then, and pays addi- tional rental every month for its up- keep. It looks to me as if it would ■

Join the mov- ies and meet the Army and J^avy. Anita Page, Ramon Hovarro's leading lady in 'Gold Braid,' greets some gallant gentlemen.

on the actual production, but they have been cr ^ almost unceasingly on these nerve- wrecking tab uD* vou ever have to take a 'test' for any kind of theatrical hm^ Boy if you did, you'll understand the feelings of oS of the poor souls who are taking them for this new equel to The Three Muleteer, It was Sunday when tas over there last, and Doug, with his director, Allan Dwan, was testing here and testing everywhere to get his cast set. The set consisted of a long long flight of stairs,

with a bannister, and each player, dressed in costume and with so much on that it was no joke at best, had to walk down the flight and then at the very bottom, doff his plumed hat and bow low to an imaginary queen. After the ordeal, would come from Doug or Dwan either a shake of the head yes, or the dreaded no.' I watched them for quite a time, and at last came the turn of a thin, nervous-looking fel- low who had been standing around for over an hour and a half. Down the stairs he started, hanging on to the bannister for dear life. As nerv- ous as he was, I am positive that he wasn't near the state of concern that I had reached by the time he was within six or seven steps from the bottom. Then, sure enough, came the in- evitable His heel caught, he came almost headlon- and off doffed the plumed hat long fs sweetheart certainly nas a ™ « — 6~ before the queen could ^^f^HhSg

* * * • ticrUt But the funniest part of the whole tning

But to come back to Douglas Fairbanks Corporation^ near „ sigh t^ » . ^ my somest for him,

While I'm writing this, cameras haven't started cranking was that just

almost be cheaper to hire the actors themselves to come to town! No curls and all— Amer- ica's sweetheart certainly has a lot of courage

... *>-

G( Emil ]annings and his daughter Ruth, who will play in his picture, 'Sins of the Fathers.'

74

darned if Doug didn't shake his head 'yes,' he was put on the pay- roll, and the whole show went straight ahead as if nothing un- usual had hap- pened at all! Your hand, Doug Fairbank s — shake!

G[ James Hall getting a load of that Cali- fornia climate.

good gossip has been around Hob i lywood, and fig- ured that she might as well be the doctor. There's nothing like taking a nice airplane trip out of town to start a bit of fun!

I think Ramon fun with himself

Of course

Who knows- — Jackie Logan might be hand- ing us a new line on 'get your man,' even if she did go ahead and get him a trifle previous you have heard that Jackie is now Mrs. Larry Winston as far as the laws in Mexico are concerned, no matter

what our Cali- fornia law says. However, please let me assure you that everything is going to be all right, because Jackie and Larry have returned from Mexico, and they each have separate homes, and Jackie is al- ready hard at work on her new talker for War- ners', Star\ Mad, and when Cali- fornia laws tell them it is okay, they are going to the minister and be married right over again. An- other thing is that possibly Jackie realised how slow

C[ Jac\ie Logan. She went to Mexico and got married.

C[ Ruth Taylor and that Lorelei loo\ — it doesn't matter whether she wants dia- monds or drum sticks.

Novarro is having a little just the way friend Richard Dix did some time back. Ramon, the bad, boy, told a very good friend of mine that he doesn't own a car because it costs too much to run it! Personally, I think there must have been a twinkle in a pair of very black, shining eyes, because I know that he has at least two bee-u-tiful buses. It's not so nice, either to call a Rolls-Royce roadster a 'bus,' but I think Ramon must have been thinking about how Warner Bros, wants to borrow him from Metro-Goldwyn to play the lead in The Desert Song — real singing and every- thing. I'd be excited if I were Ramon. To love singing the way he does, to have the beautiful voice that the kind heavens bequeathed him, and then to be able to make love to a beautiful girl in a beautiful song 'midst beautiful desert surroundings would be too much for most any of us! And by the way, Jimmy Hall has his eye on that part, too, and you mustn't forget that Jimmy was a musical comedy star before he came to us in Hollywood. Hand

me the dice! We'll see who gets it on the toss.

* * *

To come back to Richard Dix — now that he has left on his Reds\in location, even minus a leading lady — do you know what that fellow told me once? He was being inter- viewed, and because the feminine heart of the interviewer seemed to want him to have a definite romance or some- thing he told her very confidentially that he was engaged, when he wasn't at all, and he described the girl very minutely to her and all that sort of thing. I bawled him out terribly, and told him he'd never go to heaven, telling so many fibs, but he said he was absolutely justified in fibbing because it gave the young lady interviewer such a thrill and such a lot of joy.

7?

Pictures That Talk

(\ Talkers to the right of them, talkers to the left of them, volleyed and thundered!

By Edwin Howard

F

-s^or the discerning the trend of the tide in the sound waves now becomes apparent. News-reels with sound are still 100%, and the only department of talking pictures that is 100%. Synchronized or- chestral accompaniments are good and for small houses these records are probably an improvement. When crowd and sound effects are introduced they are excellent and would be 100% if the actual sound itself were more skil- fully produced as we know it can be.

However, these types of sound do not arouse the dis- cussions that dialogue stirs up. Great directors are for it or against it; great critics likewise. As we see them stumbling along the road over which some time ago we ourselves came, we are moved to help them from the pinnacle of our wisdom.

Talking pictures can be 'canned theatre' and succeed as such. Talk added to great films lowers the art of pantomime. It does not add to the art that we know as the motion pictures but it changes that art into some- thing else. Some will always prefer shadows that do not speak, and some will delight in talkers. Who shall say which is 'better?' They are different. A silent picture may be and often is a work of art, but no one ever called a phonograph record a work of art. The song on the record, yes; but the record itself, no! Pictures do not simply' show actors. They show scenes, atmosphere, action

such as wings, wheels, waterfalls; and as these support

the actor a work of art may result. But the phonograph record adds nothing to the artist and even at best takes away a little.

All great art is symbolic, and pictures having no color nor depth, are so removed from what your eyes see out of your window as to be classed as a symbol of what you see Talk, however, reproduced by mechanical means, is not a symbol of sound but is the same identical thing.

Therefore it is not possible to combine them and add to the symbolic quality. On the other hand, 'canned theatre' is coming, and will make a lot of money. Suppose, for example, Jeanne Eagels in Rain was still packing them in on Broadway, and suppose at your neighborhood movie house you could for 3 5c. see and hear the great actress and her company in the original sets speaking the famous lines, do you think any theory of symbolic art would keep you at home? This is 'canned theatre.' It is coming. It is good and we welcome it, but it is not motion pictures. Even canned vaudeville acts are good.

In New York hundreds of shows open and close, and the successes that remain are very few. 'Canned' shows can never take the place of the eight hundred or so films which are released yearly; there are not enough good ones, and poor ones with mediocre stars and no prestige will offer weak competition to our now 'movies.' Great direc- tors are trying to combine these two separate successes. That is to make a movie and put in some dialogue. So far they combine just as gracefully as a real horse's tail stuck on to a Rosa Bonheur canvas. I have spoken! * * *

We wish to warn our readers not to invest in any television stock. Television is not a fact and it will not soon be in use, as certain magazines predict.

Three of our great scientists, DeForest, Alexanderson and Jenkins have said that television is not ready yet but in spite of this we read that the movies are soon to be in every home by this method.

Eighty years ago a man named Amstutz sent a picture by wire; yet this service did not start until 1921, waiting for DeForest to supply the amplifying tube. Television has arrived only in the minds of some people who are content with words without deeds.

"The beauty of a microphone," says Jean Arthur, "is that it can't tal\ bac\."

Lee F. Rodgers, 722 Stonewall Street, Portsmouth, Virginia won the TOM MIX CAMPING OUTFIT.

For his excellent letter, Mr. Rodgers was awarded the camping outfit offered by Tom Mix in the August issue of Scree xl and.

S tte^Sfft line is drawn between right and wrong. Evil forces are ^/-^^ like " ^ ride swiftly and decisively to their undoing. 'Westerns' preach to us m such a way that we applaud and

76

SCREENLAND

Sox ^Appeal-

Continued from page 25

'(£ Barbara Kent and Dorothy Gulliver getting all tanned up. Oil's well that ends well.

Milton and Mrs. Cohen, Carmelita Geraghty, M a y McAvoy and Maurice Cleary, Thelma Salter, Virginia Valli and a doun others.

"And nearly everybody here either married or romantic!" cried Patsy.

"A nd some married and also romantic!" amended Robert Leonard gazing admiringly at Gertrude.

We found Lois Wilson sitting out long dances out on the stairs with Edward Everett Horton, in whose company she is appearing on the stage in Hollywood.

And we learned that Marie Prevost and Kenneth Harlan never let their divorce decree become final, but have made up.

"Let's explore!" exclaimed Eduard Raquello. Se we got Patsy and went into the garden at the back, where there were electric lights, and where you could go swim' ming or play croquet if you wished. Laura La Plante and Bill Seiter were there, but Laura said that she had to do stunts enough in pictures without going swimming at night in real life.

In the house, upstairs, we discovered Bill Russell's room — a vast masculine-looking place indeed. The feature of the furnishing that intrigued us was the presence of two old-fashioned plain lamps, such as we used to burn kero- sene in years ago, placed at either end of his dressing table, but outfitted with electric lights inside the old lamp shades.

Downstairs we found Virginia Valli chatting with a group, and clad in a wicked shade of red. We told her it was wicked, and she said she "hoped so!" "I'm tired," she explained, "of being thought just insipidly good."

We asked Patsy Ruth Miller about her trip to Europe, and she said she would never be able to talk about it in the midst of a Hollywood party. However, she told us about a real Apache cafe in Paris, where Americans do not go and where she and her companions did not dare speak English, but conversed in French.

"You danced a few minutes," said Patsy Ruth, "and then the music stopped, while a man collected the dance fee from the men on the floor. Those French take no chances of losing any money! One man we saw thought to sneak out of paying. He and his partenr slid quietly into the back of a booth. But the collector saw them. He went over and asked for his money. The man said he would pay later. Quicker than a flash — zing! — into the table at his side a knife was sticking. A special knife- hurler .was employed for just such emergencies. Again the collector demanded his pay. He got it."

Buster Collier is a quiet sort of boy, and we don't often have a chat with him. But when we found him lingering over the radio, we found he knows all about such things — that he has a little lab- oratory at home where he is al- ways working on some sort of elec- trical invention.

After supper Archie Mayo, Bill Russell and

Robert Leonard insisted on singing. Somebody thought to stop the barber shop harmonies by shanghaiing Bob and taking him out into the garden.; but it didn't do any good, as he came right back.

There were the music of the radio and of the orchestra, and much dancing. Though we left awfully late, the last we saw of our hospitable host, he was daring anybody to go home and leave the party.

"One doesn't need a party to remember that beautiful Dolores del Rio by, while she's in Europe," remarked Patsy, as we drove up to the portals of Dolores' beautiful Spanish home in Hollywood, with its high walled garden, and its little arched garden-gate doorway leading right into the veranda, "but nevertheless I'm happy she is giving one."

Dolores wore a fascinating black gown, tight-fitting in the bodice to several inches below the hips, then flaring in billowy lace waves to the floor, and looked as Spanishly lovely as always.

We removed our wraps in Dolores' beautiful bedroom, with its little shrine and ever-burning candles, at which she worships always before leaving the house.

Leatrice Joy came with Tom Mix, Leatrice looking lovely in a white lace gown, long and with wide skirts. Leatrice told us how her small daughter, Leatrice II, had fallen head over ears in love with Tom.

"She always chooses an athlete for her hero worship," said Leatrice. "First it was Lindbergh; then it was Jack Dempsey, and now it is Tom. I don't think she'll be an artist when she grows up. I think she'll turn into a tennis champ."

Leroy Mason, who, people say, will be a sensation when he comes out in Dolores' next picture, was there with his bride, Rita Carewe.

"It's a good thing Rita grabbed him off quickly," ^re- marked Patsy, "before all the women fans turn his head."

We hear that Leroy was spending his last quarter for a cup of coffee in Henri's when Eddie Carewe caught sight of him and grabbed him off to be Dolores' leading man. He had tossed up to see whether he'd go in to Henri's or around the corner for chili beans! Such is fate.

77

78

SCREENLAND

Roland Drew had come alone, which gave all the admiring ladies a chance at him; and Ona Brown came with Harvey Barnes, who, it is said, she is going to marry.

There was quite a little flutter when Agnes Ayres arrived with Ralph Forbes; and another when Molly O'Day came in with Carl Laemmle, Jr. Carl was supposed to be engaged to Alice Day, but we hear it is off, and it is whispered that the reason is due to difference of religion, Alice being a Catholic and Carl a strict Jew. It does seem a pity; both are such charming, clean, sweet young people.

Warner Baxter and his wife, Claire Windsor and Charles Rogers, Finis Fox and his wife, Lilyan Tashman and Eddie Lowe, Johnny Hines, Victor Varconi and his wife, Mr. and Mrs. Antonio Moreno, Joseph Schildkraut, Mr. and Mrs. Ralph Lewis, Jose Crespo and others were guests.

Almost none of the feminine guests, how- ever elaborate their evening toilets other- wise, wore any stockings.

Billie Dove looked lovely as usual. She was with her husband, Irvin Willat. Both had just come up from Coronado Beach, where Billie had grown nicely brown.

There was dancing in the big living room after supper, and it was dawn before every one had left.

Everyone wished Dolores, most genuinely, a nice trip to Europe, and she most gener- ously promised to write to us all.

You enter a gorgeously green wooded canyon, travel past many beautiful homes, and at last wind around a long hill up to the wide doors that lead into Carl Laemmle's house.

"It's exactly like a palace!" gasped Patsy, hugely impressed, at sight of the great Spanish house.

Glenn Tryon caught up with us as we were entering. Glenn never is awed at anything. .

"Oh," he said, "there are parts ot this house that the family doesn't reach only once in two or three years. I wonder if they know there is an organ in that room down stairs. They are awfully troubled with squatters!"

Carl Laemmle, Sr., and Carl, Jr., met. us in the big living room, which can easily be turned into a ball room. And then there hastened forward the tiny, capable, brilliant figure of the house's mistress, Rosa- belle Laemmle, sister of Carl, Jr. She laughed as she told us that Carl, Jr., had asked her only the day before if he might have a 'small party.' The small party had turned into a party of a hundred guests or so; but a hundred are easily lost in that huge house.

Rosabelle led us downstairs into the great den, which is Aztec in its finishings, but which had been turned into sort of a picnic room for this evening, with its little tables with red checked table-cloths, and its buffet supper table from which the servants helped us.

Glenn Tryon's wife was there — a pretty little blonde woman, with a wit and wisdom all her own.

Tom Reed had put on a gag whereby everybody in the big living room was made to think, as he stepped up to a microphone, that he was talking through a radio which

broadcasted to a waiting world, but which as a matter of fact reached only to the supper room below.

Molly O'Day came. She is getting very slim and looks lovely.

Joseph Schildkraut and Elise Bartlctt were there at another table, Elise, who has gone into the picture, Show Boat, with her husband, looking lovely and shimmery in green.

John Boles was there, which was a thrill to Patsy and me. He sang for us in a fascinating voice. Not even the fact that he has a pretty wife dimmed our joy at meeting him.

Reginald Denny had brought his fiance, Betsy Lee, but kidded that he was engaged to Molly O'Day when Molly came over to chat.

"Oh," exclaimed Nat Goldstone, "then you'll have to announce two engagements of Molly's — one to yourself and one to me!"

William Seiter and Mervyn Leroy were there, wifeless, their wives having gone over to the Our Girls Club party which Mary Pickford was giving.

We were interested to find that lovely little Barbara Kent had come with Dr. Paul Fejos, and she danced all evening after supper.

Mary Philbin was there, but not with her fiance, Paul Kohner, who was on his way to Europe, where she will join him to be wed, we hear.

The guests included Ben Lyon and Marion Nixon, William Beaudine and his wife, Nat Ross, Paul Leni, Conrad Veidt and his wife, Beth Laemmle, and a lot of others.

George Lewis was there with his lovely bride, who was a society girl before she was married. She might easily be a pic- ture actress if she chose, judging from her native cleverness and her beauty, but George wants her to stay at home like a good little wife.

George told us that he was rather dis- couraged because Universal is keeping him in the college pictures.

"I shall be playing the college professor with long whiskers if I keep on," he com- plained comically.

"The Laemmles always do give such pleasant parties," sighed Patsy, as we left with regret, among the last guests to depart.

"Oh, Priscilla Dean is giving Dolores del Rio a flying party in a Maddox plane, and we're invited!" cried Patsy ecstatically the other morning.

It was just before Dolores left for Europe, and a dozen girls were going to play bridge — if they could keep their mind off the scenery — and have tea as they sailed down to San Diego and back.

We hopped in, sat at little tables, and played bridge — or played at bridge. When the plane made a bank turn and tipped a little, Dolores took hold of Priscilla and shrieked.

"Oh, but I love it!" she cried. "I must have a plane when I get back home!"

Jane Winton looked down at a town as we flew along, and exclaimed:

"This is a nice town — wasn't it?"

It takes only a little over two hours to

fly to San Diego. Down there we landed t > have a bite of supper, for tea hadn't been very seriously drunk in the plane. Then we hopped back again. It was a lot smoother riding than on the water, even.

Claire Windsor. Ona Brown, Loris Fox, and a number of other girls were on the trip.

"Oh, if somebody only would give me a plane!" cried Patsy. "If I only had a millionaire husband. I'd certainly wish audi- bly for one next Christmas!"

"Malibu Beach is the very latest sum- mer resort of the picture people," declared Patsy, as we sat having tea in her garden the other day. "Marie Prevost and Ken- neth Harlan want us to come down there on Sunday."

Of course we went. And we found that most of the picture stars who summer down there have built the simplest houses — just little cottages comfortably but most simply furnished and containing four or five rooms.

"It must be so nice to get away some- where and be one's own self, after all the parade," said Eduard Raquello, who had gone down there with us.

On the sand under umbrellas we found Kenneth and Marie, dressed in bathing suits, and hospitably handing out hot dogs to their guests. Among these were some of the players from the Good T^ews com- pany, and some non-professionals.

We loafed on the beach until the sun went down a bit, and then went in for a swim.

Roscoe Arbuckle was there, having a lot of fun throwing sticks into the ocean for Marie's dog to retrieve.

It was all very quiet and enjoyable, and we had a delightful time.

"Far from the madding crowd, where the fashions cease from troubling and the press-agents are at rest," paraphrased Patsy.

We took a stroll down to Louise Fa- zenda's house, and found Louise, hugely embarrassed at being caught in a big kitchen apron, making crab-apple preserves!

Later she brought me some of them, and they were delicious.

"And there wasn't a photographer in sight either, so we know these actresses really do put on a kitchen apron and cook once in a while." remarked Eduard.

Hal Wallis, Louise's husband, and Louise had run down for a quiet week-end. They have a charming little cottage, but very simple and plain and comfortable, like Marie's.

Back at Marie's in the evening, her cook had prepared a sort of barbecue supper, which was awfully good, served in the tiny dining room; and we had a nice chat with Kenneth about going back to New York to go on the stage. Marie was to drive back with him, and then come back to Utah to make a picture there.

Both are very happy since their recon- ciliation, happier, I think, than they have ever been. And what a handsome, charm- ing couple they are!

On the way home we descried lights in Warner Baxter's house, and stopped off for a nice cool drink and a little chat. He and his beautiful wife are very happy down there by the sea, where Mrs. Baxter, who is not very strong, is recuperating.

The Boy Who Loved His Mother — continued from page 21

miles from foggy England, Charlie Chaplin, the clown, looked down at his mother's face. Success had come to him certainly

but it had come too late to benefit Lily medical skill could hold Lily Harley s worn Harley. The bitter London years had done spirit longer in this material world

For weeks after his father s death, his

tf

work and neither love, money, nor

SCREENLAND

79

mother lay in a coma. The two boys were taken to the poor house. And she herself was placed in the ward of a nursing home. Finally, when she recovered consciousness, her first words were for her boys:

"They are all right," the doctor told her. "They're at the poor farm. You rest here a few months and then you'll be fit to go back on the stage."

The woman didn't answer. But got up and put her clothes on.

"If you leave here now," the physician said, "you will never sing or dance again. Your endurance is gone."

The woman did not seem to hear. But walked out of the hospital. Four miles she tramped to a slum near Chester Street, where a friend let her have a room on the fourth floor of the dark tenement house. And it was there that same night that she brought her two boys from the poor house. For supper there were two rashers of bacon.

The man at the California bedside leaned over and took his mother's work-worn hand and folded it in his own soft, smooth fin- gers. Somehow he couldn't keep his mind on the present. It kept going back to those London days. After his father died, his mother had to give up her stage work. She was too weak to carry on. And yet somehow a living had to be earned for herself and the boys. The least that three people could exist on in those days — even in the London slums — was twelve shillings, three dollars a week. The only work that Lily Harley could find to do in her weakened condition was sewing linings in the sleeves of sweat-shop coats. But even sewing all day long she could not make the necessary twelve shillings. So the two boys volunteered their services. From seven in the morning until seven at night, the three stitched together in the dingy room while the autumn rain beat down and the fog crept in through the broken window pane. But the hours didn't seem so terribly long. For Lily was a cultivated woman. She could speak four languages. She would sing comic little chansons to the boy in her gay laughing voice. Or a funny, whirling old Italian barrel organ song. Or maybe a rollicking English hunting song. And sometimes, when the children were very, very tired, she would tuck the little one in her lap and put Syd on the cot and sing them to sleep with that oldest of lullabies: 'Schlaf, Kindchen, Schlaf.'

When they woke up there was usually a little something for tea. On rare, rare days a kippered herring. But more often boiled potatoes. And not nearly enough.

After tea the boys would be taught stage craftsmanship. All the tricks Lily had learned in her years on the stage. She taught them to dance, too. Buck and wing, jigs, sailor's horn pipe, cartwheels, every- thing. That is where Charlie learned to become one of the best step dancers in the world — a fact few people know. They had to do lessons, too. For the lessons she gave them were the only schooling they ever had. This time could ill be spared from the sweat-shop work but Lily realised if the boy's didn't have some diversion, some recreation, they might become prey to that same melancholia which was slowly creeping over her, dimming her laughter.

Soon a dip was lit — -a bit of rag in tallow. Candles were too dear. The last piece of work had to be huried through so that Charlie could take it back to the sweat- shop six miles away. Syd worked nights as 'lather boy' for a neighboring barber.

Tired with his long day, Charlie started out. He had to walk all through the fac- tory section. A town of machinery, it was,

whose blackened chimneys blotted out the sky. Blackened chimneys from which end- less snakes of smoke coiled and uncoiled themselves. A canal ran through that part of the city. A canal, deep purple in color, from dyes and offal and dirty strips of leather refuse. Even though the evening was advanced and night had shut down, the factories kept up their terrible hum which made the lad's head hurt. "Queer," he thought, "how people must work no mat- ter how tired they feel."

Many times Charlie felt like putting the coats down and settling himself in a door- way to freeze. He was too tired to care. But he would think of Lily Harley who never seemed too tired to care. And a wave of warmth would sweep ov-5r him. It was as if somebody had put a fur-lined coat over his shoulders. One of those coats which Charlie had seen men wear in the evening when Syd held horses in front of the theatre.

When he reached the sweat-shop he would receive two shillings and another load of coats to be returned the next day. And so he would start home again. Dream- ing of the time he would become a grand musician. Or maybe a member of Parlia- ment— like his fellow countryman, the great Jewish statesman, Benjamin Disraeli.

In Chester Street, Charlie had slept for a whole week the time he ran away from the poor farm because they cracked his knuckles with a ruler for writing left- handed. In Chester Street, Charlie had slept in the straw with the horses. It was the warmest bed he'd ever had. And he liked to wash in the horse trough outside in the mornings. The water was so clear and cold. At home you had to drag it in from the pump in the middle of the square and up the three long flights of steps.

Dreaming and walking, Charlie walked under the bridge where the blind man sat with his ear muffs on. The blind man always had his back against the damp wall down which murky water trickled. At the blind man's side on a litle mat, crouched his unhealthy-looking pup with his pale watery eyes. Past the blind man with his Bible in his lap which he read with sensi- tive dirty fingers. Charlie tramped. And he didn't realize he was in his own street until he heard a thin little girl yell: "Hello, funnylegs."

Charlie eased the coats from his arm to a roll on his back. That last climb was the hardest. Could he ever get up those three flights of steps?

As he walked up the first three steps from the street to the doorstep,' somebody took the load off his back. It was his mother. With the coats in her right arm and her left around the tired boy's back and under hs left armpit, she half carried half lifted him up to their trplioor room, never pausing for breath and talking gay nonsense all the time.

In the California sick room, it was mid- night now. Still Charlie couldn't leave. The doctors said his mother would never again regain consciousness. But, even un- conscious, maybe she could feel his love.

"If Syd were only here," the comedian thought. But Syd was somewhere in Europe making a picture.

The clown wiped his forehead. It was certainly warm in the sick room. But may- be he only imagined it. It seemed suffocat- ing. The heat made Charlie think of the time in London that he went to work as a glass blower's assistant. It was just after he had finished working with the Lanca- shire Lads. Eight boys who formed a danc- ing troupe well-known throughout Great

Britain.

His mother had begged him not to try the glass factory. She always wanted him to stick out for stage work, even if he starved. But he couldn't stand it any longer. And when he saw an advertise- ment in the 'London Times' for a glass blower he applied for the job, not realizing that a glass blower must be a highly skilled technician.

The man at the factory laughed at him. "A fine glass blower you'd make. A glass blower's job is a man's job. But we might use you as an assistant."

The child of eleven was led towards the room where his work was to commence. Seven shillings a week — that was pretty good, the boy thought. But when he stepped into the furnace where the work was to be done, he almost fainted. Thin, undernournished, aenemic, he could not stand the shriveling heat. Promptly he lost consciousness.

When he came to, it was five days later, in his own room, with his mother bending over him.

"Listen my son," she said as she drew a stool towards his bed, "your father, your father's father, and your great-grandfather have all been of the stage. For generations the Chaplins and the Harleys have known no other life. You must stick to it. For it is in your blood. You will be unhappy, you will be miserable, you will be starved, but it is your destiny."

In the hospital as Charlie Chaplin watched his mother, her breath seemed to come faster and faster. He took the news- paper which was lying on the night table and gently fanned her. How true all her prophecies had been. He had stuck to the stage. First with Karno's Company. Then into the movies. Then money rolled in so fast he was frightened. He had brought his mother to America even though the United States Government had tried to keep her out. Tried to keep her out because, as they said, her mind had become impaired by the London air raids. But it wasn't the London air raids that had brought the cloud of melancholia on her shining spirit. Charlie knew better. It was hunger and cold and weariness. And even with all the hundreds of thousands at his command, even with a beautiful home on a Califor- nia ranch, with nurses and a companion and the love and communion of her two sons, Lily Harley's spirit sometimes darkened.

The clown was alone. He walked to the window. He felt the California sun, warm in every bone, in every pore. But it meant nothing to him. Nothing meant anything to him. Women had failed him. Men had disappointed him. Life was like the Kreutzer Sonata he played on his violin. Beethoven's Kreutzer Sonata which cease- lessly excites but never satisfies. Lily Harley was the only woman who had ever covered his soul with peace.

He walked back to the bed. He would get some breakfast now and go to the studio to finish his picture City Lights which would make the world laugh.

As he leaned to kiss his mother she opened her eyes. And they were clear, and her smile was happy, radiant.

"Charlie," she said. Quite distinct. Quite strong. But whether she meant Charlie the baritone or Charlie the clown, nobody will ever know. For the next mo- ment the last post sounded for Lily Harley.

The boy who loved his mother smiled gently and looked down upon the mystery of death. He had beaten the grim one. Lily Harley had known happiness before the final curtain.

80

SCREENLAND

Do Numbers Direct Destiny? — continued from page 49

think things out: to be a great deal in the country or some quiet spot; to give something beautiful to the world that would help and uplift humanity. It was never her real desire to mix in the commercial world; rather would she have stayed quietly at home and given through writing, painting or music her message to the world without sharing in its turmoil. Had her expression also been seven this is what she might have done, but being a 3 her ability lay in her personality. Through the unusual things she said and did she was able to interest and attract and her impression being 5 the last thing in the world she was able to do was to be alone and to work subjectively. She must have been a very vivacious little girl, for she was constantly thinking of new things to do. Although often depressed in her own heart she never seemed so to others; she was always full of fun, full of inspiration, an interesting companion; and at a party Mary could always be depended upon for 'keeping things going.' The inner nature of 7 made her all the more inter- esting because it gave her an air of mystery which she was entirely unconscious of. The first cycle of her life being a 4 it was her job to work, and work being difficult to buckle down to she unconsciously changed her name to one that helped her fulfill her destiny. Mary Pickford gave her the same Ideality but her Expression became 4, which made it easier for her to get into harness; and her Impression became 6, which being a stabilizing, dependable number, helped to offset the hectic vibrations of the changeful 5. With her numbers 3 and 5 which gave her the power of entertainment it was not surprising that she chose a stage career, and as her first cycle path meant work it is no less surprising that she earned her living thus. Her middle cycle being 9, and m the position that we all know she rose to, it must have been a pretty large order for a little girl to live above, for it brings with it the possibility both of highest good and greatest evil. We all know that she was torn by conflicting emotions but no one but Mary will ever know how terrible was her struggle.

Mary's job is to learn impersonality and creation in the highest form.

"My word," Mary said to me when 1 told her this. "You frighten me to death. How can I live up to half of that? '

"In your work," I said. "If you always strive to give the highest of which you are capable — if you try to put constructive thoughts in the place of destructive ones, you are gaming. And your gift for human- izing what you do so that everyone under- stands what you are trying to say us almost the most valuable one you have." ^

Mary thought a minute. "It's true, she said slowly. "When I look back at the turmoil in my life I wonder how I ever lived through it. I think it was only because I knew I had to for my mothers sake. My dear mother went through the agony of losing a beloved daughter a hund- red times in imagination, because even when I was later getting home than she thought I should be I would find her at the window her eyes wide with fear. 'Why, mother,' I would say to her. 'How can anything happen to me1 And how can I be here always on the minute?' 'But if I should lose you Mary!' she would say, 'I couldn t bear it if I lost you.' My mother's love won many a battle for me. I knew I had tor win, for her.

"It would be fun to check up ten years

ago and now and see what progress we have made, wouldn't it," she said eagerly. "Is this something? This morning I put on these high-heeled shoes and 1 thought, 'Now I mustn't forget to change these shoes to low-heeled ones before I go out or they will tire me walking about all day.' As I was about to change them I thought, 'Now what a silly idea that is. Some people think that walking about in low heels tire them and here am I thinking just the opposite. That's just a destructive thought trying to rule me and I won't have it,' ^and as a matter of fact," she went on, "I haven't noticed a particle of fatigue and it is now the middle of the afternoon. That's prog- ress— ^n't it?" she asked with as much interest as though she were a child of nine begging to go to a party. "Putting a con- structive thought in place of a destructive one? The trick is to think of it in time."

Her fierce desire to be a constructive instead of a destructive force in the world, won. How well, we who are her audience know better, perhaps, than she. Do you ever leave the theatre after seeing a Mary Pickford picture without feeling a little better, a little happier, a little kindlier toward your neighbor? I never do, and I know that many other people feel as I do. I have seen men and women leave her theatre with their faces shining actually with exaltation. That's our answer, and Mary's answer if she ever wonders, and I know she does for she is a keen self- analyst.

This year for Mary is one of adjustment after the unexpected changes of last year, and next year she will have an opportunity for study and deeper research.

"My whole life now," Mary said in answer to this, "is to adjust myself and my life to my mother's loss. Next year I mean to do some studying."

Of quite a different quality are Sue Carol's numbers. It is a wonder to me that Sue ever sleeps at all with all the 5's she has in her name, her baptismal name I mean. There are eleven of them! And one is enough to keep people traveling and restless. Sue would be miserable it she had to sit at home alone for a day. In fact I don't think it would be physically possible for her to do. If there was no other sign of life she would be out in the garden talking to the birds. Not that I can picture her doing that, either. She d find someone to talk to if she had to trail all over the city. The name she chose in her work has helped her greatly. Instead of a 5 Ideality she now has a six which quiets her when she is ready to burst with restlessness. But Sue could no more help being fascinating, the life of the party, energetic beautiful than she could help breathing. She will be dead tired, almost to the point of voicelessness, before dinner, and afterwards she will be dancing about ready to dash to a party or to the beach or some place, her energies entirely re- covered. She cannot bear to do the same thing over and over again. She must do different things. She must see crowds of people, be in constant contact with many friends. Having also a creative mmd, if she hadn't gone into pictures she would have been a dancer or a singer or both. Subjective art would drive her crazy; she would have to be very active, expressing through her personality at top speed every minute. Her inner desire is to gain ex- perience in every phase of life— her lesson in life is to learn Universality— to inspire

hope and courage in the hearts of all with whom she comes in contact.

It is hard for Sue to finish things; it is also hard for her to stay in one place for any length of time, no matter how good a time she is having. She will want to travel, and if she can't do that the only way she will be able to bear life will be to crowd her time with work. The unex- pected things are most important in her life. She gets nowhere by planning. There- fore her judgments should be trained so that she decides things instantly and yet with wisdom. Otherwise she may have many regrets. When things need time to decide, life is pretty hard for Sue, because she is afraid that it will be too late.

Last year being a 5 year for her meant that a change or an offer of it came to her. This year she is adjusting herself to her new conditions and her domestic life claims some of her attention. Next year she will be subject to periods of depression unless she can realize that it is merely a chance for her to study deeper within her- self and find the power that she can use to her own and others' advantage.

"Maybe I won't be in pictures any more," said Sue unconsciously voicing the fear that will worry her next year for no reason at all. "I won't be able to afford to unless something happens. I don't make enough to meet expenses and constantly have to wire to mother for help. Jshe's going to get tired of that pretty soon."

Sue gets $250. out of the $1500. weekly paid for her services, because of an unfair contract. Her expenses because of her sud- den and unusual popularity having trebled in the last year, her salary is inadequate for her needs. But the settlement of this is one of Sue's battles, one of the most important she has ever had, because the way she meets it will influence the rest of her life. She has to fight it out herself and that is hard for Sue to do because of her restless nature.

"I have never really decided anything myself," said Sue. "I find myself in cir- cumstances many of them that I have wished for, but things outside of myself, circumstance more than people, seem to have settled the matter for me. I suppose going into pictures last year, which was the change you speak of, was the most import- ant step of my life, but it all happened so quickly that I found my name on the dotted line before I knew what I was doing. That's what you meant when you said that unexepected things are most important to me. The biggest things in my life have fallen from a blue sky. Things that 1 plan, big things I mean, never work out. This trip to Europe I am going to take, for instance. When it was decided that Cruising Through Europe was to be done abroad I was dying to be the girl. 1 longed to travel. And Nick and I have so wanted to play together. They gave me the part and I was wild with joy and began getting ready. Then I was told that talking sequences were going to be put in several pictures I made and that I couldn t go to Europe. I cried and cried but it didn't do any good. When Nick left it was worse than ever. That was a month ago and just yesterday I was told that they had to send someone over after all and could not take the sequences here as they at first thought they might. I finished all my sound sequences last week so they are going to send me to Europe and I leave next Tuesday. And just because it

SGREENLAND

81

A New Kind of Make-Up

Developed by Hollywood's Make-up (jenius

Now Ready For Youi

Under a Strange Light in Hollywood, we Found Out How to Avoid "OftColor" and "Spotty" Effeds in Make-up.

BEAUTY is a business in the motion picture col- ony, so we have studied make-up for years. And now you may benefit from our experience and gain added beauty through this new knowledge.

Under the blazing "Kleig" lights, more trying than sunlight, "stars" are photographed. Make-up must be perfect or grotesque effects result. To meet this severe test, Max Factor developed a new kind of make-up, based on cosmetic color-harmony, which photographed perfectly. Today, Max Factor's Make- Up is used almost exclusively by the "stars".

Then from this discovery came powders, rouges and other essentials for day and evening use, based on the same principle of cosmetic color harmony. Their success in Hollywood was instantaneous. Now thousands use only Max Factor's Society Make-Up.

Perhaps you have worried about your make-up and have searched for ways to enhance your beauty — and still you're not satisfied. The reason is simply this . — ■ there is more to make-up than merely a bit of powder and a dab of rouge. What is this wonderful secret of make-up? Why have Hollywood's "stars" and society women given up the haphazard use of cosmetics and adopted Society Make-up. Now you may know. You may ha.ve the very make-up, learn the very method, used by these beautiful women.

FREE Complexion Analysis by Max Factor, Hollywood's Genius of Make-Up

The one way to secure the exact make-up to best harmonize with your complexion, accentuate your beauty, and enhance the charm of your personality is to have your complexion analyzed and your personal requirements determined. This Max Factor will do for you, without charge or obligation. He will also send you a copy of "The New Art of Make-Up" which fully explains cosmetic color harmony and describes the correct method of make-up. Remember, you will never know how beautiful you can really be until you obtain the make-up secrets so highly valued by the "stars" of Hollywood. Carefully fill in the coupon and mail today to Max Factor in Hollywood.

Max Factor's Society Make-Up HOLLYWOOD

of the Stars"

Hollywood, Calif. — Max Factor shoving Irene Rich how to correctly use the eyebrow pencil.

NEVER BE CONSCIOUS OF YOUR MAKE-UP

If your make-up is "off-color" ot too glar- ing, it over-shadows your personality. It becomes a worry, destroying that self- assurance which is an attribute of every charming woman. Permit Max Factor to analyze your complexion, as he has done for hundreds of screen stars, and recom- mend a make-up which will be just a part of your own natural beauty. Just fill in and mail the coupon.

Imagine Make-Up so Faultless that even Un- der the Blazing Glare of the Motion Picture Lights it Photographs Perfectly. With Max Factor Society Make-Up You, too, Will Learn the Secret of the Stars.

"Cosmetics

FREE— COMPLEXION ANALYSIS

Mr. Max Factor, — Max Factor Studios, Hollywood, Calif.

Dear Sir: Send me without any obligation on my part, a complimentary copy

of your book, "The New Art of Make-Up", and personal complexion analysis.

Name-

Addr,

City,

4-1 1-3

Complexion	Color of Eyes	LIPS
Light			Moist
Fair		Color of" Lashes	Dry
Medium			SKIN
Ruddy		Color of Hair	Oily
Dark			Dry
Sallow		Answer in	Age
Olive		spaces with c	ieck mark

82

New Skin on Face

Or Any Part of Body

BL1MSHIS

G0N5

Often X !U To b°°k Cleared ^tOP^ J? 1 In 3 Days! Younger!

READ FREE OFFER CUPPOSE you awoke some morning, lookeit " in your mirror— and you saw a new, clear, in )»»' ■ ,„i,.,.a iio-K- rumples.

*J in vonr mirror — »n« jv« »~" - — '. ,„,„_ smooth youth-like skin where ugly p.mples

—what would you say ?

Naturally, you would jump with joy, just as lS" of others do who learn how to per- ?ovm this seeming miracle at home, harm- LssTy and economically-instead of paying a hi"- fee to some dermatologist. „„iwl

It is all explained in a new treatise called "RPAIITIFUL NEW SKIN IN 3 DAYS,

BEAUTY LABORATORIES, Dept 63-X No 1700 Broadway New ^ ^

^•ge^V^^^^

oTrTe

BjyAicJgstrlogE

^7 /We/ ' oPref/ttementr/

50 EAST 58th STREET NEW YORK

In the fashionable Park Ave. and Plaza districts

Large outside sunny rooms elegantly furnished

Single Room and

Bath :<'4-:'':>

Double Room and

Bath $5"*7

Parlor, Bedroom

and Bath $H>-$12

Special low weekly and monthly rates

Telephone Regent 8100

GREENLAND

happened so unexpectedly and quickly I think I am all set this time."

And Sue is the happiest girl in the world. And why not?

Accompanied by her maid she will visit Spain, France and Italy, the locations for the picture; and last but far from least it will be hand in hand with Nick Stuart, her sweetheart in the picture, and in her own heart the Best Young Man in the World. And to attain this Sue had to conquer depression and despair in her own mind, and it probably took all of her courage

Which shows that Sue is getting the best of her destructive numbers.

Out at the flying field the other day 1 talked with Ben Lyon who is learning to pilot a plane and getting a tremendous thrill out of it.

Ben crossed his fingers as I approached. "No fair," he cried, "Can't a man have any secrets?" . ,

"Sure. If you have a seven or an eight

in your life no one knows what you are thinking." But Ben hasn't. There : 16 no air of mystery surrounding Ben. lie lias the blessed luck of being always understood. His deepest desire is accomplishment through work. He expressed it through mingling with people and he impressed people as being somewhat of an organizer, careful of detail, rather methodical and absolutely reliable. What you give Ben to do he will finish to the best of his ability, even if it causes him a good deal of per- sonal sacrifice. He has a very level head and his judgment is good. Added to these fine qualities Ben is optimistic and witty, rather individuated in his method of ex- pression. It is possible for him to be a revelation to those who need poise and stability. In all probability he will either write or direct when he gets tired of acting, for he has the understanding to control others and an inspirational quality that gives interest to whatever he does.

Rosa Reilly's Reviews — continued from page n

married him for his money. Of course she didn't mean for him to hear her But the door was open and he heard all

From there the story shoots oft to Atrica and Jackie is still finding life rather hard. Her husband brought her across the ocean second-class and then when she arrived in the Dark Continent he stuck her in a darker cabin By this time, the girl has the bright thought that maybe he isn't rich after all and cables her former employer— 1 said women were poor sports— to come get hen Well it takes a drunken overseer and a lion to open Jackie's lovely eyes^ And when once she comes to her senses she does smart work with a shotgun and saves her

husband. . ..i

A well-acted, well-directed picture with Clive Brook, Jackie Logan and Walter McGrail giving splendid performances.

RANSOM

Screenland's Contests offer you Beautiful & Useful Gifts Given by popular film stars See pages 22 and 23 of this issue

Once in Havana I had what I consider the most peculiar experience ot my lite. I went to a Chinese theatre. It was crowded with Chinese and I was the only Occidental in the house. My attention was caught and held by the stage. Queer figures speaking a queer language Queer, awful music rising higher and higher until it seemed to split the ear drum of my emo- tions I was hypnotized. There wasn t one word that I could understand; not one gesture of intonation. But the mystery of a mysterious people held me until the end.

That same fascination still holds whenever I come into contact with anything charac- teristically Chinese. And in the picture Ransom, where a gang of Chinamen operate as kidnappers, I felt that familiar thnl again. This is a movie that will interest vou, for the action keeps you keyed-up to the same eerie pitch that Chinese music

d°Lois Wilson and William Mong give fine account of themselves in this film.

OBEY YOUR HUSBAND

Many a divorce has been started with a can opener and delicatessen potato salad. So the next time you're bidding three no trumps, don't forget that the boy friend hasn't stopped liking his dinner on time iust because you've got the card craze. And when someone says: 'Lets pay one more rubber," keep a stiff upper hp and beat it home and get that thick steak on the fire before the boy friend opens the front door. , Obey Tour Husband is the story ol a

woman who didn't. She was a flighty, card-loving wife and through her flighti- ness she gets herself and her husband mixed up in a murder. And even while you know they're innocent, a district attorney is a pretty hard boy to convince. Dorothy Dwan and Alice Lake split the feminine honors and keep you in suspense until you find the card cheat was killed not by the pretty young wife but by —

It's worth the money to find out.

TWO BROTHERS

Hello folks, here's a face on the bar- room floor. My mistake! I mean ball room. A face on the ball room floor.

And whose face do you suppose it is. It's Lil Dagover's. You know Lil, don t you? The best vamp that ever stuck a rounded toe out of Germany In the old post-war days when a glass of beer or an opera seat cost six cents in the Father- land, Lil came into her stride. And she s been striding ever since.

But this picture, I've got to admit, is the world's worst. And I usually like most things that come out of Germany. But this picture is so bad it's funny. Conrad Veidt plays a dual role and even he and Lil between them can't save the picture Lven when Veidt goes gaga and kills Lil in the ball room.

However, if you're laboring under emo- tional stress you ought to go to see this film Several times in my life when lye been up against it. I've bought the trash- iest novel I could find. And read it through, to get my mind off my misery. That's why overworked men read detective stories. So if you're worried and desperate about anything, look over Two Brothers, and if vou don't come home with your nerve centers all relaxed, I'm no judge ot human nature.

THE WRIGHT IDEA

The Wright Idea is the wrong idea, if vou see what I mean. Johnny Hines is too good a comedian and works in too sportsmanlike a fashion to get himself balled up in this terrible story about a poor young lad who tries to patent and sell a luminous ink which doesn't blot.

There's lots of action and nttle wit. And Johnny almost works his heart out try- ing to put it over. But it just proves once acain that even a strong-hearted horse cant cull a heavy tractor up a steep hill.

Give the boy a chance for a change.

SCREENLAND

These photographs show Miss Peggy Sidway, before the Marvelous Marcel Molds were adjusted to her perfectly straight long hair. . . . Mme. Sylra's molds — easily and comfortably adjusted to Miss Sidvvay' 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."

83

Here is a manufacturer with such pride in lus product — such confidence in. its excel- lence^— that in, photographins a demonstration of this prod- uct for publication, he in- vited these representatives of great papers to he 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 Nextf Marcel Molds Make Any Hair Gloriously Wavy

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 oirn room — without work of prep- aration— without electricity or hot irons — free from danger of drying out or searing your liair.

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 loclcs in ! By a simple clip, it holds in place — stays where you put it — and locks the wave 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 mie. 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.

Mme. Sylva helped to make many other wavers before this final success arrived. They slipped out of hair. They were hard to s'et in — "tricky." She found at last the touchstone of triumph :

"Make It SIMPLE I"

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 sec the glorious results so easily achieved for you, you will know and say, with us, they arc worth a hundred times the money!

Priced Far Below Real Value— at only $2.97 per set— complete

Tou 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.. wre know by tests, for thorisands of waves.

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. Bemember, a girl of ten saw immediately how to use her set, put them m her hair, and got. a beautiful marcel in 20 minutes. Surely you car do the same.

You need not risk a penny. Just sign and mail the coupon Trial Certificate. Note that our announcement cost is only $2.9 V. "We can not afford to carry a hook- 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 hi 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

Sr 47

ARCADY HOUSE 7 W. Austii. Ave., Chicago, 111.

Gentlemen- I want a set of your marvelous molders. 1 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 expert to be out when the post- man comes, enclose $3.15 with your order and the marvelous molders outfit will be sent post- paid.

84

SCREENLAND

THIS IS

THE TROUSERS FRIEND

IT WORKS WHILE YOU SLEEP. IN HOME, HOTEL OH PULLMAN. THIS WON DERI 11 1- little

device win positively reconvert your SSSSSm from \ baggy. wilnWed condi- tion to their original appearance, it docs tin' worlt without dampening,— llitiio.it steaming,— without pressing.— w out cost!" It is so c* .!^ that anyone can adjust It in a ten

"Hta* up your baggy, wrinkled trousers • „, ••Trousers Friend" In the evening \ and put them on spick and span next, morning. It will pro long .the of your garments and will I giv e ili.it b=±Se=x-/ flnished appearance even- day . kec i> jou

.....ii ..roomed: stimulate your self respect

wen bioom for yQu (he ad.

Notice the simplicity 1 mi'?"°VnuSBrf ' Friend' of construction.. of the V » 3KS ' i ii

Trousers Friend! Just three points of contact; only three attachments to make, and all made (Illicitly. The result is the proper stretching ol the cloth in conformity with the way the tailor made it originally, and the firm securing of the

is scientifically correct in design and construction. It is very substantial, be- ing made of steel (Nickel satin tinish), it should last a life time. It is light in weight and folds so compactly that it takes up but little room in

Oil Location— Continued from page 29

^"hnMine'ss grip or suitcase when creases. All uaggincss 1 ° ' . positively removed. traveling.

Get a TROUSERS FRIEND — Get it now I It will pay for itself in a month.

The "TROUSERS FRIEND" Is Unconditionally Guaranteed Price of TROUSERS FRIEND $2.50 with order or C. O. D. TROUSERS FRIEND MFG. CO. Dept. 6, Box 521, San Francisco, Cal.

"Arlington Operated"

HOTEL ANSONIA

Broadway, 73rd to 74th Streets

NEW YORK CITY i minutes to Theatres and Shopping Districts. 52 minutes from Pen,,, and Grand Central Stations.

1,260 ROOMS (AH Outside)

New York's most complete hotel. Everything for comfort and convenience of our guests.

TWO RESTAURANTS

Open from 6:30 A. M. until midnight Music, Dancing, 2 Radio Orchestras, Ladies Turkish Bath, Beauty Parlor, Drug Store, Barber Shop, Stock Broker's Office. All in the Ansonia Hotel.

TRANSIENT RATES

300 Rooms and Bath per day £4.00

Large Double Rooms, Twin Beds,

Bath $6M0 Per ^y

Parlor Bedroom and Bath (2

persons) vS-.OO per day

Special Weekly and Monthly Rates A restful hotel— away from all noise and -dirt" of the ■' Roaring Forties." No coal smoke; owr steam plant equipped oil fuel. Coolest Hotel in New York m Summer

THE ANSONIA

In conjunction with the Hotels Marseilles, Anderson, Richmond and Cosmopolitan

Stop Using a Truss

STUART'S ADHESIF PLAPAO- PADS are surprisingly different from the truss— being mechanico- chemico applicators — made self- adhesive purposely to keep the muscle-tonic ''PLAPAO" applied continuously totheaffectedparts, and to minimize painful friction and dangerous slipping. No straps, buckles or spring at- tached. Solt as velvet — easy to apply-lnexpenslve. Foralmosta Awarded quarterof acenturysatisfiedthou- Gold Medal sands report success withoutdelay urano rru from work. Process of recovery natural so no subsequent use for a truss. Awarded Go d Medal and Grand rniTC Prix. Trialof "PLAPAO" will be sent absolutely \H\Y Write your name on coupon and send TODAY. ■ l>kfe

Plapao Co., 54 Stuart Bldg., St. Louis, Mo.

Awarded

Jame

^J(J,l'CSS u „ ........ — • — •-*","" ■ -

Return mail will bring Free Trial PLAPAO.

to do in the meantime — all dolled up like Astor's pet colt and feeling as comfortable as a fish on a hook? He couldn't very well relax; but then, he would be an actor. Not that he had any complaint to make. Dear me, no. It was all just fun, and great to be out in the sunshine!

'Neath the shade of the sheltering thatch sat Laska Winters, who, though born in New Orleans, had never yet played an American girl in pictures. There she sat, a dark-eyed siren, veiled, as a woman of a harem should be. And with her, chatting, sat Alfred Hickman and Phillip Strange, both having parts that allowed them to dress like English gentlemen.

Amid all this inactivity there was one corner of the boat that seethed like the roaring surf and I knew that I would find Herbert Brenon in the center of it. Boy! Things move when Brenon holds the mega- phone. The only thing that stops him is the weather, and then he chafes like a horse held at the post.

I didn't get the gist of the sequence entirely, but there was Bernard Siegel lend- ing his splendid face and perfect timing to the scene; and there were several natives stationed about the deck as lookouts for trouble, which finally came in the form of Sojin and his men.

Mane Halve, Mr. Brenon's script clerk who also cuts his pictures, was buzzing about like a streak of lightning. Being a script clerk is a job, if you take it seriously, and Marie does. Not a step misses her watchful eye and quick pencil. Literally she has volumes of typewritten notes on each picture so that when she starts to cut it she is so saturated with the atmosphere and action that it saves her much time. Not all script clerks cut the pictures they work on but Mr. Brenon has no qualms where Marie Halve is concerned. "My pic- ture is as safe in Miss Halve's hands as it is in my own," he said to me once when I asked his opinion concerning women in ex- ecutive positions in pictures.

In a cabin I found Lily Damita, none too enthusiastically putting the finishing touches to her toilette, for she, too. had had that five-thirty call. She had on a dark blue chiffon evening gown which she was supposed to have been wearing when rescued.

I asked Lily how she liked Santa Cruze Island and listlessness immediately deserted her. I have noticed that the name Santa Cruze Island always elicits a violent reaction on the part of anyone who has been there. Because of the meagre accomodations I was not able to go on the location myself, so I could only ask. Lily sat bolt upright, and her eyes flashed.

"Ees beautiful! But no place _ for a voman," she added vehemently. "Ah--h, do you think I vant to go to my bed and find miceses there first? And in my clothes, that I have put in the little bureau drawer, what should I find but a mice vit her very young children. Oh--oo!" Lily ended with an expressive gesture of her fine, well- shaped hands and a peculiar gutteral ex- clamation typical of foreign women when trying to make themselves understood in English.

Ronald Colman was not aboard. Not having to work in the morning scenes Mr. Brenon told him to rest up for the after- noon shots. Ronald's method for resting up, we afterwards found, was to play medi- cine ball with Theodore von Eltz who did not work until afternoon either, and Frank

Case, the owner of New York's Algonquin hotel, now summering with his family at Malibu. After the game they treated themselves to a dip in the sea which is prac- tically their door mat.

For luncheon Mr. Brenon rounded up what he called the Santa Cruze crowd and climbing in the launch we whizzed to the dock and then piled into cars for a three minute run to his beach house. The Santa Cruze crowd consisted of Lily Damita. George Barnes, Alfred Hickman. Phillip Strange, Ronald Colman and Theodore von Eltz, who met us at the cottage. Barrett Kiesling and myself were the only out- siders in this little clique. George Barnes was introduced to me as 'the best camera- man in the business,' but he gave my infor- mant a punch in the ribs and told him to 'cut that out.'

When I saw that beach house I felt pretty sorry for Herbert Brenon and the poor quarters he has to put up with. Nix!

A high, white latticed fence protected the place from the road and just inside was the tennis court. The cottage was sur- rounded by a charming if miniature garden, with tables, beach swings, garden umbrellas, flowers, a police dog and cockatoo which Mr. Brenon had acquired at Santa Cruze. These beach lots are thirty by two hundred feet long and Brenon had two of them, making the width sixty feet. The bunga- low's main feature was the beautiful living room, one side opening on the garden, the other on the beach. It was artistically furnished with large, luxuriantly comfort- able chairs and couches. Tantalizingly inter- esting books lined the walls, a mammoth fireplace filled the north end, and in the center of the room was a stunning gaming table. Then there was one bedroom with a view of the sea, a bath, a butler's pantry and kitchen. A separate "bungalow housed the servants, main kitchen and an adorable dressing room and bath done in black and red lacquer for women guests who wanted a swim in the sea. And such an one was I.

A perfect host, Mr. Brenon put all of his guests in the shade of the umbrella and himself, there not being room for all, sat at a little table next to us in the sun. The other men squabbled to either take his place or share his sunburn, and Alfred Hickman won. They looked like monks sitting to- gether in the sunshine with napkins over their heads which they tucked in so that they stayed on in spite of the breeze.

Mr. Brenon was the first to look at his watch after a delicious luncheon of cold meats, creamed potatoes, a salad, a custard and a refreshing beverage.

"Shall you need me, Herbert?" asked 'Ronald Colman, a smile beginning in his eyes — ever notice how Ronald's eyes smile long before the gravity of his face lifts?

"Oh, yes. You work this afternoon. Ronnie." said the unconscious Mr. Brenon.

"Well, am I in the first scene?" asked Ronald the smile having reached his lips by that time.

"Oh — ho! I begin to see a streak ot dawn." said Brenon.

"Because if I'm not and if Theodore is