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Scanned from the collections of
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Upton Sinclair - Ben Hecht - Qeorge Jean Nathan
JFredciitik Jamer Smith - Valiant Evans - HJ&.KWillis
m
1224
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SCMENLAN© \
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"I Found a New Way to
Become Poputor^Quickly
"They used to avoid me when I asked for a
dance. Some said they were tired, others
had previous engagements. Even the poor-
est dancers preferred to sit against the wall
rather than dance with me. But I didn't
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alone in the middle of the floor.
'"'T'HAT night I went home
feeling pretty lonesome
and blue. As a social success
I was a first-class failure. Then I
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known magazine. At first I
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This is Arthur Murray, the
world's foremost Dancing in-
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than 12,000 people how to
dance through his unique easy
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How Dancing Made Me
Popular
"Being a good dancei has made me popular and sought after.
I am invited everywhere. No more dull evenings — no bitter
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"I was astonished to see how quickly one learns all the latest
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Now that I have the Murray foundation to my dancing I can
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I have seen a few of the steps.
Posed by Hope
Hampton, Movie
Star, and Arthur
Murray.
She Used to Envy Good
Dancers
In the short time that 1 have
had to study over the lessons and
the very little practicing that I
have been able to 'lo. I cannot
tell you how pleased I am with
the lessons. I had always been
In the background when attend-
ing dances, as all the better
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Perrysburg, Ohio.
He Had Never Danced Before
I received the instruction book
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Clarence V. Mortensen, Earle,
Wise.
Receives Many Compliments
I had wonderful success with
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Walter Rich, Chester, Mass.
Learns In Short Time
f received your course In danc-
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— Arthur Hossack, Flint, Mich.
America and Europe have selected Arthur Murray as
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Five Dancing Lessons Free
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Write for five lessons today— they are free. Just enclose
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ARTHUR MURRAY
Studio 113 290 Broadway, New York
No longer is it necessary to go to a private dancing Arthur Murray, Studio 113
instructor or public dancing class. Arthur Murray's 290 Broadway, New York City
remarkable methods are so clear that you don't need To that T can learn t0 dance at home in one
any partner to help you, neither do you actually re- evening you may send the FIVE FREE LESSONS. I
quire music. But after you have learned the steps enclose 25c (stamps or coin) to pay tor the postage, print-
alone in your own room, you can dance perfectly with mg' etc-
anyone. It will aUo be quite easy for yon to dance in
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Arthur Murray is recognized as TheWorld's foremost Address
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Learn Without Music or Partner
cyfxo, dndoJfizndQjnt Screen Magazine
APRIL, 1924
VOL. IX, NO. l
Myron Zobel, President
Frederick James Smith, Editor
—
0 Prominent Features in this Issue
ffl Upton Sinclair says sweet sentimentality hides Deliberate Class Lying and
protects Organized Greed in Big Business and Its Movies page 23
A Ben Hecht again unmasks Vain Conceit, Solemn Stupidity, Hypocritical Piety,
and Ficticious Sanctity in The Battle Ground of Drama page 43
Q Barry Vannon, in a fiction article, redolent of Hollywood, tells how retribution
came to the worst villian on the screen in The Perfect Type page 60
fl George Jean Nathan pries the cover off the Stage and exposes its strings and
pulleys in Dramaland page 64
<I Delight Evans cannot tell whether DeMille is Subtle or Shrewd, a sublimated
fakir or a regular guy, so the article is called The Movies' Man of Mystery page 70
ROLF ARMSTRONG
presents a study from life of Alma
Rubens page 1
JOHN HELD Jr.
Catches our old friend Phyllis Invading
the Costume Drama '. . page 48
Reveals the embarrassing moment when
Phyllis tries to "get her man" in the
Great North West . . . page 33
FREDERICK J. SMITH
Tells with his quaint humor what is
good and what is pallid in the
Months New Screenplays page 56
JIM TULLY
An ex-prize fighter exchanges verbal
upper-cuts with Elinor Glyn and
finishes a close second . page 46
ANNA PROPHATER
Says the Interviewed aren't always what
they seem . . . . . page 69
Briefly outlines the World's History
ala the w. k. News Reel page. . 38
Furnishes the unique story of Marion
Davies, a "made star" who won real
distinction. . . . . page 21
EUNICE MARSHALL
Prophesies What will happen to Ben-
Hur and explains why Walsh was
selected for the stellar role page 24
H. B. K WILLIS
IN THE MAY ISSUE
tells with his inimitable
humor of
FAIRBANKS
FIGHT AGAINST
FAT
In a featured
article entitled
POSE and
ADIPOSE
On the newsstands
April first
H. B. K. WILLIS
says Hollywood is all sects' appeal and
is in a state of Cultifornia page 31
GRACE KINGSLEY
Gives an intimate picture of Hollywood
and its growth . . . page 34
BETTINA bed well
An American goes to the Movies in
France page 53
KLIZ
Illustrates how the Bathing Cutie
stages interviews with verisimilitude
and little else .... page 66
DELIGHT EVANS
Mislead by Eminent Authorities
turns phrenologist and physiogno-
mist on her own account and suc-
ceeds pace SQ
SCREENL AND'S FAMOUS
DEPARTMENTS
Our Own News Reel, four pages of
Cinema News of the moment be-
ginning on .... Apage 72
The Listening Post, eight pages of
pictures and gossip of Hollywood
and New York, . . . page 78
Ten Best Pictures Selected; the
final vote of Screenland's canvass,
together with a Second Ten. page 45
Screenland's Rotogravure Gallery of
Stars . . . pages 19 and 39
Published monthly by SCREENLAND, INC
at
145 West 57th Street, New York, N. Y., U. S. A.
[
Copyright, 1924. /Trade Mark registered. Single copies 25e.; subscription
price, United States and Canada, $2. 50 a year; foreign, S3. 50. Entered as
second-class matter, November 30, 1923, at the Po8t»Offlce at New York,
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must be secured from the Screenland Feature Syndicate, 145 West 57th
Street, New York. General Executive and Editorial offices at 145 West
57th Street, New York, N. Y. Western advertising offices at 168 North
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Subscription price United States and Canada $2 50 a year. Single copies
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ScreenlandMaaazine out the first of every month;iiea! IAfe Stones tne 10m
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The Jinx on Mabel Normand
Interesting and intimate episodes in the
star's life
In the May Screenland
We Teach
COMMERCIAL
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Meyer Both Company, the largest
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Speaking Theaters
AMBASSADOR — For All of Us, with
William Hodge. Wholesome hokum of
the typical Hodge type.
APOLLO — Poppy, with Madge Kennedy
and W. C. Fields. Delightful, if only
for Fields' admirable clowning.
ASTOR — Sweet Little Devil, with Con-
stance Binney. An average musical
comedy with scenes ranging from a
New York apartment to Peru. Pass-
ably pleasant.
BELASCO — Laugh, Clown, Laugh, with
Lionel Barrymore. An excellent Bel-
asco production of a drama adapted
from the Italian. Well done.
BELMONT— T a r n is h. An interest
drama of New York life by Gilbert
Emery, author of The Hero. Attractive
cast.
BIJOU — The Goose Hangs High. New
story of the Middle West by Lewis
Beach, very well received by the
critics. Looks like a hit.
BOOTH — Seventh Heaven, with Helen
Mencken. Perenial hit of war-time
Paris. No end to its long run in sight.
BROADHURST — The Dancers, with
Richard Bennett. Interesting melo-
drama of our jazz age, with scenes
running from the great Northwest to
Lon'on. Fine acting by Florence
Eldredge and Mr. Bennett.
CARROLL — Kid Boots, with Eddie Can-
tor. Another Ziegfeld hit and the first
musical show built entirely around the
maddening game of golf. Popular plus.
CASINO— Wildflower, with Edith Day.
Tuneful show that has been running a
year.
CENTURY — The Miracle. Max Rein-
hardt's magnificent pantomimic spec-
tacle superbly presented by Morris
Gest. You will never see stage picture
to equal those of The Miracle.
CORT— The Swan. Ferenc Molnar's
brilliant comedy of middle European
royalty, smashingly presented. The
dramatic hit of the stage year.
ELLIOTT'S (MAXINE) — Rain, with
Jeanne Eagels. This fascinating drama
of the South Seas seems likely to go on
forever. No waning in the acting.
ELTINGE — Spring Cleaning. Frederick
Lonsdale's brittle comedy, well acted
by Estelle Winwood, Arthur Byron,
Violet Heming and others.
EMPIRE — The Lady, with Mary Nash.
Highly effective melodrama with an
excellent acting company.
FORTY-EIGHTH STREET — Neigh-
bors. An American comedy by Leon
Cunningham.
FORTY-FOURTH STREET — The Liv-
ing Mask, with Arnold Korff. Piran-
dello's impressive satirical comedy
introducing a brilliant young actor of
ENTERTAINMENT
IN
NEW YORK
at the
ALAMAC HOTEL
Broadway and 71st St
PAUL SPECHT and his Or-
chestra play for afternoon Teas
each Saturday and Sunday and
for Dinner Dances nightly in
the Medieval Grille.
Each evening from Ten in the
Unique Congo Room atop the
Alamac. Tropical in Winter!
Breezy in Summer!
The delightful location for food
and recreation.
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SCREENLAN©
7
WHAT EVERY SCREEN STAR KNOWS
"Physique Comes FIRST!!!"
ALL the world's a screen and you can put into YOUR formula for
success the self-same ingredients that brought fame and riches
to the Fairbankses, Valentinos, Rays and Harts of Hollywood. <-• In
the whole movie world today there isn't one single man who has
succeeded greatly without first developing a physique handsome
enough to compel the admiration of the masses and vital enough
to stand up under the prodigious strain of motion picture acting.
How Many Reels Would YOU Survive?
Ouppose YOU had a winning
camera personality. Suppose YOU
got the chance to act. How would
you behave under the task of making a
multi-reel picture? How would YOU
endure the terrific physical and
mental grind of posing for days, nights
and months on end . . . with every
muscle taut and every faculty on
edge to register the most effective
movement, posture and expression?
BE CANDID WITH YOURSELF.
You couldn't stand the gaff. Even in
your own mild and tame existence you
often find the pace too fast. Your
heart jumps, your muscles grunt and
your iungs wheeze at the slightest
hint of manly exertion. You'd die a
hundred deaths in a hundred yards of
moderately fast running. You may
be revered for your nobility of soul,
but no woman in the world could call
you "my hero" and keep her face
straight.
Your complexion is muddy, your
blood is sluggish and your bowels are
torpid half the time. You'd hate to
hear the truth about yourself from
any honest doctor . . . now, wouldn't
you, friend?
For 25 years I have been transform-
ing semi-invalids into whole he-men
— recasting weakness into man-power
and putting the genuine hero-stuff
into tame and timid lives. You may
not want to be a screen star but
STRONGFORTISM will make you
a star — admired, respected and be-
loved— in your own office, shop or
soci3.1 circle
STRONGFORTISM— personalized
and guided by each pupil's individual
requirements — will make a man, a
success and a happy human of you.
Out of all the pupils who have come
to me for help and have honestly
fulfilled my simple directions not one
has failed to achieve his goal of im-
proved health, increased strength and
enhanced personality.
My Guarantee Is a Fearless One
LIONEL STRONGFORT
Dr. Sargent, of Harvard, declared that
"Strongfort" is unquestionably the finest
specimen of physical development ever
seen."
After faithfully followinj
my personal supervision
Physical Development at
refund all money you "
have paid me.
(Signed)
Lionel Strongfort |
the individual Course in Strongfortism, as planned for you under
if you have not received benefits in Health, Strength and
the completion of the Course, I positively GUARANTEE to
FREE CONSULTATION COUPON
This Vital Book
In the service of hu-
manity I have written a
powerful, vivid, stirring, beautifully illustrated book, describing
my life and the methods which, applied' to my own body, de-
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the world. This is no cut and dried sermon on humdrum
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\ OU can do to win your birthright of manhood, mastery and
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LIONEL STRONGFORT
Physical and Health Specialist
ABSOLUTELY CONFIDENTIAL
Mr. Lionel Strongfort. Dent. 1386
"PROMOTION AND CONSERVATION
ENERGY," for postage on which I i
special information on subjects marked
extra line, without obligation.
Newark. N. .1. — Please send me your book.
OF HEALTH, STRENGTH AND MENTAL
inclose a 10c piece (one dime). Send me
(X) below, as well as those I may write on
. . Colds
. . Catarrh
.. . Hay Fever
. . Asthma
. . Obesity
. . Headache
. .Thinness
. . Rupture
. . Lumbago
. . Neuritis
. . Neuralgia
..Flat Chest
. Insomnia
. Bad Breath
. Bad Blood
. Weak Eyes
.Anemia
.Debility
. Fear
. Neurasthenia
.Short Wind
.Flat Feet
.Constipation
. Biliouspess
.Torpid Liver
.Indigestion
.Nervousness
. Poor Memory
. Rheumatism
. Gastritis
. Heart Weakness
. Poor Circulation
.Increased Height
. Despondency
.Skin Disorders
.Vitality Restored
. . Falling Hair
..Deformity (Describe)
. Stomach Disorders
. .Pimples
. . Blackheads
. . Round Shoulders
. . Lung Troubles
. . Weak Back
. . Drug Addiction
..Weaknesses (Specify)
. . Muscular Development
. .Great Strength
(For Immediate Enrollment Check Below)
ENROLLMENT FORM
I hereby enroll tor a Complete Personal Course in STRONGFORTISM for which
I enclose
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Age Occupation.
Dept. 1386
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Street
City .... State.
SCEEENJLAN©
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the German stage in his first English
speaking role.
FORTY-NINTH — Gypsy Jim, with Leo
Carrillo. A bid for Abie's Irish Rose
popularity.
FROLIC — Hurricane, with Olga Petrova.
Calling a spade a spade with a ven-
geance.
FULTON — One Kiss. Pleasantly adapt-
ed from the French by Clare Kummer
and given intriguing musical trim-
mings. A cheery hit.
GARRICK — Saint Joan. George Ber-
nard Shaw's windy but interesting
drama of the life of the Maid of
Orleans. Given intelligent presenta-
tion.
GLOBE — Stepping Stones, with Fred
Stone. A regular Stone hit, with little
Dorothy, his daughter, fast becoming a
Broadway idol.
HARRIS — The Nervous Wreck. A lively
and amusirg farce — and a hit, too.
HIPPODROME— The old landmark
given a new lease of life with Keith
vaudeville.
HUDSON — The Song and Dance Man,
with George M. Cohan himself. For
those as like Cohan and Cohanisms.
IMPERIAL — Mary Jane McKane, with
Mary Hav and Hal Skelley. A snappy
musical show, plus piquant Miss Hay.
KLAW — Meet the Wife, with Mary
Boland. A genuine farce hit.
KNICKERBOCKER — Lollipop, with
Ada-May (Weeks). A dancing show
with music — and with all the earmarks
of a hit.
LIBERTY — The Rise of Rosie O'Reilly.
Another Cohan effort to glorify our
Irish-American gals.
LITTLE — Little Jessie James. Has a
song hit and a Paul Whiteman band.
MILLER — Merry Wives of Gotham. Try-
ing to live down its first name of
Fanshastics. A good Laurence Eyre
comedy with Grace George and Laura
Hope Crews at their best.
MOROSCO— The Other Rose, with Fay
Bainter. A Belasco production with
some little charm.
MUSIC BOX — Third annual revue. One
of the big musical hits. What more
can be said?
NATIONAL — Cyrano de Bergerac, with
Walter Hampden. Rostand's heroic
comedy is credited with marking the
high point of Hampden's career.
NEW AMSTERDAM — Ziegfeld Follies.
Smashing along as usual. Ann Pen-
nington's knees would alone drag us to
the New Amsterdam.
PLYMOUTH — The Potters. Every day
American life as revealed in J. P.
McEvoy's widely syndicated news-
paper stories. Yes, a real hit.
REPUBLIC — Abie's Irish Rose. Wear-
ing out the theater and the nerves of the
critics who panned it.
RITZ — Outward Bound. Sutton Vane's
remarkable drama is the surprise of the
footlight year. See it for yourself.
Rudolph
V alentino
A limited quantity of art studies in full color
of the above cover by Rolf Armstrong have
been printed for private distribution. They
are reproduced upon heavy pebbled paper,
suitable for framing, or as a gift.
Mr. Armstrong is famous as a painter of
beautiful women, but in producing his much
talked-of series of star covers for SCREEN-
LAND, he has outstripped all his previous
efforts.
Connoisseurs of art and admirers of the
screen's celebrities will cherish this series. It
is for their benefit that this limited edition of
five hundred special prints is being run off" each
month as the covers appear on the magazine.
All lettering has been eliminated and the cover
alone stands forth in all its brilliant coloring.
It is a piece of art worth keeping and framing.
Sent postpaid on receipt of twenty-five cents in coin, stamps,
or money order; or FREE with a year's subscription to
SCREEN LAND for $2.50.
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SCMEEHLAN©
SELWYN — Mr. Battling Bultler. A
musical show that is doing nicely at the
boxofifice.
SHUBERT — Artists and Models. The
Shubert undress revue is more dressed
up now, thanks to the censors.
THIRTY-NINTH — Mister Pitt. A new
American play by Zona Gale with
considerable appeal.
TIMES SQUARE — Andre Chariot's
Revue. A London revue of genuine
merit, with the best comedienne we
ever saw. The lady is Beatrice Lillie.
You MUST see this.
WINTER GARDEN — Topics of 1923,
with Delysia. Passable Winter Garden
stuff.
The Editor's
Letter Box
Screenland wants its readers to write about
motion pictures — and the best contributed letters
will be published in this department. All accepted
letters will be paid for at regular contributors' rates,
and when possible, a portrait of the writer will be publ-
ished. Screenland has created this department
in order to be in immediate touch with its readers;
It wants your opinion — and it will pay you for it.
Address all letters to The Editor's Letter Box,
Screenland, 145 West 57th Street, New York City.
Send your portrait with your letter. It is impos-
sible to return manuscripts or pictures
Leo J. Volpe
The Editor's Letter Box,
Screenland.
When Ru-
dolph Valentino
broke his con-
tract with Fam-
ous Players it
was the mean-
est thing that
Mr. Valentino
could have done,
in my estima-
tion. True, his
salary compared
with his popularity and the salaries of
less important screen folk was out of
proportion. But did not the fans give
him his popularity, did he realize that he
would become so popular when he
signed his contract with Famous
Players ? True, he was mis-cast on
two occasions and true is the fact that
lie was a "golden stream" to Para-
mount.
However, he should not have been
so hasty; he should have put up with
the salary under his agreement (was it
not much greater than he was receiv-
ing the former year), and continue
until his contract expired. In all
probability he would have received an
increase and most important of all he
would have continued to please the fans
with his performances.
Should Valentino return to the screen
and receive a luke-warm reception, we
might say that it was duly earned.
But for his casual invasion of Motion
Pictures, where would Valentino be
NERVE EXHAUSTION
How Nerve Abuse Wrecks Health
by PAUL von BOECKMANN
Lecturer and Author of numerous books and treatises on Mental and Physical Energy,
Respiration, Psychology and Nerve Culture
THERE is but one malady more terrible
than Nerve Exhaustion, and that is its
kin, Insanity. Only those who have
passed through a siege of Nerve Exhaustion can
understand the true meaning of this statement-
No word is horrible enough to express it. At
first, the victim is afraid he will die, and as it
grips him deeper, he is afraid he will not die;
so great is his mental torture. He becomes
panic-stricken and irresolute. A sickening
sensation of weakness and helplessness over-
comes him. He becomes obsessed with the
thought of self-destruction.
Nerve Exhaustion is brought about through
nerve strain. There is no other cause. Men
strain their nerves
through mental concen-
tration and business
worries; often, too,
through excesses and
vices. Women strain
their nerves . mainly
through their emotions,
especially those involved
in their domestic affairs.
Indeed, we are in the
midst of nerve strain
everywhere due to the
mile-a-minute life we are
leading. And no man or
woman is so strong as
to be immune to this
strain.
~ — Eyes— Note
■Throat
-Bronchials
Chest Breathing
Nerve Exhaustion is not
a malady that comes
suddenly, yet its symp-
toms are unmistakable.
It does not manifest it-
self, as many think, in
twitching muscles and
trembling hands. The
majority of sufferers
from nerves seem strong
and healthy, and may
have not a tremor in
their body, yet inwardly
their nerves are in a tur-
moil and are undertm;n-
ing the entire bodily
organism.
— a nerve stimulant or sedative. Leave nerve
tonics alone. It is like making a tired horse
run by towing him behind an automobile.
And don't be deceived into believing that some
magic system of physical exercise can restore
the nerves. It may develop your muscle but
it does so at the expense of the nerves, as
thousands of athletes have learned through
bitter experience.
The cure of weak and deranged nerves must
have for its basis an understanding of how the
nerves are affected by various abuses and
strains. It demands an understanding of cer-
tain simple laws in mental and physical
hygiene, mental control, relaxation, and how
to develop immunity to
the many strains of
everyday life. Through
the application of this
knowledge, the most ad-
vanced case of Nerve
Exhaustion can be cor-
rected.
Diaphragm
SOLAR PLEXUS
The symptoms of Nerve
Exhaustion vary accord-
ing to individual char-
acteristics, but the de-
velopment is usually as
follows: First Stage:
Lack of energy and
endurance; that "tired
feeling." Second Stage:
Nervousness; restlessness; sleeplessness; irri-
tability; decline in sex force; loss of hair; ner-
vous indigestion; sour stomach; gas in bowels;
constipation; irregular heart; poor memory;
lack of mental endurance; dizziness; headache;
backache; neuritis, rheumatism, and other
pains. Third Stage: Serious mental disturb-
ance; fear, undue worry; melancholia; danger-
ous organic disturbances; suicidal tendencies;
and in extreme cases, insanity.
If only a few of the symptoms mentioned apply
to you, especially those indicating mental tur-
moil, you may be sure that your nerves are at
fault — that you have exhausted your Nerve
Force.
Perhaps you have chased from doctor to doctor
seeking relief for a mysterious "something the
matter with you." Each doctor tells you that
there is nothing the matter with you, that
every organ is perfect. But you know there is
something the matter. You feel it, and you act
it. You are tired, dizzy, cannot sleep, cannot
digest your food, and you have pains here and
there. You are told you are "run down," and
need a rest. Your doctor may prescribe a drug
Pelvic Organ*
The Sympathetic Nervous System
Showing how Every Vital Organ is governed by
the Nervous System, and how the Solar Plexus,
commonly known as the Abdominal brain, is
the Great Central Station for the distribution
of Nerve Force.
I have made a life study
of the mental and phys-
ical characteristics of
nervous people, having
treated more cases of
"Nerves" during the
past 25 years than any
other man in the world
rover 100,000 cases).
The result of this vast
experience is embodied
in a 64-page book, en-
titled "Nerve Force," a
book that is essentially
intended to teach how to
care for the nerves and
how to apply simple
methods for their res-
toration. It includes
important information
on the application of
deep breathing as a
remedial agent. The
cost of the book is only
25 cents, coin or stamps.
Address me- — Paul von
Boeckmann, Studio 634,
110 West 40th St., New
York City.
This book will enable
you to diagnose your
troubles understanding-
ly. The facts presented
will prove a revelation
to you, and the advice
will be of incalculable
value, whether you have had trouble with your
nerves or not. Your narves are the most
precious possession you have. Through them
you experience all that makes like worth living,
for to be dull-nerved means to be dull-brained,
insensible to the higher phases of life — love,
moral courage, ambition, and temperament.
The finer your brain is, the finer and more
delicate is your nervous system, and the more
imperative it is that you care for your nerves.
"Nerve Force" is not an advertisement of any
treatment I may have to offer. This is
proved by the fact that large corporations have
bought and are buying this book from me by
the hundreds and thousands for circulation
among their employees — Efficiency. Physicians
recommend the book to their patients —
Health. Ministers recommend it from the
pulpit — Nerve Control, Happiness. Never
before has so great a mass of valuable infor-
mation been presented in so few words. It
will enable you to understand your Nerves,
your Mind, your Emotions, and your Body.
Over a million copies have been sold during
the past fifteen years.
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SCREENLAND
today? Would there have been a
Rudolph 'Valentino Blues ; would they
be dancing- the tango, and last but not
least would there be the present Natacha
Rambova Valentino? I think these
reasonable questions for Mr. Valentino
to consider.
L. J. Volpe,
1316 N. 18th Street,
Philadelphia, Pa.
The Editor's Letter Box,
S GREENLAND.
I write to de-
f end Screen-
land. Nothing
has appeared in
this magazine to
hurt the feel-
ings of anyone.
1 have been a
staunch reader
cf Screenland
for about a
Martha Van Kirk year. It is a
splendid magazine — anyone could enjoy
himself by reading- it.
I sincerely hope that Screenland
will not be censored. Many readers, I
hope, will agree with me.
Beautiful covers and splendid work
by many. I say, "Long may Screen-
Land wave !"
My attention- has been drawn by
Screenland's Fights for Freedom, m
the January number. I, being inter-
ested, started to read the article, and
was astounded by some facts which
were not true.
In Screenland I enjoy John Held,
Jr.'s work. I also like the true life
stories.
Why don't people like Rudolph Val-
entino? Maybe some are jealous on
account of his nationality and his suc-
cess in this country.
I never will condemn Pola Negri be-
cause she is an artiste. Wonderful and
beautiful woman! I enjoyed Pola's
latest picture, The Spanish Dancer.
Well, may Screenland live forever !
Thank you !
Miss Martha Van Kirk,
505 Euclid Ave.,
Dravosburg, Ta.
The Editor's Letter Box,
Screenland.
Cecil B. De-
Mille has come
out of the mire.
After making a
number of melo-
dramatic society
pictures, he has
at last given the
world a great
masterpiece, a
gorgeously
Wm. S. Myron painted picture,
creating an uproar which will take
SCEEENLAN1D)
n
The Most Darin
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
get this daring book at our risk — without advancing a penny.
\~K 7 ILL you marry the man
■ » you love, or will you take
the one you can get?
If a husband stops loving his
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman?"
Will you win the girl you want,
or will Fate select your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the
love of the one you cherish — or
will your marriage end in divorce?
ELINOR GLYN
"The Oracle of Love"
Do you know how to make people like you ?
IF you can answer the above questions —
_ if you know all there is to know about
winning a woman's heart or holding a
man's affections — you don't need "The
Philosophy of Love." But if you are in
doubt — if you don't know just how to
handle your husband, or satisfy your wife,
or win the devotion of the one you care
for — then you must get this wonderful
book. You can't afford to take chances
with your happiness.
What Do YOU Know
About Love?
DO you know how to win the one you
love? Do you know why husbands,
with devoted, virtuous wives, often be-
come secret slaves to creatures of another
"world" — and how to prevent it? Why do
some men antagonize women, finding them-
selves beating against a stone wall in affairs
of love? When is it dangerous to disregard
convention? Do you know how to curb a
headstrong man, or are you the victim of
men's whims?
What Every Man and
Woman Should Know
-how to win the man
you love.
-how to win the girl you
want.
-how to hold your hus-
band's love.
-how to make people
admire you.
-why "petting parties"
destroy the capacity
for true love.
-why manv marriages
end in despair.
-how to hold a woman's
affec tion.
-how to keep a husband
home nights.
-things that turn men
against you.
-how to make marriage
a perpetual honey-
moon.
-the "danger year" of
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^PHILOSOPHY
OF LOVE
hy ELINOR GLYN
JLutkiraf'Thru Weehs ,
F
WARNING/
The publishers do not care to send "The Phi -
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The Authors' Press, Dept. 4.77 Auburn, N. Y
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years to subside. The Ten Command-
ments is real, vivid and tensely dramatic.
The first part shows De Mi lie to be a
genius, the second part proves him to
be among the greatest of his kind.
Just as a director can eventually show
his worth, so can an actor or actress.
Anna Q. Nilsson has proved herself a
great actress and I feel proud in assert-
ing that all her directors say that she
has never fallen down on her job. Fan-
dom knows this. I hope Screenland
will some day contain an interview with
her. She has been 'offered star-
dom but has wisely refused.
I hope 1924 will bring into the lime-
light Lloyd Hughes, Ann Forrest, Mary
Philbin, Walter McGrail, Raymond
Griffith and Corinne Griffith. They are
all great — very much so.
I think the screen is still in its in-
fancy and years from now will reach
perfection. Let's all join in and boost
the pictures, the actors, the actresses
and the directors, but most of all let's
boost Screenland, a masterpiece in
itself.
Good luck !
William S. Myron,
306 West 51st St.,
New York City.
The Editor's Letter Box,
Screenland.
Although a
constant reader
of your maga-
zine for a long
time, I have
never attempted
to write to you.
Screenland to
me always has
been and is the
finest magazine
in the market.
Matilda Bennett
A real fearless magazine.
I want to tell you how much I enjoy
your magazine's review of the new pic-
tures. It is at all times instructive and
unprejudiced. I have yet to be dis-
appointed in a picture that was recom-
mended by your magazine.
Your interviewers also pursue ex-
actly the right policy in telling the truth
about actors and actresses. I am in
thorough accord with everything that is
published in your magazine — news,
gossip, interviews and everything. 1
have my dislikes, but I try to keep them
to myself, and, of course, I have my
idols and favorites.
My idols are the brains and person-
alities behind the screen, and are:
Frederick James Smith, a 100% man
who dares to tell the truth about stars
and pictures regardless of the conse-
quences (please do not blue-pencil
that ) , June Mathis, celebrated scenario
writer, discoverer of Valentino, a
wonderful woman, as sweet as she is
FOR. 2,5 CENTS
Many readers dislike tearing or marring their
copies of SCREENLAND and yet they would
like to frame the eight handsome rotogravure
portraits that appear each month. Two un-
bound copies of the complete gallery in this
issue — ready for framing — will be sent upon
receipt of twenty-five cents in coin or stamps;
or FREE with a five months' subscription to
SCREENLAND for 21.00.
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145 West 57th St.
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SC1EENLAN©
13
famous. She sent me the sweetest let-
ter that I have received from anyone,
God bless her ! Rex Ingram, the
master director of the screen, Mickey
Neilan, another wonderful director.
My favorites are, first and foremost,
Rudy Valentino, the inimitable. I saw
him in person and 1 do think he has the
most charming- personality I have en-
countered. As I write I can feel my
heart leaping with joy at the thought
that he is soon to come back to the
screen. He has too, the most marvel-
ously beautiful woman for a wife !
Pola Negri, an actress who is not afraid
to act. And she surely is beautiful.
Barbara La Marr and Nita Xaldi for
their exotic beauty and personality.
Gloria Swanson for her real good act-
ing in Zaza, her first chance. Florence
Vidor and Claire Windsor, the screen's
most beautiful women. Richard
Barthelmess, who stands for all that is
good and clean in pictures. A real
honest to goodness actor. Never once
have I been disappointed in him. That
is all for this time.
And now I read in Screexland
where Mary Pickford is going to play
Juliet to Doug's Romeo. I wish she
wouldn't. Now I like Doug because
he is a typical American — he is strong
and energetic. Romeo must be a much
younger man than Mr. Fairbanks, with
all the fire and dash of youth. If any-
one is going to bring Romeo and Juliet
to the screen, let Rudy and Natcha do
it. Rudy, romance incarnate — the
cavalier of long ago, is the man who
fills my vision of Romeo to perfection.
And now let me tell you what I think
about pictures. I think they are going
from bad to worse. We have some real
good actors and actresses but what we
need is good stories. It seems to me
that no matter how bad a story is, just
so it has a big name under it, it will
make a lot of money. Judging from
the pictures I have seen written for the
screen by famous authors, the name is
the thing. Why not give the amateur
story writer a chance ?
Matilda Bexxett,
2222 Washington Ave.,
Dallas, Texas.
The Editor's Letter Box,
Screexland.
Why don't the
film companies
produce some of
the pictures of
the kind they
used to produce
about seven or
eight years ago?
Do you remem-
ber those Wil-
Samuel Hermann liam Fox Pro"
ductions star-
ring Theda Bara in her vampire pic-
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tures, notably Destruction; William
Farnum in his courageous pictures,
Robert Mantell and Genevieve Hamper
in their stirring dramas; and the pic-
tures that starred Valeska Surratt,
Claire Whitney, George Walsh, Ann
Luther and Bertha Kalich ? Why don't
Fox produce some more of these pic-
tures? Do you remember further back
a little, those stirring adventurous
serials that were produced by Universal,
notably The Master Key, The Black
Box, and the splendid acting of Herbert
Rawlinson? These are the serials that
once you have seen them, you could not
miss a chapter, but would go to your
favorite theatre every week till the end.
And how exciting the pictures of Helen
Holmes were in her railroad adven-
tures ! Do you remember the old Mack
Sennett comedies and the Ham and Bud
comedies ? They certainly were good.
In those days a movie actor or actress
was judged by his or her ability, not
by his or her popularity.
Samuel Hermann,
21 Parkman St.,
Boston, Mass.
The Editor's Letter Box,
ScREENL AND.
I am getting
all out of pa-
tience with the
continual slams,
purporting to be
criticisms, which
are flung at
"patent leather"
hair ! What's it
got to do with
acting, I'd like
to know ?
It is, of course, just a reversal of the
position taken some years ago, when
Earle Williams used to get favorable
comment because his "smooth, straight
hair" was such a relief from the
"marcel-waved matinee idols" of that
day — Costello, Bushman, Kerrigan, et
al. But, again, what has it got to do
with acting?
There are critics who like to write
sarcastically of John Barrymore's Greek
profile, of Valentino's "varnished hair,''
of Dix's dimples, and so forth and so
on. I have come to the conclusion that
it is a sort of complex, perhaps a
"suppressed desire," or envy, or some-
thing. Only, I reiterate, it has nothing
to do wth acting.
Fanny Cannon,
13 East 130th Street,
New York .City.
Who is the best Author in this
issue of S Greenland/' And why?
Send your answer to this depart-
ment. The best replies will be pub-
lished and paid for at our usual
rates.
Fanny Cannon
SCREENLAND
<I Upton Sinclair
makes his appearance as a SCREENLAND his novel, The Jungle, which literally shook
contributor with this issue. Mr. Sinclair the whole country. Mr. Sinclair will be
has been a leading—and militant—figure in represented in .the May SCREENLAND
American letters since the publication of also.
Film Plays in Colors Coming
Changing Screen Technique
r
A
w S^HE screenplay recently has been making interesting
experiments in the field of color photography. The
Bibiical pageant of the first half of The Ten Command-
ments was filmed in color — and much of its moving
beauty comes from this very thing. Now comes the announce-
ment that Famous Players-Lasky are filming an entire Zane
Grey story of the Southwest, W anderers of the Wasteland, by the
same process — Technicolor photography. Several of J. Stuart
Blackton's historical productions, filmed in England, were
made in natural colors, or as near natural colors as our cameras
can reach.
We can recall the early panic over the Edison talking pictures,
in which sounds were synchronized crudely with the animated
films. Experts anticipated a complete upset in the making of
screen dramas — and sat back to await the crash. But the talk-
ing picture flopped and the screenplay went on its silent way.
But colors should be a natural and integral part of the screen-
play. When color photography comes in general use — and
come it must, since the film has gone as far as it can in blacks
and whites — we shall see a complete revolution in the making
of our screen dramas. A whole new technique will become
necessary, ranging all the way from players' make-ups to actual
photography. It is impossible to forsee just how far this color
revolution will reach. But it will go far.
Closed Shop in Filmland
STARTLING report was recently issued by the Au-
thors' League of America, disclosing the fact that, of
42,020 stories submitted by unknown writers in a
• year, only four had been accepted: In other words, the
studio door is closed — and locked — to the work of outsiders.
Of course, this constitutes a serious menace to the screenplay.
If no fresh young writers are to be developed, the screen must
continue to subsist upoi adapted books and spoken plays. In
other words, it will depend upon arts fundamentally different
for its food.
Naturally, the screenplay can not progress in this fashion.
Our fiction magazines would quickly stagnate if all incoming
manuscripts were to be returned unread and only the products
of well known writers purchased.
This, too, means that the so-called schools of photoplay
writing are getting money under false pretenses. What else
can you term the taking of money on the claim that a person
will be trained to sell motion picture stories? We except the
Palmer Institute, which, if nothing else, purchases the work of
its best students and produces it.
Censorship Always Destructive
""^"E defy the New York Commission to show, befo e
/ any sane minded jury, how its work, since its
creation in August, 1921, has contributed a single
constructive note to the production of screenplays.
Censorship is and always will be destructive to the moral of a
nation.
Let us quote Governor Alfred E. Smith, of New York State.
His recent statement against this evil, made in his recommenda-
tions to the legislature that censorship be shelved, follov. s:
"Censorship out of harmony with our institutions should
not be encouraged.
"State interference with literary or artistic production
beyond the prohibitions of the Criminal Law is contrary to
the fundamental principles of democratic government."
Second Annual Banning of Mabel
ECOND recent Hollywood shooting, which again
brought the name of Mabel Normand into the daily
prints, found the dear old public in an odd mood. The
so-called reform element began its usual tilt against the
screen luminaries mentioned in connection with the affair but,
save in a single state or two, it was unable to whip up any sort
of agitation. The moral vultures found that the public didn't
really give a whoop about it all.
Perhaps we are all becoming more fair minded. What right
have we to judge the private lives of our celluloid favorites?
Do we ban music, literature, philosophy and poetry because the
private lives of its creators do not measure up to the standards
set by our moralists?
Let's be fair in future. If a player becomes involved in a bit
of newspaper sensationalism, let's wait. Let's see what actual
evidence of genuine wrong doing is brought forward. Don't
permit the moral vultures to play upon your emotions. They
know that mob hysteria can be harnessed — and they would
strive to mould it to their bidding.
Don't help pull their chariots of hypocrisy.
Perils of Doing American History
T
w s^HAT America is young is exemplified by the screen
better than anything else. Consider, for instance, the
danger lurking in the filming of our . own history. One
can never tell when a descendant of a historical char-
acter will protest — or even sue.
The Covered Wagon is an interesting instance in point.
This story of our pioneer days would seem safe from protest
but it has suffered its full share. Davy Crockett was originally
one of its characters but Davy was given a different name
because, in several scenes, he indulged in hard licker. It was
felt that this pre-prohibition phase of Crockett might upset
the morale of the Boy Scouts, of whom he is a sort of patron
saint.
Now comes a descendant — and daughter — of James Bridger,
the scout of the plains, who is portrayed in The Covered Wagon
as having a penchant for red kin squaws. The daughter claims
that the picture maligns the reputation of the real Bridger,
alleging that her dad was as pure as Will Kays himself. And
she claims $1,000,000 damages.
Then, too, we find an old timer, a resident of Spearfish, South
Dakota, protesting against Bill Hart's Wild Bill Hickok. The
Spearfish gentleman says there is nothing correct, about the
opus except the names of the characters.
Indeed, it is much easier to show the indiscretions of
Louis XIV, the indiscreet errors of Peter the Great and the
matrimonial high-handedness of Henry VIII. We are too close
to our own history makers.
Difficulties of Filming History
PEAKING of American-made historical spectacles, v c
are reminded of the protests made about the Egyptian
details of The Ten Commandments. If Arthur Kenyon,
F. R. G. S„ Egyptologist, is correct, pretty nearly every-
thing of the Biblical section is wrong, from the chariot wheels to
the statues of the current gods. Mr. de Mille has protested
that these details are correct — and there you are. Fai be it
from us to decide. But the path of the producer of film history
isn't strewn with roses.
16
Says Frederick James Smith
Another Censorship Struggle
THE annual struggle against censorship in New York
state is on as this issue goes to press. It follows
naturally upon the yearly report of the New York
Censorship Commission. The details of this report are
of interest.
During the past year the New York State Commission made
a total of 2,881 eliminations from 586 films, approving 2,257
films without ehminations. The report shows that 29 features
were condemned in their entirely. Of the eliminations, there
were 620 in the way of objectionable titles and 2,260 in scenes
which did not meet with the approval of the Commission.
The old standby of "tending to incite to crime'' was respon-
sible for 382 eliminations, indecency for 105, tending to cor-
rupt morals 126, inhumanity 238, sacrilegious 29, obscene 26.
Drama suffered the most with 282 eliminations, while 159
eliminations were made from comedies, 62 from comedy-
dramas, 72 from serials, eight from news reels, two from
educational and one from cartoons.
We must take the word of the Commission as to what is
"indecent," "sacrilegious" or "obscene." It is also interesting
to note that the Commission has again been eliminating from
news reels and educationals. We doubt that even the men who
framed the Xew York movie censorship laws had such a thing
in mind. But censors are constituted in such a way that they
want to try their scissors on everything, if given the oppor-
tunity.
The state has been saved morally for another year. We have
the word of the Commission as to that. But the heavy cost of
censorship, whether paid by the state or the film producers,
eventually comes out of your pocket in proportion to your
screen theater attendance. Still yottr morals are safe.
Too Many "Long Shots"
ALLAN DWAN, the director, has just gone on record
a against the over use of the "long shot." This placing
of the camera at some two or three hundred feet from
the principal characters has come about because of the
massive sets utilized by the directors. Naturally — and hu-
manly—they want to show how lavishly the money has been
spent, and so the characters are subordinated to the sets.
Mr. Dwan isn't against the "long shot" in every case — and
we are with him in that. It is frequently necessary to get the
requisite atmosphere and variety of shot. But the intimacy
of the screenplay is one of its vital elements. The speaking
stage keeps its audience at a distance, separated by that fence
of artificiality, the footlights. The movie camera, on the
other hand, brings the audience within whispering distance of
its principals. The film audience is, indeed, a part of the
story.
The "long shot" weaks the telling of a dramatic story.
How About Beaded Eyelashes?
HILE we are on the subject of the film camera's
intimacy, let us go on record as protesting against
the obvious artifice of make-up. How many times
is the effect of naturalness knocked into a cocked
hat by the plainly painted lips, the shaded eyes and the beaded
eyelashes of the players?
Directors will go to the utmost extremes to gain a semblance
of reality, and yet they will permit the make-up of a player to
completely ruin this effect.
Make-up is a relic handed down from the speaking stage.
The screen will never attain a full naturalness until it discards
most of it. Right here, it is interesting to speculate upon the
probable changes in players' make-ups which will come about
through the general introduction of color photography.
Rudy is Back at Work
UDOLPH VALENTINO is back basking in the glare
of the Cooper-Hewitts of the Famous Players-
Lasky studios. Rudy said he would never work again
for these Simon Legrees of the cinema world and the
Lasky folks were just as positive that they'd never, never let
him, unless perhaps at their own terms. Both sides have been
forgetting certain remarks — and we're glad, for the Sheik is
working again.
It is not possible to draw a copy book moral from all this.
Rudy was naughty — but he's forgiven. At this very moment
Bill Hart, he of the stead}7, plugging ways, is no longer a Famous
Players-Lasky star. The copy books would tell us that Bill
should reap his reward for his steadfast industry and that Rudy
would come to some dire cinema end.
But life is queer, as possibly you have noted. Rudy, who
draws at the box office, is back at work, once more the recog-
nized czar of celluloidia, while Bill who doesn't, it would seem,
is banished. If you can draw a moral from all this, go ahead.
We give up, unless it's this: temperament pays!
The Waning Costume Drama
IT does not require a very long vision to see that the costume
drama is soon to wane upon our screen. It will not be
banished altogether, as it was once, but the vogue is done.
There's a reason. We are not constituted by training
or tradition to create historical dramas and to give them the
breath of life. We Americans do not feel the moods and
motives of another age. We are of today, concerned only with
the rushing fife of our time.
Better historical plays come from abioad because of the old
world atmosphere in which they are created. Surroundings,
history, and the very architecture of the buildings are vital
finks in the daily life. Yesterday still holds today in its grip.
America can not make historical dramas possessing the
vitality of those conceived in Continental studios. Historical
plays of our own land, of course, are the exception.
Government Supervised Movies
A S Screekland goes to press, a movement is being
/_\ launched in Washington — by certain so-called
/ ^\ reformers, of course — for a rigid government
-A- ' V supervision of the motion picture. Doubtless some
of the "reformers" hope to find a place in the supervising forces,
at a healthy salary per annum.
While the current movement seems of little consequence,
the screenplay needs to guard itself from any attempt at
national regulation. Nothing good could ever come of such
a regulation. Indeed, no one could ever gain a thing by it
except the political appointees.
The so-called reformers are always hoping to hang a national
censorship upon the movie. It would be the first step towards
a federal regu'ation of the speaking stage and of literature.
These people would like to regulate the every movement of
every citizen. America has too much of this evil right now.
These people would like to regulate the every movement of
every citizen. 1 America has too much of this evil right now.
17
As We Go to Press-
Corinne Griffith, cinema heroine of Black Oxen and Six Daysj mar-
ried Walter Morosco, son of Oliver Morosco, prominent New York
theatrical producer, at Tia Juana early in February. They plan to
spend their honeymoon in a trip around the world, after which
Walter, who has been a director at Hollywood, plans to go into
business there.
Actual camera work on Ben Hur to start at the Cines studio in
Rome early in March. Most of the production will be made there,
although many scenes will be shot in Jerusalem.
0 Theodore Roberts suffers relapse and is very ill in Pittsburgh.
Richard Barthelmess recovers from minor operation and sails soon
for Italy to make two pictures.
U Pearl White announces retirement from screen, except as director.
^Report that Famous Players intend to do Barries Peter Pan again revived. Production
likely to be made in Spring.
QEarle Williams returns to Vitagraph to do one picture, Borrowed Husbands.
flHope Hampton sails for the Mediterranean with her husband, Jules Brulateur.
fflMay Allison drops divorce suit against Robert Ellis and reconciliation is under way.
CI Anna Q. Nillson suffers broken rib in making of Flowing Gold in Hollywood.
OMrs. C Gardner Sullivan obtains divorce from husband, sued under name of Charles
G. Sullivan.
flSamuel Goldwyn purchases Tarnish, the Broadway success, for film production, for
$75,000. George Fitzmaurice will make it, following Cytherea.
OWilliam S. Hart resting at his ranch; apparently out of pictures for good. Clifford
S. Smith, his director, joins Universal.
flPriscilla Dean signs to make four pictures for Hunt Stromberg, work on the first
starting March 1st.
flBillie Dove is playing the lead in Irvin Willat's production of Zane Grey's Wanderer
of the Wasteland for Famous. Incidentally, Miss Dove is Mr. Willat's bride.
0 Barbara La Marr to play lead in Maurice Tourneur's production of The White Moth.
OHarold Lloyd a New York visitor as Screenland goes to press. Has just finished Girl Shy.
AC. Gardner Sullivan engaged by Joseph Schenck as supervising director of all Constance
Talmadge productions.
CIRudolph Valentino starts work on Monsieur Beaucaire, with Bebe Daniels, Helene Chadwick,
Lois Wilson and Lowell Sherman in the cast. Sherman playing Louis XV.
0 Kathleen Key, the Tirzah of Ben-Hur, ill with influenza in Los Angeles.
OGloria Swanson taking a vacation in Florida, having completed A Society Scandal.
OLucy Fox added to cast of Miami, in which Betty Compson is starring.
18
DONALD BIDDLE KEVE3
Rod la Rocque
ACQUELINE LoGAN
BIG BUSINESS
A 11 J ITS MOVIES
By Upton Sinclair
[Editor's Note — Upton
Sinclair has been one of
the revolutionary forces
in American letters. His
novel, The Jungle, brought
down an investigation of
the Chicago stock yards and
shook America. More re-
cently his The Brass Check, in which he attacked American
newspapers and their methods, created a sensation. He is
the author of a number of novels, including his recent
They Call Me Carpenter. Mr, Sinclair long has been
prominent in socialism and an unique force in our literature.]
HE movies are made for children, and for grown
QAre the movies made for children, and for
grown people who have remained at the men-
tal age of children? Mr. Sinclair says so —
and tells his reasons.
and Its Women, by Thomp-
son Buchanan. The star in
this case is Lou Tellegen.
and he makes a magnificent
young Russian nobleman.
We are taken back to the
days before the revolution,
and we see the beautiful
fairy-tale method applied to czarist Russia.
Flood of Anti-Russian Propaganda
Te,
people who have remained at
the mental age of children; these
constitute the bulk of our popula-
tion, and anything which they
could not understand, and particu-
larly anything which would offend
them, is automatically ruled out.
So the movie world is a world of
sticky sweet sentimentality, of rigid
propriety, and of hard and fast
conventionality. It is a fairy-tale
world, full of infantile wish ful-
fillments, into which the harsh and
painful facts of everyday life are
never by any possibility permitted
to break. Most people believe in
this kind of world, and it is the
kind which the director and the
actor would portray if left to
themselves.
Money Dictates Motion Pictures
)ut it is not the director and the
actor who decide what goes into
pictures. The final say rests with
the producer, or his backer with
the money, and these have their
own ideas of what they wish the
people to believe.
Let us take an illustration. All the vested interests of
the entire world wish the people to believe that the present
Russian government is a government of degenerates and
criminals. So we have had a flood of anti-Russian propa-
ganda pictures. Let us describe one of them — The World
&Says Mr. Sinclair
ffllt is not the director and the actor
who decide what goes into pic-
tures. The final say rests with the
producer, or his backer with the
money, and these have their own
ideas of what they wish the people
to believe.
fflDeliberate class lying now con-
stitutes practically all of what
feeble intellectual life our moving
pictures possess.
fflThe movies have come to full
consciousness; they have a Big
Business director, at a salary of a
hundred and fifty thousand dollars
a year, and they have gone on a
huge scale into the business of
protecting organized greed by
making it holy to the people of
America.
e elegant young nobleman drives his prancing steeds
and he so clearly loves his humble, adoring peasants and is
so good and generous to them ! Never, never do you see
him laying the knout upon the backs of the peasants, never
do you see the troops of the Czar driving them out into
the wilderness to starve because
their crops have failed, and they
have not paid their taxes ! Never
does this noble young Russian
waste his substance in gambling,
or upon the brilliant kept women
of St. Petersburg. No, the
aristocracy has become a band of
saints, and the only wicked people
in Russia are the revolutionists.
Those glorious heroes and martyrs,
the men and women who gave their
lives to deliver Russia from the
hideous yoke of the Czar — these
have become a gang of bomb-
throwing conspirators with twisted,
degenerate faces and the vilest
personal vices !
Then comes the revolution; and
these wicked ruffians begin to mur-
der and torture the beautiful and
noble Russian aristocrats. You
will not need me to tell you what
comes next. No propaganda of
world capitalism against Soviet
Russia would be complete without
the nationalization of women ! In
this case,, of course, it is a pure
and beautiful American girl who
is to be "nationalized" ; and, of
course, it is the handsome and noble young Russian aristo-
crat who rescues her ; and, of course, it is warships flying
Old Glory which achieve the final deliverance. It is a tradi-
tion of Broadway and 42nd Street that whenever George
M. Cohan found he had a bum [Continued on page 91]
hat will
BEN
^June Mathis tells why
By Eunice
EN-HUR, to me, has the odor of sanctity.
Probably because it was one of the few books I was
permitted to read on Sunday when I was a child. Those
other stand-bys of the Sunday School library — the Litilc
Colonel books, The Blue and the Gray, Richard Carvel
and The Crisis — were all estimable but worldly books and
therefore taboo for the Sabbath. But Ben-Hnr dealt
with Bible characters and was consequently endorsed
for Sunday consumption, along with Elsie Dinsmore.
The pious Elsie was never simpatica to my unregenerate
soul, even at that early stage of a long and sinful career,
but I reveled in Ben-Hitr.
I
The Lure of Ben-Hur
passed long, drowsy Sunday afternoons, following
with bated breath Ben's sufferings in the galleys of Rome,
his encounters on the field of battle, his glorious triumph
over the villain Messala in the chariot race, and his
amours with the circe, Iras, siren of Egypt. There was
a vamp, now ! She knew her stuff and was hampered
by no inhibitions. I wonder if my beloved mother had
ever read those amorous passages, before she handed
the book over to her small daughter for Sunday reading?
But then, my trusting mother could find only a spiritual
interpretation even in Solomon's beautiful but voluptu-
ous Song of Songs. However, even though most of the
warm passages went over my youthful head like an
umbrella, the story was dramatic and thrilling and its
memory has lasted over the intervening years.
So it has been with the keenest interest that I have
watched the preparations for filming Ben-Hur. In fact,
I've been all het up over it.
The suspense has been terrible, waiting to see who
was going to play the title
role. Every male from Val-
entino, who was temporarily
hors du combat, to the dancer,
Paul Swan, has been men-
tioned.
Why zvas W alsh
selected for Ben-Hur?
"Because of his body;"
says Miss Mathis.
"Ben-Hur had a beau-
tiful body; he gloried
in it. It was his mag-
nificent physique that
led the Roman judge
to sentence him to the
galleys, manned by the
cream of all the cap-
tives of Rome."
June Mathis Selects Walsh
Then the enterprising press
agents of the Goldwyn corps
added fuel to the fire of our
suspense by starting a cute
little contest, to pick the
lucky actor by public acclaim,
24
Happen to
HUR?
George Walsh was selected
yiarshall
as it were. (Probably keeping the mental reserva-
tion that the winner might get the job, providing
he were on the Goldwyn payroll and handy).1
Every male actor in Hollywood, including Rin-
tin-tin, polled at least one vote in this contest.
But at the psychological moment, when we were
all developing a temperature, Ben-Hur was
picked by the real boss of the lot, June Mathis.
And June Mathis chose — a moment the while
I wipe away the tears that blind me — George Walsh.
Now George Walsh is probably the one actor
whose loss, should Providence remove him from
our celluloid midst, I feel I could most bravely
bear up under. If I were picking a male star for
almost any picture, Walsh would come in just about
where he stands in the alphabet, way down in the
W's. But June Mathis, who has forgotten more
about picking winners than most casting directors
will ever learn, states without an "if" or a "but"
that George Walsh, himself, in person, is going to prove as
great a surprise after Ben-Hur as one Valentino did after
The Four Horsemen.
Confident About Walsh as Ben
' eople talked about Valentino, when we chose him
for Julio, just as you all are talking about Walsh now,"
declares Miss Mathis. "They told me Rudolph had no
^George Walsh's eyes led largely to his selection as Ben-
Hur, says Miss Mathis. "They have the so-rare quality
of spirituality," she says. "They have the light of one
who dreams and sees visions. Too, he has an old world
face." Somehow, we question Miss Mathis' enthusiasm.
personality,
the picture.
Well, we
that he wasn't an actor, that he would kill
Well, you saw. . . ."
saw. Maybe we will see a similar success when
Ben-Hur flashes on the
screen. Maybe.
"Just why did you
pick Walsh for Bcn-
Hur," I asked June
Mathis.
"Because of his eyes
mostly. They have the
so-rare quality of spir-
ituality. You saw Rosita?
You remember the
[Continued on page 93]
QThrcc principals of the
Ben-Hur cast. Left to
right : Carmcl Myers as
Iris, Gertrude Olmstcad
as Esther; and Kathleen
Key as Tirsah, sister of
Ben-Hur.
25
flClaire Windsor tries out
a real ship of the desert
in the midst
Sahara.
9 Edwin Carewe and his
company worked on the
edge of the great Sahara
desert for some months,
filming A Son of the
Sahara with a company
numbering such well
known American players
as Miss Windsor, Bert
Lytell, Montague Love,
Rosemary Theby and
Paul Panzer. The inter-
i iors of A Son of the
Sahara have been made
in Paris and America
will soon see the result.
fjurning
Sands
26
MARION DAVIES
Her True Life
Story Told Here
for the First Time
By Anna
Vrophater
SI The fifth of Screenland's
remarkable chronicles of
our screen favorites, -pre-
sents the unique story
of a New York girl who
came to stardom via the
musical comedy chorus
.HE life story of Marion Davies con-
tains no lesson for ambitious young beginners.
It is set forth, as no plan for struggling young
actresses, for the curious achievement of
q Above: Marion Davies Marfon Dayies ^ turning herself ^
as she appeared when an actress after fivjJ years of empty
she joined Flo Zieg- stardom is not the sort of experience
felds Follies. At the ^ can bg CQpied Qr dup]icated-
left: as she appeared m Her stQry ^ -mtaesting as an adven.
Oh, Boy. ture -mtQ topsy tun-ydom. And it is
also a little glamorous because of the
personality of the girl herself. Strangely enough, although Miss
Davies has received more publicity than any of her fellow stars,
the real character of the girl herself never has struggled through
the mass of stories that have been written about her.
And what is even more strange, for five years none of her
moving pictures, none of her photographs and none of the por-
traits that were painted of her ever showed you a real glimpse
of her. She was a blonde beauty, a pretty model for artists
and therefore branded "the most artificial star on the screen."
But all that was before Little Old New York and When Knight-
hood -was in Flower. It was before she cast aside the acute
■2:
The Fifth of ScreenlancTs
^Always lacking self-con-
fidencej Marion Davies
came slowly to be recog-
nised as an actresSj hid-
ing her struggle to learn
behind her shyness
Reine, then married to George Lederer, the theatrical
manager, appeared on the stage and won considerable
fame as "the American beauty." Two other sisters,
Rose and Ethel, might have added to the electiical
display of stars on Broadway if they hadn't decided in
favor of marriage and domesticity. And so it was that
Marion first encountered professional competition in
her own family.
shyness and self-consciousness that
struck terror to her heart every time
she stepped before a camera.
A,
Once Afraid of Acting
fl Above and at the
right: Marion
Davies as she ap-
peared in Miss
191 7 and Chin-
Chin.
l.t the risk of being thought a ter-
rible liar, I am going to tell you that Marion Davies used
to be so shy and self-conscious that she was afraid of the
easiest sort of scenes and that her work at the studio was
barred by a thousand "I can'ts."
But to get to the facts of her career: Marion Davies was
born Marion Douras. Her birthplace was Brooklyn, but she
lived there only during her babyhood. Her father, Bernard
Douras, was a lawyer. He is now a magistrate of the city of
New York.
Marion was the youngest of a family of four girls. And,
being the youngest, she has lived up to the best traditions of
Messrs. Grimm and Anderson by turning out to be the
family beauty. When she was a young child her sister
28
True Life S
t
a
r Stories
^Selected because of her
beauty and just a "rnade
star/' NLarion Davie s
found confidence and
acting skill through her
M,
own efforts.
Raised in Gramercy Section
ost of Marion's childhood was spent in the Gramercy
Park neighborhood. It is one of the old-fashioned downtown
residential sections of New York and the children who live
nearby are particularly fortunate because they have a pretty
little private park to play in. But, what is even better, they are
also convenient to Third Avenue
with its gangs of tough kids, and so
they have unexcelled advantages of
acquiring a fighting spirit at an
early age.
Marion says that she wasn't
much on looks when she was a kid.
She had freckles, a perky nose and
a sassy expression on her face. Also
she stuttered. It wasn't a bad
ffl Right, Miss Davies in The
Young Diana, which re-
presented the last of the
pictures in which the star
lacked confidence in her-
self. Below, as she ap-
peared in Little Old New
York, a comedienne of
spontaneity and charm.
stutter and, in fact, it was rather cute;
but it was the bane of her life. It was
a sign of the same shyness and self-
consciousness that was to worry her so
later on.
Miss Davies still stutters slightly
but she has stopped worrying about it.
She has learned that it is a rather un-
important defect and that, after all, it
adds a certain charm to her conversa-
tion. And so she admits it, laughs
about it and lets it go at that.
Shy Because of Vocal Defect
However, it was because of this
shyness of speech that she left school.
The young Marion was a poor student;
when several public schools proved
unsuccessful she was moved to a
private school. But the teachers had
small patience with her. Not only did
she refuse to learr her lessons but she
was a victim of the lure of the corner
candy store. It didn't comfort them
29
CAMPBELL
any to know that the girl who was so suspiciously quiet in the
classroom was the most mischievous once she was safely out
of school.
Miss Davies says that she sometimes tried to learn her
lessons but that her fits of scholarship got her nowhere. For
as soon as she was called upon to recite, she would be
stricken dumb and told abuptly to "sit down."
At the age of thirteen, Marion was removed from school.
Her parents had the full approval of the principal and all the
teachers when they decided to discontinue her studies.
Moreover, Marion had adopted an ambition of her own and
it seemed wise to encourage her in it. She wanted to become
a dancer and go on the stage.
Wr
Began to Study Dancing
ith Reine on the stage and surrounded by many
theatrical friends, it seemed to the Douras family a wise step
30
for Marion. So she was sent to Alexis Kosloff's dancing
school.
"I was very happy at dancing school," Miss Davies
said, speaking of the first steps in her professional career.
"And I really worked hard. You see, I never had taken
much interest in other lessons but I did enjoy the dancing.
I had hard training, too, because I had the regular ballet
course. I studied to be a toe-dancer and I can still dance
on my toes."
In the professional atmosphere of Kosloff's school,
Marion got her first direct insight into theatrical life.
When Charles Dillingham was casting for Chin Chin,
Fred Stone's show, Miss Davies applied for an engage-
ment in the chorus. And got it. She was very pretty,
very young and she could dance.
Began in Fred Stone's Chorus
eauty is never born to blush unseen on Broadway;
Marion was only on the stage of the Globe Theatre for
a few weeks when her photographs began to appear in
the newspapers, when people began to speak of "the little
Davies girl," when she became a "featured beauty."
There is no getting around it; she was a great success
as a chorus girl. She was pink and white, blonde and
demure. But she wasn't at any time conspicuous in
Broadway's night life. She never became deeply in-
volved in the life of the Great White Way. Miss Davies
lived at home with her parents
and probably both parental and
QMiss Davies as the managerial advice warned her
Princess Mary in against making the mistakes of
Yolanda, her newest tne beauties who step from the
screenplay and an theatre to the cabaret.
interesting contrast Naturally enough, her short
to the study below of [Continued on page 86}
her in Betty.
#3^
Decorations
by Wynn
fl The quaint cults range all the
way from Golden Calf Wor-
shipper'Sj with IS/lack Sennett as
Supreme Grand WinK to the
Wholly Rollers of Hosiery^
with Nita Naldi as un-
socked priestess.
Los Angeles night
scene as the re-
formers would
have it.
Hollywood
CULTIFORNIA
By H. B. K. Willis
PEAK of sects in Hollywood and they will infer
you spell it with an "x." Nevertheless it is just about a
toss-up between sex appeal and sects' appeal, for those who
are up-on-the-bit about the former on week-days are equally
keen about the latter on Sundays.
Truly the movies are made in Southern Cultifornia and
on each Sabbath the devout pray that some one will some
time kick the '"1" out of Hollywood and make it Holywood
at least for one day of the week. Why more than four
hundred cults, creeds and religions flourish in the southern
part of the land of the padres is a moot question.
B:
Crop of Cults and Oranges
jt whatever the answer it is a fact that in Southern
Cultifornia cults are cultivated as much as the orange
groves and credit at the banks. The mandate "Go and
synagogue no more V has no application here, for the re-
ligious angle is seemingly interjected into business and
politics with a fervor that has no parallel in recent times.
The fervor, however, has a distinctly Calif ornian flavor,
a zip and a breathlessness that is utterly beyond the ken of
a newly-arrived Easterner. Churches, which have relegated
the quiet comfort and dignity of extreme orthodoxy to the
limbo occupied by leg-o'-mutton sleeves and bustles, go in
for newspaper advertising with a punch, turning out
samples of the ad-writer's art that sell religion just as
surely as it sold Eskimo pies. Per -sal of such an ad always
inspires a deal of trepidation in me and I glance furtively
at the bottom of the latter-day tract fully expecting to see
"God & Co., Inc., Successors to The First Baptist Church,"
emblazoned there in bold-faced type.
Even Billy Sunday Seems Restrained
lo illy Sunday is much subdued when he comes home to
Los Angeles to visit his real-estating son, George, for his
methods in comparison to those of some of the dominies
in the City of Angels are as restrained as Pola Negri's
Bella Donna.
The ministers who are getting by with a bang out here
are advance agents for brimstone hells for the wicked and
archangels with husky baritones to those whom they have
saved for the pearly gates. If one desires to go in for re-
ligion out here there is a notable field spread out for his
or her selection. There is everything from a Mussulman
to a Seventh Day Adventist bidding for your sanctimony.
If you have no religion, you can join a food cult.
31
Religion is a vital question out here. The middle ground
between the blue-stockings and the liberal sects is populated
with paynims with comfortable creeds.
Treating Cults Gingerly
ut if one would remain ambulant under the welkin,
which is the special property of the Los Angeles Chamber
of Commerce, one should go lightly, gingerly in the treat-
ment of religious topics and it is
best to keep one's own counsel on
the subject of cults in this land of
Cameradia where the clergy has
supplanted missals with boxing-
gloves and the laiety discuss Holy
Writ on the street cars.
The crusading clerics, whose
churches are so theatrical in tone
and arrangement that one un-
consciously sticks out his hand for
his seat-checks after having been duly "ushed" into range
of pulpit broadsides, have an annoying way of sticking
their noses into what has always been regarded as the busi-
ness of the police department.
Recently they, full of the beauty of holiness and redolent
with the odor of sanctity, which to me always savors of
moth-balls, were instrumental in having nine men bundled
off to the hoosegow for operating wheels-of-fortune at a
Masonic circus which dispensed hams for the benefit of
sweet, and needless to say, Christian charity.
Raiding a Movie Ball
fortnight previously they are credited with being
the causative factors behind the midnight invasion, by splay-
footed pavement-patters of the motion picture directors'
Biltmore ball, just as the men and maids of the cinema
were getting under way, stopping the affair because a
mouldering ordinance on the civic statute books added
another to The Ten Commandments, approved by
Moses and adapted by Jeannie MacPherson: "Thou
shalt not dance after midnight."
Never in sympathy with proponents of things
revivalistic in
religion,
movie-
dom boiled
over at this.
Fred Niblo
did a Patrick
Henry from a
balcony first and
then proceeded to
organize a better-
government league which
made the political church-
men on the city council
turn as blue as their
socks and extend the
time for ending dances until one
o'clock in the morning, Saturdays
and Sundays excepted.
More than four hundred cults,
creeds and religions flourish in
South California.
Yet, if you speak of sects in Holly-
wood, they will infer that you
spell it with an "x."
Hence the cult of the camera finds the prototypes of the
deacons of the days of the ducking stool about as pleasant
as a potion of formaldehyde and barn-paint. Cameradia,
desiring, for the most part, duplex accommodations of
comfort and convenience in things celestial, carefully
eschews the daredevil dominies in choosing its divines.
Film folks, for the most part, prefer New Thought be-
cause it predisposes intelligence and is different, to the
evangelical offerings of Aimee Semple McPherson, healer
and preacher, who has worked
wonders with gypsies. Thou-
sands flock to hear her but few
camerads are in the throng.
Catch-as-Catch-Can Cults
P:
The 'Frisco Migration
eople of the flicker world seem
to prefer free-for-all, catch-as-
catch-can religions. The Talmud,
naturally, has more than a tittle of
adherents from screenland in the synagogues. Roman
Catholicism is largely represented in the land of lenses.
Protestant churches in Hollywood have a large number
of members from the motion picture colony which has never
been isolated. Many attend the services at the chapel at
Carthay Centre and the Little Church Around the Corner,
over which the genial and tolerant Rev. Neal Dodd pre-
sides, is known far and wide as the movie church.
Nagel Leads the Scientists
ut Christian Science seems to have claimed many con-
verts from cinema ranks. Conrad Nagel, who was dubbed
"My savage Paul" by some subtly satirical title-writer for
Goldwyn, although his being cast for that role in Three
Weeks frayed the nerves of Elinor Glyn, is an usher at
the Scientist church in Hollywood. His ivory-soap counten-
ance and apparent asceticism completely upsets the flappers
who are fortunate to come under his guidance.
Most everyone in Hollywood to whom I have
talked on matters religious is a Christian Scientist.
The women never fail to mention how spirituelle
Conrad is. The men advance arguments in support
of their be-
liefs.
But a re-
ligious cast
rarely gets a
rise from the
studio denizens.
They will not ad-
m i t t h e y are
strong for Chris-
tion Science be-
cause it takes their minds
off their pay-checks and
lot shutdowns. Always
non-committal, movie
people are more so in the
face of questions with a religious
tinge.
Theda One of New Thoughtisis
Wampasses, however, picked up
their "baby stars" and went up to San
Francisco for their annual frolic, be-
cause, they insisted, religion was not
to be allowed to interfere with their yearly
program. Perhaps you recall reading all about
this ruckus in the newspapers. It was some
ruckus and the turmoil lasted almost a month.
32
Hollywood folk
who s %v arm
about swamis, consult
crystal gazers and seek
the soothsayers are
legion.
here are quite a number who
have espoused New
Thought. Theda
Bara is held to be a
theosophist. Those
who swarm about
the swamis, consult
crystal- [Continued
on page 88]
the Great Northwest
33
STUDJOSjS?
BC^>J STUDIOS
^-FAIRBANKS^S
ewEeirfflus
/fOT£L
Of/)// "wtrMXIL
ill MOVIE Production
Will motion picture production move' away from California?
Actual figures of the industry seem to indicate that Western
screenplay making is slowly decreasing and that Eastern produc-
tion is showing a corresponding increase. Yet will California
ever cease to be the actual center of the cinema? In and about
Hollywood there are some twenty-four studios at an actual valua-
tion of twenty-four millions of dollars. Can the motion picture
afford to move away from all this, as well as its many other invest-
ments? In order to ascertain definitely how the motion picture
has ajfecled California and to secure actual first-hand information
as to these investments, Screenland appointed Grace Kingsley,
the foremost screen writer of the Pacific Coast and motion pic-
ture editor of The Los Angeles Times to make a special investi-
gation.
The Editor.
34
HL
By Grace
_OW far is Los Angeles from Hollywood?"
That's the question that Charlie Christie, head of the
Christie Film Company, says people are asking now-a-days,
instead of "How far is Hollywood from Los Angeles?"
Probably the Los Angeles Chamber of Commerce would
hardly O.K. that statement, but anyhow it epitomizes the
amazing and growing importance, vividness, picturesqueness
and wealth of the film community.
Eleanor Glyn said something else after she had caught her
breath following the shock of taking her first peek at Holly-
wood, land of contradictions, of glowing hopes and mad despair,
of exotic emotions and prissy puritanism, of Main Street
smugness and ethereal yearnings, of flat, one-story buildings
Desert the WEST?
ILinzsley
O *s ancj castles in the air.
"Hollywood is a
state of mind!"
That was Mrs. Glyn's comment.
Those two remarks sum up the situation, I think.
The Midas Touch in Hollywood
H ow the motion picture Midas has turned everything he
touched to gold out there in Hollywood ! How unique in the
world's history indeed is the amazing skyward leap in values
of real estate since the entiance of big picture interests ten
years ago.
Only ten short years ago, what funny little places the studios
were, what funny pictures they turned out, and how suspicious
was everybody connected with them! It was as much as a
repoiter"s life was worth to try to get into one of the places.
"I knew Jesse Lasky when he owned only one actor,"
explained Rob Wagner to me the other day, ' and Mack Sen-
nett. tool"
Which leads up gracefully to the manner in which Messrs.
Lasky, Sennett. Goldwyn, Fox, Laemmle and the rest have
been able to make ten pictures grow where only one grew before,
and the effect it has had on the community in which the
pictures were made.
According to the Hollywood Chamber of Commerce, the
annual payroll of the picture companies is approximately
$50,000,000. Ten yeais ago it wasn't over Sioo.ooo!
During 1923, the picture companies produced $150,000,000
worth 01 film in California.
In the coming year, according to the authority quoted above,
production is to be increased. Fox and Christie alone plan an
35
expenditure of approximately $30,000,000 in
studio improvements and in the purchase of
stories and production of films.
"And much of the money which is made in
pictures in salaries," said Mr. Christie, the
other day, "is paid right back into the community, i. e., invested
in real estate, houses, oil-wells. Diiectors, stars, actors, right
down the line to the poorest property boy, all have investments
made."
The Christies themselves admit they have made more money
in the last year in real estate than they made with their famous
comedies during the whole last four years! And they are very
generous with the people connected with them, allowing them
a slice of their own investments at rock-bottom prices. Dorothy
Devore, Jimmy Adams and Bobby Vernon are on the way to
growing rich.
There are some mighty interesting stories connected with
these investments. One little script girl I heard of, working
on $30 a week, had bought a couple of lots on Beverly Drive,
and had built a shack on them where she and her mother dwelt.
Beverly Drive was cut through, became a main artery of travel
from city to the sea, and that little script girl found herself
with property worth $10,000.
Many of the stars have fairly made fortunes in the real estate
business, and only recently two well-known players, Wedgwood
Nowell and Mary Huntress, have quit the film-acting business
to go into real estate.
How Players Have Made Fortunes
0 The above view shows a
panorama of the Goldwyn
Studios, the massive Culver
City home of picture making.
were driving by there, Louise said she didn't
feel she could afford to live there! She is
going to build an apartment house and rent it.
The property is worth $35,000.
Harold Lloyd is heavily interested in the
big Gaylord Apartments.
Ruth Roland is famous not only as a picture star, but as a
real estate queen. She has made many thousand dollars out
of her real estate transactions during the past year, and owns
an apartment house besides an interest in a big real estate
syndicate. She is promoting a big apartment at Wilshire
Boulevard and Ardmore Street.
So the day of the impecunious actor seems to be past so far
as Hollywood is concerned. Some actors have invested in
shops, too, and have an income, while many have built apart-
ment houses and bungalow courts.
So far as real estate values soaring is concerned, the Christie
Brothers' experience will serve as an example of the unparal-
lelled rise in property.
The Coming of the Studios
Christie came west with David Horsley in 1011 and
rented the studio on the two-acre property thev now occupy
at the corner of Gower and Sunset, with a small studio which
they have since enlarged. And their rent for the whole thing
L.
ouise Fazenda's experience
with real estate is fascinating. One
day five years ago when Louise
was a budding Sennett comedi-
enne, she went over to stroll in
West Lake Park. On a park
bench sat a woman weeping.
Louise stopped and asked sympa-
thetically what her trouble was,
and the woman said her husband
was ill, that she had a couple of
little children, and that all she had
in the world was a lot on Alvarado
Street which she couldn't sell.
Louise offered to buy it. The
woman was overjoyed. The lot
cost Louise
The entrance to
Universal City,
S3 500. She
intended to
build a home
on it. But
the other
dav when we
one of the biggest
California mo-
tion picture in-
vestments
36
was $3° per month! This property is now
worth easily half a million dollars. Four years
ago. the property was worth S40 a front foot;
now it is worth S800 a front foot.
Westwood seems to be the new Mecca for
picture interests. Westwood is a suburb of Los Angeles on the
west. Here Fox, Christie, and Haiold Lloyd are to build big,
handsome studios within the next year. Christie has forty
acres.
In the meantime, business property along Hollywood's
principal streets has increased in value one thousand per cent,
in the last five years! Three height-limit buildings aie going
up in Hollywood, and a large hotel is being promoted just
below Gower on Hollywood Boulevard.
This is the first time in the history of the theatiical business
that the actor has had a home. And the actors are taking
advantage of their opportunities. Manv are building houses
and selling them, building again at once. But some prefer to
remain where they are, even to making money.
In this view of Goldwyn
Studios may be glimpsed sotne
of the sets of In the Palace of
ihe King and Name the Man.
$10,000 An Acre in Culver City
thought that you had come "to steal their
stuff."
But gradually this state of things thawed,
and picture folk welcomed newspaper folk
with open arms.
Oh. but wasn't it exciting when we found that L'niversal
was going to build a great studio to be known as Universal City!
The old Universal studio at Gower and Sunset Boulevards,
in Hollywood, consisting of some long, low buildings and a
couple of flimsy stages, was considered pretty fine; but after the
ride over Cahuenga Pass, a distance of some eight miles, we
were overwhelmed at the sight of half a dozen low concrete
buildings and a tower office where Carl Laemmle was to preside,
and from which he could watch every part of his plant up to
the big curve in the road leading to the back ranch. Great sets
such as had never been known were to be built on that big
tract. To this day it is the most beautiful and romantic studio
of all to my mind, with its 1 oiling green hills covered with scrub
oak, its stream flowing amid the willows, its purple mountains
in the distance, its curving roads, its odd and picturesque sets
which dot the hills and lowlands.
A,
L.VERAGE value of land in Culver City now-a-days, especially
near the Goldwyn Studios, is Sio.ooo an acre.
It was very timidly that I first began to knock at the flimsy
portals of the studios, ten years ago. The newspapers were not
exploiting pictures, and the pictures were not inviting exploita-
tion. Everywhere suspicion greeted the visitor, for it was
Historic Old Universal Ranch
ack of that is the old Universal Ranch, the whole comprising
six hundred acres. The old ranch is the historical background
for all the war pictures ever made! Here come to life the wars
of the world! Here is the only spot around Hollywood where
the telegraph poles cease from troubling and the Ford
trucks are non est. with no betraying
palms messing up the landscape. Here
The Birth of a Nation was born, so
far as the battle scenes were concerned;
here The Four Horsemen battle scenes were
taken; here Allen Holubar, who lately
passed away while making what promised
to be his biggest picture, screened The
Heart of Humanity; here Rupert Julian
made We Are French and To Hell With the
Kaiser. Even some scenes of Griffith's
Hearts of the World, most of which were
filmed abroad, were made here.
Eric Von Stroheim tells me an anecdote
about a singular incident occuring during
the filming of Hearts of
CI .4 view of the
Pick ford-
Fairbanks
Studios, with
Bagdad and
Dorothy Ver-
non in the
making.
the World. It seems that
Griffith caught many
actual incidents on the
French battlefields with
his camera, going into
the trenches with his
cameraman for that pur-
[Continued on page 86]
37
he HISTORY./* WORLD
As caught by the NEWS REEL
By Knna Pr vp hater
INSTED, Conn. — Two-legged animal discovered in monkey colony. Strange freak of nature walks,
talks and smokes a pipe like a human being.
Mount Ararat. — First exclusive pictures of Great Flood which destroyed thousands of lives and millions in property.
View of stricken region photographed from Mount Ararat.
Rushing waters swept away entire villages.
Saving livestock on board rescue-ship S. S. Ark.
A closeup of Mr. Noah and his family, sole survivors.
# * *
A thenSj Greece. — All sportdom turns out for Olympic games. Traffic at standstill as huge mob throngs city's
streets.
Thousands storm gates. Many waited in line all night to get seats.
Judge Hector Landis throws the first discus.
Lining up for the one hundred yard dash.
Bang! Bang! They're off.
Slow motion of Kid Hapopulos throwing the javelin.
ome, Italy. — Many thrilling rescues, as $1,000,000 blaze destroys city.
Thousands watch work of fire apparatus.
Wind carries flames to new court house.
Emperor Nero fiddles as he directs work of firemen from balcony of his Palace.
"Business must go on as usual," says Nero.
Hundreds of fish take refuge in River Tiber*
* * *
Jf arrow-on-Tyne, England. — Lives to be one hundred and fifty and takes a drink every day.
"Smoke good tobacco and drink good liquor" is advice of Venerable Bede to men who would live to ripe old age.
* * *
R unnymede, England. — King John signs Magna Charta. Promises drastic reforms.
Delegates arriving at Conference.
King puts his mark on document that frees all Englishmen.
Nobles present King with fountain pen used on memorable occasion.
* * *
ice, Italy. — Noted traveler returns after extensive tour in Orient.
"No place like home," declares Polo, who finds conditions abroad in unsettled state.
He gives a friendly salute to the sky-line.
# * *
F
irst exclusive pictures of Columbus expedition.
Off for the New World.
The crew enjoyed themselves playing deck tennis.
Land Ho!
After witnessing these native dances, no wonder Chris thinks the American women are the most beautiful in the world.
* * *
-Paris, France— General Bonaparte reviews his troops.
Veterans of the Battle of the Nile pass before First Consul as Paris- cheers its soldier boys.
38
EDWARD THA VEB MONROE
Marie Prevost
QAt. the right: A
Heroine of Virtue;
which means in the
movies that the plot
will concern itself
with her enemies'
thrilling lack of
so-called morals.
T is unfortu-
nate but true that Evil
is the basis, the ver-
itable mainspring, of
all Moral Drama. The
Heroine and Hero
types around which
90% of the movie plots
are built are in them-
selves uninteresting and
undramatic effigies. A
consciously moral man
or woman is one who
has surrendered to the
current ethical police-
men.
<=5h
T„,
cere is nothing
wrong with being a
Moral Type. Moral
types are vitally neces-
sary to the world.
Morality offers a haven
for cowards and semi-
idiots. It is a crystallization of all the fears, incompetencies
and confusions which riot in the incomplete soul of the
race. It is a system of conduct and values, varying from
age to age, which does the thinking for fools. And it is
far better for the convenience of the world that its folly
wear a known and organized mask.
If you are in doubt as to what would
happen were Morality and the ethical
standards which stem from it to be
repudiated by the dolts for whose pro-
tection it has been devised, observe the
Cultists.
M ovie heroes and heroines are, with
hardly exception, symbols of morality
rather than portraits of human beings.
The result is that nothing a movie hero
or heroine does can be interesting or
dramatic. There is, of course, the ruse
of acrobatics. Symbols of Morality
leaping from aeroplanes to speeding
locomotives, falling over cliffs, engag-
ing in terrific combats, etc., manage to
entertain the public. An entire dramaturgy has been de-
veloped by the movies out of the fact that one way to
make a movie hero interesting is to de-humanize him en-
tirely, remove all pretense of reality from his character
and offer him as an expressionless automaton stampeded
into grotesque activity by events. Harold Lloyd, Larry
Semon, Buster Keaton, Ben Turpin, etc., are for the moment
Says Mr. Hecht
fflMorality offers a haven for
cowards and semi-idiots. It
is a crystallization of all the
fears, incompetencies and
confusions which riot in the
incomplete soul of the race.
It is a system of conduct
and values, varying from
age to age, which does the
thinking for fools.
%Evil is the basis,
the veritable
mainspring, of all
Moral Drama,
says Mr. Hecht
Decoration
by
German
Rosse
the leaders of this
technique. The future
will undoubtedly see an
amazing development of
the comic acrobat hero.
e Moral Drama de-
pends for its interest
upon the Evil it depicts.
It is the machinations
of the Villain which
hold the attention of
the public. The" reason
is very simple. The
average citizen, regard-
less of private griefs
or ethical lapses, when
assembled in a crowd
does his thinking as a
crowd and becomes
forthwith not himself
but a part of something.
His public attitudes,
particularly his atti-
tudes toward literature and drama, are not the attitudes of
an individual but of a Code to which he has subscribed. It
is with the eyes of his neighbor that a man reads exactly
as it is in the eyes of his neighbor that a man lives. The
heroine and hero whom he watches on the screen are un-
dramatic to him because he knows they
are unreal — as unreal as the pretentions
he himself makes — in public. He
knows, from experience, that these
characters of the films are cartoons of
virtue, vague animations of the bromides
and pieties to which he has surrendered.
They can never hope to interest him
because they can never hope to sur-
prise him.
Battle Ground
of Drama
By Ben Hecht
Te,
[e ideas and activities of the thou-
sands of heroes and heroines he watches
in the movie dramas are the ideas and
activities in which he would indulge
were life simple and unreal enough to
permit him to live up to the things he
calls his "ideals."
Evil in the movie plots is typified usually by Sex. There
is also Greed, Lawlessness, Meanness and Cruelty. The hero
or heroine of the movie plot borrows an illusion of reality
from the Villain. Mary Pickford, playing Rosita, is 100%
a Symbol of Morality. Her characterization, despite an at-
tempt at hoydenism, is uninter- [Continued on page 95 J
43
Hack
HOME
Again
0 Betty Compson is
again a star in Amer-
ican motion pictures,
after a brief deser-
tion to the British
studios.
QMiss Compson has
been signed to make
s c r e e n p lays for
W. W. Hodkinson
release, with Alan
Crosland directing.
The new Compson
pictures are being
made in New York
and Florida.
HESSER
44
Ten Best Pictures Selected
CQ>e Final Vote
i.
C3 CREENLAND has selected the ten best motion picture
dramas of all time. The votes in the contest, which closed on
January 15th, have been tabulated
and the final results are presented
on this page.
Screenland went to great pains
to get a cosmopolitan vote. The
foremost men of the celluloid
world, including such authorities as
Adolph Zukor, president of Famous
Players-Lasky Corporation, offered
their choice of the ten best pictures,
the leading screen critics were in-
vited to give their selection, and
the readers of Screenland were
asked to send in their own indivi-
dual lists. Our readers responded
in remarkable fashion, the votes
flooding in from all parts of America,
from Mexico, Cuba, Canada, Aus-
tralia, Japan and England.
Admirable Consensus of Opinion
Screenland looks upon the vote
as presenting an admirable con-
census of opinion. The final vote is
the list of ten as selected by the
men who make the movies, the
writers who criticise them and the
people who go to see them. No list
could be more substantial in opinion
or more definite in its findings.
Until the very last vote was
counted it was impossible to tell
definitely whether David Wark
Griffith's The Birth of a Nation or
Rex Ingram's The Four Horsemen
had won first place. The Griffith
epic finally nosed out Mr. Ingram's
film version of the Ibanez wartime
novel. The Covered Wagon was but
a short distance behind these two.
Robin Hood, Broken Blossoms, Orphans of the Storm, Tol'able
David, The Kid, 'Way Down East, Passion and The Miracle
Man were within a few votes of each other. Their positions on
the list of ten changed almost daily with the" voting. When
Knighthood Was in Flower was some little distance behind the
field.
The Birth of a Nation
The Four Horsemen
The Covered Wagon
Robin Hood
Broken Blossoms
Orphans of the Storm
(tied) Tol' able David
The ILid
'Way Down East
Passion
The Miracle Man
When Knighthood Was In
Flower.
that the great film public is steadily advancing in its tastes
and likings.
Very close behind the first
twenty were The Christian, Foolish
Wives, The Golem, Where the Pave-
ment Ends and The Green Goddess.
In fact, but a few votes separated
them from the last of the lucky
twenty.
3-
4-
J-
6.
7-
8.
9-
10
Second
Ten
/. Blood and Sand; 2. Dr. Jekyl and Mr.
Hyde; 3. Smilin Through; -I. (tied) The Prisoner
of Zenda and The Girl I Loved; 5. The Merry-
Go-Round; 6. Nanook of the North; 7. The
Cabinet of Dr. Caligari; 8. The Three Muske-
teers; 9. (tied) Humoresque and If Winter Comes;
10. (tied) Hollywood, The Woman of Paris,
Intolerance, Zaza, Shoulder Arms, Little Old
New York.
The Griffith Productions Honored
final vote presents some in-
teresting food for thought. David
Wark Griffith is the only director
represented by more than two pro-
ductions. Griffith has four screen-
plays in the first ten and one in the
second. Rex Ingram, James Cruze,
Allan Dwan and Charlie Chaplin
each have one in the first and one
in the second ten, and Fred Niblo
has two in the second ten.
Stars played an amazingly small
part in the voting. Only two stars
are present in more than two of the
first twenty selections. Both Rich-
ard Barthelmess and Lillian Gish
were in three of the first ten and
Miss Gish was in one of the second
ten. Which would seem to augur
well for the forthcoming Barthel-
mess-Gish production of Romeo and
Jidiet. Rudolph Valentino, Doug-
las Fairbanks, Charlie Chaplin,
Marian Davies and Mae Marsh
are represented in one of the first
and one of the second ten selections.
I
Some Interesting Votes
I
Heavy Last Minute Vote
n the second fist Blood and Sand and The Girl I Loved pulled
a surprising last minute vote. The Woman of Paris, too,
spurted into the second ten in the last days of the voting.
Screenland is particularly proud of the discrimination
disclosed by the voting.
When such admirable
and varied screen classics
as Broken Blossoms, Na-
nook of the North and The
Cabinet of Dr. Caligari
find their way into honor
positions on a general
vote, the screen world
has occasion to think
<I Watch for Upton Sinclair's sensa-
tional article in next month's issue
of Screenland —
"Money and the Movies"
Out April 1 st
T is not too late to present some
of the interesting final votes. Anna
Prophater, well known to Screenland readers for her crisp and
clever articles, entered the following list of ten:
A Small Town Idol, A Rascal's Wolfish Ways, The Submarine
Pirate, Salome and Shenandoah, Easy Street, Married Life (Not
a War Picture), Yankee Doodle in Berlin, Where is My Wander-
ing Boy This Evening, Connecticut Yankee in King Arthur's
Court and The Shriek of Araby. Which would indicate that
Miss Prophater thinks well of comedy and particularly of
Monsieur Ben Turpin.
Joseph Mclnerney, of 211 Bidwell Ave., Jersey City, N. J.,
entered an interesting vote, numbering The Mender of Nets,
an early Pickford-Biograph; Primitive Woman, a Claire
McDowell-Biograph; The Wharf Rat, a Mae Marsh-Bobbie
Harron picture; The
Birth of a Nation, Ghosts
of Yesterday; The World
to Live In; Revelation;
Passion, The Half Breed,
an early Doug Fair-
banks-Triangle produc-
tion, and Humoresque.
Charles Buriiciartu,
[Continued on page q8]
Optimistic
Elinor
Q'7 seldom read anything modern," says Elinor Glyn. "It takes me
away from my beloved classics." And she believes that woman should
keep herself mysterious and aloof. "It is only by doing so that romance
can be preserved," she says. -
[Editor's Note: With this issne, Screenland introduces
Mr. Tully to its readers. Mr. Tully is the author of the
sensational novel, Emmett Lawler, and is an ex-tramp and
pugilist. And he is just thirty-three — with an outlook on
life that will amaze you. Watch for his future contributions
to Screenland.]
fLINOR GLYN'S novel, Three Weeks, is the
greatest and most soul-searching psychological description
of love written in the last fifty years. This is the unanimous
opinion of Elinor Glyn.
A man high in the film industry had told me that Mme.
Glyn was a remarkable woman. Always interested in
remarkable people, I met her.
She had but recently arrived in Los Angeles in order to
co-operate in preparing Three Weeks for the screen.
E,
Elinor Is Very, Very Busy
f li nor is an English aristocrat. Observer of formalities,
she can be met only by appointment. She is considered a
very busy woman. It will cheer young men
and women who despair of literature in
America and England to know that Mme.
Glyn is a great social favorite.
Mme. Glyn sat across from me, over-
jeweled, but well dressed. Her hair, a non-
descript auburn, was straight. She was, at
one time, a handsome woman. And even
now, a grandmother three times, she has a
form to be envied by a Broadway cloak
model. Her eyes are remarkable — not for
their beauty, but for their weird expression
and their sea-green color. They are the
shade of evaporating marsh water suddenly
exposed to the sun." Tense, emotional, flip-
pant, and always swimming in affectation, all
one has to do is to sit quietly and sail toy
boats over the shallow water of her nature.
I lead off quickly,' "What is your opinion
of American literature, Mrs. Glyn?"
Seldom Reads Anything Modem
N
ow, now, I don't know," she answered.
"You see, I seldom read, anything modern.
It takes me away from my beloved classics.
Oh, my dear classics," and she pressed her
hands together and rubbed the many thou-
sand dollars' worth of diamonds on them.
"But is there no outstanding figure?" I came back.
"Not since Jack London's death," was the reply. "Poor,
dear Jack. He once wrote to me and said, 'My dear Elinor,
I will trade you twelve of my autographed books for eight
of yours. I consider you the greatest psychologist, in
Europe.' " This jolt dazed me, and I sparred for a moment.
I always did feel that Jack London was a boob about women.
"But are there no modern American books at all that you
care about?"
. . Elinor Considers Fitzgerald
' ell," she answered, "I read one not long ago. It was
on a ship, and I was bored. It was by a person called Fitz-^-
Fitzgerald, is it not?" I wondered whether she meant F.
Scott, or Edward, when she said, "It was called 'The Beau-
tiful and Damned,' I think, and oh, what a very dreadful
picture it painted." I told her it was written by F. Scott
Fitzgerald. \
That was jolt number two — to think that F. Scott Fitz-
gerald, clever splasher of lavender in the pink tea of life,
could shock her. "You see," she went on, "I am an optimist ;
I don't believe in pessimism at all. I believe there is a
4fl
QTensej emotional j flippant,
dominating—a strange figure
of the literature of today.
By Mm Tully
power that guides us." I suddenly thought
of Bryant's "Waterfowl" going home late in
the evening after a hard day at the docks.
I was getting nowhere, so I switched to
English women writers. "You have one re-
markable writer over in England, Mrs. Glyn.
She has a Hardy-like grasp on life. Her
name is Sheila-Kaye-Smith."
She shook her head slowly. "I have never
heard of her," she said.
Do
Never Heard of Mr. Mencken
you care for Mr. Mencken?" I asked.
QElinor Glyn admits that she is
the author of the greatest
treatise on love in the last fifty
years and the most profound
and searching study of Russia
since the revolution. At the
left, Mrs. Glyn on the studio
side-lines during the making of
Three Weeks.
"Many of us consider
him brilliant in this
country — an icono-
clast."
"No, no, I would
know nothing of him.
You see, I do not be-
lieve in that."
I returned with Theo-
dore Dreiser. She was
getting ready to answer with a blank expression on her face,
when a knock came on the door. When she returned to her
seat, I left Theodore standing with Sister Carrie and
hurried to Russia.
"What is your opinion of Russia, Mrs. Glyn? You have
written of that country."
"Yes, yes," she half whispered the sacred news and rubbed
the palms of her hands over her many diamonds, while her
sea-green eyes narrowed, "I have written the most profound
and searching study yet to come out of Russia since the
revolution." This was amazing. At last we were in the
center of the ring. I was jubilant.
"Do you not think Lenin is a great man?" I asked.
Poor, Mad, Foolish Lenin
"Ho-ho-ho-ho," she laughed, and moved her head from
side to side. "Poor, mad, foolish, [Continued on page 102]
17
Phyllis
Tries the
Costume
Drama
John Heldj Jr.
flBut the Civil
War period!
No super-
drama of this
period is com-
plete without a
hoop - skirt.
Here you may
observe Phyllis
preparing for
any emer-
gency.
Thei
lr
. This young man has one of the most interesting
chins it has ever been my privilege to encounter,
in one way or another.
-HERE have been various character readings of the
foremost figures of the screen world: but it remains for Professor
Twitch, probably the most misleading authority writing upon
such subjects today, to disclose all. His revelations may shock
and startle; but if you are after the Truth, and we think you are,
don't fail to follow this analysis no matter how much it hurts.
Characters
As I Read
THEM
As told to ^Delight Evans
fact, I am compelled to, as Miss Jones' face is little known
among motion picture audiences. While I do not always
make a point of seeing my subjects personally, of ten- times being
able to garner all the necessary facts merely from looking
intently at a good likeness, it was not possible with Miss Jones,
inasmuch as all of her photographs more or less resemble
hosiery advertisements. So I went to see the sylph. She was
standing on the beach and waved to me. "Hello, old bean,"
she cried a bit
Charles X. Hey, Porlrayer of Riistic-boy Roles
JLhis young man has one of the most interesting chins it has
ever been my privilege to encounter, in one way or another.
It recedes gently until it practically disappears into his collar
when he wears one. But do not be mislead by this. It really
is a chin. And to this chin Mr. Hey may, if he cares to, attri-
bute whatever success he thinks he has achieved in the bucolic
drama. There is, in the lines of this chin, a sturdiness, a stead-
fastness of purpose which is all too rarely met with among the
actors of the screen. The bulging brow of Mr. Hey almost, if
not quite, equals the well-nigh gorilla-like determination ap-
parent in the lower portion of his countenance — I can't call it
a face. That is why, when I had analyzed Mr. Hey's character,
so-called, I wrote to him to tell him he was not pursuing the
proper line of work. Directors have always given him parts to
play such as clean-cut young farmers, etc. At a glance I could
see that he is not fitted for that sort of thing. He should play
pirates, pugilists and apaches, if anything. In return I received
the nicest letter from his secretary thanking me for my interest
in his work and enclosing a photograph of him as Josh Hawkins,
Jr., in "Down on the Farm."
hoarsely.
"We're retak-
ing this scene
but I'll be
through in a
sec. Stand
back or you'll
get shot."
I retired
somewhat hast-
ily and stood
beneath a beach
umbrella. Soon
I heard her
shout, "Where's
the old owl?
What's the big
idea keeping us
waiting?"
I found my-
self staring, for
the hist time
Jasmin Jones, of the Spritely Comedies
In this case, I shall consider the sub-
ject by and large, if you don't mind,
and I don't think you will. In
this case, I shall
consider the subject
by and large, if you
don't mind, and I
don't think you will.
50
By Professor Oleander P. Twitch
Head of the Piscatorial Department
University of Sponge, Iowa
Illustrations by ~Wynn
into the face of Jasmin Jones. Her most prominent feature, as one could
tell at a glance, was her nose — large, shining, and red — the latter, no
doubt, from the brisk breeze. It betokened, that nose, good spirits; an
open and generous nature — impulsive, perhaps, but honest and wholesome.
From the contours of her face, I ascertained that Miss Jones is sweet and
simple — too much so for her own good; that she is, in real life, innocence
and purity personified. She told me herself, in her gutteral voice, how
she fives all alone with her mother in a little bungalow in Beverly Hills;
how she takes care of all her sister's children, ten police dogs, and does
all the work of the house with her own hands. She drives her own cars,
having been well coached by her late father, who drove the biggest truck
in Staten Island. When I looked at her small, deep-set eyes, close to-
gether, her low-hung forehead, her splendid nose, I read there that she is
good and kind, and certainly simple. If one eye is a trifle crossed, it is
doubtless the result of playing opposite Ben Turpin so much, and only
shows Miss Jones' devotion to her art.
Eustace E. Zilch, a Real, Manly Man, Hero of the Crimson Corpulscle Drama
MM
ere is one of the most famous
faces in all the
world, and one of
the most subtle. I
cannot recollect
having studied a
face so filled with
0 "You are just a real, good, womanly woman," I said.
"It's only three flights down!" was her reply.
possibilities., and I am not saying what kind. Here,
my friends, are all the ear-marks of the philosopher
and the student. Mr. Zilch might, indeed, have
posed for that celebrated statue entitled, The
Drinker — I mean Thinker. There is magnetism in
that face; there is a love of nature in its finer forms.
There is, in fact, everything except character.
But why quibble about it? This is a great man.
He is practically unspoiled. One'^can read that in
his half-closed eyes and his habitually half-open
mouth. Mr. Zilch is a lover of the gieat out-doors
except that it makes him sleepy; so when not
actually engaged before the camera he sits in the
sun and dozes. It was while he was dozing that I
was able to make my analysis of him. That profile
will remain forever graven upon my memory. Since
then I have often awakened in the middle of the
night, moaning. I had been dreaming about that
profile. I can't forget it; it will haunt me always.
Especially the ear. It is a curious ear of the type
known as cauliflower. You come across it only in
men who have suffered; men who have fought for a
cause because they believed it to be the right one.
This Zilch will astonish the world one day. He has
not yet realized his potentialities. Some time, when
he really makes up his mind to
it and^can stay awake long
enough, he is going out to find
that Muggsy Muldoon and
clean up on him.
From a close-up of the far-
famed features of La Mur-
gatroyd I deduced the one
reason [Continued on page q?\
0 / cannot recollect
having studied a face
so filled with possi-
bilities, and I am
not saying what
kind. There is a
love of nature in its
finer forms.
51
UNow the film
gates are open
to Miss Tolly.
She makes her
debut in the
Ralph Ince-
J. E. William-
son undersea
picture, The
Uninvited
Guest. Aside
from beauty,
Miss Tolly has
other celluloid
qualifica-
tion s. She is
adept at every
Sport, from
swimming to
tennis.
Photographed
GIRL
in the
WORLD
QThe screen has captured the most photographed girl in
the world, no other than Jean Tolly. The daughter
of a Tennessee minister, Miss Tolly turned to adver-
tising posing after all the film studios had turned her
down. Her features came'
to adorn Happiness candy •
boxes, Chesterfield Cigar-
ette advertisements and
Pepsin toothpaste copy,
among other things. In
time she became the most
pictured girl in America.
52
Making
Pictures
ranee
By ¥>ettina Bedwell
.HERE seems to be a consensus amongst the criti-
cal intelligensia of America that the films "ain't as good as
they used to be." But when these super-critics bring into
comparison the film product of Europe as a superior ar-
tistic achievement, they are advertising the fact that they
never lived in Paris and witnessed the nightly movie re-
hash of the worst in American film output coupled with
inferior sets, lighting and movie-illusion devices generally.
Slim Pockeibooks of French Producers
average European moving picture production has the
faults of the American, plus a slim pocketbook, the answer
[Raquel Meller, the Spanish favorite, and Andre Roanne,
the French actor, in the French-made [dm, Violettes.
to which you can set down for yourselves. This plus feature
eliminates, naturally, one of the worst of modern Amer-
ican film faults — the big-set, big-scene-dollar glitter. It
accentuates the other faults, a bad story, artificial atmos-
phere and over acting of the old emotional school.
In France, the movies of which country I am going
to write about, there is still the mistaken notion that all
actors of the stage make good motion pic-
ture actors. Generally they do not, and
French productions suffer by this illusion.
However, just to show that you can
prove anything, I shall speak of the best
motion picture films produced the past year,
and shall mention casts drawn from the
traditional sources of the Parisian stage —
the Comedie Francaise, the Odeon, and the
Palais Music Hall. These films were all
produced by younger directors, of a new
school in France, who are attempting to
cure the sickness of the films.
<I T h e late Sarah
Bernhardt in her
last screenplay,
The Clairvoyant,
which w a s in
course of filming
when her death
occurred. The
Clairvoyant will be
released in Amer-
ica this fall.
Some Prominent
French Films
'The Wheel, which
is a story of railroad
life in France,
starred Severin
Mars, the veteran of
the Comedie Fran-
caise and a genius
of the screen, sup-
sa
type, supported the star. The picture is magnificently
presented, without the glitter of expensive sets, which
Henry Roussell achieved by means of expert light-
ing, artistic sets and clever costuming. Raquel Meller
is one of the few who gets her stage appeal over on
the screen, it seems to me.
Sarah Bernhardt' s Last Work
"iqp
A.he Clairvoyant, Sarah Bernhardt's final picture
which she was filming at the time of her death, is the
achievement of an American producer, Leon Abrams.
This picture tells a simple story in an effective man-
ner without any blare or bunkum, . and it does the
extraordinary feat of presenting Sarah Bernhardt as
an old woman without stripping her of the appeal
her stage genius made for so many decades.
There is a power to the portrayal of that paralytic
old fortune teller which gives the Divine One a
final grip on our imagination and emotions. The sets
are realistic and have a powerful simplicity, which
the director has made the keynote to his story. With
an appealing aggregation of stage and movie person-
ages, he has produced acting [Continued on page 94]
0 Another scene from Violettes, with Raquel Meller in the
leading role, bidding farewell to the children.
ported by Ivy Close, imported from London for the role.
This picture reveals a story containing a sentimental melo-
dramatic plot, with a psycho-analytic analysis of its chief
character, who finds himself in love with his foster daugh-
ter, plighted to his son.
Severin Mars as the father, an old railroad engineer, and
Abel Gance, the producer, give the picture a power far
beyond the merits of the story. It contributes nothing par-
ticularly new to the screen, but the straightforward telling
of the tale, and the superb acting make it an event in
French film production.
In Violettes, produced by Henry Roussell, little Raquel
Meller, the Spanish girl from Barcelona, who captured the
fancy of Paris theatre goers, is starred. M. Roussell used
a story of the Griffith variety of homely appeal, con-
trasted with the artificiality of Paris fashionable life to
display his star. Andre Roanne, a French "great lover"
! Pearl White, American serial idol, has
been busily engaged in making a picture,
Terror, in Paris. Above and at the left
Q/re glimpses of the film in the making.
9 Checks will be
very popular dur-
ing the early
Summer.
flFashion authorities
say that this
Viennese tricorne,
distinctly of the
Springtime, will com-
plete a wonderfully
chic ensemble for
afternoon wear in
town.
Our Own
hi on
orecast M
QFor yachting the conven-
tional blue serge and
white flannels, topped by
a racy sailor hat, will
again be in vogue.
QThey say that
nothing will be
more essential to
the wardrobe of a
screen beauty this
Summer than two
yards of anti-cen-
sorship silk worn
somewhat as a
sash.
55
ew
SCREENPLAYS
By Frederick lames Smith
>HE first celluloid biography is here!
The films have invaded every field, from poetry to essays
bu" Abraham Lincoln is the first genuine life story to be en-
meshed in celluloid as unadulterated biography.
I am glad that the last screenplay I review for
Screenland — as we are about to go to press — is Abra-
ham Lincoln. For heie is a worthy thing, in many
ways the most significant silver screen effort since
The Covered Wagon.
Best Film Since Covered Wagon
S
lBraham Lincoln came into New York un-
heralded. It was the first ambitious production of
two young brothers — Al and Ray Rockett, who
hitherto had produced minor film melodramas. The work had
progressed slowly and quietly in California. Abraham Lincoln
seemed just another film.
Abraham Lincoln has that rare screen quality — unalloyed
sincerity. It is remotely of the same naturalistic school as
Nanook of the North, Down
to the Sea in Ships and The
Covered Wagon. Don't let
the fact that I term Abraham
Lincoln a biography keep
you from seeing it.
It is the most compelling
stretch of celluloid I have
looked upon in
months. It is
vital. It
is real.
It traces
Abra-
ham
Lincoln
from his
birth in
the midst of
a Kentucky
blizzard to
his death just
as the Civil
War had ended
— and does it
with unfalter-
ing force.
Through all
this moves this
singular man
of the people —
gangling, awk-
ward and
homely; yet
possessing that
t>VA**uBIAiM supreme qual-
QGloria Swan-
son's Toin-
ette in The
Humming
Bird is twiic
as unrestrain-
ed as her
Zaza.
ity that makes him of the ages, humility. Laughed at, harried
and heckled, he led his people to the goal he felt was best — and
died for his pains. Abraham Lincoln isn't all tragedy — and yet
all the way through the tear is always close to the surface. I
defy you to see it without
-j. ^ j n being touched. I suspect
1 he NlOnth S BeSt there is no more poig-
j nant scene on our screen
Screeflpl^ayS today than that moment
when Lincoln bids fare-
m jii i r ■ i well to his beloved people
9 Abraham Lincoln of Springfield from the
ffl The Great White Way rear platform of his train
as he starts forward to
Washington- — to triumph
and to death.
By one of those odd twists of fate, a young man came to
the Rockett studio as work on Abraham Lincoln was about
to be started. He was George A. Billings, an ex-cowboy who
had been told he looked like Lincoln. He has never acted
before — but the Rocketts took the long chance of resting
the tremendous role upon his shoulders. Guarded as I am
with my superlatives, I feel that Billings' Lincoln can only
be described as inspired. It is Lincoln — both in physical
fidelity and in spirit.
Abraham Lincoln has certain directorial faults but it has
that great production merit — sympathy. Philip Rosen, the
director, has handled his story everywhere with understanding
and tenderness. Frances Marion made a well nigh perfectly
knit biograph and Harry Carr, associated in the making,
deserves his laurel wreath too.
You must see Abraham Lincoln!
Miles Standish Merely Dull
'n the other hand, let us consider Charlie Ray's latest movie
effort, The Courtship of Miles Standish, built into celluloid
from the Henry Wadsworth Longfellow poem. Mr. Ray has
declared frankly that this is one of the three epics of American
history, the other two being The Birth of a Nation and The
Covered Wagon. Personally, I have considerable doubt regard-
ing the accuracy of Mr. Ray's judgment. Indeed, the result
seems to me to be pretty dull.
The ill-fated courtship of Standish and the romance of John
Alden and Priscilla Mullins are among the accepted traditions of
our history. Mr. Ray has said that the picture was made with
the utmost fidelity to historical fact. Indeed, Mr. Ray said — in
a curtain speech — on the night I observed the epic that they had
even gone as far as to read forty-two volumes in their entirety in
quest of facts. They were not permitted to take some of these
volumes from the library, he went on regretfully — but his staff
studied them conscientiously anyway.
Too Much of Mr. Ray
IPossxBLY, if the staff had been able to take these volumes
home the result might have been different. Who can tell?
56
tn
REVIEW
Illustrated by Covarrubias
The picture is divided into two parts, one concerned with
the trip across the Atlantic of the Mayflower and the other
dealing with the subsequent trials and tribulations of the
adventurers at Plymouth. The action develops from a piratical
uprising of the crew and, later, from the frequent attacks by
Indians, much of which is shown on the screen in a series of
close-ups of Mr. Ray.
I could never quite place John Alden as Mr. Ray costumes
and presents him. John is a soit of unbeliever who comes to
the right way of thinking — and yet he wears the costume of a
straightlaced Puritan. As for the other historical facts herein
garnered from the forty-two volumes, you can accept them
or not, as you will. Personally, I am always able to take 'em
or leave 'em alone.
I'm doubtful about a lot of them, as for instance the pneu-
monia undress of the redskins in the midst of a harsh New
England winter — but, then, I'm a confirmed skeptic.
The acting is not much. Ray seems oppressed by the histor-
ical significance of John, and he allots himself entirely too
much film. Enid Bennett makes Priscilla a simpering and
almost insufferable movie ingenue. Alyn Warren's Standish
is swallowed up in Ray's close-ups. The storm scene's, in which
the Mayflower is tossed about Mr. Ray's studio tank regard-
less, are vivid enough, the best thing in the film, despite some
shots of a palpable miniature vessel, but I for one, would have
preferred to have seen Mr. Ray's epic filmed on the Massa-
chusetts coast. Come to think of it, epic pictures never seem
to materialize when a producer starts out to dash one off.
They sneak up unexpectedly and come from hard labor and at
least a measure of inspiration.
fl Corinne Griffith's work in Black
Oxen will establish her among first
half dozen favorites.
&
Here's a Zippy Melodrama
other requisites
of melodrama
at high pres-
sure. Yet The
Great While
Way has high
interest and a
curious breezi-
ness. This last
comes of Wit-
wer's slangy
and highly
amusing titles.
The unusual in-
terest seems to
me to come
from the fact
that The Great White Way is the first picture to catch the
glittery — and sham — sophistication of Broadway. It has the
spirit of New York — with the hum of the newspaper presses,
the rush of life in the roaring '40's at theatre hour, the pungent
smoke laden atmosphere of a prize fight and the strange
incandescent lure of its night life. I stand ready to predict
that The Great White Way will more than hold your interest.
Oddly, the cast of the opus is subordinate to its success..
Anita Stewart is adequate as the musical comedy favorite,
Oscar Shaw is excellent as the glorified pugilist and T. Roy
Barnes is amusing as the press agent whose publicity plot brings
tribulations along with happiness to the lovers. This Shaw in
particular is a fresh personality to the films. You will see more
of him. And yet the acting is a mere detail. The Great White
Way has enmeshed a city's restless spirit.
WThe Month's Best
Performances
^George A. Billings in Abraham
Lincoln
ffl Corinne Griffith in Black Oxen
Speaking of his-
torical films, I prefer
The Great White W ay,
H. C. Witwer's ro-
mance of the life and
times of Flo Ziegfeld.
Witwer's tale revolves
between the prize
ring and the theatre,
and is redolent of
Broadway. The hero
is a dashing pug,
the heroine a dancing darling of the footlights. Through the
adventure move press agents, reporters, editors, chorus girls,
pugilists and all the by-pioducts of life on New York's Main
Street. William Randolph Hearst, being the producer, has
taken the camera into the plant of his New York American
and shown the making of a big newspaper, as well as many
of the notables who assist in its creation. These glimpses,
including the famous comic creators of your comic supplement
idols from Spark Plug to Abie the Agent, have decided interest.
Actually, The Great White Way is just a Drury Lane melo-
drama transplanted to Manhattan. Here you will find dis-
honest jockeys, doped prize fighters, a fire rescue and all the
A,
Why Not Flaming Grandmothers ?
nother screenplay sure to interest you is Black
Oxen, adapted with considerable fidelity from Ger-
trude Atherton's novel. I doubt if a more absorbing
topic could have been selected, for Black Oxen con-
cerns modern science's fight against old age — and
more specifically deals with recent gland discoveries
to combat senility. The heroine, Madame Zatianny,
a beauty of thirty years ago, finds a renewed youth
in the hands of a European surgeon — and returns to
New York to re-dazzle society with her new beauty.
And then she falls in love. Can this woman, with her maturity
of mind, find happiness in this new love, despite her restored
physical youth? That is the tale of Black Oxen, who by the
way are symbolical of the remorseless, steadily plodding years.
The producers stuck to the title when they might well have
taken a leaf from other popular pictures of the year and
selected something like Flaming Grandmothers! For this,
much thanks!
Some directorial shifts have been made in the story, as, for
instance, having the countess acquire her new youth as a
patriotic duty that she may dedicate herself to new work for
stricken Europe. Miss Atherton has the countess go after
57
beauty from purely human motives. Still, the film version is
adequate in its telling and pretty satisfactory in its direction.
There are some scenes, as those of the Metropolitan Opera
House, which fall down but, on the whole, Black Oxen has
real merit.
Not a little of this merit comes from Corinne Griffith's
performance of the Countess Zatianny. For years I have been
predicting great things for this orchidarious star but, of late, I
had begun to wonder if I had been dazzled rather than dis-
cerning. But her Zatianny makes me believe again. Her
performance is finely attuned to catch the renewed beauty of
the belle of yesterday. Without question it is a striking
portrayal — one that will establish Miss Griffith among the first
half dozen feminine film favorites.
Conway Tearle is pictorial as the newspaper- columnist who
falls in love with the countess but there is more of the actor
than of reality about his work. Still it will suffice "according
to our accepted movie standards. Another surprise of Black
Oxen is a little flapper, Clara Bow, who first did a bit in Down
to the Sea in Ships. This Miss Bow, a sort of untamed and
cutiefied Dot Gish, has a boysterous freshness. She will
surprise you again, or I miss my guess.
Conrad Nagel and one British comedy private strongly resem-
bling 01' Bill of The Better 'Ole and played by Syd Chaplin.
Moreover, his Siberia is alongside a seaport where soldiers
embark and disembark, all of which confuses me as to its exact
location.
Still, if Neilan had told a story well, I would forgive all this.
The story isn't much, the love of Monsieur Nagel for a little
daughter of an ex-nobleman, but even that is swallowed up
in over-artistic photography. At the end of the sixth reel, I
hardly knew how any of the characters really looked, what
with arty shadows and vague long shots. As you may gather,
The Rendezvous left me cold. Except for one item, the playing
of little Lucille Ricksen as the girl. Here is another young
actress with real possibilities. As for Nagel, he is his usual
saccharine self .
EL
Through the Movie Hopper
I
Wild Oranges Has Color
still look upon King Vidor as one of our best directors —
and his visualization of Joseph Hergesheimer's Wild Oranges
is a melodrama done with color and intelligence.
Hergesheimer wrote a picturesque novel in Wild Oranges,
of a girl and her nerve-wracked father living in a lonely old
house in the wilds of the Florida coast, with only a half wit as
a servant. This idiot is more than a servant, for he is a homicidal
maniac with a mad desire for the girl. Into this maze of events
drifts a wealthy young chap in his yacht. The result is a
curiously, absorbing thriller.
Vidor has caught all the atmosphere and made an excellent
screenplay. I call particular attention to the maniac,
a half pathetic, half sinister hulk of a man. This new figure to
the gallery of celluloid people is admirably played by Charles
Post.
The girl is adequately done by Virginia
Valli but I can not reconcile myself to
Frank Mayo as the hero.
I
Second-Hand Russian Stuff
was disappointed in every way by
Marshall Neilan's much heralded The
Rendezvous. There are several manifest
reasons for the failure of The Rendezvous.
Principally, the weakness lies in the fact
that Neilan is handicapped by at least a
second-hand idea of the late empire of the
Czar Nicholas. Secondly, because the
story is developed from a plot
trick, rather than from a basic
idea. This trick lies in the way
the little heroine, whose eardrums
have been broken by a renegade
brute, unknowingly locks the
scoundrel in a lonely tomb. His
cries are unheard — and he is left
to die slowly and wretchedly.
Neilan sees Russia as a vast
stretch of snow swept land peopled
by very good Russians, who are
former members of the nobility,
very bad Rus-
sians, who are 0 Charlie Ray al-
bandits and lows himself en-
reds, a lot of tirely loo much
American sol- film in Miles
diers led by Standish.
Lomer Croy has expressed himself as pleased with the film
version of his West of the Water Tower but somehow I think
that Mr. Croy was prejudiced by the check for $25,000 he
received for the movie rights. I know that such a check
might well upset my perspective.
This story of a middle western town — with its narrow
moral prejudices and its Rotary Club outlook, such as it is
in inland America — has been passed through the cinema mill.
It has come out a regular movie. Mr. Croy originally had a
story of some reality — i. _e., a boy, oppressed by a bigoted
father, a minister, comes to love the daughter of the town
atheist. The so-called moral code is broken and the boy brings
the structure of his life toppling about his ears.
But the Gods of the Cinema, goaded by the censors, say
that our movie characters can not sin. Thus the boy and girl
who gave way before their adolescent passions are made to
believe that they are married. But the keeper of the local
pool parlor who arranged the ceremony later tells them that
the thing is a fake. Thus the town turns upon them as per
schedule and yet the censors are satisfied. Later the marriage
turns out to have been according to Hoyle, the pool promoter
having lied for some unexplained reason, and all is well in
Pennsylvania, Ohio and other censor
centers.
In making the story into celluloid
sausage, most of the life has been ex-
tracted from the characters. They now
move about rather aimlessly, which is
natural, since they all have an eye upon
the censor's scissors.
Still Glenn Hunter has excellent emo-
tional moments as the distraught boy and
Ernest Torrence has brief flashes as the
ministerial father. But May
McAvoy seems to me to be
wholly ineffective as the girl.
Throughout the whole stretch
of film, she does not disclose
one glimpse of reality.
Gloria too Exuberant
c,
'URiousLY, the New York
critics, who frowned upon
Gloria Swanson's exuberant
Zaza, have given its succes-
sor, The Humming Bird,
their stamp of approval. Yet
her Toinette in this opus is
about twice as unrestrained.
All of which shows you never
can tell.
The Humming Bird was a
stage play by Maude Fulton.
[Continued on page 95]
58
'ynn
Goes to the
Theatre
flLucile La Verne has been giving one of the
outstanding performances of the footlight
season as the Widow Cagle in Lulu Voll-
mer's picturesque and interesting drama of
the Carolina Mountains, "Sun Up." Here is
a grim, relentless and vital performance in
a play distinctly un-of-the-theatre.
41 Walter Hampden as the
homely roystering hero of
Edmond Rostand's heroic
comedy, "Cyrano de Ber-
gerac." The critics have
acclaimed Mr. Hampden's
Cyrano as possessing
charm, poetry and intelli-
gence— and most of them
have rated it one of the
big things of our theatre.
fl Donald Meek as Pa Potter
in J. P. McEvoy's clever
comedy o f every - day
American life, "The Pot-
ters," based upon the
widely syndicated series of
short stories appearing in
newspapers throughout
America. Here is a
vibrant thing of today,
amusing, real and close to
our own lives.
59
fflBarry Vannon — who
knows his Hollywood because
he lives it — here tells his first,
the story of
Perfect
OU need not ask if these stories are true, for I cannot tell. I believed they were
when my friend, Jim Wellworn, told them to me, for he was a graceful and convincing teller
of tales, a character actor of ability, and as full of drama as any of the busy movie lots on
which he strutted.
All his life he had ambitions to write, but he could never do more than scribble his name
on the back of a check — and that not often — or drop a postal to a friend which said, "Having
a fine time; .wish you were here."
I'll try to tell you his stones, as he wished me to, but I cannot duplicate his delightful
manner nor his convincing expressions. I tell them for what they are worth, making no claims to
truth — for my dear old friend had learned to smoke opium in his latter days, and the fumes of
the drug may have been his inspiration.
I will tell you first the story he called "The Perfect Type," for it was one of his favorites,
and the first he retailed to me. There will be a number of others, stories of stars and starlets,
some of them tragic, some of them humorous, some of them strange and weird.
Poor Jim, I'm having a fine time putting your stuff in print; wish you were here.
£3 TAY out of the movies, lad — said my friend Jim
Wellworn — there's nothing there but heart-break and envy
and woe, unless you're one of them meant to twist your
face to the director's whims, and your heart to the whims
of fate.
There must be ten thousand young boys and girls come
every month to Hollywood, bound to be moving picture
stars. They come from the stores and factories, the book-
binderies and the offices all over
the country.
They come with little money and <JThis is the nTSt Of 2i SerieS
no talent at all, poor creatures, and ' - - . r
or unusual snort stories or
they fight and hunger and sicken
their souls. I knew a little girl
once — but that isn't the story I
had in mind.
ft is about Gus Ehrlich and his
wife, and his three little girls, and
Dan Tremaine, who was one of the
greatest heavies on the screen.
You may have heard of Dan
through his axiom, '"A man is
known by the women he keeps."
Aye, he was known by his
women, if ever any man was; and
there were few here had any use
for him. He rasped your senses
You felt an instinctive dislike even
before he was introduced. Some-
thing about his hard blue eyes,
maybe, or his lantern jaw, or his
great pot of a nose. And yet
there was something about him — perhaps his egotism and
his ruthlessness — that compelled a sneaking admiration. He
was the perfect type of movie villain, even without his
makeup. And once the heroine got into his clutches, there
was drama.
"My discard is larger than your draw," he used to boast
to other ladies' men.
"But your discrimination might be criticized," Hill
motion picture studio life.
Mr. Vannon will be rep-
resented in future
issues of Screeniand
Next month, for instance,
he will present an un-
usual bit of fiction — of a
decidedly humorous
twist Watch for it!
Hinges once said to him. "And there are no game laws —
for you."
Mostly his conquests were extras, girls who thought he
could make them stars. Poor little things !
I was present when one of them called him a buzzard.
"A man may be known by the women he keeps," she
added, "but a gentleman is known by the silence he keeps
about his women."
"There's a good reason why you
would have me silent, eh, Billikenr"
he said, and there was a rumble
laughing in his chest.
The girl let her lower lip tremble,
and hurried out of the room. Tre-
maine threw himself back on the
couch, well satisfied, and gathered
a blonde into his arms, and mussed
her hair.
This Ehrlich now, was just the
opposite of Dan. A big, serious,
awkward sort of chap whose life
was wrapped up in his family. He
came to Hollywood because he
heard that stage carpenters make
big wages, and he had been a car-
penter for thirty years.
He came in a Ford roadster,
bought a lot, put up his tent and
built a little garage for the car.
Later he built his own bungalow,
and it was one of the prettiest you
Could imagine.
Gus Ehrlich was the happiest man in Hollywood. His
wife was content, and the kids used to play around the
house all day, fat and healthy and full of fun.
"Like coming to paradise," Gus used to say. "I wake
up and see the mountains from my window ; and honest
they're so pretty I can't believe it. I drive down to the
lot in the old car, work a few hours, get better pay than I
ever made in my life, and everybody here is nice to us.
Type
Illustrated by
Courtney Allen
"When I get home in the evening the wife has the
supper on the table, vegetables from our own garden;
I tell you, it's living !
"Sometimes we go out and see a show. Other times
we just pile into the car and go through the pretty
streets, and up the mountain roads."
And then George Howland saw Gus, and called him "a
perfect type." He wanted him as a blacksmith in a West-
ern he was making'. He fairly raved over the man.
"Might have looked all over the country," he said, "and
not found such a specimen. Look at the fellow's forearms."
He half closed his eyes — which was a way he had — and
saw how Gus would look standing at a forge, with the
leather apron around him, beating a sword with a hammer.
What Howland said usually went, and so Gus Ehrlich
became an actor.
He didn't want to act at first. He was bashful, and he
had no self-confidence. He would have refused, I believe,
if Howland hadn't promised him twenty dollars a day.
Funny, isn't it, what a change occupation will sometime-
do to a man? Gus lost his bashfulness overnight.
The little lens that stared at him, and clicked while
it stared, seemed to have bewitched him. He felt
that he was born to be a movie actor. And not
merely an actor, but a star — a big star. And he
had been so long in finding it out !
The poor fellow sold his tools and bought him-
self a make-up box. He went even further than
that. He changed his name to Oliver Royce. He
sold his Ford and bought a shiny new little car of
a different make. He began taking his wife to
the cabarets where the movie folks are wont to
gather.
That costs money. There are few places where
you can take your
wife for dinner with- 3
out kising a five- 'SST
dollar note farewell
forever. Even i n
places where you
f^Dan Trcmaine was one of the
greatest heavies on the screen. He
v.'as the perfect type of movie
villain, even without his make-ub.
don't dance.
Mrs. Ehr-
lich was a
beauti-
ful woman,
and if she
were over
(forty, which
' she must
have been,
she really didn't look
it. She had the
naivete of a maiden.
She was rather tall,
and if she had been
better dressed you
might have called her
stately. She had
wonderful brown eyes,
a straight nose, and a
most voluptuous
mouth. But her hands
were reddened and
roughened and
wrinkled from years
of work. That was the
only clew to her age.
Neither of the Ehr-
lichs had ever tried to
dance ; but now that
Gus was to be a
movie star, it became
imperative that they
hire a dancing instruc-
tor. They also had to
have new clothes.
They began to entertain, at first a few friends, then
gradually, ten or twenty. They studiously cultivated direc-
tors, cringed, bowed, flattered, cajoled. They looked up
a bootlegger.
It was a pity. Gus used to lie around the lot all day,
when he wasn't working, smoking cigarettes, and telling
everybody how great he was. That's a favorite game in
Hollywood. Jle forgot he had ever been an honest, steady,
hard-working carpenter. No, he was Oliver Royce now,
a character man on his way to better things.
He forgot that thousands of young men were pouring
into Hollywood every day, young men better educated, bet-
ler equipped, better .prepared than he for movie honors. He
didn't know he could not possibly compete with them.
he
he
in
or
He didn't know that Howland had no
more use for him after the picture in which
Gus had played the blacksmith.
He didn't seem to realize that while
might be the perfect blacksmith type
might not be the type for other roles.
And so his days were spent mostly
waiting for new parts, and his nights in entertaining
in roystering.
A few months ago he had been making good money.
Now he was spending it, and all he got for it was
a fifteen-dollar day once or twice a week — some weeks.
But he knew that it was just a start. In a year or two he
would be making four hundred or five hundred dollars a
week, he believed. And in two years — there are so many
like him in Hollywood!
Dan Tremaine came to be a regular visitor at the
Ehrlich bungalow — for Ehrlich always had gin, and Mrs.
Ehrlich was always glad to see him.
The Ehrlichs went along like this for probably a year.
And the poor kids were the sufferers. They became thin,
and pimply. Their mother no longer tried to dress them
prettily. They were put to bed early when she gave parties,
but I doubt if they slept well — there was always so much
noise.
They seldom played around the house now, but you could
often hear them crying, all alone in the house ; cold, with
no one to cover them up ; lonesome, and no one to sing
them to sleep or tell them stories.
And then Ehrlich's little car was smashed by Dan's big
limousine, and Ehrlich went to the hospital. It was Ehr-
lich's fault, Dan said. Dan was going north in Santa
Ybarra Boulevard, and Gus came rushing out of a side-
street, and, instead of trying to get out of the way, turned
left and ran head-on into Dan.
Of course it was just at the time Ehrlich had run out of
his savings. The mortgage was due. There was no income.
There was nothing to sell. The wife and children were
hungry.
You see how easy it was. Dan paid off the mortgage,
stocked the house with groceries, promised Mrs. Ehrlich a
chance to become an actress — and began to flaunt her in
our faces.
He took her to dinner at the Coconut Grove every Tues-
day night, and danced every dance with her. He drove her
to the races at Tia Juana, to the auto show, to the Speedway
races, to the prize fights on Friday nights in the Hollywood
Legion Stadium.
He got her jobs in Superlative pictures, for, as I have
said, she was a beautiful woman, and she screened well.
We wouldn't have cared if he had taken her in a fair
fight, or if her husband had not been his friend. But, under
the circumstances, we had little use for the man. There was
even talk of not renewing his contract when it expired.
They went to see Dan as often as they could, but they
never went together. Gus told me as much one day when I
took his children to see him.
62
He was swathed in bandages — what we couid see of him
above the covers — and he made weird sounds in his throat
when he knew his little girls were kissing his hands.
"My poor babies," he said. "You've had a hard time of
it since your fool father thought he was a movie actor. But,
if I ever get out of here, I'm done with the pictures for life.
I'm done with Hollywood. We'll get as far away from
the movies as we can. I'll get a job carpentering, and
we'll be happy again.
£'I couldn't go back to the movies, even if I wanted to.
My face "
The littlest girl started crying, and Gus reached out and
found her yellow head and stroked it.
"Don't cry, honey," he begged. "Your daddy will be well
in a little while — and he'll be a new daddy."
"An' we won't have Daddy Dan any more?" the young
one asked hopefully.
The bandaged form twitched violently. I was glad I
could not see his face. I tried to mend the damage the
innocent little girl had done — but my voice faltered.
"Dan's been very good," I said, or something like that.
"Never saw anyone kinder to the children than he — since
you've been here. He brings them everything. I think,
Gus — I think he feels more than a little guilty over your
accident."
There was no reply.
I tried, most delicately, to tell Mrs. Ehrlich that night,
about the incident. But she merely laughed, and talked of
other things. I never felt so near to slapping a woman's
face.
I didn't go back to the hospital. And it was perhaps a
month or two unttl I heard Gus had been discharged. It
was the night of the big party in Dick Marley's house.
We had almost finished Sunset, on which we had been
working four months. And, as there was only one more
scene to shoot, and that would require but a few hours, we
decided to celebrate. We picked on Dick because he was
the lead in the picture, because we liked him and his wife,
and because his cellar — or his garage, or whatever you'd like
to call it — was well equipped.
The entire company was there, and many of the extras,
most of us bringing our own with us — though Dick insisted
every now and then on bringing "another can of gas from
the garage" into the house.
It really came in gasoline cans— and it was labeled "the
gas with the kick."
Dan was there, of course, with Mrs. Ehrlich, and while
nobody paid any attention to them, they didn't seem to mind.
"It's a rotten shame," Di Allen said, "those two going
around everywhere, while her husband is in the hospital.
They ought to be fumigated, or something."
"Why, Ehrlich's out of the hospital," said somebody back
of us.
We were both surprised.
"Saw him on the street the other day, and I give you my
word I never would have known him if he hadn't spoke to
me. He— blah, blah, blah !"
I couldn't hear the rest of it because Dick Harley was
f&"Fire!"
QThe rifles spit flame. Dan
falls forward, the savage
grin on his face giving
zvay to a look of shocked
surprise. t
great human pity in Dick's
roaring for at-
tention — just
like the radio,
eh? You're
listening to a
concert or a
sermon — you might listen
to a sermon, lad — and then
something cuts in and the
concert's lost.
Dick had seen how we
had snubbed Tremaine and
the woman, and he felt
sorry for them. I suppose
the "gas" had generated a
heart. Anyway, they were his guests, and he was going
to see they were treated right.
He was holding up a little glass.
"Folks," he was saying, "the picture on which we have
worked so long and so hard — and in such good fellowship —
will be finished tomorrow. And the honor of putting it
out of its misery goes to our fellow townsman, Daniel
Madero Tremaine !"
He paused for a shout, but there was none. He looked
a trifle embarrassed, but he was a determined cuss.
"Dan, as you know," he went on, "has played the Ger-
man spy. And he certainly looked the part."
There was some laughter at that — mean little laughter.
Dick brushed it aside as your wife might dust a cobweb
off the wall.
"Poor Dan is going to be shot at sunrise. So let's give
him three cheers now. and drink a bumper to his health."
We did, for Dick, but not for Dan.
Dan got up slowly, rather stupid, and more than a little
befuddled. But once on his feet he was as sober as a sweet
girl graduate, and as solemn.
"I, who am about to die, salute you," he said. He ex-
tended his glass toward the crowd, called "Prosit," and
quaffed its contents at a gulp. [Continued on page go]
63
A,
Dramaland
„LL that is needed to convert Olga Petrova's
latest play, Hurricane, into a successful boob-massaging
movie is a sufficiently bad director. Everything else for
a popular movie is there. Given
a director who is firmly convinced
that the greatest dramatic scene in
the world is one in which a
woman's scarlet past arises to
smite her on the very day that
pure love enters into her life, and
that hardly less great is one in
which the hero grabs the trucu-
lent villain by the seat of his pants
and boots him downstairs, and all
is over but the shooting. The
play belongs on a movie lot, not a
stage. It has most of the ingred-
ients that warm the cockels of
the average film heart. The only
ones that are missing, so far as
my staff of expert analysts have
been able to figure out, are the
scene in which the heroine runs
through a daisy field, the scene
in which the hero, coming back
to his old home town twenty years
later, encounters curly-headed Lit-
tle Bobbie, the son of his first
sweetheart, who is now a widow, and the usual press-agent
story to the effect that it cost over $1,000,000 to photograph
the scene showing the arrival of the Twentieth Century
Limited at the depot in Sandusky, Ohio. As drama, Hurri-
cane belongs to the epoch of East Lynne, when anything was
considered a very fine and touching play that contained a
64
QSays Mr. Nathan
Olga Petrova's Hurricane belongs to
the epoch of East Lynne, when any-
thing was considered a very fine and
touching play that contained a scene
in which the persecuted heroine
bawled like a homesick saxophone.
Strindb erg's The Spook Sonata, to
describe it impressionistically , is a
dramatization of Joe Cook's story
about the fourHawaiians.
George Bernard Shaw wins in Saint
Joan but it takes him altogether too
long to do it. His victory is by no
means a knockout, the decision is on
points.
dying child, or a scene in which the persecuted heroine
bawled like a homesick saxophone, or a passage wherein the
noble hero, learning of the stain upon the heroine's past,
gulped once or twice, walked up to
her and told her that no matter
what her earlier life had been he
could tell by the look in her eyes
that she was really a good woman
and one whom he would be proud
to make his wife.
If there are some estimable souls
left in the world who still revel in
such emotional nonsense, don't
blame me. Although for the last
nineteen years I have been doing
my best to dissuade them, I now
have no more time to spare to the
job, this being the period of the
year when it is necessary for me to
devote all my spare time to the re-
corking of my wine bottles.
II.
HP
JL he greatest show seen in New
York since my last lecture was
staged in the little Provincetown
Theatre down in Macdougal Street.
It was not Strindberg's Spook Sonata, the Provincetowners'
production, that constituted this rare exhibit, but the
audience that was invited to see it on its first night. 1
have observed many unintentionally comic audiences in my
time, but this particular one not only took the cake, but
the plate and napkin as well. Composed in considerable
By George Jean Nathan
Decorations by ^Nynn
part of the type of intellectual pusher who is always eager Strindberg, whom Ibsen, so the program confided, had
to be on deck when the richly rococo and the cerebrally announced a greater man than he? And hadn't it been
recherche take off their socks and go in wading together, produced, so the program went on to confide, in certain
it had such a hard time figuring
out how it ought to take the play
of the evening that its resultant
antics were such as to delight all
true connoisseurs.
The Spook Sonata, to describe it
impressionistically, is a dramatiza-
tion of Joe Cook's story about the
four Hawaiians. Written by
Strindberg when he was already
fast on his way to the insane
asylum, it is, save for a few
flashes of penetration, approxi-
mately as lacking in any sense as
'"Yes, We Have No Bananas." It
reminds one of nothing quite so
much as the bewhiskered story of
the two drunks sitting on the edge
of a bathtub. Inquires one souse:
"Do you know Lou Jones?'"'
Whereupon the other replies : "Yes,
what's his name ?" But though
the play, is this wild crazy-quilt
and little more, the good souls out
front were so boggled by the name
of Strindberg that they didn't dare crack a smile. The
most humorous passages were received with grim-visaged
nods of approval; the passages that beat the Columbia
Theatre's lowest burlesque show were met with stoic re-
serve. It was all very profound and very arty to this
audience of miseducated boobs. Wasn't it, forsooth, by
QSays Mr. Nathan
Sutton Vane's Outward Bound is
original; it is humorously, yet sin-
cerely, devised; it is ably written; it
is expertly staged; and it is admir-
ably acted — which should be enough
for anyone's two seventy -five.
When George Middleton adapted
The Other Rose from Bourdet's
French original, he took out the sex
motif. The result is a JMack Sennett
bathing girl in a hoop-skirt.
The last five minutes of Cosmo
Hamilton's The New Poor is
thoroughly original. These go to
make up the most amusing trick end-
ing since George Cohan's Seven
Keys to Baldpate.
great art centres of Europe? Sure
Mike !
The production made by the
Provincetowners was exceptionally
fine. The Messrs. Macgowan,
Robert Edmond Jones and Eugene
O'Xeill negotiated an excellent job.
But the masterpiece remains that
first night audience. Nothing has
been seen like it since Arthur
Hammerstein last year got his in-
vitation audience at the Nine
O'clock Revue magnificently cock-
eyed so it might not know how
bad his show was.
III.
eorge Berxard Shaw's con-
test with the legend of Joan of Arc
resembles Jack Dempsey's with
Gibbons at Shelby, Montana. He
wins, but it takes him altogether
too long to do it. His Saint Joan,
further, is by no means a knock-
out; the decision is on points. Some of these points are
admirable, but one has a right to expect a greater demon-
stration of skill and strength on the part of a dramatist like
Shaw. He handles the tale of the Maid of Orleans intelli-
gently and sympathetically, but he talks so much while he
is doing it that he wears out his [Continued on page 99]
65
9She prepares for
the special writer
from "House
and Garde n."
C&he Perfect
Bathing Girl
Poses for Her Interview
QBut she realises that surroundings are
everything — and she stages her chats
with fine attention to details.
By Kli^
She is all
ready for the
bran expert
from "Physi-
cal Culture."
flShe tried out her
voice before "The
Musical Courier"
man arrives — and
finds it's a per-
fect thirty - six.
fl Modern household details
occupy her mind when she
gives out a chat to the refined
interviewer from "The
Ladies' Home Journal."
flShe gets prepared for the
earnest young professor
from the "Atlantic Monthly."
OThe sheik of celluloidia, Rudolph Valentino, is back at
work. As you read this he will be well into the produc-
tion of Booth Tarkington's romantic story of old Bath,
Mo nsieur Beaucaire.
fIThe great war between Rudy and the Famous Players-
Lasky Corporation is ended, as the photograph of Adolph
Zukor, the corporation president, and Valentino, in the
very act of smiling, would indicate. Under the peace
terms, Rudy will make two pictures .for Famous and
then begin his contract with Ritz-Carlton Pictures. You
are not likely to see Monsieur Beaucaire before the late
Spring, however. It is being directed by Sidney Olcott.
Incidentally, Rudy is now spelling his name Rudolph and
not Rodolph, as of yore. Rudy says there's a "u" in
luck but no "o."
OThere is food for thought in the report that the return
of Valentino occurs at the same time that William S.
Hart severs his relations with Famous. The much-touted
return of the red-blooded Bill didn't seem to take. There
is no sentiment in celluloidia and the serious-minded Bill
can now sit back and think, while the temperamental
Rudy, who kicked over the traces regardless, is back
basking in the studio Cooper-Hewitts
Armistice
Day in
ilmland
Flappers in the Concrete
A
By Anna Vr op hater
Drawings by Lambert Guenther
FAN from Two Rivers, Wisconsin, writes in to
say that it must be wonderful to meet all the famous stais face
to face, listen to them talk and hear about their remarkable
experiences in life. And especially must it be wonderful to sit
down and have a little chat with the great young actresses who,
although emotional artistes, are after all just girls like yourself.
Some Fan Illusions
F,
rom which, I take it. the fan has been reading too many
interviews and still believes that old man Shopenhauer is
Hollywood's favorite author, that blonde stars never use
anything on their hair but plain soap and water, that movie
parents like nothing better than a romp on the lawn with the
kiddies, that Charlie Chaplin really intended to mairy all those
girls, and that the stars own all those beautiful homes which
figure in the photographs.
Some time an enterprising interviewer with more nerve than
I have will take a stenographer with her on her trip to the
studios and take down verbatim the conversation of her victim.
The last time I visited a studio I went to call on a youthful
dynamo of the dramatic emotions. She had been heralded to
me as another Bernhardt and the one Big Hope of the screen.
I
The Talc of a Dumb-bell
found her in the middle of a simple little scene. She was
seated at a restaurant table with a young and patient man
and her director was coaching her in her actions.
"Now," he said, "pick up the glass of water and sip it."
"But," asked the human dynamo, "what shall I do with
my other hand?"
Right then and there, I knew that there wasn't going to be
any interview.
And again —
A certain sophisticated, highly modern and extremely inter-
esting young star came to New York and rented an apartment
in the Park Avenue district. No upper West Side or Riverside
Drive for her. Her dinners in Hollywood had been attended
by the elect and she hoped to make a few choice friends in
New York.
I
Invading Society Via Nerve
saw her one afternoon, surrounded by every luxury that can
be purchased by the van-load at department stores. The
telephone rang. First the star fluttered and then she made
noises of great cordiality. The woman telephoning was urged
to "yes, indeed; come right over."
The star turned to me and proudly announced that Mrs.
Vandergriff Schuyler was coming to tea. Now, although Mrs.
Vandergriff Schuyler married a proud name she has no more
social standing than an assistant cameraman. Moreover, she
is notorious as a hanger-on in the studios where she hopes to
find engagement on the strength of her society background.
"Do you know her?" I asked of the star.
"No," she remarked proudly, "but she heard I was in town
and asked if she might call."
Mrs. Vandergriff Schuyler came, accompanied by a friend,
During the entire afternoon, she never [Continued on page q8]
69
Movies' Man
0
Mystery
EFORE I begin I might as well
tell you that I have never been present at
"Paradise" ; never been asked to peek into that
celebrated chest filled with sables and sapphires
and pearls and squirrel and other costly things
which legend has placed in his study to be
panted over by experimental young women. No.
I have not visited his studio nor watched him
inspire his actors to hitherto unattained heights
— has he ever? His home dinners have never
been savoured by me. I know him little, if at
all. But I can conjecture about him, can't I?
A Man of Many Legends
, here is no other man in screenland, with
the possible exception of Charles Spencer
Chaplin, about whom there has been circulated
so many legends and lies and eulogies. He is
an impressive person. He means something,
whether you like it or not. The majestic Mr.
Griffith has remained secluded in the shadow
of his own silence. Mr. de Mille, the other
outstanding director of the leaping tintypes,
has never been what one would call retiring.
I have always wondered if he believed it
himself. If he took himself seriously as the
creator of passionate pictures, as the king of
boudoir and bathroom drama. A self-appointed
colossus of the cinema, or just a shrewd show-
man aware of his own limitations and careful
not to overstep them?
Is He Subtle or Shrewd?
©UNDERWOOD AND UNDEEWOOD
70
QCccil de Mille has
made more spectacu-
lar orgies and revels
and has used more
silk and jewels and
furs to the film foot
than anyone who
ever wore puttees.
][ wish I could an-
swer those questions.
But to me Cecil B.
de Mille is a mys-
tery. I can't make
out whether he is
subtle or shrewd ;
whether his sense of
self -appointed colossus of
the cinema or just a shrewd
showman aware of his own
limitations ?
By
Delight
E v a n s
humor is assumed or real. Whether, in other words, the
magnificent de Mille is a sublimated medicine show fakir,
or a regular guy.
I am aware that in questioning him I am treading on the
toes of half the world. He is, to so many persons, God, a
genius, and a great philosopher put up in one package. But
on one point I am positive. As a personality, he is what is
known in the patois as a knockout. He is charming. He is
gallant — I can see now why it is that lady writers come
away and break their finger nails pounding out guileless
gush about the great man. He has mastered that quiet
deference so shattering to the female sense of humor, assur-
ing its victim that she, and she only, is to bear his message
to the waiting world. He is not ponderous.
He doesn't show off. But he thinks The
Ten Commandments is the biggest picture
he ever made or he wouldn't have made it.
He Likes Carefully Calculated Settings
H is background in this case was only
the town office of Jesse L. Lasky in the im-
posing Manhattan home of Paramount pic-
tures. His interviews usually take place,
you know, in his own study in the Holly-
wood studios — a carefully calculated setting,
probably. Here, he was ensconced in a
commonplace chair at an ordinary desk.
He wore no puttees and his shirt bore the
conventional collar. If there was ever any
place where Cecil B. de Mille could be
himself, surely it must have been here.
He was leaving that same day for California. While
I waited to see him, a secretary telephoned David Belasco's
secretary that Mr. de Mille was too busy to see Mr. Belasco
before he left for the coast, owing to an unfavorable and
unescapable directors' meeting. Apparently I was the direc-
tors' meeting. Feeling awfully inferior I was ushered in.
I
Gallant — and a Gentleman
eeg an right away by saying that I had not seen The
Ten Commandments. I hadn't. I watched Mr. de Mille's
QCecil de Mille de-
clares that the film
spectacle as such is
doomed. Has he de-
serted the boudoi;
and bath for al!
time?. He says so.
anyway.
face closely for an expression of pained sui-
prise, but none was apparent. He took it like
a gentleman. His manner assured me that,
although I had not rushed to view his master-
piece, all was not over between us. In fact,
he seemed rather more interested in someone
who had not seen The Ten Commandments than in some-
one who had. So he told me that I should watch out for
when I did see it.
The modern story means everything, just everything, to
its maker. He was interested in filming the Biblical pas-
sages, but it was the twentieth century melodrama which
mattered most. Whether it was because many of the news-
paper notices praised the allegory and shuddered over the
tale of the church built on sand; or because C. B. felt that
the latter part was all his own while the first part owed a
little something to the Bible, I don't know. But he was
quite determined about it. He says [Continued on page 92]
71
Our Own
NEWS
REEL
Hollywood,
Cal. — Dor-
othy Vernon
makes up The
Thief of Bag-
dad. In other
•words, Doug
and Mary be-
tween scenes.
Los Angeles, Cal.
— Harold Lloyd on
location, making
The Girl Expert
Los Angeles, Cal. —
Viola D<ana has lunch
<u> i l h her director ,
George Baker, between
scenes.
72
([[ The Cinema News of the
Mjoment in Picture Form
Denver, Col. —
A rare old photo-
graph of Doug
Fairbanks and his
brother taken, lo,
these many years
ago. Guess the
date!
Los Angeles, Cal. —
Fred Niblo, Barbara
La Marr and Eleanor
Boardman pause for a
snapshot in an odd
moment.
Los Angeles, Cal. — Jack
Pickford and his wife, Marilyn
Miller, in an acrobatic pose.
Yes, Marilyn is going to try
the pictures soon.
/3
Upper Left
Los Angeles, Cal. — Pola Negri
greets her new director, Dimitri
Buchowetzki, the European picture
maker, who is producing her newest,
Men. Buchowetzki is best known to
America for his Peter the Great.
Upper Right
Hollywood, Los Angeles, Cal. —
Mae Busch in the garden of her
home. If you look carefully you will
note a sapphire on the third finger
of Mae's left hand!
Left
Los Angeles, Cal. — Seven-year-old
Barbara Denny, daughter of Regi-
nald. Little Barbara was taught to
swim at the age of four and is a
regular water baby.
Above
New York City. — The Baroness
Fern Andra, German film star, re-
turned to America to visit her parents
in Indiana for the first time since the
war. Miss Andra, an American girl,
went to Berlin to study music, was
caught by the world war and turned
to picture work. Success came
quickly. —International
Upper Right
Los Angeles, Cal. — Jacqueline Lo-
gan poses for a picture with her
mother. Of course, she's devoted to
mama, she being a regular filmer.
Right Center
Los Angeles, Cal.— Mack Sennett
poses with his mother, too. Mrs.
Sennett has been spending four
months with her son.
Eight
Los Angeles, Cal. — James J .
Davis, secretary of labor, calls on
Will Rogers. Will says he can't
understand why a secretary of labor
should be interested in him.
—Wide World
Mi
CsOming
Film
EVENTS
flAt the left: The forthcoming John
Barrymore production of Beau
Brummel, with the famous star of the
house of Barrymore as the immortal
Beau and Mary Astor as a bell of old
England.
SJ Below: An attractive scene in Jack
Pickford's The Hill Billy, with Lucille
Rickson as Emmy Lou Spence.
fl Below: Dorothy Mackaill and John Harris in Kate
Jordan's The Next Corner, a coming Paramount release.
Screenland looks upon Miss Mackaill as the most promis-
ing girl on the screen.
^Camera Glimpses
of the New Silver
Screen Releases
H Gloria Swanson and Rod La Rocque
in an emotional scene of Gloria's next
stellar release, based upon Sutro's The
Laughing Lady. As Screenland went
to press a new title was under con-
sideiation.
C[ One of the first published
"stills" of Mary Pickford's
new romantic production,
Charles Major's Dorothy
Vernon of Haddon Hall, di-
rected by Marshall Neilan.
Left to right, Courtney Foote
as the Earl of Leicester, Claire
Eames as Queen Elizabeth
and Miss Pickford as Dorothy
herself.
77
© UNDERWOOD 4 UNDERWOOD
0 Justine Johnston returns from England, where she
has been for some months. Miss Johnston was
briefly a cinema star over here.
Listening
POST
By
^Eunice Marshall
and Helen Lee
A.
■ FTER the variously announced plans regarding
oamuel Goldwyn's production of Joseph Hergesheimer's
Cytherea, it is actually being made in California. Much of the
action of the novel took
place in Cuba and the
oiiginal idea was to shoot
these scenes in Havana.
Then came the report
that Director George
Fitzmaurice and his wife,
Ouida Bergere, the sce-
narist, has decided to
switch these scenes to
Paiis. This seemed to
be the final plan and the
shooting of the interiors
was actually started at
the Biograph studio in
New York.
Just then Goldwyn re-
turned from a trip to Los
Angeles and vetoed the
entire scheme of things.
The Paris idea was dis-
carded and the whole
organization moved to
California, despite the
0 Director Allan Dwan,
Gloria Swanson and
Ricardo Cortez pose
briefly for a picture
between scenes of A
Society Scandal.
78
fact that this meant a considerable loss on sets already built
at the Biograph studio.
Incidentally, there are interesting stories afloat of domestic
d The Wampas selected its "baby stars" for 1924. Here they are, every one of them, preparatory to starting to the
'Frisco Frolic of the Wampas, held on January ipth. Left to right: Clara Bow, Blanche Mahaffey, Elinor Fair,
Gloria Grey, Carmelita Gerahty, Margaret Morris, Julanne Johnston, Dorothy Mackaill, Hazel Keener, Marion
Nixon, Lucille Rickson, Alberta Vaughn and Ruth Hiatt.
discord in the Fitzmauiice maison. The director and his wife
ate said to be living apart. Incidentally, a denial has been
issued that it was Miss Bergere's script that was thrown into
the waste-paper basket when Goldwyn changed things about.
The denial states that it was the work of "a young university
graduate." Anyway the working script was discarded and the
job given to Frances Marion overnight. Cytherea as you will
see it on the screen will be the work of Miss Marion.
Premiere of America
1B*y the time you read
this, David Wark Grif-
fith's America will have
had its premiere in New
York. As this issue goes
to press, "D. W." is still
at work on the production
and a number of the big
scenes are still in work.
Griffith, you know, has a
habit of working up to the
very last moment and then
of revising the cutting for weeks after the premiere. Lionel
Barrymore is said to be contributing some notable work to this
spectacle of the Revolution as the infamous Butler, the Jekyl
and Hyde of the time. Butler was a popular dandy in the Tory
drawing room and a fiend in the field, goading his Indians on to
fresh massacres. America, it is said, will reveal a new Carol
Dempster, too.
Abraham Lincoln Scores
most interesting premiere to precede America was that
of Abraham Lincoln, the unheralded production made in Cali-
fornia by the hitherto unknown Rockett Brothers. Abraham
Lincoln literally came into New York on gum-shoes and made
a smashing success. In many ways Abraham Lincoln is another
Covered Wagon. Anyway, regardless of its ultimate box office
fate, it establishes the Rocketts, who are
decidedly likeable young men, as new forces
in the field of production. Then, too, it
brings fresh laurels to Frances Marion, who
labored for months on the script, and to Harry
Carr, the distinguished California newspaper
man, who also gave first aid to the project.
Abraham Lincoln is a production of which they
may well be proud.
Frances Marion Writes Novel
IP'rances Marion came to Manhattan to
attend the premiere of Abraham Lincoln, for
which Miss Marion wrote the scenario and
which she had a considerable part in making. With her was
her husband, Fred Thomson, champion athlete, whose activities
are now confined to wild western serials. Thomson was a
Princeton man with several stray letters of the alphabet after
his name but they haven't done him much good as a stunt hero.
Frances has finished her novel, a tale of the glittering girls
of the silver screen who sprang from obscurity into splendor,
ffl Hollywood Etiquette
Out in Hollywood where transient
matrimony is more or less customary,
it is no longer correct to ask, "And
how's the wife ?"
Oh, no ! To be on the safe side it is far
better to put it thus:
"How's the little lady?"
INTERNATIONAL
A Dick Barthelmess chats with Marion Davies at the
recent Cosmopolitan ball in New York.
and their reactions to sudden fame and. fortune. There is no
one better equipped to write a real story along these lines, for
the scenaiio writer has grown up with the movies herself and
has watched the progress of famous stars step by step up the
ladder. Moreover, she has always been in sympathy with
them; their sometimes sordid stories are tinged with tragedy
to her. Her book is to be published soon. Meanwhile she will
write the scenario for the next Potash and Perlmutter story for
Samuel Goldwyn, Potash and Perlmutter in Pictures, and also
dash off tales for the Talmadge sisters.
deserting celluloidia to resume his work as a sculptor. Ingram
says he will go on making screenplays but that a lot of his work
will be done abroad. Ingram frankly admits that he has the
wanderlust.
Starring Belly Compson
B>etty Compson has become a W. W. Hodkinson star, at
least for the time being. She is in Florida, making a screenplay
with Alan Grosland as director. Crosland has been signed by
Famous Players and Edward H. Griffith has been secured by
the Hodkinsons to make Miss Compson's second vehicle. Miss
Compson's first Hodkinson screen drama will carry the title of
Miami. Crosland's first Famous Players production, by the
way, wi-ll be Olive Arden's South Sea story, Sinners in Heaven.
The Wampas 'Frisco Frolic
Wampas Frolic, held in San Francisco because of the
bizarre police restrictions of Los Angeles, appears to have been
a big success, judging from wires received from our special
Wampas spy No. 21. Our spy No. 47 adds, too, that the
Wampas appear to have made a lot of money on the affair.
Still, we have no hard feelings in the matter.
Pola Negri seems to have been the center of interest at the
ball, having made the trip accompanied by Mr. and Mrs.
Charles Eyton (Kathlyn Williams). Mayor James Rolph, Jr.,
made the welcoming speech and Fred Niblo responded. Every-
body in California scieenland seems to have been present, the
1924 Wampas baby stars were brought forward and cheered,
and Ben Turpin did a burlesque prize fight with Benny Leonard.
A pleasant time was had by all.
Marie Walcamp Comes Back
cJ" esse Goldbuug, who has been making pictures, starring
Franklyn Farnum, has signed Marie Walcamp, long a serial star
with Universal, to play the feminine leads in the Farnum
Westerns. Later Miss Walcamp will be starred, according to
Mr. Goldburg.
Henley to Make Specials
IHIobart Henley, who has been doing particularly good
directorial work with Universal during the past year, has been
Our Desert-M ade Films
JH/dwin Carewe is finishing his pro-
duction of Louise Garade's A Son of
the Sahara in Paris. Carewe and his
company were worked for weeks on
the exteriors near Biskra, on the edge
of the Sahara. The actual locale was
Touggourt, one hundred and fifty
miles into the desert from Biskra.
Bert Lytell and Claire Windsor have
the leading roles.
As this issue of Screenland goes
to press Rex Ingram is still on the
desert sands doing Edgar Selwyn's
The Arab, with Ramon Novarro in
the name part. Alice Terry, of
course, has the leading feminine role.
Incidentally, Ingram writes from the
Sahara to deny that he has definitely
given up making pictures. An inter-
view from Paris said that he was
CJ Maude George doesn't wear any
stockings in Maurice Tourneur's
new picture, Torment, but she does
wear bejeweled slippers costing $200
or one hundred per jeweled heel.
80
signed by Louis B. Mayer to head a production unit,
productions being released by Metro. Mayer has Fred
Niblo and Reginald Barker under contract under similar
arrangements.
R
Doug's Famous Haircut
)oth Mar)- Pickford and Doug Fairbanks have com-
pleted work on their specials. Dorothy Vernon of Hadden
Hall and Bagdad. As Screexlaxd goes to press, both
productions are in progress of cutting. The New York
premieres of both these films will occur in March, shortly
after this, issue appears.
The Fairbankses are planning a trip abroad, with
three or four months of absolute rest. Meanwhile, Doug
submitted to his first haircut, of a year, the barber
actually completing the job at one sitting. Gone are
the sideburns that were helping to make Hollywood
famous. Hollywood is back to normalcy.
Cecil's Green Sport Shirts
)ack in California at work on Triumph, which he
declares will be "the simple story of a tin can," Cecil B.
DeMille is giving Hollywood something new to think
about. He is wearing green sport shirts with a green
diamond as an added feature. It is whispered that the
aforementioned green diamond is one of the only five in
existence. It is set in green gold.
Hollywood is fairly palpitatingl
Nita Again a Hollywooder
I^ita Xaldi is back in Holly-
wood, playing a lead in Herbert
Brenon's production of The Break-
ing Point. You know what Xita
thinks of California. You've
doubtless read expurgated ver-
\Jean Tolley re-
turns from the
Bahamas, where
she played the
leading role in
the new Ince-
Williamson sub-
sea picture.
UNDERWOOD & UNDERWOOD
[ A brand new in-
formal picture of
Barbara La
Marr and her
hubby J a c k
Dougherty.
sions of her opinion. This time she took
along her sister, Mary, with the intention
of having her try the screen.
INTERNATIONAL
Hearst Signs Max Reinhardt
M ax Reinhardt is to make motion
pictures under the Cosmopolitan banner.
He has been signed by William Randolph
Hearst. Reinhardt is at present abroad, having returned after
successfully launching his religious pantomimic spectacle. The
Miracle, with the aid of Morris Gest. The Miracle looks like one
of the great successes of our stage and, with his new Heaist
contract for an almost fabulous sum in his pocket, Reinhardt
ought to be smiling at this moment. Reinhardt will doubtless
direct Marion Davies. At present E. Mason Hopper has the job
and the Davies production of Jan ce Meredith is well along. This
is Paul Leicester Ford's story o the Revolution. Between
Griff.th's America, Marion's Janice Meredith and other impend-
ing dramas of the troubled time, the screen ought to have quite
enough of the Revolution for one year.
Theodore Roberts Well Again
JL heodoke Roberts, who was so dangerously ill in Pittsburgh,
has well nigh recovered. The screen will not see him for awhile,
however, since he must fulfill his various vaudeville contracts,
made previous to his illness, before he returns to the silver
screen. Roberts was on tour in the varieties when he was
taken sick.
Bill Hart Breaks with Lasky
William S. Hart and Jesse L. Lasky have reached the
8 l
[ W illiam Haines, the Goldwyn juvenile, who
was named by Peggy Joyce as the lest kisser
in the movies.
will release Montmartre, the last European-made picture of Pola Negri. This
was directed by Ernst Lubitsch, and is a story of. the Parisian Latin Quarter.
As made for the Continent, it had a tragic ending. However, Lubitsch also
made a happy one — and America will doubtless view this climax. Anyway, we
will have a chance to compare the grisettes of Pola and Gloria.
c,
'lara Bow was recently injured by a-fifteen foot fall from a cliff at Pasa-
dena, while at work on Gasnier's Poisoned Paradise. She was badly bruised
but escaped serious injuries.
J
Blackton Moves West
Stuart Blackton is now making his Vitagraph productions at the coast
Vitagraph studios. Blackton has moved his family to Hollywood and intends
to remain in the west permanently. Lou Tellegen, who played in his Let Not
Man Put Asunder, will likely be seen in his second production.
Famous to Film- Rain
.erorts have it that Famous Players-Lasky will film Rain, the sensational
New York footlight success of two seasons based upon W. Somerset Maugham's
story, Miss Thompson. Rain will probably go through the same hopper that
made West of the Water Tower censor proof, we regret to report. Other early
Famous Players-Lasky productions will be Ferenz Molnar's The Swan, another
big New York stage hit which will likely go to Gloria Swanson, Merton of the
Movies, which will be played in the films, as behind the footlights, by Glenn
Hunter, and Owen Johnson's The Salamander. Leatrice Joy has been officially
promoted stardom by Famous with her forthcoming appearance in Take It Or
Leave It, directed by Joseph Henabery. Not a bad title for a new star's first
picture!
Death of Forrest Robinson
-HE death of Forrest Robinson removed one of the most beloved character
actors of the screen or indeed of the stage. His work in many screenplays will
be recalled by film fans. Mr. Robinson was 65 years old.
J
Marilyn to Really Try Films
ack Pickford and his wife, Marilyn Miller, are being exploited by Henry
Ford as satisfied purchasers of the Lincoln car. Pictures of Jack standing upon
the running board are being distributed eveiywhere, whatever that means.
Incidentally, we hear that Marilyn, who has definitely terminated her con-
tract with Flo Ziegfeld, is to try the films seriously this summer. But the
stage will get her back in the fall, regardless.
Out Where Men Are Men
parting of the ways. All sorts of reasons are
given, but they allseem to indi-
cate one thing — that the much
heralded return of Hart did
not smash over. Hart's con-
nection with pictures has been
exclusively with two organi-
zations, those of Thomas Ince
and Famous Players-Lasky.
Doubtless he will go on mak-
ing pictures, and his next re-
leasing channel will be of in-
terest. His last Famous Play-
ers-Lasky release is Singer
Jim McKee.
JMLotion picture fans will
be interested to know that
the Famous Players finally
0/1 n expensive staff in confer-
ence: Wilfred Buckland, art
director; Guy Wilkie, special
cameraman; Clara Bcraiv-
ger, scenarist, and William
de Mille, the director. Con-
sidering details of Icebound.
82
Settlement has been made of the Hudson's Bay Company vs. Famous-
Players Lasky Service, Limited, libel suit, in which the Hudson's
Bay Company sued to restrain the defendants from circulating a motion
picture titled The Call of The North on account of alleged misrep-
resentation of the company's methods of dealing with traders in Canada.
The picture was made in America and sent to England containing
scenes which the Hudson's Bay Company claimed were a libel on their
business methods. Famous-Players Lasky agreed to eliminate these
scenes, but in the prints circulated in England, these changes it was
charged, had not been made. As a result of the action, the defendants,
the Famous-Players Lasky Service, Limited, undertook not to circulate
the film in its original condition and also to indemnify the plaintiff
company for costs and responsibility in the case.
Colleen to do Another Flapper
C^>olleen Moore, First National star, will again appear as a flapper — ■
a characterization similar to that in Flaming Youth. The new picture
is entitled The Perfect Flapper and it will bring together once more
Miss Moore, John Francis Dillon, who will direct, and Harry 0. Hoyt,
author of the script.
Production of this picture was delayed until John Francis Dillon
completed the direction of Lilies of the Field, :the Corinne Griffith pro-
duction for First National, and until Milton Sills finished the title role
in Frank Lloyd's Sea Hawk.
The Perfect Flapper appeared originally in Ainslee's Magazine as
The Month of the Dragon, by Jesse Henderson.
Loew Signs Frank Borzage
M arcus Loew, during a recent visit to the Metro studios in Holly-
wood, signed Frank Borzage to a long term contract under which he
will direct a special series of Frank Borzage Productions for Metro
for the 1024-1025 season.
According to the plans outlined by Mr. Loew the first of the Borzage
productions will get under wray shortly at the Metro Hollywood studios.
Chaplin Starting Work
A s Screenland goes to press, signs of actual production activities
are appearing at the Charles Chaplin studios, Los Angeles, where sets
are being built for the comedian's first comedy film to be released
through United Artists Corporation.
Since Chaplin's return from New- York to the Coast, where he super-
vised the presentation of his dramatic photoplay, A Woman of Paris,
his first production for United States, he has been much secluded in his
home in Beverly Hills, concocting ideas and fundamentals to inject
into the necessary continuity for his next comedy.
While no title for the picture has as yet been definitely decided upon,
the story will revolve around the days of the 'Forty-niners and serve
as a comedy presentation of the "Gold Rush" and the early Klondike
days. This, by the way, was first told in Screenland.
The Fairbanks' Menagerie
IDoug's need for animals while producing Bagdad resulted in the
Pickford-Fairbanks studio in Hollywood taking on the appearance of
the winter quarters of a circus before the spectacle was finished.
Occupying a cage in the center of the "lot" was "Baby," a brown
cinnamon cub-bear. Six goats which Doug purchased at the beginning
of the production multiplied to eleven. There are also nine donkeys
and a camel. "Florida," a two-foot alligator which also was pur-
chased at the beginning of the production, measures four feet at the
finish and was not as much of a "pet" as he was two feet ago.
Then there were the studio pets. Included among these are Miss
Pickford's parrot, "Mike," and her wire-haired terrier, "Zorro," not to
mention thefavoriteridinghorsesof thestars and the many workanimals.
M uch has been written about the four-footed screen stars, such as
Teddy, the Great Dane, and Rin-tin-tin, the police dog. But less is
known about the traffic in lesser animals that is going busily on in
screenland.
Mice and rats that are "camera broke" are much in demand for
84
air makes them cough, and also makes
their dispositions even more unpleas-
ant than natural. Which is bad
enough at best, as any one who has
worked with camels can tell you.
Eleanor Boardman, for instance.
Rod La Roque in Demand
IRLod La Roque is the fair-haired
boy of filmdom these days. Since his
"arrival" in The Ten Commandments,
with the accolade of Cecil DeMille
fresh upon him, Rod is being offered
"leads" on every hand. But he has
signed with DeMille on a long-term
contract, and appears next in Triumph,
playing opposite Leatrice Joy. In the
cast is also the newly imported Hun-
garian actor, Michael Varconi. Sounds
like a poet.
Patsy's Narrow Escape
P,
ffl Dick Barthelmess and May McAvoy {yes, it's May) look over their make-ups for The
Enchanted Cottage. Director John Robertson holds the mirror approvingly.
dungeon, garret and water-front scenes, and one Los Angeles
man makes an excellent living by trapping rodents and renting
them out to directors. And when frogs and lizards are needed
the studios know just where to go; one man has a "farm" on
the outskirts of the city, where he raises snails, lizards, frogs and
even keeps a few snakes. He has to watch out, however to
"keep the snakes from lunching on the other "actors."
Joe Martin Out of Pictures
Ye ars ago, Colonel Selig started his collection of animals for
use in his own pictures. Now the jungle birds and beasts bring
him in a nice sum annually by working in the movies. Mary,
the Selig Chimpanzee, might well be named after Mary Pick-
ford, so formidable is her salary. She is insured for $ioo;ooo.
Joe Martin, who played in so many pictures, was valued at
$65,000 by his owner, but his stock has
recently gone down. Joe has "turned
mean"; his newly developed ferocity
has led to his being sold to a circus,
where he will spend the rest of his days
behind specially reinforced bars.
If you have an elephant or two at
your command, you can quit work
right now. Elephants work in pic-
tures for $300 a day! Lions get a nice
salary of $100 a day, and just ordinary,
garden variety of monkeys bring their
owners from $25 to $50 a day.
Though not quite so popular now as
in the days of sheik pictures, when no
film was complete without at least one
"shot" of camels marching across the
horizon, camels are still much in de-
mand They cost real money to rent,
too The desert beasts are very sus-
ceptible to colds; the least chili in the
fj Charles Ray and his wife in their
Beverly Hills garden. Charles has
been in the East for some time making
appearances with his Miles Standish.
atsy Ruth Miller was recently
as near death as she is likely to be,
before the final Great Adventure.
Patsy Ruth, in company with the son
of a Los Angeles department store
owner and several other young people,
went for a sail in the yacht of the merchant prince's heir.
They sailed back at low tide, and lo and behold, if the yacht
didn't get thoroughly stuck in the mud on a tiny island about
three miles from the Yacht Club Pier at San Pedro.
It was getting dark, and Patsy Ruth could see in her mind's
eye the nice black headlines that would record the affair if
they had to stay out all night. So she insisted that they take
to the boats and row across.
They accordingly lowered a boat and piled in. They had
rowed perhaps for ten minutes when Patsy Ruth discovered
water in the bottom of the boat!
"I didn't say anything at first," said Patsy, recounting the
adventure afterwards, "because I thought that perhaps the
water had spilled in when we got in the boat. But the water in
the bottom began getting deeper and deeper, and our shoes got
wetter and wetter, and finally we had to bail out with our hats.
KADD & HERBERT
84
But the water came in faster than we could empty it out.
"Well, there we were, a good mile from shore, and it
was pitch dark by this time. We could all swim a little,
but not with our clothes on! And anyway, there was a little
boy with us that didn't know how even to dog-paddle.
Believe me, we were scared! The boys rowed like mad,
and finally the lights of the Yacht Club loomed up. We
came along-side the pier and piled out in a hurry, looking
and feeling like wet cats. And just as the last of us hit
the pier, that old boat sank with a gurgle."
Now it's all out! Derek Glynne, the synthetic-blond
actor whom Elinor Glyn picked for Paul in her Three
Weeks, only to have him rejected in favor of Conrad Nagel
by Goldwyn, is an English musical comedy player. He's
been doing extra work in Hollywood for eight months,
doing his own cooking and everything. A London
theatrical manager identified Glynne as having appeared
in Sally in London a year ago.
G
Ray Donates Court
'HARLEY Ray has enshrined himself in
the hearts of at least five of his countrymen
by donating a new basketball court to
Larry Semon's basketball team, champions
of Southern California in 1922 and 1923.
The floor has been fixed up in Ray's old
studio, and is a fine one.
F,
rank Mayo has been having a very un-
pleasant sessionindeed with bronchial pneu-
monia, and Fox officials are suffering with
him. Because Mayo can't possibly resume
work on his starring role inside of a fort-
night, and overhead is mounting merrily in
his absence.
Dagmar Godowsky Mayo recently announced
that she would file suit for divorce from Mayo.
No More Cigarettes for Her
Anti-Nicotine League has a new recruit.
Blanche Sweet used to enjoy a cigarette after a long
hard day as much as anybody. She used to think they were
soothing and all that. But no more!
All the time they were making Anna Christie, for about ten
weeks, she had to smoke one cigarette after another in most
of her scenes. Then Tom Ince started her out on another
picture, and she had to smoke again. So now when anybody
offers her a cigarette, she shudders and says, "Not me!"
How ever does Theodore Roberts keep it up, she wonders.
Th
Movie Beginner's Chances
. here are more ways of killing a cat than choking it
with butter, and there are likewise more ways of break-
ing into the movies than by obvious routes of acting or
scenario writing. So girls who want to look into this
Hollywood life for yourselves, and yet feel that your
personal pulchritude or literary skill are not up to
the Mary Pickford-June Mathis standard, take
heart of grace. There are at least eighteen jobs
that a clever girl can hold down in a motion
picture studio. And she doesn't have to be a
professional, college-trained woman, either.
Take stenography,* now. Several
hundred stenographers are employed
in every big studio, and the chance for
advancement from such positions is
favorable. Madeline Ruthven held
down a stenographic-secretarial job in
the Lasky studio. One day she wrote
[Continued on page go]
QNot a stocking
advertisement,
but it might well
be one! The lady
who wears 'em is
Shirley Mason,
than whom there
is no prettier
wearer.
85
86 SCREENLAND
Will Production Desert the W est—- from page 57
pose. One scene he caught waj the death
of a man shot by the enemy. But when it
came to be shown on the screen the
tragedy assumed a honibly comic light!
The man had leaped into the air, doubled
up and fallen! It would never do. So
a scene more in keeping with a movie
audience's idea of a hero's death, in which
the hero fell gracefully into a trench with
the light streaming on his handsome pro-
file, was substituted for the stark bit of
tragic realism.
It was at the old Universal, too, that
many of the famous film folk were trained,
and that many a director got his start.
Rex Ingram made his first pictures there;
so did Lois Weber; Hobart Henley re-
ceived his training at Universal; so did
the late Wallace Reid when Dorothy
Davenport, favorite, became his wife.
And when first I met Jack Holt, he was
one of the cowboys at Universal, having
just come down from Alaska.
The Days of the Open Stages
TIhose were the days of the open
stages. I remember coming on Lois
Weber's set one cold winter morning, and
discovered all the women in evening
dress, with bare necks and arms, and the .
thermometer down to freezing point.
The actresses were quite blue with cold,
among them was Maude George, and of
course they had to drink ice water to keep
their breath from showing in the films!
When they weren't actually on the set,
they could keep fairly warm by leaning
over an open stove known as a sala-
mander.
I understand that Carl Laemmle paid
around $40,000 when the property was
purchased by him in 1912. Now it is
worth over a million.
The Sennett Studio was a tiny place in
Edendale. But it held such comic artists
as Charlie Chaplin, Syd Chaplin and
Mabel Normand; and you used to see
these stars sitting about quite like ordi-
nary playeis on the set or working on the
little stages or eating their lunches in a
little lunch-counter place near the studio.
And none of these, even now, has ever
lost the democratic feeling, though they
work these days amidst luxurious sur-
roundings so far as dressing rooms and
offices are concerned.
I remember how lovely I thought
Mabel Normand the first day I met her.
I was to interview her on the dress
fashions in the films, and she conducted
me into what was considered a very
elegant dressing room in those days.
The rough walls were papered, there was
a washbowl and pitcher in the room, and
a little dressing table covered with chintz.
In these days when Mabel and all other
stars have suites of rooms, elegantly
carpeted and upholstered, with a phono-
graph and chaise longue, and a tiny bath,
room, I suppose such a dressing room
would be scorned, but it was the cat's
eyebrows then.
Jumping from $25,000 to a Million
M ack Sennett purchased the studio
property, which consists altogether of
thirty acres, for around $25,000 twelve
years ago. It is now valued at $1,000,000.
It has eighteen hundred feet frontage on
Glendale Boulevard. He may vacate
one of these days, because the property
is on an important car line and will be
broken up into business and residence
property. Sennett himself had a little
old dark back office now occupied by his
publicity director's stenographer, while
he himself has an elegant little suite back
on the lot.
I met Charlie Chaplin when he was
working for Essanay. He was working
in a big, vacant family mansion, formerly
owned and occupied by the haughty
Bradbury family. Charlie was making
a fairly good salary, but was having offers
that worried him a good deal, because he
didn't know what he ought to do. I
found him a charming, quiet, diffident,
earnest little man.
"Why, I fairly perspire with worry
every morning when I come down to the
studio, wondering what I shall do next
in my picture," he explained, "and now
I'm wondering what I had better do about
all these offers."
Building the Chaplin Studios
Now Charlie owns a tremendous piece
of property on La Brae Street in Holly-
wood, which is the location of his pic-
turesque English-village-street studio as
well as of a big house which his brother,
Syd Chaplin, occupies, and which I under-
stand is to be sold — -or at least a large
portion of it — as too valuable for mere
grounds for a residence and location of a
lemon orchard which now occupies a large
pait of the space.
A thousand memories cluster about the
rambling group of buildings known as the
old Griffith Studio on Sunset Boulevard.
The place seems to whisper of Broken
Blossoms, Intolerance, Birth of a Nation,
even though Jack White's comedy com-
panies now romp about in quest of new
gags.
I remember the first time I met Mr.
Griffith, he led a crowd of us, newspaper
folk and the big exhibitors of the day,
into the projection room to see The Birth
of a Nation, though they called it The
Clansman then. Griffith was the only
man, by the way, in the picture business
at that time to realize the value of pub-
licity, and he had the popular Bill Keefe
as his press agent. Keefe was balm to
the wounded spirits of the newspaper
representatives who found the picture
producers acting as if we were trying to
steal something instead of giving them
something!
Life Story of Marion Davis—; from page 30
muscial comedy career never took her
away from Broadway. After Chin Chin
she went into Miss IQ17 at the Century
Theatre, which was a pretentious but
unprofitable musical revue combining
the talents both of Charles Dillingham
and Florenz Ziegfeld. Then came a
musical comedy called Betty and after
that the Follies. The young Marion,
still in her 'teens, was enjoying more
success than she ever dared hope for.
Marion Goes into The Follies
EL ambition never soared beyond
musical comedy. Although the featured
beauties of the Ziegfeld Follies often are
more important than the principals,
Marion had an idea that she would like a
small dancing and singing part. She had,
of course, done some solo dancing and she
was growing used to the spotlight; still
she wanted definitely to shake herself
free of the chorus.
In the Fall of 1917, Comstock and Gest
engaged her for a small part in Oh Boy!
Oscar Shaw, Marie Carroll and Anna
Wheaton were the principals in the show
but Oh Boy! is now remembered on Broad-
way as the play in which Marion Davies,
dressed as a doll in a pink dress and a pink
bonnet, came out and did a dance. The
title of the piece, Oh Boy! was Justine
Johnstone's one speaking line. The two
blonde beauties were enough to carry any
musical show to success.
Couldn't Get Over Self-Consciousness
M iss Davies says that she never felt
quite at her easo in musical comedy. No
matter how much experience she had on
Broadway her fatal fault of self-con-
sciousness dogged her in the wings and
followed her on the stage. Her dancing
37
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^GREENLAND
training had been so thorough, however,
that as the run of Oh Boy! progressed she
began to gain a little confidence in herself.
And she needed that self-confidence.
For, in the summer of 1018, came her big
opportunity. She had an offer to star in
the movies. It all seemed so simple and
so easy. All you did was to have your
picture taken. You worked at a studio,
away from audiences that made you feel
uncomfortable. No chance for cases of
stage fright. Nothing to do but walk in
front of a camera and act.
And the catch of the whole thing was
that when Miss Davies walked in front
of the camera she found she couldn't act.
Now every film fan knows that there are
lots of persons earning neat salaries as
movie stars who cannot act at all. They
don't even pretend to act. And they
aren't in the least bit anxious to go ahead
and learn to act.
Then — Movie Stardom
.he starring of Marion Davies was
not an unprecedented thing in the movie
business. Plenty of other girls from the
Follies had been suddenly brought to the
front as motion picture stars merely on
the strength of their beauty. Other girls
within the studios had been lifted to
stardom merely because they happened
to be pretty and blonde and look a little
like Mary Pickfoid.
Miss Davies says that she realizes now
she should have begun in small parts and
worked her way to the top. But she also
says she would have been more than
human if she had refused the starring
contract that came her way.
Her first picture was Romany Where
Loves Runs Wild and then came Cecilia of
the Pink Roses. Both pictures were
exactly the sort of stories that were
handed out to young and beautiful
blondes in the days when producers
believed that Mary Miles Minter was a
perfect film type. Not only was Miss
Davies inexperienced, but her producing
company — the Cosmopolitan — was com-
paratively new in the business and had
not yet struck its stride.
Decides She Has a Lot to Learn
F,
or Miss Davies, Romany Where Love
Runs Wild was something in the nature
of an experiment — a test picture. Cecilia
of the Pink Roses was her first real picture.
After looking at it many times, studying
it carefully and observing her work, she
decided that she had a lot to learn.
If she had any feeling that her natural
bent was light comedy, she wasn't sure
enough of it to go ahead and defy the
movie tradition that branded her a
"sweet ingenue type." Even today, when
she has every reason to be sure of herself,
she is not a self-assertive person. In the
early days of her career, she was abso-
lutely content to follow the instructions of
her directors, even when her natural
instincts contradicted her actions.
No wonder, then, that both critics and
the public found her a neutral personality
and merely a passive actress.
But Cosmopolitan, as a company, was
progressing and all its progress was built
around Miss Davies. Josef Urban was
engaged to design the settings for her films.
The best scenario writers and directors
were hired to work on her productions.
Miss Davies was getting along splen-
didly from a professional point of view.
Any actress in the business would have
given twenty years of her life for Miss
Davies' chances.
As for Miss Davies' own feelings in the
matter, she felt that the publicity was a
part of the game, one of the essentials for
success as a star. But she welcomed the
improvements in the studio staff as
opportunities of learning something ahout
the difficult business of being an actress.
Studied Acting and Dancing
uS soon as she saw that acting for the
movies was much harder than dancing in
musical comedy she started lessons in the
Sargent Dramatic School. She renewed
her dancing lessons. She took up again
the education that she had so gladly
abandoned at the age of thirteen.
At first, it seemed that she was making
no noticeable progress. Her pictures
became more beautiful and more interest-
ing, but as an actress, Miss Davies seemed
fated to remain merely a pretty young
person. And, what was particularly hard
on her, Miss Davies was accused of not
trying, of being content with "walking
through her pictures."
If the critics on the outside were dis-
satisfied with , Marion Davies, there never
was a question about the loyalty of the
Cosmopolitan Company for its star. Not
only were the officials satisfied with her,
but the innumerable workers around the
studio were strong for her. A few fits of
temperament on the part of Miss Davies,
a few unfortunate rows, a few cross words
to the wrong persons not only would have
wrecked her own career but disrupted the
entire Cosmopolitan Company.
Won By Keeping Her Patience
w,
hile other stars may have forced
their way to the top by the sheer force
of their temperament, Miss Davies went
her steady way merely by keeping her
patience. She worked hard and uncom-
plainingly. She was prompt to report for
work; she was considerate of the other
members of her company. She was
appreciative of what was being done for
her and if she wasn't entirely happy in
those few years of dull pictures, no one
around her ever knew about it.
Hollywood, Cultifornia— from page 32
gazers and seek the soothsayers are
legion. There are scores who never
think of making an important decision
either in love or in business until they
have consulted Darios the Great, a
fortune-teller, whose habitat was on
Pickering Pier at Ocean Park until it
burned down last January. Cinema per-
sons are intensely superstitious.
The Laurel Canyon literati have a
lot of queer ideas as to cults. A census
of the hillside homes there would re-
veal innumerable squat Buddhas amid
an atmosphere heavy with incense,
cigarette smoke and erudition.
Scores used to visit Peter the
Hermit, a somewhat soiled and un-
kempt recluse who dwelt in the Holly-
wood Hills. But he ,has sought a new
abode in a less peopled place. He was
a sort of a cult in himself.
Hollywood's Quaint Ideas
H ollywood's idea of a cult, as is to
be expected, is somewhat different than
that of the thinking world. For in-
stance the Cult of the Careless Dollar
was devised to enlighten the world as
to beauties of masculine larynx. Its
believers made a point of that. The
Camisole Clan, leading exponent, Mae
Murray, is even more revealing.
The Catalina Nature-Takers include
those who weekly make pilgrimages to
Avalon because it is beyond the reach
of the telephone and the boats are in-
frequent. Also one waxes romantic
under the spell of the submarine
gardens.
Every man in Hollywood is a mem-
ber of the United Plus-Four Brethren.
They would rather appear in public
without their pants than knickerless.
The Cult of the Uncut Locks is the
playground organization of this order.
I asked a prominent motion picture
critic whose Hollywoodiana is very
complete to tell me which he regarded
as the place's most popular cult.
"Hootch," was his unhesitant reply.
He was not far wrong for I believe
I have found more "back-slid" Scotch
Presbyterians in Hollywood than any-
thing else. They have slid away from
the Presbyterian part of it. Sub-cults
in this classification include the Tank-
ards, or accomplished drinkers, and the
Shakers, either cocktail or shimmy.
They seem to go cheek by jowl.
so
radiant bride at twenty—
at twenty-five— what?
EVERY woman looks for-
ward to the time when she
f shall become a happy bride
— the greatest adventure of
her life. And when her dreams
come true she is radiant with life
and love, glowing with health
and energy, vibrant with hope for
the future.
In a few years, however, great
changes take place; gone are the
illusions; the rocks of stern reality
take the place of castles-in-the-air.
Tired lines are etched in her face;
perhaps her health is impaired; she
"doesn't have time" for this or that
— the things she planned to do "after
she was married." She is burdened with
responsibilities which never should have
been placed upon her frail shoulders.
Physically and mentally she is growing old.
Why? Because more children have come
than were fair — to her — to her husband —
and, most important, to the children them-
selves.
Marriage — the holy thing
Why do women allow marriage— the holy
thing, to work this wicked
transformation?
Why should a woman sac-
rifice her love-life — a pos-
session she otherwise uses
every resource to keep? Why
does she give birth to a rapid
succession of children, if she
has neither the means to pro-
vide for them nor the physical
strength properly to care for
them?
Margaret Sanger, the ac-
knowledged world leader of
the Birth Control Movement
and President of the Ameri-
can Birth Control League,
has a message vital to every
married man and woman.
In her splendidly frank
and inspiring book, Mrs.
Is the Husband or
Wife to Blame?
Is the husband or wife to blame for
the tragedy of too many children?
Margaret Sanger, the great birth
control advocate, comes with a message
vital to every married man and woman.
Partial List of
Contents
Two Classes of Women.
Cries of Despair
When Should a Wo-
man Avoid Having
Children?
Birth Control— a Par-
ent's Problem or
Woman's.
Continence — Is It
Practical or Desir-
able?
*Are Preventive Means
Certain?
♦Contraceptives or Ab-
ortion.
Woman and the New
Morality.
Legislating Women's
Morals.
Why Not Birth Con-
trol Clinics in Am-
erica?
Progress We Have
Made.
Sanger sends out a clarion call to the women
of the world to cast off the chains of ignor-
ance that have long bound them to their
misery and embrace the new freedom for
which she faced jail and fought through
every court in the land to establish.
For Every Married Couple
In "Woman and the New Race" Mrs.
Sanger shows that woman can and will rise
above the forces that, in too many cases,
have ruined her beauty through the ages —
that still drag her down to-
day— that wreck her mental
and physical strength — that
disqualify her for society, for
self-improvement.
In blazing this revolution-
ary trail to the new freedom
of women, this daring and
heroic author points out
that women who cannot af-
ford to have more than one
or two children, should not
have them. It is a crime to
herself, a crime to her chil-
dren, a crime to society.
And now, when modern
civilization has abolished
slavery everywhere but in
the home, Margaret Sanger
considers it a slur upon the
intelligence of American
womanhood to deny to them the knowl-
edge which has brought freedom, health,
happiness, and life itself to women of
other nations. That is why she has
braved the storms of denunciation, why
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90
SCMEENLAN©
The Perfect Type— from page 63
My nerves were raw when I arrived
on the lot the next morning. I hadn't
had any sleep, and there was a wicked
taste in my mouth that water could
neither dilute nor erase. It wasn't that
I had taken too much. I can hold as
much as the next. But the stuff they
peddle nowadays — well, you know what
it is.
There were only a few of the
company there, and half the actors
who were to be in the firing squad.
The others hadn't shown — and we
couldn't find them any place.
We sat around the set, smoking
cigarettes, and wishing for something
to drink, while old George Howland
ran around tearing out his hair, and
looking for six soldiers.
It would be easy to take the first
six extras he saw, but the men of the
firing squad had to be six-footers and
look like veterans. Howland wanted
types.
It must have been noon when he got
them all. And when he had them he
wasn't any too pleased.
"Well, it's the last shot," he said.
"I suppose I'll have to be satisfied."
He was all ready to go when away
across the lot he spied a stranger — "a
perfect type." A six-footer with saber
wounds on neck and chin, and a
bayonet scratch running from his fore-
head down one side of his nose, across
the lips, and almost to the point of his
jaw !
"A find!" he said, and ran to the
man.
"What's your name? You've got to
play a part in this picture. You don't
need any experience. I've got to have
you. Give you fifteen dollars. Not bad
for an hour's work, eh ? All you've
got to do is look like a soldier. Not
hard, is it?"
He brought the man over to us, intro-
duced him as Peter Olson, took a man
out of the squad, and made up Olson
himself and costumed him, while we
waited.
There was a short rehearsal — and it
was easily seen that Olson would do.
You remember the part? Dan comes
marching out with the firing squad,
arms tied behind him. He takes his
place, and the lieutenant and the men
stand opposite. Dan sneers at them.
The lieutenant offers to bind his eyes,
and Dan registers deep scorn, and
shakes his head.
The lieutenant steps back, asks Dan
if he has anything to say. Dan shakes
his head, calmly, and the lieutenant turns
to his men, and snaps out an order.
The rifles come up, snappily. Those
six extras, new men all, brought up
their rifles prettily. Not a slouch among
them. The war has done much for
the movies.
"Take aim !"
Dan draws himself up proudly, wait-
ing for death, and not fearing it.
"Fire !" — and the empty rifles click
while Dan falls backward and the
lieutenant steps toward the body.
"Very good," said Howland pleased
with himself. "Olson, you are perfect."
He shut his eyes half way — as
though seeing Olson in another role and
liking it immensely.
He turned abruptly and motioned to
his assistant. Blank cartridges were
put in the rifles. Everybody looked at
himself in a mirror. The camera men
squinted through the sights. Elec-
tricians tested their lights. The musi-
cians tuned up.
'All right. Action !"
The music started. The lights hissed
on. The cameras clicked. The firing
squad came in through the gate.
Grenadiers. Veterans. One, two,
three, four ! The march step.
Brisk commands. Prompt obedience.
Beautiful and awful ! War ! A man
is about to die !
Tremaine sneers at the twelve rifles
pointing their little holes at his chest.
Two lines of soldiers, six in front, six
in back. Olson with the saber wounds
and the bayonet scar, staring grimly
and malevolently. Great work. Thrilling.
"Snap out those commands," cries
Howland. "Don't spoil this scene."
"Take aim !"
The rifles are steadied.
"Fire !"
The rifles spit flame. Dan falls for-
ward, the savage grin on his face giving
way to a look of shocked surprise. The
lieutenant steps toward the body. A
woman screams, comes running toward
the set. Mrs. Ehrlich.
The lieutenant stops. He looks at
Howland, stupidly.
"Blood !" he says. And he points.
We never could prove who murdered
Dan Tremaine. One man out of twelve,
of course. But which one? The rifles
had been inspected. And the cartridges.
There was no question that all blanks
had been put into the guns. One of
the twelve soldiers had made the sub-
stitution. But no one had seen him.
And the guns now lay scattered, and
there was no way to tell what certain
gun any one of them had used.
But then — we didn't want to prove
anything. Best hush it up, if we could.
Scandal "ever did the movies any good.
We never should have guessed the
answer had not the new man, Olson,
the man of the scarred face, walked
over to the woman sobbing at the body
of Dan Tremaine, and seized her arm
and pulled her upright.
She looked at him, and laughed
strangely, and they walked out of the
studio, arm in arm.
The Listening Post— from page 8 j
a short story and sold it to a fiction maga-
zine for S25. She called it The Rendez-
vous. Marshall Neilan saw it, recognized
its screen possibilities and bought it, for
$5,000! The purchase price was divided
between the author and the scenarist
who adapted it to the screen. Recogniz-
ing Mrs. Ruthven's talent, the studio
promoted her to the reading department,
•.vhere she scans modern literature in
search of possible film stories.
Girls who are clever with a needle find
interesting employment in the wardrobe
departments, where yards ana yards of
gleaming satins, shimmering tulle and
silks are converted into the gorgeous
gowns of th? stars. The drapery depart-
ments require specially trained seam-
stresses to handle the heavy velvets and
stiff metal brocades. The heads of these
wardrobe departments, such as Sophie
Wachner of the Goldwyn studio, and
Ethel Chaffm of the Lasky plant, have to
be fashion prophets and skilled in the art
of playing up an actress' good points and
concealing her less fortunate ones. Miss
Wachner shortens a tall girl's height by
dressing her, for evening-dress scenes, in
a gown with the skirt short in front and
with a long train behind, or by adorning
her frock with ruffles running around the
skirt. To accentuate height, Miss Wach-
ner suggests hats that are dark next to
the face and brightly colored as to the
crown.
Chances in Wardrobe Departments
A
unique position in Hollywood is
held by Milba Lloyd in the plaster shop
of the Lasky lot. Miss Lloyd designed
the sphinxes and the figure of Rameses,
used in Cecil De Mille's The Ten Com-
mandments. In the plaster shop, "props"
such as the stone art benches and spout-
ing fountains of "society pictures" are
turned out.
SQREENLANB
91
Big Business
and Its Movies
— From page z$
show, he would save it by rushing on
the stage waving two American flags.
Is This Deliberate Class Lying?
.Ti is kind of deliberate class lying'
now constitutes practically all of what
feeble intellectual life our moving pic-
tures possess. Some years ago I had
the pleasure of talking with Mr. D. W.
Griffith and voiced my abhorrence of
the incitement to race hatred which
makes the essence of his picture, The
Birth of a Nation. His answer was
that he had not been thinking about
that aspect of the matter ; he had
merely been concerned to tell an effec-
tive story, and had not cared what it
was about.
But since that time the movies have
come to full consciousness ; they have
now a Big Business director, at a
salary of a hundred and fifty thousand
dollars a year, and they have gone on
a huge scale into the business of pror
tecting organized greed by making it
holy to the people of America. I
understand that Mr. Griffith is now
completing a mammoth picture, in-
tended to preach what is called patriot-
ism — that is to say, capitalist im-
perialism.
■Mr. Griffith's Next Picture
A..
.merican financiers are forcing
their loans upon China, and all the
states of Central and South America;
and when these loans are not met,
Amen can battleships and American
marines are to be used to collect the
debts, and the moving pictures are to
be used to keep the people in a frenzy
of delight over this "patriotic" course
of action. Mr. Griffith has now had
the backing of Mr. Hays, he has had
the free use of the American army and
navy. We may be sure that this time
he won't pretend to anybody that he
was just interested in telling a story;
this time he will be a real and devoted
patriot.
And if the producers should not be
strenuous enough in protecting the ex-
ploiters in their rights to what the
rest of us produce by our toil, why
then there comes the censor, to teach
them better. Ten years ago I assisted
in the production of one fairly honest
moving picture — that is, one which
tried to follow out at least a few of
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92
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the author's ideas. The picture was
The Jungle, and it is interesting to note
that the concern which made it was
forced into bankruptcy almost before
the picture was shown !
Tried to Make Films for Masses
T,
ii ree or four years ago an effort
was made to organize a company to
make and distribute pictures in the
interest of the workers. This company
tried to show The Jungle, to make a
little money and get a start; and all
over the country they ran into the cen-
sor. The picture was barred from
Chicago absolutely, and the secretary
of the censorship board made no bones
about the reason; the picture was an
attack upon Chicago's biggest and most
powerful industry. Then came the
National Board of Review, ordering
the removal of a caption describing the
United States of America as "Not just
the sweet land of liberty." Also they
ordered the removal of a caption in a
court scene, "Pleading for Justice.'
This seemed to convey the idea that
workingmen sometimes did not get
justice in the United States without
pleading for it ! I should like to get
this movie censor to read a book called
"Justice and the Poor," which tells the
facts on this subject — and teiis them
without the indorsement of Chief
Justice Taft of the U. S. Supreme
Court !
Movies Man of Mystery-F rom page 71
that he has been criticized for
the way in which he entered the modern
episode; but argues that the dramatic
let-down was deliberate and if he had
kept up the tension the audiences would
crack under the strain.
De Mille Says the Spectacle Is Doomed
The spectacle director somewhat
startled me by announcing that the spec-
tacle as such is doomed. That it never
really stood for anything anyway. If
there is an excuse for spectacular scenes,
by all means put them in. But — — ■
"Blowing up a train means nothing,"
said Cecil de Mille, "unless a human
heart is blown up at the same time."
Somehow I could see that flashing on
the screen as an embroidered sub-title
by Jeanie MacPherson.
And
"There is no sense in a thousand
horses galloping somewhere. You will
never thrill your audiences with such
a scene. If the horses are galloping
somewhere in particular — to save a
kingdom or a heroine — then you will
have them sitting on the edges of their
orchestra chairs."
Again — Cuties on Rope T^addcrs
will forbear asking Mr. de Mille
if he thinks that his orgy in the Biblical
episodes of The Ten Commandments
was entirely uncalled for. I knew that
no matter what subject he selected
he would still find a way to show cuties
swinging on rope ladders over the
revellers.
Again
"We have had thousands of waving
torches," said the director. "But what
do they mean when waved for no rea-
son at all ? No matter how many
torches there may be, they are of small
consequence unless they also ignite a
spark in a human being."
The man who has filmed more spec-
tacular orgies and revels and has used
more silk and jewels and furs to the
film foot than any one who ever wore
puttees is following The Ten Command-
ments with Triumph. And he is stick-
ing to his story. In Triumph there
will be no crowds and, as far as can
be ascertained, no orgies. Or if there
are orgies, they will be of the nice,
quiet kind. It is, briefly, the tale of a
tin can. Leatrice Joy and Richard Dix,
two young people whose pictorial place
has always seemed to be in the home,
however humble, will have the leading
roles. Apparently a plain, wholesome
picture, free from frills.
Has He Shot His Last Bedroom?
'oes Mr. de Mille mean to keep his
word? Has he shot his last bedroom
scene ? Will his heroines never again
star in the shower ?
If such is the case, has he lost your
allegiance? Or can you be counted on
to follow his plots into the front parlor
as readily as into the boudoir?
We can't clear up the great de Mille
mystery right now. Time alone, as the
titles say, will tell. It may even be a
little matter for the ages. But just to
be fair about this thing, to present
C. B. to you in a new and practically
unprejudiced light, I'll tell you what he
said about The Ten Commandments,
which, despite his declaration that it
is the cheapest picture ever made, cost
nigh onto a million dollars.
"It should be called 'The Ten Gray
Hairs.' Five for Mr. Zukor and five
for Mr. Lasky."
^GREENLAND
ANOTHER
GUN FIRED!
See April Real Life!
A NOTHER gun will be fired
in the fearless campaign
to expose a literary fraud that
REAL LIFE opened in the
March issue. A mother has
written sincerely, in desperate
need of help, about the gradual
breaking down of her fourteen-
year old son's fine moral sense
and literary appreciation. Her
article is called DEBAUCH-
ING THE ADOLESCENT.
The following stories bring
romance, adventure, love, solu-
tions to every-day problems —
in fact, real life as it is really
lived :
A PLACE TO DIE, by Maria
Moravsky.
THE GOLD DIGGER, by Ben
Hecht, first of a series of "Little
Stories of Real Life."
THE FLAPPER IS REAL
AMERICAN BEAUTY, by Penrhyn
Stanlaws, famous artist.
THE SOUTH SEAS FLAPPER,
by Captain Frank Hurley, noted
Australian explorer, famous for his
explorations in New Guinea, and
as the discoverer of the "Lost Tribe
of Israel."
WHAT'S A STAR'S REPUTA-
TION WORTH ? by Rhoda Montade:
another brilliant news feature.
CONNING THROUGH, by
Travis Hoke and "Mark Mellen."
The first of a series of short stories
by an unreformed "cheater of cheat-
ers," who tells his stories to a crack
newspaper man.
NEW PLAYS AND PICTURES,
reviewed bv Anne Austin.
FIND THE VILLAIN, by Louis
Weadock; another Mr. Bloom Story.
SATO'S BUMP, by Ben Hecht.
Further brilliant anecdotes of Chicago
newspaper days.
SISTERS OF JEZEBEL (Con-
clusion).
THE COBBLER'S TALE, by
Paul Everman. A love story.
THE DEADLY SEX, by Harrison
Dowd. Part Two.
THE WITNESS FIXER, by
Mabel Lockman. A story of justifi-
able trickery.
Real Life Stories
145 West 57th St., New York City
93
What Will Happen
to Ben Hur?
— From page zj
dungeon scene, where Walsh took the
sacrament ? Did you see the spiritual
look in his eyes — the light of one who
dreams and dreams and sees visions?
That was the spirit that I wanted for
Ben. Too, he has an 'old world' face.
"FTP*
ILhex his body. Bcn-Hur had a
beautiful body; he gloried in it. It was
his magnificent physique that led the
Roman judge to sentence him to the
galleys, manned by the cream of all the
captives of Rome, rather than send him
to a leprous cell, which was the fate of
his mother and sister. The theme of
the story, you know," and June Mathis'
own eyes glowed as she lived the story
over for me, "is of the spirit of re-
venge conquered at last by the message
of the Christ; a man of enormous
strength and virility, motivated for
years by the lust for revenge for a
terrible wrong, softened at the last by
a spiritual love. . The moral conquest
of a weakling would not be dramatic.
It was Ben-Hur's great strength that
made his spiritual awakening the great
and forceful thing it was."
When the screen rights for Bcn-Hur
were purchased from A. L. Erlanger
some two years ago, the word went out
that the man chosen for the title role
must have two qualifications: broad
shoulders and a spotless reputation.
Well, naturally, that narrowed down
the field to Conrad Nagel at once. And
as at the time of choosing. Conrad
hadn't yet recovered from the strain of
being Paul of Three Weeks, our
perennial moral champion was declared
ineligible. Anyway, his complexion was
against him: Ben wasn't a blonde.
Slender at last!
Bom in New York
I
N spite of Walsh's "old world face,"
he. first saw the light of day in a strictly
American community, in New York.
The prelude to his nefarious career in
Fox "mellers" consisted of an excellent
education at Fordham and Georgetown
Universities. His first screen appearance
of any note was in the Fox films. The
Book Agent; Some Boy; This Is the
Life; Help, Help, Police, and others.
Oh, many, many others.
Francis X. Bushman starts the
second phase of his dramatic career as
Messala, the false friend of Ben-Hur.
First a star of great popularity, ac-
claimed as the favorite actor of his
time, before whose picture counties?
maidens have offered incense. Then,
as the relentless years press upon him,
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the inevitable character roles.
He should be perfect, Miss Mathis
declares, in the role of the man of the
world who is skilled in the arts of both
love and war. It is Messala who reads
the hearts of women as an open book.
Bushman as Messala
nd by the way, the filming of the
picture among the grandeur that was
Rome, will have all the aspects of a re-
union. For June Mathis wrote several
scenarios for Bushman, when he was
a great star. And it was with Charles
Brabin, who is to direct the film, that
she got her first start at scenario
writing.
"When we set upon Carmel Myers
for the role of Iras, we completed the
trio of the three most physical person-
ages of the screen," June Mathis told
me. "Walsh, Bushman, Myers — their
appeal is almost wholly to the senses."
Carmel Myers, who used to play
ingenue roles but is now vamping for
a living, typifies the spirit of Egypt, ac-
cording to Miss Mathis. One can find
her prototype in the ancient friezes of
the land of the Nile. At least so says
Miss Mathis.
Carmel is that rare thing, a native
Calif ornian. She has lived almost all
her life in Los Angeles, where her
father was a rabbi. She made her
screen debut opposite Harold Lockwood
in The Haunted Pajamas. Leading
parts in Universal pictures followed:
Sirens of the Sea; My Unmarried Wife;
The Dangerous Moment, and others.
Her first important lapse from virtue
(screenically speaking) occurred in The
Magic Skin.
The thankless and unexciting role of
the virtuous sweetheart who receives
the somewhat battered heart of the
hero, after the vamp has had all the
fun, is in Gertrude Olmstead's keeping.
Like Walsh, Miss Mathis says, Gert-
rude has that spiritual look so desirable
in heroines. It was that look that got
her the part.
To Ben-Hur via Beauty Contest
he manner in which Gertrude Olm-
stead entered pictures happened some-
thing like this. It seems like Gertrude,
who lived in Chicago, went to the
photographer to have her picture taken,
as we all do occasionally in moments
of weakness. She had just been gradu-
ated from high school. The photogr
rapher got some very pretty shots and,
her press agent declares, sent some
prints to the manager of the beauty
contest that the Chicago Herald and
Examiner were putting on, in connec-
tion with the Elks. And when Ger-
trude and her mama heard what that
wretch had done, we are led to be-
lieve, they both of them practically had
hysterics right there on the new rug
in the photographer's ante-room. But
the damage had been done. Gertrude
was awarded the prize, and Carl
Laemmle offered her a job with Uni-
versal, and, after a terrible mental
struggle, Gertrude accepted. So that's
how Gertrude got in the movies and
won the chance to be Mrs. Ben-Hur,
all by having her picture taken. Pick
your exit now; walk, don't run, girls.
The only remaining member of the
cast to be chosen in America is Kath-
leen Key. Kathleen has the part of
Tirzah, sister to Ben-Hur. Her re-
semblance to Walsh won her the part,
says Miss Mathis, together with a
haunting, pathetic quality that is ex-
pected to reach the heart.
All the other actors will be engaged
abroad. Charles Brabin is now in Italy,
with a staff of technical experts. June
Mathis is soon to join him. The sec-
tions described in so much detail in the
book are all to be filmed in Rome.
Of one thing we are assured: Ben-
Hur will not be merely a spectacle. We
will not be asked to sit through seven
reels of mobs storming the Coliseum
or Nero's palace, nor will we be given
an animated travelogue, the Sight-seers'
Delight. The human interests, the con-
flict of strong wills, is to be the cake;
the Roman setting is merely the frost-
ing. So predicts Miss Mathis, but we
shall see — we shall see.
It all sounds great. But oh, June
Mathis !
We wish you hadn't let George do it !
Making Pictures in France
— From page J4
which is humanly possible and ap-
pealing.
In the cast are Harry Baur of the
Odeon, Mary Marquet of the Comedie
Francaise, Lily Dameta of the Casino
de Paris, and Georges Melchoir, the
light-haired movie heart champion of
France. The director, who is also the
author of the story, lays its scenes in
old Montmartre, around the familiar
Place Pigalle, Place Blanche, and up
the hill in a quarter practically un-
known and unheard of by the average
American tourist.
SC1EENLANB
95
Battle Ground of Drama— page 4$
esting\ It was the wicked King of
Spain intent upon seducing her who
furnishes the drama of the piece.
M ovie producers, learning from ex-
perience, that a heroine can be made
appealing and effective chiefly by show-
ing her at grips with Evil, and that a
movie depends almost entirely for its
moral success upon the extent of
diabolerie overcome, have extended
themselves in the inventions of villainy.
The public watching an abandoned
wretch endeavoring to rape a golden
haired girl in an isolated log cabin
knows the heroine will not be raped.
The hero will arrive on a dog sled, a
bolt of lightning will intervene or a
iegiment of U. S. Marines will sud-
denlv materialize.
A,
Mia Christie is not a Moral Drama.
The result is that, despite its central
character being a prostitute, there are
no sex scenes in the picture. There
are no scenes in which the libido of the
spectators is stirred by wrestling
matches between a villain intent upon
a seduction and a trapped heroine. The
drama of Anna Christie is contained in
the character of Anna herself and her
conflict as a human being with the
morality of others. The drama of such
a film as The Lights of Broadway is
contained in the conflict of a Moral
Symbol — the heroine — with the human-
ness (evil) of others.
movies, concerning themselves
almost entirely with the triumph of
Morality, have revealed to the world an
orgie of kissings, huggings, and at-
tempted rapes the like of which has
never been known in any art or semi-
art form of any other civilization. The
movie producers observe only one law.
This is the law of the Virtuous Finish.
The citizen, reveling in the attempts at
seduction portrayed on the film, must
be shown that, regardless how fate,
locality and opportunity conspire to
assist the Villain, something will always
happen to defeat his low sexual pur-
pose— be it only the pealing of church
bells in a neighboring prayer house.
The citizen desires this assurance be-
cause, in a way, it vindicates his
abstinence from villainy.
w omen of course have the best of
it as movie spectators. They can
vicariously identify themselves with the
heroine and enjoy the thrill of illicit
overtures during the five reels as well
as the thrill of romantic victory in the
sixth reel.
I
F you will keep track of the scenes
you are shown in the movie plays you
will find that two-thirds of them are,
theoretically, lewd. Were the heroine
involved a human being, whose emo-
tions and attitudes were not dictated
by a moralistic plot, these scenes would
be downright "obscene."' The un-
reality of the heroine minimizes the
realism of the attempted "love crimes"
in which she figures.
T» E movie industry today is, aestheti-
cally, as degenerate as the novels of
Laura Jean Libby or Elinor Glyn. The
average movie plot is based upon the
vicissitudes of virginity. The public
discussion of female virginity, which
preoccupies the moralist, is an intensely
more sexual stimulus than the public
discussion of prostitution or sexual
promiscuity. Write your own psycho-
logical caption. If I were to draw a
cartoon of the movie heroine I would
draw a picture of a pretty girl with
her head buried in the ground offering
the rest of her person as the battlefield
of drama.
New Screen Plays— From page ;s
It concerns a little Apache by-product
of Montmartre, a gamin who dresses as
a boy and is known throughout under-
world Paris for her thievery as "the
humming bird." An American news-
paper man comes to love her — but along
comes the world war, with plenty of old
shots from 1014-16 news reels. The
American joins the foreign legion and
Toinette marshals the wolves of Mont-
martre to the colors. Then she is arrested
for her old thefts and sent to prison but
she escapes during a Zep raid in time to
visit the bedside of her wounded — and
apparently dying — hero. He is restored
to health and everything seems rosy when
the chief of the Paris detectives enters.
Must Toinette go back to prison? No,
indeed. France has forgiven her. Didn't
she march the wolves to Flanders fields?
Fade-out!
Director Sidney Olcott has told the
story with considerable glamor and
much fidelity to detail. (This Olcott, by
the way, has hit his stride this past year.)
And yet there are glaring slips. As for
instance, the way the chief detective, on
visiting the American's apartment in the
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early morning before the war, asks to be
introduced to Toinette. This seems to
me to be hardly in the true spirit of Paris.
And I could get along with a few less clips
of old news reels.
The Humming Bird will be a popular
picture. Yet Miss Swanson's Toinette
is not as good as her Zaza by a long shot.
She frequently strives for a Kiki abandon
and an Apache hardness with palpable
effort. And she frequently overdoes both.
Yet the very unrestraint of Miss Swanson
has suddenly given her a new public
interest. Our screen is wrapped in
repression — but Gloria has kicked loose
from it with a vengeance. Now and
then she may achieve a lot of bad acting
but she has hit the popular appeal. So
there you are! Edward Burns isn't much
of a hero and the rest of the cast is indiffer-
ent— but Gloria is all over the place, so
who cares?
Where Pan is Making Last Stand
de Mille adapted Julian
Street's Rita Coventry into Don't Call It
Love and the result is passably enter-
taining, although little more. Mr. Street
satirized the idiosyncrasies of the opera
world and its passionate indiscretions,
where the God Pan is making his last
stand before the inroads of the Hayses
and the Landises.
Rita, the diva, is momentarily inter-
ested in Richard Parrish. She goes away
clandestinely (if the word can be applied
to a notable trailed by an army of report-
ers and cameramen) to Atlantic City
with him — and the adventure might have
turned out disastrously did not her fancy
suddenly turn to a young piano tuner.
Mr. De Mille has endeavored to treat all
this lightly and amusingly but his touch
is as heavy as a concert grand at times.
His opera folk do not appear very authen-
tic to me, but I do not pretend to know,
my field of acquaintance in the music
field being entirely limited to a zither
player. Still, I have my doubts about
Nita Naldi's as a Farrar. The other
combatants, Jack Holt as Parrish and
Agnes Ayres as the homey little gal who
really loves him, did not intrigue me.
Don't Call It Love is one of those screen-
plays to see if you haven't anything else
to do with your evening.
Effective — But Full of Holes
JLhrough the Dark is a momentarily
effective melodrama if you do not ques-
tion events as they appear. But when
you look back over the preceding I
am pretty sure you will find this screen-
play, built upon a Boston Blackie story
by Jack Boyle, to have as many holes as
a Swiss cheese.
It is full of gats, crooks, most of whom
want to go straight, and detectives and
stool-pigeons who try to prevent 'em.
Then there is a kindly grey haired widow
97
of a jail-bird who died in prison, she 1
keeps open house for second story men
and gives them all nice, motherly advice.
Imagine a half dozen yeggs gathered in a
semi-circle around the widow, hstening to
a bedtime story! Her daughter is in a
finishing school, oblivious to her papa's
reputation and fate. But. of course, the
police prevent the girl going on with her
illusions. She gets tossed out of the afore-
mentioned finishing school but ultimately
marries a famous crook, no other than
Boston Blackie, who reforms, of course.
Colleen Moore is the girl and a bit
better than in Flaming Youth. But
Forrest Stanley makes Boston Blackie
strongly resemble the gentry standing
outside the Lambs' Club on a warm
Summer afternoon.
Rupert Hughes at His Worst
_evo is Rupert Hughes at his worst —
which is considerable. Hughes starts out
to show how the divorce laws of our
various states are wholly different, so
that a person may be divorced in one and
yet still married in another. His num-
erous characters have an assortment of
matrimonial tangles, until Mr Hughes
solves his great problem by having the
villain, played by Lew Cody tossed some
two hundred feet in midair by an annoyed
geyser. Bui I exploded before the geyser
did — and never did see this event,
reported to me to be very exciting.
In the company you will find practically
the whole Ben Hur cast, from George
Walsh, he of the spiritual eyes, to Carmel
Myers- Perhaps they were giving them
practice working together — or something
Anyway, the whole Ben-Hur cast is in
Reno except the horses.
Their Characters
-From page j.
company any more. There is obvious
in her heavy-lidded eyes, her curved lips,
her high-arched nose and her strong jaw, a
deep-rooted love for the sacred things of
life.
I called at her home to tell her of my
conclusions. 'When I saw her standing
there — her six feet two of magnificent
womanhood attired in a flowered cretonne
apron — I knew that I was the man who
was to teach Maude Murgatroyd the
lesson of real life and love.
'"Miss Murgatroyd," I said as gently as
possible. '"Not for you the leopard skins,
nor the divan scenes. You are just a real,
good, womanly woman, with all the
instincts of such. Come with me and I
will show you life as it is."'
Miss Murgatroyd smiled at me — a slow
cryptic smile. Then she took me by the
collar and opened the door. "It's only
three nights," she said before she threw
me down.
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98
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Ten Best Pictures — From page 45
of 101 Aguacate Street, Havana, Cuba,
named: The Darling of Riches, The
Shriek of Araby, Don't Marry for Money,
Frivolous Wives, Lying Lips, Adam's Rib,
Stanley in Africa, Puchunguita, The Dark
Secret, and The Cheat. Some of these are
unknown to America.
Partisan Star Admirers
Some of the voters became very parti-
san, casting ten votes for pictures of their
favorites. Gloria Swanson and Richard
Barthelmess received a number in this
fashion. Rosaly Hunter, of 19 Belleview
Avenue, Ossining, N. Y., for instance,
voted for The Bright Shawl, The Fighting
Blade, Way Down East. Fury, Tol'able
David, Broken Blossoms, The Bond Boy,
The Covered Wagon, The Prisoner of
Zenda and Scaramouche.
Inez Wallace, of The Cleveland Plain-
Dealer, selected the following ten: The
Birth of a Nation, The Four Horsemen,
Orphans of the Storm, Passion, Cabiria,
The Miracle Man, The Covered Wagon, The
Green Goddess, The Kid and The Gold
Diggers.
Ivy Dayrell of The View, Lower Road,
Shoreham-by-Sea, Sussex, England,
named: The Birth of a Nation, Orphans
of the Storm, Intolerance, The Four Horse-
men, Robin Hood, Smilin' Through, The
Covered Wagon, Nanook of the North,
50,000 Miles with The Prince of Wales
and Dr. Jekyl and Mr. Hyde.
In many instances, the selections of
ten represented the composite choice of
a whole family. This was, for instance,
the case of the vote cast by the Alva
Ulrichs of Somers, Mont. Here Mr. and
Mrs. Ulrich and their three children
made out an excellent selection.
Flappers in the Concrete — From page 6g
spoke to the star except to order another
cocktail. When seven o'clock came, she
asked if she might remain to dinner.
And, after borrowing the star's limousine,
she simply announced that she wanted to
play a part in her next picture and de-
parted, without thanks.
A
Spelling Games for Stars
n other star — or rather a young
actress who can't see why she isn't
starred — told me that she had joined a
reading club. "We get together once a
week," she said, and "choose words out of
the dictionary. Anyone who doesn't know
the meaning of a word is fined ten points.
We play for a quarter of a cent a point."
The club broke up when one of the
girls' mothers complained that her
daughter lost too much in gambling.
An ambitious newcomer took the
money she had saved from a lucrative
engagement in a big picture and decided
to have her portrait painted.
The portrait was painted and the hope-
ful artist sent it around to her.
The actress sent it back with an
indignant letter saying that she had been
grossly cheated. The paint was spread
on with miserly thinness and she had
paid enough to get plenty of paint.
Either the artist must put on a couple of
extra coats or lose his money.
Doubled Jeritza's Film Possibilities
A,
T a luncheon, a star from the Coast
told me that she had been to the opera to
hear Marie Jeritza.
"I don't see why they make such a fuss
of her," she complained, "why, she
wouldn't film well at all. And, anyway,
she is a German or something."
Nor do the feminine flappers supply all
the solid concrete in the world. A certain
male flapper, upon coming to New York,
was asked to speak at a dinner. A few
days before the dinner another movie
scandal had broken in Hollywood and the
fiont pages of the New York newspapers
were shrieking with glad tidings.
Naturally the star felt called upon to
defend the old home town and so he
spoke as follows:
"I don't see why the New York news-
papers make such a fuss over the shootings
in Hollywood. Why out there, we think
nothing of a murder!"
Joys of Being an Interviewer
'f course, there is always the classic
remark of Mildred Harris who, upon
parting from Chaplin, complained that
he used to read a book all the time. And
there is also the story of the girl who was
so dumb that she thought the senators
kept their liquor locked in the President's
cabinet.
It is great to meet the stars face to face
and hear them say things and do things
that you wouldn't have believed possible.
It is lovely to sit through an interview
with an ingenue who persists in denying
that the man who came in with a latch
key and flung his brown derby on the
hat-rack is her husband; who blithelv
claims she never has been married ard
never wants to be; and who pathetically
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inquires if you, too, do not believe that
marriage is a detriment to a career —
when it is made public.
It is also wonderful to welcome a West
Coast star on her first visit to New York.
It is marvellous to see her in her suite at
the Ritz explaining to a group of weather-
beaten Manhattan reporters that she is
asleep at half-past nine every night at
home and that she is absolutely be-
wildered by New York's habit of going to
the theatre every night.
In the exchange of tourists between the
East and the West, the Eastern greenhorn
who tries to eat olives off the tree is fully
matched by the bunches of movie queens
who, upon pulling out of Grand Central
Station, tell the world that they wouldn't
live in New York if you gave them the
place.
Think they wouldn't?
Dramaland
— From page 6;
most enthusiastic admirers. Of course,
it is more soundly satisfactory to listen
to a man like Shaw boring one than it is
to listen to the average Broadway play-
wright interesting one, but there are
limits. And the venerable G. Bernard in
late years does not seem to appreciate
the fact. After he has convinced you of
something, and beyond dispute-, he
promptly buttonholes you all over again
and tries to make sure that you have
not changed your mind in the moment
lie has paused for breath. Further-
more, we are all beginning to get a
trifle tired of the jokes on England and
the English that the old boy is so proud
of. He has worn them out; they are
today about as novel as Joe Jackson's
bicycle act. His play is worth seeing,
but I promise you that, if you are not
given to affectation, it will pretty well
tucker you out before its final curtain
comes down.
I hear that the Theatre Guild has
improved its production of the play-
since the opening night It needed to.
On that night, it moved with all the
graceful alacrity of an Elks' funeral
cortege.
IV.
M,
adrc, by Rafael Orbera, is a
Spanish opus that is guaranteed to put
you to sleep by nine-thirty. It is one
of those Castillian nonesuches full of
passionate actors dressed up like an
old beer-garden "Bohemian Girl" opera
troupe. The stage is full of Damiens,
Faustinas, Sanchos, Franciscos and
Marcianas who are bursting with emo-
tion and who take it out in black looks
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while someone plays a guitar softly in
the wings. With a few notable excep-
tions, the average modern Spanish play
is about as exciting as a debate between
two deaf mutes. There is to it some-
thing as recalcitrantly humorous as a
Sardou drama played by a company of
child actors. With all the good plays in
the world, it seems as foolish to import
these old-fashioned, empty, modern Span-
ish alarms as it would be to export near-
beer to Germany. Nance O'Neil is the
star of the occasion. She enjoys herself
immensely, which is more than may be
said of her auditors.
V.
TThrust your right hand in the bosom
of your Prince Albert, strike a pose
that would make a college president turn
green with envy, proclaim as gravely as
you will all the deficiencies in Sutton
Vane's Outzvard Bound and the fact re-
mains that this play is yet as interesting
a thing as the New York stage has seen
this season. It is original ; it is humor-
ously, yet sincerely, devised; it is ably
written, it is expertly staged; and it is
admirably acted — which should be
enough for anyone's two seventy-five. It
would, incidentally, make such a first-
rate moving picture that it is doubtful
that any movie company will take a
chance with it, so I advise you to see
it while you can.
The tale of a number of men and
women who find themselves mysteriously
on board a strange vessel bound for
they know not where and who sud-
denly awake to the fact that they are
all dead and moving across the Styx
to a port in each case unknown, the
play holds one as strangely as Chester-
ton's Magic. Although they are wholly
•dissimilar, these two plays have one
element in common: the action in each
takes place less on the stage than in
the spectator's mind. Don't be
frightened, dear film fans, however.
There is no more disturbing intellectu-
ality in Outzvcrd Bound than there is
in a copy of the Police Gazette or a
Griffith movie. It is just a good play
devoid of stencils that will hold your
attention as closely as a well-written
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trying to trick you into seeing it.
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car onto a moving automobile and
thence onto a moving van. It will stir
your emotions as they have never been
stirred by the picture of some cow-eyed
ex-shopgirl being kissed back of the
ear for three minutes by some passion-
ate ex-street-car conductor dressed up
as a Spanish toreador. Tf, after view-
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SCREENLAN©
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VI.
The best of the more recently pro-
duced musical shows are George M.
Cohan's The Rise of Rosic O'Reilly and
Ziegfeld's Kid Boots. Cohan's show
has the most amusing libretto, and
Ziegfeld's has in the person of Eddie
Cantor the most amusing comedian. If
any other comedian worked as hard to
get laughs as Cantor does, you'd feel
like heaving a large, thick sausage at
him, but somehow you don't particularly
mind. Cantor's "herculean efforts.
There's a laugh in every drop of his
perspiration. And he gets these laughs
without recourse to the usual comedian
dodges. He doesn't wear a burlesque
show moustache ; he falls upon his pant-
seat only once or twice ; he doesn't
trip over his own left foot; he doesn't
wear a zoo derby; he doesn't call the
orchestra leader Oswald. Mary Eaton
is featured in the same exhibit. She
is a pretty girl; she has learned some-
thing of singing; but her dancing is
stereotyped. In the Cohan entertain-
ment there are no especially noteworthy
performers, but Cohan's direction of
his lesser celebrities is so good that he
gets almost as much out of them as
another producer can get out of as
many Rolls-Royce salaries. The new
Mary Hay show, Mary Jane McKane,
is largely the venerable stuff. La Hay
is not nearly so engaging as she -was
in Marjolaine, and the rest of the
troupe, except the Keene twins, who
negotiate some agile stepping, is not
distinguished. The libretto, further, is
as old as the James J. Hills.
VII.
I
N adapting Bourdet's French original
for American audiences under the title
of The Other Rose, George Middleton
has taken out the sex motif. The re-
sult is a Mack Sennett bathing girl in
a hoop-skirt. Just why American play-
wrights continue in the face of over-
whelming evidence to the contrary to
believe that sex is offensive to an Amer-
ican audience, my negro statistician
the Rev. Dr. Lucullus Wurzburger, has
thus far been unable to deduce. Why
they should believe that an audience
will get right up and walk out if they
show it a young man who is not a
eunuch or a young woman who isn't a
sexual great-grandmother, is something
that the late William Pinkerton died
trying to solve. Mr. Belasco has
staged The Other Rose very ably; it
is excellently played in its two central
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The Optimistic
Elinor
■ — From page 47
stupid Lenin," and she laughed again.
I was becoming quite a comedian.
"Trotsky ," I stopped.
Her eyes narrowed again and she
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brush from the window-pane." That
was too much, and I said, in that su-
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peare and a crowd of others stood
bowing at me.
"You spoke in high praise of optim-
ism a moment ago, Mrs. Glyn. Don't
you think it can be carried too far ?"
I asked, the while thinking of Ibsen's
"the supreme optimist is a damn fool."
"No, no, I do not. Suppose a young
man were very ill, and the doctor told
him that death was certain in ten days.
Would that doctor be wise ?" I made no
answer, but thought that it would not
make so much difference to one who
wanted to live hard enough.
Further conversation proved that
Elinor Glyn believes in the great Eng-
lish and American forward march. That
the poor boy can rise to great heights
despite every handicap. "Look at Lord
Reading, a poor Jew boy, and look at
his position now."
"Yes," I ventured, "but even every
poor Jew boy cannot become a Lord
Reading."
Opportunities for the Boy of Today
erhaps not. But they can rise far
by their own intellect."
I thought of the hundreds of young
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reform schools who were now degener-
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A slight turn in the road can wreck
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murder, said : "Take off your hats, kids,
here comes Jane Addams."
When Elinor Danced
ut Elinor Glyn sits across from me
and she is talking about a dance she had
with a potentate from Siam, name hap-
pily unremembered. Her diamond neck-
lace sparkles on her white throat and
recalled to my mind a saying of Kate
Barnard's that I have remembered for
years. Kate Barnard was, or is, a
power in Oklahoma politics, if I re-
member correctly. She said : "I'll never
wear a diamond so long as there is a
hungry child."
"Three Weeks," she was saying, "has
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it still sells fifty thousand copies a
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"What is the secret of that success,
Mrs. Glyn?"
"Truth," was the terse reply.
"Why is it," I went on, "that most
of the great delineators of female char-
acters have been men — Balzac, Hardy,
Dreiser, Zola, Sudermann — nearly all ?"
Women Cannot Tell the Truth
B>ecause," was the decisive answer,
"a woman cannot tell the truth about
anything."
"Why is that, Mrs. Glyn?"
"Because a man deals with big
things and tells the truth. A woman
deals with little things and always lies.
I write like a man."
I recalled a pamphlet she had written
about her best-known book. After try-
ing to remember a passionate case of
love in England, she decided to invent
one. In other words, she had not seen
such a case of love, but wishing to
write truth, she invented it, which is,
I suppose, a paradox. She wrote :
"And finally the vision of Three
Weeks came to me suddenly in the
autumn of 1906 and I retired to the
pavilion in my garden, where I used
to write in those days, and began.
"It seemed as though some spirit
from beyond was guiding me — I wrote
breathlessly for hours and hours on end,
hardly conscious at times of the words
which were pouring into my brain until
I came to read over the chapters and
found what I had written was exactly
what I had hoped and meant to say.
The original MS. shows this — it flows
on with hardly a correction or altera-
tion. I felt intensely as I wrote; I lived
in imagination every moment of their
two lives. For me they were vital
human beings. And that is the reason
they have remained of magnetic inter-
est to the readers for all these years and
will go on doing so to the end of time."
Which is — almost — immortal.
In defending the book from the
prudes, she quotes a chapter end :
"And this night was the most divine
of any they had spent upon the Burgen-
stock, but there was in it an essence
about which only the angels could
write." (The last five words in italics.)
Great Love Not Sensuality
H ow could any low thought of mere
sensuality have entered into a love like
this?"
"I maintain that Three Weeks is a
deep and elevating tragedy, and as such
will live far beyond my life, when preju-
dice will be less and truth seen more
clearly."
The question of truth settled, we
spoke about the motion picture.
The name of Victor Seastrom, the
Swedish director, came up. Seastrom
SC1EENLANB
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Mrs. Glyn's opinion of Seastrom.
"We Don't Want the Drab in Pictures"
Cj*he expressed none, but said, unmind-
ful of the great Swede's capabilities,
"As I was telling Mr. Seastrom the
other day, we do not want the drab in
pictures. They should end in a note
of optimism and hope." She did not
tell me Seastrom's reply.
In an effort once more to get an opin-
ion of American woman writers, I
asked, "Do you care for Dorothy Can-
field?"
"I have not heard of her," she replied,
and then said quickly, "but Gertrude
Atherton is a marvelous writer. Her
psychology is wonderful and will en-
dure." She then launched into a long
discourse on the Anglo-Saxon and
Nordic races, which I will not attempt
to record, feeling that it matters not
at all.
"Mrs. Atherton is of the same opin-
ion— are you her disciple ?" It was a
brutal question — which she ignored. As
though Mrs. Glyn could be anybody's
disciple.
Doesn't Believe in Co-Education
M,
rs. Glyn is not in sympathy with
the American system of co-education.
She believes that it brings boys and
girls into too close contact in and out
of the schools.
Close association fritters away the
procreative instinct and destroys all re-
serve so that the only thing that comes
to them later in life is what comes to
animals in the mating season, real love
being impossible. Woman, according
to Elinor Glyn, must keep herself mys-
terious and aloof. It is only by so
doing that romance can be preserved.
It will be seen that Mme. Glyn is not
stepping ahead of Havelock Ellis and
Ellen Key as a modern thinker.
The business manager of the studios
knocked at the door. We both rose,
Mrs. Glyn saying, "I have a message
for the world which I shall deliver
everywhere. My latest book tells it.
It will be out soon." I wondered why
writers always tried -to push their latest
books on other writers, and so wonder-
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air, leaving the author of the greatest
treatise on love in the last fifty years
and of the greatest book on Russia
alone with the man of business.
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SCEEENLANB
Firing the Second Gun in a Crusade of National Importance
"Debauching the Adolescent"
By A Mother
IN March Real Life the first gun was fired in a fearless attack against a certain
group of magazines which make a business of trading on sex, of creating vi-
carious sex thrills for the extremely young, the ignorant or the vicious-minded. We
pointed out how these magazines perpetrate their crimes deliberately, cloaking
their viciousness under the guise of "truth."
In April Real Life we are firing the second gun. A mother has written us just how the "con-
fessional" magazine is ruining her son, endangering his morals, perverting his mind and causing
him to fail in school. We are publishing this document because we feel it a duty to other mothers
and their sons and daughters to warn them of an insidious, probably unsuspected evil which
has crept silently into their homes and as silently undermined the wholesomeness of American
family life.
And a Book full of Real Life Stories and Articles
Beginning with the April
issue of Real Life, we
are giving the public a
remarkable series of miniature
short stories, by Ben Hecht,
America's most talked of and
most fearless writer of realistic
fiction. The author of Erik
Dorn, Gargoyles and other fa-
mous books is at his best in this
series of "Little Stories of Real
Life," of which "The Gold
Digger"1 is the first — and one
of the best. Mr. Heche's news-
paper anecdotes began in the
March issue, and continue in
the April number "under the
heading of "Sato's Bump — And
Stories
L
Other Adventures in News Fak-
ing.'"
For the first time in the his-
tory of literature a realistic
story is being written about
newspaper life — not fiction, but
truth; not pretty truth, but
stark, naked truth, by a man
who loves the game and yet
who is not fooled by the power
of the press, or awed by it. A
faithful, photographic study of
Chicago newspaper life which
you cannot afford to miss, for
it will reveal many things to
you which have long been
shrouded in darkness.
The South Seas Flapper, By Captain Frank Hurley
Captain Frank Hurley, famous explorer and dis-
coverer of the "Lost Tribe of Israel," has con-
tributed an amazingly interesting article — a com-
parison of the South Sea Island flappers with the Broad-
way type of girl.
And the book has its full quota of realistic fiction —
Fly Paper, by Mary Arbuckle; A Place to Die, by
Maria Moravsky; Conning Through, an unreformed
"gentle grafter's" story, by "Mark Mellen" and Travis
Hoke; Sisters of Jezebel, the conclusion of a powerful
novel denouncing present day tendencies; Find the
Villain, another Louis Weadock story about the charm-
ing and amiable "Mr. Bloom"; The Cobbler's Tale, by
Paul Everman; The Deadly Sex, by Harrison Dowd;
and The Witness Fixer, by Mabel Lockman.
Penrhyn Stanlaws, noted artist and creator of the
famous "Stanlaws' girl," writes authoritatively and
humorously of the American flapper as "the real Ameri-
can beauty," in striking contrast to Captain Hurley's
article.
What's a Star's Reputation Worth? Read Real
Life for April and find out!
Real Life Stories
145 West 57th Street, New York City
Out March 15. 25c the copy
Who Was to Blame?
Joseph or Potiphar's Wife
The age-old story of this
famoua love affair has been
revised by Brann the Iconoclast.
He defends the beautiful Mrs. Potiphar —
and says it wasn't Joseph's fault either.
Brann's brilliant wit and daring viewpoint
will fascinate you in this one of tae hundreds
of masterpieces from his gifted pen.
FEW
OF BRANN'S
MASTERPIECES
A Pilgrimage to Perdition
Mankind's Mock-Modesty
Is Civilization a Sham?
A Sacred Leg Show
The Wickedness of Woman
The Woman Thou Gavest Me
Driven to (he Devil
Idam and Eve
I Sitter's Shame
The Social Swim
"The Perfumes of Passion"
The Law of Love
Glory of the New Garter
The Footlights Favorites
Hunting for a Husband
Thou Shall Not
The Old Maid's Auction
Potiphar's Wife
A gilded
butterny, xae
jeweled idol
cf s o c i o ty .
But Brann
looked into
her soul and
saw—
He called them by
heir RIGHT NAMES
and made the world blush for shame
WITH a ruthlessness that brought a nation-wide
gasp, he tore away the cloak of smug respect-
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of men and women. He snatched away the silks and
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naked in their shame, the victims of his astounding ex-
posures cried out to stop him. The powers were invoked
to silence him. In desperation, assassins were hired to
kill him. But before a bullet finally laid low his naming
spirit, he had given to the world a message of truth
about society that still resounds through the land. He
calls them by their RIGHT NAMES!
A Startling, Smashing Revelation
That Made Society Stand Aghast!
He was a respected
dignitary — she an
innocent child.
The world gasped
when Brann re-
vealed the truth!
Upon a complacent world, Brann
burst with the fury of a tornado.
Never before had anyone dared to
write the things that poured from his
fiery pen in a torrent of sensational
revelations. Fiction was never so
startling as these vivid exposures of
real life. Everywhere thousands upon
thousands were held spellbound by
words. People gasped at
his frankness, thrilled at
his power, laughed at
his brilliant outbursts of
wit.
To-day the demand
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SbouU miney have
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THE BRANN PUBLISHERS, Inc. I
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C1R-IE-IE-I
GJhe QrvdefLzndesit Screen Magazine
MAY, 1924
VOL. IX, NO. 2
ANNE AUSTIN
Associate Editor
Myron Zobel, Editor
EUNICE MARSHALL
W estern Editor
(\Unusual Features in this Issue
Q MAIL ORDER MOVIES, A daring expose of so-called "author's agents" . . page 26
Q THE JlNX ON MABEL NORMAND, The record of a multiple personality . . page 23
0[ THE MAN WHO WAS LINCOLN, A story that will tug at your heart strings, by
Anne Austin . . . . . • > • •' • • . . . . . ■ page 36
Q. The Screen Child's Lament, Another of Delight Evans' brilliant satires page 52
ROLF ARMSTRONG
Creates a study from life of Anita
Stewart page 1
GEORGE JEAN NATHAN
Chronicles the stage plays of the
month page 60
H. B. K. WILLIS
Presents Douglas Fairbanks at the
bath page 34
UPTON SINCLAIR
Says the movies arc the greatest
inciters of social discontent in the
world page 38
BARRY VANNON
Tells another of Jim Wellworns
famous yarns . . . page 43
MARSHALL and EVANS
Discuss food and people from two
ends of the continent . page 46
MYRON ZOBEL
Describes a new screen playground,
Palm Beach .... page 63
ALMA WHITAKER
Portrays a new kind of slavery
page 68
ANNE AUSTIN
has some good things in
store for next month
CUPID AS A PRESS
AGENT
is one of them
Watch for the June
SCREENLAND
On all newsstands
May first
HERBERT CROOKER
Seems to know something about The
Movie Kiss .... page 30
AN EXTRA GIRL
Lays bare her soul in Heart-Brcak
Town page 32
KLIZ
Gives his impression of the home
life of Charlie Chaplin . page 51
E. V. DURLING
Contributes another chat in the new
manner, this time with Richard
Dix ...... page 67
SCREENLAND'S FAMOUS
DEPARTMENTS
Our Own News Reel . page 74
The Listening Post . . page 70
The Movie Clock . . page 82
Alice in Screenland . page 72
New Screenplays . . page 48
Rotogravure Gallery 19-22; 39-42
— and a dozen other features —
Published monthly by The Myron Zobel Publications Inc., at 145 West 57th Street, New York, N. Y., U. S. A.
[
Copyright, 1924. Trade Mark registered. Single copies 25c. ; subscription
price. United States and Canada. $2.50 a year; foreign, $3.50. Entered
as second-class matter, .November 30. 1923. at tne Post Office at New
York. N. Y., under the Act of March 3, 1879. Permission to reprint
material must be secured from the Screenland Feature Syndicate, 145
West 57th Street,' New York, (ieneral Executive and Editorial offices
at 145 West 57th Street, New York, N. Y. Western advertising offices
at 168 North Michigan Ave., Chicago, 111.; 1004 Coca Cola Bldg.,
Kansas City. Mo. Publishers also of Real Life Stories. Subscription
price United States and Canada, $2.50 a year. Single copies 25 cents
each. Club rate for the two magazines, $4.00 a year; foreign, $6.00.
Screenland Magazine out the first of every month ; Eeal Life Stories the 15th
]
i
SCKEENLANB
5
Fair, white skins come down
from the days of your cave
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FRECKLES GROW WORSE
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SCMEENMN©
Is your beauty
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Photo by George Edward Dm1"?
(\.4nita Stewart poses for Rolf Armstrong, Screenland's famous cover artist at his studio
in Greenwich Village. The original painting is reproduced on the front cover of this
issue.
Rolf Armstrong Paints Anita Stewart in Words
3 HAD been dreading the experience of witnessing the heavy toll time takes
of beauty when I should approach the painting of this Anita Stewart, whose
history is linked with the early days of motion pictures. Her unchanged
screen appearance through the years I had classed as a miracle of modern
photography.
So I was totally unprepared, one snowy February day, to answer a knock at
my studio door, and find June smiling at me across the threshold. Most defiant
of red tarns, most demure of Eton blouses, — and brown, lilting, shimmering Irish
eyes.
This mystery of perpetual youth proved to be no mystery at all. If I hadn't
been a serious minded artist, occupied with matters somewhat far removed from
the vital statistics concerning the weight, color, age, and matrimonial histories
of the motion picture luminaries, I might have been aware that Miss Stewart
made her debut on the screen at a tender age when most little girls are still safely
at home cutting paper dolls.
But just in case some of you are as uninformed as I, I present her to you in
my sketch just as she looked to me in my doorway, Eton collar, tam, Irish eyes,
and all.
Life
By Dorothy Quick.
Life let us be playmates, you and I,
I adore earth's playground bound by sky.
Let us take no heed of passing hours
While we have the sunshine and the flowers.
Life let us be lovers, you and I,
Let us grasp the moment ere it fly.
Oh, I beg you hold me to your breast,
Think not of tomorrow, today is best.
Life let us be comrades, you and I,
I will count no loss as time slips by
If, whate'er betide me at the end,
I can truly say, Life was my friend.
SC1EENLANP
Sradiant bride at twenty
Tvhat?
Is the Husband or Wife to Blame?
Is the husband or wife to blame for the tragedy
of too many children ?
Margaret Sanger, the great birth control advocate,
comes with a message vital to every married man
and woman.
THOUSANDS upon thou-
sands of women to-day
marry with the bloom of
youth upon their cheeks.
A few years of married life
rub the bloom off. Children come, too
many. And instead of the energetic,
healthy girl we have a tired and be-
draggled young-old woman. Why do
women allow marriage, the holy thing,
to work this wicked transformation?
MARGARET SANGER, the ac-
knowledged world leader of the Birth
Control movement and President of
the American Birth Control League,
has a message vital to every married
man and woman. Every married
woman knows only too well the trag-
edies resulting from too frequent
child-bearing.
Why should a woman sacrifice her
love-life — a possession she other-
wise uses every resource to keep?
Why does she give birth to a rapid suc-
cession of children, if she
has neither the means to
provide for them nor the
physical strength properly
to care for them?
Mrs. Sanger's splendidly
frank and inspiring book
is a clarion call to the
women of the world to
cast off the chains of
ignorance that have long
bound them to their misery.
In her advocacy of wo-
men's right to the knowl-
edge of the truth that will
make her free, Mrs. Sanger
has fought through every
court in the land, and braved storms of
bitter denunciation.
In "Woman and the New Race"
she shows that woman can and will
rise above the forces that, in too
many cases, have ruined her beauty
through the ages — that still drag
her down today — that wreck her
mental and physical strength — that
disqualify her for society, for self-
improvement.
In blazing this revolutionary trail
to the new freedom of women, this
daring and heroic author points out
that women who cannot afford to
have more than one or two children,
should not do so. It is a crime to
herself, a crime to her children, a
crime to society. Margaret Sanger
considers it a slur upon the intelli-
gence of American womankind to
deny to them the knowledge which
has brought freedom, health, happiness
and life itself to the women of
other nations. That is
why she has braved the
storm of denunciation, why
she has fought through
every court in the land in
her advocacy of woman's
right to the knowledge that
will break the chains of
slavery. Her message is one
of the greatest that it has
been the good fortune of
women to receive.
"Woman and the New
Race," Margaret Sanger's
courageous book, should be
read by every married man
and woman in America.
Partial List
of Contents
Error and Her
Woman'
Debt.
Two Classes of Women.
Cries of Despair.
When Should a Woman
AvoidHavingChildren 5
Birth Control — A Par-
ent's Problem or
Woman's V
Continence — Is it Prac-
ticable or Desirable?
Are Preventive Means
Certain?
Contraceptives or Abor-
tion?
Women and the New
Morality.
Legislating Woman's
Morals.
Why Not Birth Control
Clinics in America ':
Progress WeHave Made
It is a book of astounding facts that
will open the eyes of worn, tired
womankind. In truth and honesty
it may be said to be the clarion call
of woman's salvation.
Every woman in the country
should have a copy of this remark-
able and courageous work. For this
reason we have arranged a special
edition of "Woman and the New
Race" at only $2.00 a copy.
Send No Money
The book is bound in handsome, durable
gray cloth, hat artistic black lettering and is
printed from large type on good paper. It
contains 234 interesting pages. To have it
come to you, merely fill in and mail the
coupon below. It is sent to you in a plain
wrapper. When "Woman and the New
Race" is delivered to you by the postman,
pay him $2.00 plus postage — but send no
money with the coupon, and if after reading
it you are not entirely satisfied return it to
us and we will refund your money. There
will be an unprecedented demand for this
edition, which will soon be exhausted, so you
are urged to mail the coupon now — at once.
EUGENICS PUBLISHING CO.
Dept T-635 1658 Broadway New York City
Eugenics Publishing Co.
Dept. T-635, 1658 Broadway, Xew York City
Gentlemen : Please send me, in plain wrapper,
Margaret Sanger's book, "Woman and the New
Race." I am enclosing no money, but will give the
postman who delivers the book to me, $2.00 plus
postage.
Name .*
Address
City State
Canadian and foreign orders must be accompanied
by money order.
SCMEENLANIO
For the growing
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^LATZ OWNERSHIP— MANAGEMENT Ilk
({Jfw Editor's
Letter Box
Q Space rates are paid for all letters published
here when accompanied by photographs. Lack
of space limits our choice of the many hundreds
of excellent letters received. This is the
Readers' Department and SCREENLAND cannot
accept responsibility for sentiments expressed.
Address Editor SCREENLAND, 145 W. 57th
St., New York, N. Y. Send your portrait with
your letter. It is impossible to return letters
or pictures. Please don't ask questions. This
is not an Answer Department.
Dear Editor: —
In my opinion
one of the great-
est criticisms of
the screen is that
when a star has
reached his or
her height o f
popularity they
are overdone. By
this I mean they
are on the screen
ClGrace Coldenstroth tQQ much during
the showing of a picture. This doesn't
give the rest of the cast a chance to do
anything.
I think the public is expecting better
pictures than we are now getting and pre-
fers the featuring of more than one star
in a picture.
Grace Coldenstroth,
1329 Belmont St.,
Washington, D. C.
Dear Editor: —
It seems to me
that it is high
time that some-
one says a word
in defense of Mae
Murray. In the
first place we all
agree, Mae rakes
in the shekels. In
the second place
the main object
of the theatre is
entertainment. Mae offers more enter-
tainment than any one I can think of
excepting possibly Nazimova or La Negri.
She is as exquisite as an orchid, as grace-
ful as a reed in the winds and full of
life and pep. Her dancing is a joy for-
ever. It thrills me more than all the
Pavlowas in the world.
I feel like eating nails every time I
hear one of these falsely modest prudes
(who, by the way, have figures like sacks
of flour), lift up their nose at "that
Murray creature — half naked." Mae
wears as few clothes as most of our musi-
cal comedy girls (though no one kicks
about them), and with more reason. She
has a beautiful body. Why not show it?
And her plays are not suggestive. If
you want to see a suggestive play go to
one of Corinne Griffith's. In my opinion
(Continued on page 83)
(\Frederic Leitzan
Many readers dislike tearing or marring their
copies of SCREENLAND and yet they would
like to frame the eight handsome rotogravure
portraits that appear each month. Two un-
bound copies of the complete gallery in this
issue — ready for framing — will be sent upon
receipt of twenty-five cents in coin or stamps;
or FREE with a five months' subscription to
SCREENLAND for $1.00. ■
PRINT DEPARTMENT
SCREENLAND MAGAZINE
14S West 57th St. New York City
SCIRIEENlLANID)
They Said
It Couldn't Be Done!
—BUT THESE SCREEN
AUTHORS DID IT!
ETHEL STYLES MIDDLETON"
Author
JUDGMENT
J of the STORM"
THE three authors whose photo-
graphs appear in this announce-
ment have demonstrated that ' it Can
Be Done."
Friends and relatives said, "You are
foolish to dream of writing for the
movies. Only professional writers with
a pull can succeed. You aren't a pro-
fessional writer, and you have no pull.
You will just be wasting your time."
But creative imagination, not mere
writing ability, produces photodramas.
These authors had creative imagina-
tion. What they needed was knowl-
edge of photoplay construction.
Through the co-operation of Palmer
Institute of Authorship, that knowledge
was obtained.
The result was another defeat for
the sceptics who say ''It can't be done."
Today the authors pictured above are
accepted photodramatists. Their plays
produced by Palmer Photoplay Corpo-
ration and distributed by Film Book-
ing Offices of America, are being
shown in thousands of theatres
throughout the United States and
Canada. They accomplished what
sceptics said could not be done.
Many other men and women are
today similarly successful because of
Palmer training. Through Palmer co-
operation they have learned how to
harness imagination and to teach it
to express itself in dramatic terms.
And they have learned in spare time
study in their own homes. Their
work is in demand. They form a
trained body upon whom the motion
picture industry, as a whole, is lean-
ing more and more.
Screen Plays by Palmer Authors
Photoplays now on the screen, in preparation
or purchased for production, written by authors
succeeding through Palmer co-operation include,
besides those listed above, "Trusie Stoops to
Conquer." "Love's Whirlpool." "Hollywood
1900." 'Robes of Redempt ion.*' "Next. Please."
"Crepe de Chine Gordon." "Light Fingers and
Toes," 'Tangled Lives," and "The Night
Hawk."
HAROLD M. SHUMATE
Author
"THE WHITE
SIN"
(formerly announced as
"Unguarded Qates." )
WILL LAMBERT
Author
"LOST"
(Working Title —
Release title to be
announced later,)
Announcing
The Palmer Scholarship
Foundation
Palmer Scholarship Foundation ha; been
established by Palmer Institute of Author-
ship for the purpose of bringing recognition
to men and women whose fresh and virile
stories might otherwise be lost to the screen
and general publication field, but who need
only training in the new technique of
authorship in order to succeed.
Two Major Awards, carrying prizes of
$500 cash and bronze Medals of Merit, will
be made by the terms of the Foundation to
the authors of the best short story and the
best screen play, respectively, submitted each
year.
Forty-eight Free Scholarships will be
awarded annually upon a basis of earnest
effort rather than originality or brilliance.
Thus both Genius and Industry receive
equal opportunity to share in these awards.
Russell Doubledav
(Doubleday. Page & Co.)
Chairman, Committee Short Story Awards
Frederics Palmer
(Palmer Photoplay Corporation)
Chairman, Committee Screen Play Awards
Almost without exception every person ambi-
tious to write is faced at the beginning with
ridicule and discouragement. Many straggle
long years unguided before eventually gaining
the heights. But how much smoother the path
would have been, how much more quickly the
heights would have been scaled, if the writer
could have had, at the beginning, the guidance
and encouragement of someone tcho knew.
Such guidance and encouragement Palmer In-
stitute of Authorship proffers. Palmer Course
and Service teaches photoplay writing, short
story writing, and dramatic criticism. Instruc-
tion is individual, confidential. The student
studies at home. Each receives the personal
guidance and supervision of a member of the
Advisory Bureau, a brilliant staff selected for
studio and magazine experience and teaching
ability. When the student's creations become
good enough for sale the services of the Sales
Department are placed at his command for
marketing both screen plays and short stories.
New Literature, New Methods
Palmer Institute of Authorship recognizes the
arrival of a new day in American letters. The
screen has created a public taste for dramatic
action and strength of plot. This has reacted
upon the magazines. There has come into being
a new technique of writing. New times de-
mand new methods and Palmer training is
worlds away from out-worn methods of instruc-
tion. It is abreast of the current and growing
demands of the screen and magazines for stories
written in the modern dramatic technique.
Just as photodramatists find that Palmer co-
operation helps them to recognition and success
on the screen, so do fiction writers find that
Palmer training aids them to success in the
magazines. More than three hundred authors
of recognized standing have been or now are
enrolled. Letters from many attribute their
first success in the magazine field to Palmer
training. Their success carries conviction.
Imagination is king. World thinkers like
Wells voice the growing realization that imagi-
nation and not will-power is the basic moving
force of life. Palmer Institute of Authorship
bases its training on that fact. It develops
imagination just as certain forms of training
develop the muscles of the athlete. It teaches
the imaginative how to harness their imagina-
tion and put it to work — profitably.
It inculcates that facility of expression which
one must possess before he may hope to play an
important part in social or business life. It
inspires the habit of thinking creatively — an
ability that carries men and women to the most
envied positions in the world's affairs. It
energizes and revitalizes the mind and generates
the power that leads to greater success in ail
lines of human activity.
For those who lack confidence m their own
abilities and wish to ascertain whether they
possess natural talent for writing. Palmer In-
stitute offers the Palmer questionnaire, a test
for determining the presence or absence of crea-
tive imagination. It will be sent free on
request.
Free — "The New Road to
Authorship"
But for those who believe in themselves and
who want to know more of the revolutionary
Palmer methods, a fascinating book has been
prepared entitled "The New Road to Author-
ship." Success stories of many men and women
who have won recognition on the screen and
in the magazines through Palmer co-operation
are contained in it. A bulletin, likewise, has
been prepared containing full details of Palmer
Scholarship Foundation and its broad and
unique service to writers. Mailing of the
coupon below will bring "The New Road to
Authorship" and the Scholarship bulletin free.
Palmer Institute of Authorship. 2205
Affiliated with Palmer Photoplay Corporation.
Palmer Building. Hollywood. Calif.
Please send me without cost your book "The New
Road to Authorship" and your Bulletin containing
details of Palmer Scholarship Foundation.
Upvrigkt ZQ24, Palmer Inuitule of Authorship, affiliated -with Palmer Photoplay Corporation. |_
Name-
Street-
County-
-City-
-State-
All correspondence strictly confidential
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SCEEENLANB
11
Speaking Stage
CHIFFON GIRL— J olson Theatre. Per-
haps this is a fair musical comedy
when Eleanor Painter is in it. It is
certainly terrible without her. She was
A. W. O. L. the night we saw it.
MOON-FLOWER — Astor Theatre. The
charming Elsie Ferguson at her best
is the outstanding feature of this good
play containing an interesting plot and
beautiful scenery.
HELL BENT FER HEAVEN — Frazee
Theatre. A Blue Ridge Mountain feud
story — well done — with Augustin Dun-
can portraying an unusually hateful
villain.
HIPPODROME— The old landmark giv-
en a new lease of life with Keith vaude-
ville.
KID BOOTS — Earl Carroll Theatre.
Eddie Cantor in white face and black
face too. He plays the part of a caddie
at a Palm Beach golf club. Marilynn
Miller is the poor little rich girl. The
leading man is handsome. A Flo
Ziegfeld. Jr., production. Need we say
more?
LOLLIPOP — Knickerbocker Theatre. Ada
May Weeks is a show in herself. There
is one good song (Dance a Little One-
step). Good entertainment.
NEW TOYS— Fulton Theatre. Ernest
Truex provides most of the laughs in
this amusing comedy of married life
"after the first baby."
OTHER ROSE-
Fay Bainter.
with charm.
-Morosco Theatre. With
A Belasco production
RUNNIN' WILD — Colonial Theatre. A
colored song and dance fest with two
song hits (Runnin' Wild and Old Fash-
ioned Rose), and the patter of many
little darky feet. Excellent dancing
and singing.
RUST — 52nd St. Theatre. Just another
one of "them things." Typical Green-
wich Village melodrama with the act-
ing of Clarke Silvernail as the one out-
standing feature.
STEPPING STONES — Globe. With
Fred Stone. A regular Stone hit, with
little Dorothy, his daughter, fast be-
coming a Broadway idol.
SWEET LITTLE DEVIL — Central The-
atre. With Constance Binney. An
average musical comedy with scenes
ranging from a New York apartment
to Peru. Passably pleasant.
Gems of Oriental Sj
Oiti tut Peutrl<
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12
SCIEENILAN©
Listen, Drifter!
STRONGFORTIZE
Nature Has Been Very Indulgent Toirard Your
Krrors and Follies. But Now You Beach the
Knd of Your Boric. Every Day Finds You a
kic/j Nearer SiarJt Disaster. Turn to the Biolit
While There's Yet Time.
What can you be thinking
of, my friend? Don't yon
know that those neglected
ailments are sapping your
strength and straining your
virility and draining your
■vitality at a fearful rate*'
Constipation
Ah, there's the dangerous
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per cent of all human suf-
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Don't wait another day.
Drive that evil thing out
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LIONEL STRONGFORT
Physical and Health Specialist for 25 Years
Department 1394 Newark, New Jersey
CONSULTATION COUPON
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LIONEL STRONGFORT, Department 1394, Newark, N. J.
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. .Colds
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Dumb-Bells.
The Silent V)rama
QBrief Reviews of Current Screen Releases
□ $15
□ $ 5
''ICEBOUND" — Paramount. This is a
screen version of the 1923 Pulitzer
prize play by Owen Davis, but William
de Mille's interpretation will win no
such honors for the photoplay. It is
a hokumized edition of what the
dramatic critics had declared a first
rate stage production. Icebound on
the screen smacks of the vintage of
1910. Richard Dix and Lois Wilson
in the leading roles offer creditable per-
formances which are lost in a maze of
trite and stagey situations. The pho-
tography is poor. The supporting cast
is weak.
' THE ISLE OF VANISHING MEN"—
Herman J. Garfield. Being the cinematic
diary of an exploration trip into the
jungle fastness of Dutch Guinea in
which are revealed some astound-
ing scenes of life among the head-
hunters on one of the last of the Can-
nibal Isles. This is more than a trav-
elogue. It is a startlingly vivid nar-
rative, probably never
to be told again, of a
re-mote and picturesque
tribe that is fast be-
coming extinct — a race
of vanishing men.
Splendid photography.
"THE LAW FORBIDS"
— Universal-Jewel. The
darling Baby Peggy in a child-shall-
lead-them problem play of the di-
vorce court. Playwright, living apart
from his wife, writes a play that brings
her back and Peggy does the rest, clad
in her nightie and registering a mama-
kiss-papa appeal. Direction is very
good and the supporting roles are well
handled. This picture has lots of heart
interest — the kind that makes for
throbs 'neath the maternal breast.
"THY NAME IS WOMAN"— A Fred
Niblo Production for Metro. Here is
a production that has much ado about
nothing as anything that has come out
of the studios. Barbara La Marr and
Ramon Novarro, in the stellar roles,
engage in a ten reel duel of spoken
titles with assorted flashes of amorous
clinches done in the latest mode. Span-
ish smuggler stuff with a buck private
in the King's Guard sacrificing honor
and duty to the Crown rather than
betray the woman he loves. Atrocious
titling drag this production down to
the five and ten cent level.
'THE UNINVITED GUEST" — Metro.
An incredible tale that travels from
Q This department will serve as a
perpetual guide to the screen.
Every picture of importance will
be reviewed here, and the reviews
reprinted for three consecutive
months to enable our readers to
use this guide as a directory in
selecting their month's entertain-
ment.
New York to the South Sea Islands
and back. Lover jilted on the eve of
his wedding goes to the South Seas to
forget. Saves shipwrecked lass from the
"brutish desires" of Louis Wolheim,
heavy, wins the gel as well as her for-
tune and returns to New York to live
happily ever after. Some interesting
under water shots add beauty to an
otherwise dull photoplay. "Lefty" Flynn,
Mary MacLaren and Jean Tolley in
fair interpretations of fanciful roles.
"HAPPINESS" — Metro — Laurette Tay-
lor in a Pollyanna role romps through
a comedy that for plot conveniences
would put a Horatio Alger to shame.
Little shop girl by dint of hard work
and some marvelous cinematic coinci-
dences becomes Madame Epinard,
modiste to Gotham's 400. A dipper-
ful from the old hokum bucket though
it is pleasant enough to the taste. Save
that of Miss Taylor, the performances
are mediocre. The direction is good.
"JULIUS SEES HER" — The first of F.
B. O.'s "Telephone Girl Series." The
first of a series of side-splitting two-
reelers from the mirth-provoking Wit-
wer yarns of the "Hello Girl." Hi-lari-
ous throughout, offering
the finest comedy situa-
tions that have ever been
done in celluliod. The
rare Witwer slang gets a
guffaw with every sub-
title. Alberta Vaughn is
the typical type for the
queen of the switchboard
and her imp-like characterization leave
nothing to be desired.
"THE SONG OF LOVE" — First Na-
tional. The Sheik and The Song of
India have nothing on this picturiza-
tion of Margaret Peterson's Dust of
Desire for cave-man love in the desert
and mystic romance 'neath Eastern
skies. Norma Talmadge, as an Ara-
bian dancing girl, has never before
looked quite so beautiful, so alluring.
Joseph Schildkraut plays opposite the
star, but Arthur Edmund Carewe in a
supporting role takes the masculine
honors. Entertaining for those who
like the "Sheik stuff."
Additional Reviews on Pages 50, 51, 84
"POISONED PARADISE" — Preferred
Pictures. Director Gasnier makes a
hectic melodrama of Robert W. Service's
little known novel. Clara Bow fails to
register the same charm that made her
in Black Oxen and Kenneth Harlan is
getting a little heavy, both physically
and from an acting standpoint. Not
real. Little heart interest. Carmel
Myers vamps industriously.
SCMEEHLAN©
13
The Most Daring Book,
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
—it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
get this daring book at our risk — without advancing a penny.
ELINOR GLYN
"The Oracle of Love
TX7ILL you marry the man
V V yOU i0ve, or will you take
the one you can get?
If a husband stops loving his
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
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Will you win the girl you want,
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Should a bride tell her husband
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What Do YOU Know
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DO you know how to win the one you
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What Every Man and
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—how to win the man
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—why "petting parties"
destroy the capacity
for true love.
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end in despair.
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home nights.
—things that turn men
against you.
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a perpetual honey-
moon.
-the "danger year" of
married life.
— how to ignite love —
how to keep it flaming
— how to rekindle it
If burnt out.
— how to cope with the
"hunting instinct" in
men.
— how to attract people
you like.
— why some men and
women are always lov-
able, regardless of age.
— are there any real
grounds for divorce?
— how to increase your
desirability in a man's
eye.
— how to tell if someone
really loves you.
— things that make a
woman "cheap" or
"common. "
Do you know how to re-
tain a man's affection always?
How to attract men? Do you
know the things that most irri-
tate a man? Or disgust a woman?
Can you tell when a man really
loves you — or must you take
his word for it? Do you know
what you MUST NOT DO un-
less you want to be a "wall
flower" or an "old maid"? Do
you know the little things that
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"wonderful lovers" often be-
come thoughtless husbands soon
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the wife prevent it? Do you know how to
make marriage a perpetual honeymoon?
In "The Philosophy of Love," Elinor
Glyn courageously solves the most vital
problems of love and marriage. She places a
magnifying glass unflinchingly on the most
intimate relations of men and women. No
detail, no matter how avoided by others,
is spared. She warns you gravely, she sug-
gests wisely, she explains fully.
"The Philosophy of Love" is one of the
most daring books ever written. It had
to be. A book of this type, to be of real
value, could not mince words. Every prob-
lem had to be faced with utter honesty,
deep sincerity, and resolute courage. But
■while Madame Glyn calls a spade a spade
— while she deals with strong emotions
and passions in her frank, fearless man-
ner— she nevertheless handles her subject
so tenderly and sacredly that the book
can safely be read by any man or woman.
In fact, anyone over eighteen should be
compelled to read _"The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the most danger-
ous sort to be ignorant of the problems of
love and marriage. As one mother wrote us:
"I wish I had read this book when I was a
young girl — it would have saved me a lot
of misery and suffering. "
Certain shallow-minded persons may
condemn "The Philosophy of Love." Any-
thing of such an unusu- character generally
is. But Madame Glyn is content to rest her
world wide reputation on this book — the
greatestmasterpieceof love ever attempted!
SEND NO MONEY
YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
— and the book will be sent to you on ap-
proval. When the postman delivers the
book to your door — when it is actually in
your hands — pay him only $1.98, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content — read
it from cover to cover— and if you are not
more than pleased, simply send the book
^PHILOSOPHY
OF LOVE
Ly ELINOR GLYN
^/ Jbaurtf'ThreeWtths
WARNINQJ
The publishers do not care to send "The Phi -
losophy of Love" to anyone under eighteen
years of age. So, unless you are over eighteen,
pleasw do cot fill out the coupon below.
back in good condition within five days
and your money will be refunded instantly.
Over 75,000,000 people have read Elinor
Glyn's stories or have seen them in the
movies. Her books sell like magic. "The
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It is possible that the present edition may
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to wait for your copy, unless you mail the
coupon below AT ONCE. We do not say
this to hurry you — it is the truth.
Get your pencil — fill out the coupon
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Auburn, N. Y., before it is too late. Then
be prepared to read the most daring book
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The Authors' Press, Dept. 353 Auburn, N. Y.
Please send me on approval Elinor Glyn's master-
piece, "The Philosophy of Love." When the post-
man delivers the book to my door, I will pay him
only $1.98, plus a few pennies postage. Itis under-
stood, however, that this is not to be considered a
purchase. If the book does not in every way come
up to expectations. I reserve the right to return it
any time within five days after it is received, and
you agree to refund my money.
De Luxe Leather Edition— We have prepared a Limited Ed:
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□
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IMPORTANT — Jf It Is possible that you may not
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Also, il you reside outside the TJ. S. A., payment
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SCREE NLAND
Alfred Cheney Johnston
Whose work consists of photographing pretty turesque may be judged by looking over the latest
girls, is recognized as America's greatest decora- products of his studio reproduced on pages nine-
tive camera artist. Just what makes his work so pic- teen to twenty-two and thirty-nine to forty-two.
Radio, Endurance Fans, Inter
Radio Aids Producers
MOVIE producers have a canny faculty
of turning obstacles into aids. Every-
thing is grist that comes to their mill.
Remember a few years back when
stage and movies were considered bitterest
rivals. Today producers take unwonted pleas-
ure in paying exhorbitant figures for "legiti-
mate" stage successes, and in renting "legiti-
mate" theatres along Broadway to show their
pictures in at almost "illegitimate" prices.
Foreign productions came next and the act-
ing and direction from abroad was considered
a menace to Fair Hollywood. This obstacle
was overcome by bringing the foreign menace
to our own side and Americanizing it,
And then came the much-feared Radio. No
one — the calamity, howlers predicted — will go
to the movies when they can sit home
in comfort and listen to prizefights, weather
reports, grand opera, stock market quota-
tions and sermons. But such was not the
case. The public has an insatiable appetite for
entertainment In the two years during which
radio has become popularized, attendance at
motion picture theatres has been on the upward
grade and it is greater today than ever. Mean-
while film magnates have been quick to enlist
the services of their late rival. Marcus Loew
controls Station WHN through which his
chain of New York houses becomes known to
thousands. S. L. Rothapfel, managing director
of the Capitol Theatre, broadcasting the pro-
grams from that house, has brought increased
patronage to it. From the stations in Los
Angeles, the screen stars speak to multitudes
and from scores of other points, photoplay re-
views and news are sent out on the air gaining
new friends for the motion pictures.
Long Live the King
IT is with marked pleasure that we learn of
the elevation of Adolphe Menjou to star-
dom by the Famous Players Lasky Com-
pany. Particularly fortunate was the choice
of his first starring vehicle, The King, — Leo
Ditrichstein's stage success. Here is a type of
actor of which there is all too few. He is not
only an actor of distinction but a gentleman of
broad culture and attainments. Many are the
dissertations we have listened to from you,
Adolphe, at the little Round Table in Arm-
Editorials By
strong Carleton's famous Blue Front Cafe in
Hollywood. God speed you on your way.
Three Delicate Subjects
THREE stage successes recently pur-,
chased for screen consumption are the
following: Rain, Spring Cleaning,
and The Lady. Each of these plays
has as a central figure a prostitute. The very
substance of them is the character of this
woman, her cynical sophistication and the
reaction of her disillusioned personality upon
the people with whom she comes in contact.
Blanche Sweet in her portrayal of Anna
Christie — a similar subject — dared all and won.
It will be interesting to see what Famous
Players, who are credited with owning rights
to the first two, and Schenck, who owns The
Lady, will do under similar conditions.
Woodrow Wilson
IT seems logical now to look forward to a
film version of the life of Woodrow
Wilson. People are beginning to take
hold of history faster than they did in
the old days. There was a time when a man
had to become a memory centuries old before
his character was considered as "epic"; but
things move so much faster in our day and age
that even Clio, the muse1 of history, seems to
have been effected.
Even Republicans — now that the necessity
of denying it is no longer apparent — will ac-
cede to Mr. Wilson his seat with the mighty.
His misfortune was not that — like Lincoln — he
died too soon; it was that — like Roosevelt
— he lived too long. Had he been carried off
with the first flush of high ideals still on him
— at the opening of the Peace Conference — he
would stand already in the niche where he be-
longs— beside Washington and Lincoln.
Dealing with Endurance Fans
ANEW and original method has been
discovered for easing out the "sitters"
in smaller movie houses who come
when the show opens in the morning,
bring fruit or candy, and remain all day. "We
simply move these endurance fans down front,"
says an usher of the Little Hippodrome of
Buffalo, "where the eyestrain is so great that
they can't stand it and move out fast."
16
views and Woodrow
Myron Zobel
A Story for Title Writers
ANOTHER story told about the Stern
brothers — the world's most quoted
. producers — is this one: A title writer
did some titling on a two reel comedy
just filmed. The work was well done but the
bill she sent in was for $500.
The girl herself came in the next morning
and Stern said to her : "The titles you wrote for
me were first rate but why should you charge
me $500 for them ? There are a dozen free lance
title writers around Hollywood that I could
get to write those titles for $50."
"All right," said the girl, "I will only charge
you $50 for writing those titles. Give me the
bill and let me change it. Stern handed her
the bill and this is what she wrote :
To writing titles $ 50
To knowing how to write titles $450
Total $500
Stern saw the point and paid the bill.
The Grand Old Man
Rupert Hughes Tells One on Edison
UPERT HUGHES told us a good one
about the Edison luncheon, to celebrate
the great inventor's birthday, re-
cently held in New York City. Mr.
Hughes was waxing satirical and humorously
declared: "There — (pointing to Mr. Edison)
— sits the scoundrel responsible for all the
moral turpitude in the world today. He in-
vented the motion picture thereby inspiring
crime, fostering deceit and teaching our young
people to spoon on dark porches . . ." "Yes,"
came a voice from the crowd, "and then he in-
vented the electric light and spoiled it all."
Advantages of Biblical Subjects
I FOLLOWING the success of The Ten
I Commandments, we may expect to see
a swarm of religious pictures. The
Book of Job and Pilgrim's Progress
would do well for a starter and then some dar-
ing producer is sure to force censors into a deli-
cate predicament by filming the story of Poti-
phar's Wife and the Temptations of Saint
Anthony. There are at least three advantages
to biblical subjects. They are unquestionably
moral. They have had wide publicity. And
the author's royalties have expired.
W.E note with
Roberts is nov
burgh from a
\E note with relief that Theodore
now recuperating in Pitts-
rgh trom a severe attack of pneu-
monia which nearly cost him his life.
As this is written the papers report that he is
sitting up in bed smoking his famous long
stogie. Here is indeed the Grand Old Man of
the screen. Hollywood is pretty full of Movie
Mamas and every studio lot boasts two or three
character actresses whom the younger players
all call "mother," but film "fathers" deserving
of the name are pretty rare. Theodore Roberts
is just that to everyone who knows him.
Don't Call Them Interviews
THIRTY-ONE of SCREENLAND's forty-
two issues have been edited by us and,
to the best of our knowledge and belief,
never have we run an interview in a
single one of them. For interviews with screen
stars have come to mean so much that is con-
ventional. So much that is stilted. Such false
sentimentality. The movies and its people
mean too much to us that is human, too much
that is sincere and fine, for us to grind them into
mush and turn them out as plain press yarns
and movie interviews.
"With this issue we take over the reins of
editorship — for the past seven months in other
hands. It is no light duty, carelessly to be dis-
charged. For SCREENLAND takes the movies
seriously; though it may kid them frequently
for what it honestly believes is their own good.
We have been much maligned in months
gone by for handling our subject without gloves.
We have been attacked. We have been tra-
duced. Throughout these months our readers
have stood by us. Many are the letters they
have sent in pledging their support to a policy
of fearless independence. Our circulation has
grown steadily — proof sufficient of their faith
in our sincerity and honesty.
And so it is with renewed faith — strengthened
by the championship of added thousands — that
we resume our editorial duties. Our purpose
is clear- — to treat the subjects of the screen with-
out prejudice or favor; to describe the person-
alities of the screen as human beings, not as
gods.
17
As We Go to Press :
°L Screenland mourns the death of George Randolf Chester, the greatest
chronicler of film history. His stories of screen people were contempor-
aneous portraits recognized by all.
°L Pola Negri to be directed by Ernst Lubitsch after completion of present
film-.
0[ Winifred Westover Hare seeks to set aside clause in contract with Bill Hart in effort to return
to the screen and use the name of Mrs. William S. Hart.
Q Louise Fazenda to be starred in Jack White comedy.
GL Conway Tearle has famous mole on face removed by electrolysis.
Q Gloria Swanson denies report of her death current here.
GL Barbara La Marr asks mercy for H. L. Roth, attorney, charged with attempted blackmail.
Says she cannot bear to carry thought that she has sent man to prison, perhaps to death.
<JL Thomas H. Ince Studios reorganized with John Griffith Wray, Director of Anna Christie,
as Production Manager.
Q Marriage of Betty Compson and James Cruze to be solemnized in Ghost Town of Frisco,
Utah, Betty's birthplace, one of gold rush boom towns afterward abandoned.
GLNine pound son born to Mr. and Mrs. Buster Keaton.
GL Lillian Gish cables denial of her reported engagement to Piero Frois, Italian naval officer.
GL Sam Wood resigns from Lasky following release of his last picture, The Next Corner.
GL Douglas Fairbanks signs 'with Morris Gest, famous theatrical producer for European and Asiatic outdoor
presentation of The Thief of Bagdad.
GLCullen Landis ordered by Los Angeles Court to pay $100 a week temporary alimony tor support of wife
and children.
Q Ruth Roland starts own producing company with Tod Browning directing.
GL Alice Lake announces engagement to Robert Williams, screen actor, of New York.
GL Milton Sills chosen Raisin King at Fresno, Cal, festival.
GL Dagmar Godowsky denies rumors of her return to married life and says that divorce proceedings against
Frank Mayo are now in process.
GL Harold Lloyd's first independent picture Girl Shy will be released Easter Sunday in New York.
GL Rex Ingram and Alice Terry return from Algiers and announce intention of retiring after completion of
The Arab to return to Algiers and live in their home recently purchased in Tunis.
GL Douglas McLean starts work on Never Say Die, former stage play of William Collier.
GL Helen Ferguson, Mrs. Tom Mix, Lucille Carlisle and Mrs. Sydney Chaplin undergo operations for nose
surgery.
GL Frank Keenan in automobile collision suffers serious injuries.
GL Jack Pickford to be starred by Thomas Geraghty, independent producer.
18
Lillian Gish
PHOTO BY ALFRED CHENEY JOHNSTON
Q Mabel Normand, From An Oil Painting By Abbot
AThis is Mabel as her mother knows
her-— a warm-hearted and impul-
sive little girl; a good daughter and
a generous friend.
Q.There are really three
MabelNormands, rolled
into one, and this is the
story of all of them.
^^^candal loves a shining mark; so it lives in
Hollywood that it may watch the stars.
Scandal loves to hit a movie star and see him
squirm and hear him make denial — but Scandal
is cross-eyed and bigoted and blind, and even its
microscopic lenses will not aid it to clear vision.
It has spattered Herbert Rawlinson, smirched
Bill Hart, driven Fatty Arbuckle off the screen,
and now is crushing Mabel Normand.
And Rawlinson and Hart and Arbuckle are the
cleanest trio of men that have ever played in pic-
tures. And Mabel's is the warmest heart that ever
beat on a moving picture lot!
There is a jinx that walks with Mabel, a jinx
that is Scandal's friend. Let her bury herself among
her books for years and years; let her busy her-
self with work at the studio, or over her drawing
board at home; let her live her life as she may;
someday the jinx will take her to the home of a
friend.
And then there is talk. Women's clubs in nar-
row little towns throughout the land will bar her
pictures from their sanctimonious theaters; chival-
rous censors will condemn her immediately; minis-
ters who zealously follow the gentle Nazarene in
all His ways, show her no Christ-like mercies.
Victim of Circumstances
Two years ago Mabel stopped at the home of
William Desmond Taylor, to return a book she had
borrowed, to have a chat with him, and run along.
Taylor took her out to her car, and raised her
hand to his lips — in the Continental manner that dis-
tinguished him — and said "Goodbye, little lady" —
and was found in his home next morning, dead, a
bullet hole in his side.
23
There was a girl who lived next door to Taylor, and she
came home at midnight with a wealthy clubman friend. She
was drunk. She insisted on going into Taylor's home and
having "another lil' drink."
She almost staggered into the open doorway. She fought
her companion with loud words, with vulgar profanity, and
with uncertain and trembling hands.
The neighborhood was aroused. All the neighbors knew of
the affair. But not a word was said Her reputation was
at stake. She might have given material testimony about
that open door But she was never called. There was no
jinx on her.
Mabel had come in the daylight, and had gone away in
the daylight. But it was Mabel who got all the notoriety
out of the murder — Mabel and Mary Miles Minter.
Mary came into the case but slightly — her letters were
found in Taylor's house. Some of them were printed She
was only a child, however, an innocent lovely child. She
said she was engaged to Taylor, and that they would have
married. And she remained the innocent child — as far as
the censors knew.
Ah, Mabel might have kept out of it — but her sympathy
was too great. She must tell the world how fine a man this
Taylor was, and how she had liked him. It was the only
tribute she could give him — and she would not hold it back
though it put a brand upon her.
It was not the thing to do — perhaps. Only a man should
have been as brave, and as scornful of public opinion.
Recovers from Experience
IMLabel was sick for months. Mabel went abroad. Mabel
returned and made some comedies. Mabel took up life where
she had left off when Taylor died. The jinx seemed to have
been satisfied.
And New Year's day she went to see two friends — stepped
into an apartment for a little while — and the jinx laughed,
and Scandal rocked with glee.
Come with me to Mabel's house. You'll love to hear her
talk. She's interesting. She reads philosophies. She's a
highbrow, but you'll not learn that from her. She's the most
natural of the stars, the most human, the most original. And
she loves to talk in the argot of the studios, the slangy patter
of the lot— "that part is out"— "it's all wet"— "hold it for
a still." It takes real brains to appreciate the niceties of
slang.
Oh, she'll spatter the room with English undefiled if you
wish — and does it often. But she prefers quaint slang — and
she can make it turn handsprings as well as the great George
Ade.
The Star's Favorite
will meet stars in Hollywood who talk in stilted phrases,
and smooth involved sentences — when they deign to speak to
you at all. And they will quote you lines from authors whose
names they may remember — bits they have learned for the
impressing of newspaper men. Their words are cloaks to hide
their ragged minds.
But talk to Mary Pickford, Viola Dana, Mae Busch, Blanche
Sweet, Helen Ferguson or Mabel Normand — they have things
to say — and say them naturally.
Come on, let's talk to Mabel.
She's going out as we enter, and she bids us come along.
"My flowers," she says, "are withering. I can't endure them.
We ourselves wither fast enough. Let us not have dying
things around us."
We escort her to the Japanese florist down the street, and
Mabel goes into little ecstacies over sweet peas and violets,
and poppies, and lilies and fresh green ferns; arranges them
in pleasing combinations of color; smells them; loves them
with her eyes.
A little thing, Mabel, with black hair and big brown eyes
— and the lines of suffering still in her face. You will hear
no slang today from Mabel — for who that knows good English
speaks in slang when he is sad?
She isn't the same Mabel we used to know; the rollicking,
joyous, chummy, prank-playing star of the Sennett lot. She
is a chastened woman, a suffering little girl who cannot under-
stand why fate should whip her as it has.
"Only a little while ago," she says, "I started again to
take up my drawing. You know I used to draw when I was
a little girl. I had no technique, but the artists I knew said
I had originality, and that was better than technique.
"I used to draw for the Butterick people long ago, you
know? And then some artist got me to pose. I posed for
<\This is the Mabel
of the Newspaper
Scareheads—the
butt of jibes and
persecution and the
victim of a Jinx
that has pursued
her relentlessly.
Pacific and Atlantic
Q Mabel Normand On Her Way to Testify at Greer Trial
24
many of them — in New York. The Leyendeckers.
Flagg, Gibson, Stanlaws, Christy, Hutt — lots of
them. I got $1.50 in the morning; and $1.50 in
the afternoon. I spent 30 cents in carfare
going and coming, between Staten Island and New
York.
"I loved to pose. I would stand so still and
look out at the clouds, and the tops of great build-
ings. And I would dream. Such dreams as I had!
Shocked by Pitiless Publicity
N ever then did I think the day would come when I would
see my name in ugly headlines in every newspaper that I saw.
Never then did I think I would hate and loathe my name; or
that the nights would come when I would put my hands to
my eyes and try to shut out the vision of that name.
"Never then did I think that my brain would rock, saying
to itself over and over — 'Mabel Normand! Mabel Normand!
Mabel Normand ! ! ' — saying it over and over and over with
a kind of horror at the repetition — saying it over and over
until a merciful sleep would blot it out.
"A young girl's dreams — money enough to keep my
mother and sister from want — money enough for lessons
in painting and music — money enough for all the books and
the flowers and the beautiful things I wanted — dreams of
a little home, and children, and peace, and happiness!
£T didn't take the movies seriously then. It was just
posing in front of a camera instead of a man with a brush
and a box of pretty paints. I posed as a page for Griffith,
and I didn't get home until morning. I could not be both-
ered with that. I didn't like to stay up so late — and I had
to pose in the morning. I felt I couldn't afford to lose
the $2.70 net a day to pose in the movies, and so I didn't
go back.
"One day I ran into Mack Sennett and Henry B. Walthall
and some others, and they said Griffith was looking all over
for me. They explained that I had held up the
picture. I had registered in some scenes, and
hence I must be in all the rest of that sequence.
So of course I went back."
That was Mabel's start, and it was only a little
time until she was getting $100 a week, and the
world was enjoying the freshness and the beauty
and the charm and the sympathy that were hers.
Hundreds, then thousands a week; fame; every-
thing she had dreamed of, looking at the clouds as
she posed.
There are stars who have saved their money; there are stars
who have squandered it; there are stars who have lost it in
stocks. Mabel gave it away.
Extremely Sympathetic
3he would see a girl weeping and ask her what was the
matter.
"Your mother's going to die unless you can get her to the
hospital? And you haven't got a cent?"
Great anger would ride Mabel.
"Why didn't you tell me before?" — she might never have
seen the girl before. But mama was taken to the hospital,
and Mabel paid the bills.
She had so much — and there were millions who had so
little! Mabel — the star whom the censors condemn — used to
cry sometimes because she could help so few.
She listened avidly to the studio chatter, sifted it for clews,
hurried to the bedsides of carpenters or electricians who had
been hurt in accidents, or who had been laid off because of
lack of work.
Show her misfortune, and she would steal away from her
work, taking flowers with her, and money, and a woman's
sympathy. (Continued on Page 105.)
Q Mabel Normand in Her Newest Comedy The Extra Girl
(\This is the Mabel the fans
adore— -the embodiment of
gaiety, vivacity and, charm.
C[A daring expose of the barefaced and shameless methods
employed by a horde of so-called "Scenario Schools," "Studios,"
"Agents" and similar high sounding schemers. Through
these "sucker chasing" organizations ignorant and gullible
amateurs are being mulcted annually of hundreds of thousands
of dollars.
F"nJor the purposes of this article a very interesting test
4 was made. On this page will be found a facsimile
reproduction of a letter and of several pages of a
manuscript, submitted to a number of these scenario
concerns. The entire manuscript, entitled Revenge, is
also reproduced herewith word for word. It should be read
by everyone, for it is, in its way, a remarkable document.
It was dictated by the writer's secretary, to her little brother.
Her instructions were to concoct as drivelling and rubbishy a
story as it was conceivable to imagine, in order to test the
integrity of these various concerns, who claim in their litera-
ture that they only accept those stories which have promise.
The writing, it will be seen, is obviously that of a child or
of a very uneducated adult. The contents speak for them-
selves. In fact, upon reading it before it was sent out,
the writer wondered whether perhaps the thing was not too
palpably ridiculous.
The Test
Here is a transcript of the letter sent out, the original
of which is reproduced on page 28 —
Feb. 6, 1924.
Continental Photoplay Studio,
154 Nassau Street,
New York City.
Dear Sir:
"I read to-day your ad in a magazine
to send in ideas for the movies as there is
big money in it and as I am a widow making
her living as a housekeeper with 2 little
children I want to try my luck and am send-
ing you a story called Revenge. I dident
have a good edukation as a girl but bleave
I have pritty good talent. If you like this
one I have some more whitch I write after
I put my children to bed. Please let me
know imediately if you like this. I would
give anything to see one of my storeys on
the screen.
Yours truly,
JOSEPHINE DIAMOND,
1413 Ave. J.,
Brooklyn, N. Y.
"P. S. In case it cost some money to
fix my Story up a little I am willing to
pay as I have a little money saved up.''
. The Scenario
transcript of the original scenario — reproduced in fac-
simile on page 28 — is as follows:
Revenge
by Josephine Diamond
Mamie was a poor servent girl who was
very sweet and lovely with gold curls and
inosent blue eyes who worked hard to make
26
these unscrupulous institutions has been throiun out of Screenland
and details of this investigation have been sent to the editors
of all of the other magazines in the screen field.
ert Allen
a desent living for herself and here poor
old mother! One day as Mamie was com-
ing home from work she walked into the
house and saw her poor old mother lying
on the floor in a faint.
Mamie quickly splashed some warter in
here mothers face and then her mother told
her that Yank Mink the village bully and
villen was there and told her if Mamie
dident marry him he would make her lose
her job and spoil her reputation in town.
Mamie turned purpule in the face and said
The dirty bum 111 sho him.
Mamies mother was frightened and
begged her not to do anything and Mamie
told her not two worry. The next day
Mamie saw Yank in the street and he
stoped her and grabbed her by the hand
and said lison here Mamie Im going to
get you yet even if you try to escape 111
be on your heels. Mamie was so angry
that she slapped his face good and hard
And told him to beet it.
Then Yank had his revenge and he got
Mamie to lose her job by telling liyes about
her and everything. Mamie and her
mother dident know watt to do. They
dident have any money and no body whould
hire her. Bretty soon Mamie dident know
where her next meal was coming from and
she went out to hunt for work. To her
sprise who should she see coming up to her
but her live long sweetheart Ned Tims who
just came in form Japan where he made
a big furtune selling parasols. Ned and
Mamie kissed and then she told him how
poor they were and cried very much.
Ned bought them somthing to eat at the
grocers and told them not to worry as
he would take care of them and get after
Yank. The next day Ned started off to get
Yank and beet him up.
While he was away Yank sneked over to
Mamies house with some evil friends of
his and puting a sack over her head they
kidnapped the poor girl. When Ned came
home that night Mamies mother told him
what happend and she did not know wat
to do. Then Ned said be calme and leave
everthing to me and everthing will be all
right. So the old lady sat down and started
to do her knitting and Ned ran out to
look fore his sweethart. Ned knew were
Yanks sekret shack was in the Montains
and he took his bicicle and made a wiled
dash for the Mountains and just came in
time to see Yank trying to kiss Mamie.
He jumped off his bicicle and rushed over
two Yank and almost choked him saying you
swine lay offa that girl. Wereupon Ned
and Yank started to fight and just as Yank
was going to throw Ned off a high cliff
^Facsimile of the original letter and of the scenario
Revenge" concocted by the author for the purpose of
testing the integrity of Mail Order Movie concerns;
the handwriting is the work of a ten year old child.
On the opposite page are reproduced replies from so-
called "Authors' Representatives" and "Agents" accept-
ing the scenario as being "salable."
Mamie grabbed one of Yanks guns which
was in the shack and shot him full of lead.
Then Mamie cried but Ned told her not
to worry as she done wat was right and
God would forgive her. So Ned and Mamie
got down on their knees and prayed and
when they got up agan they went strait to
the minister and got married with a smile
on there face.
The End
The Replies
It is to be noted that every one of the three letters received
in reply is a "form" letter, the opening paragraphs of which
have been typed to give it a "personal touch." The fill-in
in most cases is very cleverly done. Each of the letters em-
phasizes the fact that no training is necessary. The letters
bear such a striking similarity to one another that they might
all have been written by one man. We are quoting herewith
sections from one of the letters as a key to the facsimiles re-
produced on page 29: (The italics are ours.)
CONTINENTAL PHOTOPLAY STUDIO
Author's Representatives
Tribune Building 154 Nassau Street
New York City
February 9, 1924.
Mrs. J. Diamond,
Brooklyn, N. Y.
Dear Madam: —
We are immensely pleased to have re-
ceived your story, entitled "Revenge," for
examination.
After a careful study of your story, we
are glad to be able to truthfully state that
we consider it a suitable subject for a mov-
ing picture production
Photographs taken from a pamphlet issued bv
the Earle Photoplay Studios.
CI Acting upon the invitation expressed in the title over
these pictures, ive sent one of our staff writers to visit
the Executive Staff in their Offices. The "Offices"
consisted of a single room about io x 12 in size, con-
taining the desk of the Managing Editor and the Director
of Sales.
28
(The next step is asking the pupil to sign a prepared con-
tract, reproduced on this page. — Editor.)
We are submitting the contract to you
because we think your work worthy of con-
sideration and it is our opinion, that when
properly worked up, it will make a good,
salable photoplay, which we endeavor to
market for you ... Our methods spare
you the trouble of many weeks of tiresome
study to secure the knowledge of plot con-
struction . . . We also submit one copy
of your story in neat typewritten form and
attractively prepared to ten different pro^
ducing companies, in an endeavor to effectu-
ate a quick and profitable sale for you.
(The letter ends with a final exhortation to sign one of .
the contracts and send remittance — )
If you will return one of the contracts,
properly signed with remittance, we will
be able to start your work at once.
Yours for co-operation,
A. Arlatt,
Continental Photoplay Studio
(and concludes with a penned note from the so-called "Studio
Editor")
Your story interested me. Consider
theme excellent.
The replies of the various concerns, also reproduced, like-
wise speak for themselves. This incredible rubbish, pur-
posely made as futile and ridiculous as possible, is cheerfully
accepted, and the author informed that her work shows
promise. By their own correspondence these concerns stand
condemned. (Continued on page 77)
This illustrates the petty misrepresentations
practiced By these concerns.
(\ln order to hold one of the "frequent conferences between
the Editorial Department and the Sales Director as to
the most probable market for photoplays," as referred
to in the caption under the pictures, all that is necessary
for the Director of Sales to do is to turn around in
his chair.
^Facsimile of the replies accepting the scenario "Revenge"
— reproduced on the opposite page — as "a suitable sub-
ject for a moving picture production" and holding forth
hopes to the author of a "auick and profitable sale."
29
The Movie Kiss!
By Herbert Crooker
Illustrations by Addison ~Qurbank
01 "Each kiss a heart-quake, for a kiss' strength
I think it must be reckoned by its length"
—Byron.
A
KISS, someone has said, is nothing divided
by two.
If that is a fact, then a kiss on the motion picture
screen is something divided by millions, for before
them, countless audiences will see two people of the
opposite sex present their lips and indulge in a kiss
— a kiss, of course, of the permitted amount of foot-
age— just before they reach for their hats and pre-
pare to depart from the theatre.
And what a stirring thing a kiss on the screen is
to an audience — even though it is all make-believe !
Each young person seated watching the screen will
have memories brought back of a certain kiss that lis:
as yet unforgotten, and, no doubt, there are any num-
ber who will make a mental note of the exact atti-
tudes of the osculatory couple as an aid for the future.
For a kiss on the screen is unquestionably correct as
to technique.
But to go even further than that, I'll warrant that
each young person will gaze in envy at his, (or her),
favorite hero, (or heroine), and permit that wish to
flash through the brain, "Pretty soft, this movie act-;
ing! Pretty soft to be able to kiss such a wonderfuL
girl, (or such a handsome actor), in the different
scenes that flash forth."
But do they consider the actress or actor?
Does the idea occur to them that just such a bit
30
of action is perhaps extremely distasteful to one of the partici-
pants that they see before them on the screen?
They watch the scene eagerly, through the rose-colored glasses
of youth. They dream dreams and fancy themselves in the
same position.
'"Prettv soft for you. old man." an enthusiastic young motion
picture fan said to a star of the screen. ''Pretty soft for
you! Here I am off to China on an engineering job and you
stay in the U. S. A. rescuing lovely maidens from villains,
and then kiss the breath out of them in the final fade-out, if
not before."
The film star laughed loud and long.
"Well. I'll be gum-swoggled ! " he ejaculated. "I could under-
stand a struggling player envying me my success in pictures,
but I'll be darned if it ever struck me that anybody would
envy me kissing these young women in motion pictures!"
"Say. she's a little peach," he told his friend in an aside.
"She is that." the star replied, "you wouldn't mind kissing
her now. would you?"
"Just try me," the visitor exploded.
"I'm sorry, but I can't even do it myself right now. The
only kissing that's done in the studio comes under the head
of work." {Continued on Page 102)
The Joke of the Season
. e laughed again, as though it were the joke of the season.
"IH tell you what I'll do," he volunteered suddenly, "I'll
take you out to the studio this afternoon and you can see
for yourself just what a lucky dog I am. We're just finishing
up the last reel of my new production and I'm booked to kiss
little Nina Harts. In fact, I believe that I will have to kiss
her a number of times."
"That would be a lot of fun to watch you kiss her. wouldn't
it?" replied his young friend. "Ill see the whole thing on the
screen later, anyway."
"But it won't look the same," the star told him.
better come along while you've
got the chance."
They arrived at the studio
the same time Nina Harts did.
The movie star introduced
them, and his friend was smit-
ten immediately.
(\"Noiu, Mr. Dulane, Miss
Harts," Commanded the Di-
rector. "This is the Betrothal
Embrace." And the Ghastly
Mr. Duane Took the Livid
Nina Harts in His Arms and
Spoke the Fatal Words.
GlSlreet Scene in Front of Casting Office, Hollywood, California, Showing a Mob of Extra-People Disappointed in Quest for
Work. Fifty Thousand Leaflets Reprinting This Picture as a Part of a Warning to Screen Aspirants Have Been Sent
Throughout the Country by the Hollywood Chamber of Commerce.
Heart-Break Town
I
Q This article was written by a beauty contest winner who went to
Hollywood with high hopes of stardom and who tells here of her
experiences of recent date in the ranks of the extras.
discouraging
AM not going to sign this article, because my frankness
about what happens to movie extras when the studios close
down might get me in wrong at the studios. And an extra
girl, who depends on her few days work a week for her bread
and butter, cannot afford to offend the higher-ups
Hollywood is just showing signs of coming out from under
a slump that has paralyzed the industry for two months. When
the newspapers announced that the Famous Players-Lasky
studio, which hires more extra players, probably, than any other
West Coast plant, was going to close down for ten weeks, those
people not connected with the profession undoubtedly read the
notice and dismissed it from their minds without a thought of
what that blow meant to the industry, and particularly to
that largest and- least considered class in Hollywood, the extras.
The closing of the Lasky plant started a panic that spread
to most of the other studios. Out at the Goldwyn studio,
where eight or ten companies had been working in the spring,
only one company functioned at all: Rupert Hughes' com-
pany. Warner Brothers shut up shop, although the word
never went out to the papers. A few companies were
in the midst of pictures at Lasky's, but this didn't help
the extras much, for about 650 men and women who had been
working in the offices or in the ward-robe departments lost
their jobs temporarily. To keep these departmental people
handy, against the time when the studios would open up
again. Lasky used them as "atmosphere" in the few scenes
where extras were required, instead of employing the regular
minor talent. That was nice for the clerical help, but not so
nice for the jobless extras.
There are — or were — about ten thousand extras in Holly-
wood. Even in boom times, with every studio going full
blast, there are many more extras than there are jobs. And
with the welcome off the mat at the studios, the percentage of
jobless ones jumped many times.
It was pathetic to see the people lined up before the casting
offices, hoping against hope that there would be a day's work
for them. Discouragement and disappointment could be read
on every face, when the word came, "Nothing today." Then
to some other studio, to try again, or to the agencies which
supply the studios with extras.
Sometimes the word would go around that they were using
a few people in a big scene at United, or at Metro, and every-
body within hearing distance would hurry over and melt into
the mob of those waiting.
32
The surest sign of the hard times was the slump in salaries.
Extras, as you probably know, receive either five, seven-fifty
or ten dollars, depending on the nature of the set. Street
scenes usually bring the five or seven-fifty checks. Evening
sets, requiring more elaborate costumes, call for the lordly ten-
dollar checks. Extras who have worked for ten dollars refuse
ever to work for less, for if they do, it is etremely difficult
to work up to the larger salary again. But when jobs grew
scarcer and scarcer, how different ! Men and women who had
been getting seven-fifty and ten dollars per day — some days —
now worked for five and even two-fifty per day. But they
adopted aliases when they did it, and many were the embar-
rassing moments when they would be spotted by friends or
assistant directors.
The old men and women were the hardest hit. I heard an
old man of about sixty-five speaking to another, in the most
discouraged tone. "I used to be able to get five dollars a
day," he said, "but the other day they offered me two, and I
accepted it, because even two is better than nothing."
You might think that men and girls who are earning seven-
fifty and ten dollars a day ought to
be able to save enough to tide them
over the slumps. But in Hollywood,
very few extras are ever lucky enough
to work six days a week. Two or
three days a week is a very good
average, indeed. And out of the
money, one must buy clothes that
are smart, for in no place is it so
true that "to him that hath will be
given." The one who looks as if he
doesn't need a job is the one that
gets it. In Hollywood you simply
have to keep up appearances, even if
you don't eat. And board and room
are high in Hollywood. And don't
think because Hollywood is in Cali-
fornia that it doesn't get cold here!
I know a girl who has been in
pictures for about a year. She
worked rather frequently, but she
couldn't save much. So when the
slump hit us, she had only about fifty
dollars. She gave up her room and
moved into a smaller and cheaper
attic room, and ate only one meal
a day. But even with those econ-
omies, her money ran out and she
had to give up her attic room. She
slept out of doors, with the stars
very much in evidence. Finally she conquered her pride and
asked for a few nights lodging at the Studio Club. She had
not eaten a real square meal for two weeks, and when she
got up from the hot lunch that they gave her at the club, she
fainted. She was seriously ill for several days. They managed
to get a few days work for her, and when she was well enough,
she rented a garage for five dollars a week, furnished it with
a bed and a chair and is still pursuing her art.
It was only a few months ago that a girl from Massachusetts
with a long line of Mayflower ancestors arrived in Hollywood.
She came immediately to a girls' club, and her fascinated curi-
osity about the rumored "wild life in Hollywood" led the
girls to concoct for her stories of wild dissipation. She was
terror-stricken, and repeated some of these stories in her letters
home. Her parents wired her at once to come home from
such a sink of iniquity, but she refused. She was here and
she was going to stick it out. She tried and tried to get work,
but couldn't. She finally took a job as a telephone operator,
but when your heart lies in another vocation, you cannot be
happy doing something else. In the end she packed up and
went home, much to the joy of her family, who will
never be convinced, however, that Hollywood is the small
Warning!
(\Dont Try to Break Into the
Movies in Hollywood Until
You Have Obtained Full, Frank
and Dependable Information
From the Hollywood Chamber
of Commerce. It May Save Dis-
appointments. Out of 100,000
Persons Who Started the Climb
Up Screenland's Slippery Lad-
der, Only _$ Reached the Top.
home town that everybody who lives there knows it to be.
The slump was easier on the men than on the women. It
seemed that all the companies who were working at all had
the occasion to use men all through their pictures. Another
thing, too, in favor of the men was that there are many more
women extras than men. So most of the young men got along
somehow, although when I asked one young chap how he had
been getting along, he said, "Oh, I just slumped with the rest
of them. I got out of the habit of eating and smoking, be-
cause I couldn't afford much of either."
A girl living near me had been moderately successful in
pictures, when the studios were working full blast. The other
day, she came to me and said, "Do you know, I'm sick and
tired of the struggle of trying to get ahead in this business.
A few weeks ago I was getting along nicely. Now, with the
slump on and things at a stand-still, I am just where I was
when I entered the profession. I'm ashamed to go home and
admit I'm a failure. I'm going to marry the first man that
asks me." Yesterday I heard that she had carried out her
threat. She has nothing in common with her meal-ticket, for
that is exactly what he is, and I am
afraid that there are rocks ahead for
both of them.
The wiser people, who could con-
quer the terrible fascination that pic-
tures influence on us film-addicts,
turned to other jobs when they could
get nothing at the studios. I know
several girls who are taking care of
children in private homes. This is
a favorite stunt, because the meals
are regular, which is a delightful
novelty after experiencing a movie
slump. A few lucky ones who knew
stenography brushed up on their
short-hand and took jobs in offices.
The actors and actresses who play
real parts suffered, too. And they
usually didn't have much more laid
by for a rainy day than the extras,
though their salaries were high. We
"movies" seem to live up our salaries
as we go along, and few of us learn
by experience. There was one lead-
ing man who was hitting on all six
in the boom days. He went out with
a lot of the most famous women
stars, and he had a fine apartment
on Hollywood boulevard and a cabin
up in Laurel Canyon and a beautiful
Cadillac limousine. The slump hit him hard. There wasn't
a job in sight, and his creditors, of which he had plenty, came
down on him hard when word of the slump went round. First
he gave up his apartment; then he sold his cabin and some of
his clothes. Finally he let his chauffeur go, but he kept his
car. Because, as I said before, Hollywood insists that every-
one put up a front, even if it is a false front. If you aren't
successful, you've got to look as though you are, or presently
you will be still less so, if possible. So this chap lived in his
limousine. He would park it over night in some deserted
street and sleep there. And by day he would turn his collar
inside out and drive grandly around to the studios, and presently
he landed a good job again, and now he has a contract.
Practically the same situation existed with a clever girl who
used to do publicity for one of the big studios. The slump cost
her her job, but she got another one with an independent pro-
ducer, as a combination script clerk and publicity writer. She
got $75 a week, and her first act was to turn in her flivver
coupe and buy a $1,500 coach, a lovely, shining blue thing.
Her payments were $100 a month, and so she was pretty sick
when her boss ran short of money and had to lay off work.
It was mighty hard work to make (Continued on page 104)
33
Q A dignified fat man is almost
as rare as a price tag on a
Christmas present.
H. B. K.
Willis
Slings a Mean Typewriter
o s E
QH o I I y wood's
Horde of Hand-
some Harrys Ap-
pear in Breeches
Which Boast of
Room for Equa-
torial Expansion
Without Any
A dded Inches in
the Waistband.
"nJ he reason why so many of filmdom's masculine stars are
able to act might well be ascribed to the fact that they keep one
eye rivetted on their bank balance and the other on the waist-j
band of their trousers. Ben Turpin is the only one who can
successfully refute this statement.
But we can exclude Ben from the category or, better be it said, the
purgatory of those for whom obesity will write a screendom obituary.
For if he should try to lamp any possible increase in his abdominal up-
holstery and noted any untoward distension it would not mean any de-
flation of his credit but rather an added charm. Increased girth would
mean increased mirth-provoking powers for him. A dignified fat man
is almost as rare as a price-tag on a Christmas present.
The darlings of the flickering drammer know that convexity where
they should be concave or at least perpendicular means loss of potential-
ity as a pulse-bounder. The pleated pants just now in vogue have given
a number a reprieve from the firing squad of frivolous females who only
condone fat when it is a basis for heavy sugar. In fact I believe some
leading man, warned of his impending acquisition of an over-stuffed out-
line by the propulsion of a pants button from the customary bursting-
point, conceived the idea that longitudinal tucks in his trousers would
prolong his empolyment as a photoplay palpitator at least until he could
make his last payment on his alimony.
F
Pleated Pants Prolong Employment
rank Mayo, whose rockbound visage has oft withstood, without falter-
ing, the charge that he was a product of the Swift school ot acting, was
the first of Hollywood's horde of Handsome Harrys to appear in breeches
which boasted of room for equatorial expansion without any added inches
in the waistband.
But this screed is not devoted to the fat-fighting of Frank and his
fellows. Their fat is not in the fire of this missive inspired as it is by the
Cj. ti.
YLlisbee
Q Douglas at his morning dip was
sure a "moving" picture. It
would pack }em in at Vassar.
Wields a > Wicked Pen
d i p o s e
ablutions of one of the high gods of the cinema, Douglas Fairbanks.
"Venus at the Bath" inspired a flinger of pigments to perpetrate a
canvas (copies of which were much in favor as mural decorations in the
chateaux du suds in the sodden days) but "Douglas at His Dip" was a
more "moving" picture. It would pack 'em in at Vassar.
Realizing that most men enjoy somewhat more privacy than an epi-
leptic doing his stuff in Times Square, little did I think, when I stepped
off my journalistic treadmill one day not long ago to interview the mighty
Fairbanks, that I should get a glimpse of him bound for his bath with
naught but a pair of rubbers.
Abdul the Turk was one and another burly the other. But that is
another part of the story.
Doug's Reducing Game
I
T had reached the ears of my Simon Legree that Fairbanks was plan-
ning to float down the Danube on a raft as part of his personal survey
of Europe this summer and so my city editor must need have the de-
tails of it.
I found Fairbanks and Raoul Walsh playing the game, which Douglas
and several of his cronies invented, on a court built within a lofty set
constructed for The Thief of Bagdad.
The game was a cross between battledore and shuttle-cock and tennis,
the players being greatly engrossed in walloping a befeathered pellet with
tennis rackets back and forth across a volley-ball net.
Set followed set until Fairbanks apparently wore two sets of pants;
one, sartorial, the other, respiratory. Later I found I was wrong when
Abdul the Turk peeled a pair of gutta percha knickers from the legs of
his lord and master.
Dissatisfied with the monosyllabic responses Fairbanks vouchsafed amid
puffing to my questions anent to his intentions of making the Blue Danube
bluer, I followed him into the lair {Continued on page 101)
P/
<\Abdul the
Turk —
Doug's Second
— in His Duel
A
Dia
Photo by International Photo
George Billings — modern prototype of Abraham Lincoln — beside the statue of the Great Emancipator at Newark, N. J.
(^George Billings~an obscure carpenter by trade— has lived again, for the screen's immortal record,
the struggles of Abe Lincoln whom he so strikingly resembles. Shall he now be obliged to sink
back into obscurity and poverty, maintaining a sordid struggle as an extra or player of "small
parts" in Hollywood? Read the story on the following page and then write to the editor of
this magazine and say whether the man who has done such a service for his country does not
deserve a pension from his country.
The Man Who Was
A
A )\ CARPENTER
yesterday. An interna-
tionally famous motion
picture star today. But
— a carpenter tomor-
row.
That is the tragedy of George Billings, snatched from obscur-
ity to reincarnate the martyred president, the idol of a nation.
And no more perfect characterization than Billings' "Abraham
Lincoln" could be imagined. It will stand the test of any
comparisons, and remain one of the matchless performances of
all times.
For George Billings is Abraham Lincoln — outwardly. Line
for line, hair for hair, eyes, teeth, build, mould of head —
everything there is to make a perfect counterpart. As the tall,
ungainly figure of George Billings, wearing the frock coat and
the peculiarly cut beard that Lincoln affected, walks the streets
of New York, a gasp goes up.
"A dead-ringer for Lincoln." "The old boy himself." "A
ghost!" are among the comments. When George Billings walks
into a restaurant or a theater, he attracts even more atten-
tion than Richard Barthelmess or Valentino.
The thing is uncanny. Theories of reincarnation are hastily
reviewed. Maybe there's something in that idea — but as the
gossip and the speculation and the neck-craning go on, George
Billings marches awkwardly along, heedless.
A World War Victim
H E doesn't hear what they say. He can scarcely see the
faces of the new crop of "fans" that admire him so much.
For George Billings is slowly going blind and deaf, an after-
math of his experiences in the world war. I don't know just
why he served in the war, for he is certainly far past the age
limit. He looks to be between fifty and sixty. And he has
a bed-ridden wife. Probably he served because he is really
like Lincoln — inside.
But serve he did — overseas. And he came back prac-
tically disabled. He enrolled for special vocational training,
he told me, but somehow it was a little hard for an old dog
to learn new tricks. They wanted to teach him a lot of
new-fangled stunts, like electrical engineering and probably
wireless operating, but soon he dropped out discouraged, and
took up his old trade of "construction work." Maybe Mr.
Billings isn't a carpenter. But I've known several carpenters
who always referred to their "trade" as "construction work,"
so I think George Billings must have been just that — a sort
of glorified carpenter.
But with two fingers off his right hand — I know, because
that's his hand-shaking hand — it was not so easy to make a
living as a carpenter.
Hard times came a-knocking at the Billings door, and didn't
bother to go away. At last he got work as a building inspector
for the city of Los Angeles. And mighty glad he was to have
a steady job, though the salary was pretty poor.
One day a friend of
George Billings came to
see him, all excited.
"Say, George, here's
the very thing for you.
They're looking for a
guy to play Abraham Lincoln' and you know you're a dead
ringer for Abe. Say, if you'll stick a beard on and go over
to see the Rockett boys, who are going to film the life of
Lincoln, I'll wager they'll fall on your neck."
Abraham Lincoln — beg pardon, George Billings, hardly
stopped work to argue the matter.
"I'm too busy to go looking for a job as a movie actor,"
he retorted and went on inspecting his building, or whatever
it is that building inspectors do.
„, Urged to be Actor
JL he friend persisted, however, and at last he volunteered
to pay for a set of photographs of Billings made up to look
like Lincoln, if Billings would go with him to the photographer
on his noon hour. Billings did, and the kindly friend — a man
in the vaudeville business — took the pictures out to the cast-
ing director. The call that went out for Billings was so impera-
tive that he decided to knock off on his inspection work for
at least half a day and give the Rockett boys a chance to
hire him.
Fifteen minutes later he was cast as "Abraham Lincoln."
And then the work began.
Billings is not an actor. Even now, with one of the most
remarkable characterizations in film history to his credit, he
is not an actor. He will never be an actor.
Billings himself explained it this way to me: "You see,
I've always made a hero out of Lincoln. I had read every
book I could lay hands on about Lincoln. I suppose some
of my interest was due to the fact that I knew I looked like
Lincoln. Every day somebody would speak of it. And it made
me proud and happy. In France they called me Abe.
"I think I must have been thinking like Abe Lincoln and
acting like him for many years. The thing had sort of become
a part of me. In my own mind I used to think I was
Lincoln, and then I'd wake up with a jolt to the fact that
I didn't amount to a thing. If I was really like Lincoln, I'd
have made my mark long before.
"Well, when it came time to act 'the part' I was just sat-
urated with Lincoln. I walked like him and talked like him
and made awkward gestures like him. But I couldn't act. I
can't act now. Mr. Phil Rosen, the director, was the real
Abraham Lincoln. He made himself think Lincoln night and
day, until he was really Lincoln, though he didn't look a bit
like him. I was just a medium for the expression of Phil
Rosen's Lincoln. I give all the credit to Mr. Rosen. I simply
did what he told me to. Of course I understood the part,
but I'd never have been able to get {Continued on Page 100)
LINCOLN
By Anne Austin
G[Lifted for a brief space from his lowly toil, George
Billings — the prototype of Abraham Lincoln — made
screen history by his sincere portrayal of the struggles
of America's beloved martyr.
37
SUCCE S S
and the Movies
By \Jpton Sinclair
GJThe Second Article of a Series of Three by the Celebrated Author ot
The Jungle, The Brass Check, and They Call Me Carpenter
ome ten years ago, when The Jungle was produced as
a moving picture in New York, I was invited to address the
producers of the country at a banquet in one of the big
hotels in New York. At that time the industry was younger
than it is now, and I was also younger, and thought it might
help to appeal to the masters of the world. I made an appeal
to these movie gentlemen, and the substance of it was this:
You are new to the world of power
and success. You have come from n • 7 •
the people; you have known the SajS M.T. Sinclair'.
bitterness of poverty, you have known
struggle and possible failure. Do not (][ The movies are — in spite
in your new triumph forget entirely
the world from which you have come.
Do not adopt all the thoughts and
pretenses of the ruling class, but stand
by the people. Give them at least a
little of the truth about life. Give
them some guidance in delivering them-
selves from poverty and fear and war.
Such was my speech, and all the
movie gentlemen seemed to be
touched; at any rate, they applauded
cordially, and some of them shook my
hand and said that I had done them
good. But now I look at the movie
world, and I do not see any signs
that my plea took effect. The movies
of
themselves, and in spite of every
thing the masters of capital can
do — the greatest inciters, of social
discontent yet discovered in the
world! Because they accustom
people to the idea of freely
spending money. They place be-
fore millions of people all the
latest inventions in costumes,
jewelry, furniture, plumbing,
automobiles and house construc-
tion. To see these things is to
want them.
are of the ruling class, and they deal
solely with the interests of the rich. The glory of riches is
their theme, and the lesson to the poor is that everybody
can become wealthy if he will try.
Big Fish Devour Little Ones
I
came the other day upon a fable by the Italian writer,
i'estalozzi. The small fishes in the pond complained of the
pike, that they devoured too many small fishes. Something
must be done about it. So the pike held a council, and agreed
that the situation should be remedied by permitting every
year two small fishes to become a pike.
If anybody who reads a movie magazine ever stops to think
about anything, I would beg him to stop and think about
this little fable. A thorough understanding of it will make
anyone a wise man or woman; for this little fable contains in
itself the whole philosophy of America at the present time.
Any time you point out social injustice in America to a ruling-
class statesman, or editor, or college professor, or clergyman,
38
you get, automatically and invariably, one answer: every-
where in America a small fish is now and then permitted to
become a pike, and have a chance to devour his former
companions !
A friend of mine employs a school boy in her garden after
school. This boy comes from a working-class home; he is a
fine, handsome high school student; he is getting an educa-
tion, and is on his way up, according
to the fashion in America. The other
day he was talking to my friend, and
said that policemen do not pretend
to enforce the law against the rich.
He had seen a man in a big, expen-
sive limousine deliberately violate some
essential traffic regulation, and the
policeman standing on the corner had
watched him and merely grinned. Said
my friend to the boy: "If you notice
things like that, the first thing you
know you will be turning into a So-
cialist like Mr. Sinclair." "Not much,"
said the boy; "none of that for me."
"Why not?" The answer came: "I
am going to be one of them, and be
able to do what I please."
Here, you see, is the smaller fish
who is going to be a pike, and knows
it. Here is a boy, trained in our
public schools, as fine a type as you
could meet in a year of hunting; and the schools have taught
him that it is all right for the rich to go on violating the law,
because when you get to be rich yourself you also will want
to violate the law!
Movies Exaggerate Man's Opportunities
Such is "success;" and such is the philosophy which you
find in the movies. If you come along and point out the
obvious fact that under the competitive system only a few
can become rich, that ten must fail for every one who suc-
ceeds— why then you are considered to be a "knocker," a
"grouch," a "sore-head," and nobody wants you at the party.
If you come proposing that anybody should put into a moving
picture a suggestion of the fact that the great mass of the
people do not become wealthy, and do not get opportunity
to violate the law — why then the producer looks at you and
asks if you think he is in business for his health.
We have certain evils in our (Continued on page 103)
CiMerry Morrow—
An Actress by
Accident.
n e
little
cene
Q The story of a star who
couldn't act, a press agent
baby that wasn't wanted
and an accident that un-
covered the heart of Holly-
wood. Another of old
Jim Wellworn's favorite
yarns — as told to
Harry
V T a nnon
Illustrations
By C.J. McCarthy
I SUPPOSE you've heard how hard some directors work
to get the effects they want — it is my grease paint friend.
Jim Wellworn, talking — and how sometimes they are
cruel only to be kind.
Did I ever tell you how Sniffen — the great G. W. — locked
Lillian Haines in a hotel room for three days, and kept her
there without food? Yes, sir, three days and three nights.
Wouldn't let anyone talk to her — telephone operator wouldn't
answer her calls.
And then, when she was thin and wall-eyed and all on
edge, he came into the room, talked to her like he wouldn't
talk to a dog, and then half dragged her to the elevator, took
her down stairs, slammed
into an auto, and took her
on the set.
Now act," he said, and he cursed
her.
That girl never acted any better in her life. That one little
scene made her a great star.
Well, I could name lots of so-called actresses who could
stand a little of that treatment without being harmed any.
And there's a lot more that should be locked up in a hotel
room or some other place for the rest of their natural lives.
But what I was thinking of when I started this rambling
43
yarn was a trick Sam Kesser played to get some feeling out
of a stone. A little fat, bald, middle-aged fellow, this Kesser,
and to look at him you'd never guess he was shrewd. And yet
he's got more $5 bills than Wesley Barry has freckles.
You know how he made Drury Dean and Merry Morrow?
Didn't I ever tell you that? Or about the press agent baby?
I've been neglecting your screen education.
I
t started in Kesser's office one day a couple of years ago.
Kesser had called in Drury Dean, and Jerry Graham, his
prize press agent, and it was agreed that "we got to do it some-
things different, Drury."
Drury Dean had been known as a male vamp. And his
popularity was dying.
"You ain't getting the letters you used," said Kesser. "You
ain't getting the publicity. And you ain't getting the crowds."
Drury raised his lovely eyebrows and looked in the mirror.
He opened the neck of his shirt a trifle wider, and peered at
his finger-nails. They were very lovely.
"We got to make you a he-man," said Graham, not with-
out a little malice. "I'll stage a fight. You'll knock out a
husky teamster who has been beating his horse."
Drury gave him a dirty look, and muttered something about
vulgarity.
"Oh, don't be alarmed," said Jerry quickly. "The team-
ster will let you do it for three or four bucks. Well — " catch-
ing Kesser's frown, "for two or three. And you become an
up-standing male immediately, with hair on your chest in-
cluded. The male vamp dies. No, this guy
hasn't been beating his horse. He's insulted a
girl. That's better. Chivalry, see?"
"We'll do it," said Kesser, "but that
ain't enough yet. Maybe two, three
stories. But we got to do something
else too. This domestic stuff, now,
Drury — "
' Kesser looked out the window before
he went on.
"By the way, Drury," he ventured,
^amand Jerry Graham
and the Camera Man
Stood Back and Grinned
fc
'•you ain't living with your wife no more? And such a nice
girl, too."
Drury stood up and began taking off his pearl gray gloves.
"It's none of your damn business," he declared.
Sam swung around in his swivel chair, nad made placating
gestures with mouth and eyes and hands.
"So much temperament has he got!" he said. "I mention
his wife, and he gets mad. I don't mean nothing personal,
Drury; but you and Merry Morrow, you should ought to
live together again. Then Harry here could play up the domes-
tic stuff. That's what brings the mammas and the childrens
to the theaters. So?
"You ain't got a baby, Drury, and it's a shame. Think
what Jerry here could do with a baby! Maybe Merry could
write yet a column in the newspapers about how you should
feed it a baby, eh? Harry could write it out of the doctor
books. Give him a typewriter and that boy writes anything
— except maybe now a prescription. Sit down, Drury. Have
a cigar? Wait, I get you a good one."
H e went to the vault while the perplexed Graham tried to
solve the puzzle. Merry a mother? That meant a year off
the screen — and she was one of Sam's best money-makers. Could
any star stand a year's absence? Was Kesser crazy?
Sam returned with a box of perfectos.
"Take a lot, Drury. Take two. That's good, eh? Heard
it last night. Here, Jerry, you can have one too. You
been a good boy, Jerry."
Drury cleared his throat and would in all probability
have pronounced words. But Sam patted him on the back.
" 'Sail right, Drury," he said. "I know what you're
thinking. But listen here once. Merry Morrow is going
to be the best advertised mamma in the whole world. And
Drury Dean is going to be the best known papa. Don'd
you worry, either, 'cause I got four pictures Merry Morrow
made what ain't never been released yet. And the public
ain't going to have no chance to forget her.
"And say — Drury — when the time comes, I'll be the little
dicken's god-papa mineself. What you think of that?"
" On the day DrUry, Jr. was born, Sam gave $5,000 to an
orphan asylum, in Drury, Jr.'s name. He also bought a dozen
milk goats, a squad of private nurses, and four physicians.
The physicians and the nurses decided, after a conference, on
the day Merry might bring her child to the Hollywood house
— and they rode over a path of hot-house roses, the bill for
which was marked "publicity."
The President of the United States was asked to be god-
father to the wonder child, and {Continued on Page 98)
D,
'rury Dean, Jr., was born in May, an eight-pound angel
with great blue eyes, golden curly hair. A lusty animal. A
perfect boy.
America knew about him months in advance. Report-
ers had interviewed Merry and Drury repeatedly. Did they
talk? They talked their heads off. Jerry Graham's scrap
book with the word "Baby" pasted on it — a monstrous big
book that belied its name — was soon filled with clippings,
stories, pictures, editorials, bright paragraphs from the
columns. Sam bought him a new book and didn't ask
the price. ^
The Deans moved into a beautiful
home in Hollywood, with great wide
lawns around it, with fan palms and
star pines and acacia and pepper trees,
with flowers blooming everywhere. There
was a big sand pile in one corner of
the lawn, a little shallow pond meant
for the sailing of toy boats
and battleships — a dream
city waiting for a child.
Every time a picture
starring Drury or Merry
was the attraction at any
theater one might see long
lines of fans. Merry ask-
ed for a new contract.
"Human nature's fierce, Jerry," Sam observed. "Here I make
her a great star, and right away she wants more money. Bet-
ter you should keep up the publicity, Jerry. We need it."
Ctl-Ie Tried to Take
the Child From
M e r ry but She
IVould Not Have
it So.
■ 45
01 Petroushka, Petroushka, you quaint little clown,
Petroushka, Petroushka, the talk of the town,
Petroushka, Petroushka, my friend from afar,
Petroushka, Petroushka, how funny you arel
oily wood
has its
Petroushka
Mnice
~M.arshall
Reading down the
page: Interior of the
Cafe Petroushka ;
Charlie Chaplin in
his fighting posture;
Exterior of the Cafe
Petroushka; and C.
C. Julian, Chaplin's
adversary.
3 DROPPED in at the Petroushka Club on upper
Hollywood Boulevard the other evening, prin-
cipally to discover why so many of our best
people consider a beef sandwich at $1.25, served
by a gent in Russian pants, so infinitely preferable to
the same viand at ten cents, served at the corner soda
fountain. The difference, I learned, was $1.15, plus
atmosphere. If anything, the drug store sandwich
had a little the best of it in the way of mustard.
The Petroushka Club is Hollywood's newest panacea
for boredom. Special-built motors roar up to its doors
as grandly as if they had been paid for, depositing
gorgeously gowned ladies and slick-haired young men.
Society sends its leaders to watch, and whisper behind
fans, and peer through lorgnettes. Young office clerks,
brought reluctantly thither by the force of circum-
stances and their lady friends, think sadly of the
lunchless week stretching before them.
The rooms are in the Russian style. Draperies of
purple and vivid blue. Ceiling lights discreetly shaded
with amber tissues; becoming lights. The walls bear-
ing painted snow scenes, with a grimacing clown, the
Petroushka after whom the cafe is named, delighting
some buxom Russian peasants with his antics. And
Nobility benignly shedding the radiance of its
presence on the assembled multitude.
Hostess of the Petroushka Club is the Princess
Dagmara Saricheva, said to be of a branch of the
royal Romanoff line and a refugee from Petrograd.
Poverty brought her to her present state, but her
dignity is regal. She moves graciously among the
guests, dispensing a smile here, a word in quaint,
accent-marked English there. She pauses at the table
where sit Viola Dana and Lottie Pickford, squired by
Allan Forrest, husband of Lottie, and an unknown
male. Lottie palpitates under the accolade of her
smile, but Viola hails her with gladsome comraderie.
It takes more than royalty to abash Viola.
A crash of cymbals. The orchestra players, vivid
in blouses of orange silk over baggy Russian trousers
tucked into shiny, high boots, swing into a rollicking
strain. A singer takes up the strain.
The swing of the music is enticing. There is a general
movement to the dance floor. Constance Talmadge,
a flame in orange, foots it lightly with Irving Thalberg.
Charles Chaplin treads a measure with Mary
Miles Minter, blonde and slightly defiant. The
halo of Mildred Harris' (Continued on page 80)
4«
Q. Romance and intrigue. Ambition and
heartbreak. Brave smiles and runo<ver
shoes. A little world all to itself — the
Algonquin.
ew York
has its
Algonquin
DJ Uelight lEvans
JUST a little hotel with an Indian name on a
side-street in New York. That's all. There's
nothing pretentious or imposing about it.
And yet — it's the only place in the East where
you can go at any time and be certain of meeting,
face to face, at least one or two of your cinema gods
or goddesses; rubbing your shoulders on their sable
ones ; breathing the scents of their imported perfume —
and cigarettes ; tripping over the same rugs !
It is one of the mysteries of Manhattan, the
Algonquin. Why it should have become a rendezvous
for the great and the near-great of the screen and the
theater; why it should be a meeting place of the real
and pseudo-intellectuals — critics, humorists, columnists,
playwrights, publishers; why it has been running longer
than any other comedy on or around Broadway — no-
body knows, and nobody seems to care. It's there,
and that's all there is to it. It's a tradition, and, like
most traditions, it doesn't matter how or when it began.
With its modest sign over the door ; its little lounge
with its blue-upholstered chairs and couches ; its news-
stand and its potted palms ; its two small dining rooms
— it has the general air of the small-town hotel. Only
the leading hotel in a town is apt to be much more
elaborate.
A star of western pictures, on for a rest, stopped
there because someone had told him it was the thing
to do in New York. He emerged and looked around.
"Where," he grunted, "is the horse block?"
People with Ritz-Carlton incomes come there to
spend it. Often they will tell you, apologetically,
"All the other hotels are filled." But they always
come back.
Its proprietor is not the paunchy, genial host of
fiction. He is somewhat lean, and some have said he
has a hungry look, doubtless induced by eating on the
premises. But Frank Case knows more celebrities
than anyone in the world. A word or a bow from
him is an accolade to the uninitiated. Bill Farnum
stays at Mr. Case's inn because of his long friend-
ship for the manager. That may explain other prefer-
ences.
Come in at luncheon time — on a Tuesday. Be-
cause, for some quaint reason, it is on Tuesday that
you are sure to see everybody and really get your
money's worth. If it's around one o'clock you will
have difficulty finding vacant chairs. Your favorite
ingenue just took the last one. She's tapping her
pretty foot. How dare he (Continued on Page 80)
Reading down page:
Interior Hotel Al-
gonquin; Dagmar
Godoivsky; Lobby of
Algonquin Hotel;
Frank Mayo, ex-
husband of Dagmar
Godoivsky.
4?
ew
SCREENPLAYS
Bj/ Delight limns
Illustrations by Covarrubias
A NY old revolution has always been great motion picture
A\ material. The French provided a pretty good one
/-\\ and it has been re-enacted on the screen more times
^ ^* than we care to count. If the continental cousins
could put up such a good fight, what, queried a Certain
Great Director, was the matter with our own little revolution?
The costumes, perhaps, weren't so
pretty, and there wasn't any guillo-
tine for a head-rest for the golden-
haired heroine; but still, give
America a chance. After all, there's
nothing like a good revolution.
So, here we are. America: Series
One, The Sacrifices. A picture
sponsored by the Daughters of the
American Revolution and directed
by David Wark Griffith, featuring
the birth of freedom right here at
home and accompanied not by the
Marseillaise but by the Star-
Spangled Banner, less familiar perhaps, but just as stirring.
The American revolution stacks up all right against its foreign
competitor; in fact, it goes the
French conflict one better by sup-
plying the most thrilling
ride in all history.
QThe Month's Four Best Screenplays
(\Amerka
(\Beau Brummel
(\Yankee Consul
QYolanda
One for Every Week
Thrilling Ride of
Paul Revere
Q Carol Dempster in America
is decorative and she
doesn't flutter — much.
■ hat • dark horse
simply ran away with
the picture. Paul
Revere and his steed
are the real stars in
their own particular
brand of thrills. Never
again will audiences be
impressed with Mr.
Hart and his Pinto.
They are all very well
in their way; but they
can't compete with the
famous nocturnal dash
through the Massachu-
setts scenery. This ride
just had to be thrilling ;
there were no two ways
about it. It was not
David Wark Griffiith's
doing that the horse
hurdled fences and
gates and streams. Paul
and the pursuing Red
Coats did their stuff
just as the historians set it down. Mr. Griffith has often been
accused of tampering with history but not this time. It wasn't
up to him. He had to take it as it was or let it alone. As a
result, the intrepid patriot, summoning the sturdy souls of
Lexington and Concord with his cry of warning, provides one
of the biggest wallops the screen has ever seen. It is as
thrilling as the gathering of the
clans in The Birth of a Nation. I
know; I'm tired of that ancient
comparison, too. But both episodes
are unforgettable.
Naturally, anything after the
gathering of the Minute Men is
bound to be an anti-climax. Noth-
ing could be so stirring; and the
second part of the picture is a rather
laborious attempt to sustain the
excitement. But why blame the
director? The Revolution was
written that way. The midnight
ride is enough of a thrill for one evening anyway. If there
had been another the audience would have had to be carried
out.
Washington Characterization Lacked Life
]B/Very time you start to criticize a picture like this one you
are disarmed by the thought that it is a worthy effort and that
it should be shown in the schools. I know it. And still it
seemed to me that it lacked life — always excepting the spirited
ride. That it was, in fact, designed with the idea uppermost
that the children of the future will learn their American history
from the screen. They will. But they would be much more
impressed if George Washington, for example, had been made
a man and not a super-man. It's a safe assumption that any
man who earned the title of Father of his Country was one
of the good scouts of his time, and certainly considerably more
sympathetic than the majestic figure who stalks through
America. As far as giving him a semblance of life is concerned,
Mr. Griffith might just as well have used a bust of the General.
"First in the hearts of his countrymen" — and we are made to
see him as a cold, remote personage. Washington should be
portrayed as intimately as Lincoln — a far more difficult task,
but entirely possible. In his anxiety to paint a reverent portrait
the director failed to find a likeness.
Fault has been found for the omission of Lafayette and of
picture postcards of the Spirit of '76 and Washington Crossing
the Delaware. I'm glad these were left out. The Spirit of
'76 is present but not in a group still. Griffith makes no ei.ort
to place the Revolutionary conflict upon his canvas; he has
chosen the particular episodes which seem to have most of the
elements of a popular Griffith picture. There's the base and
covetous villain; the winsome heroine; the inevitable ride to
the rescue. But the first part is free from formula. It is
faithfully and at times magnificently painted.
Lionel Barrymore Takes Acting- Honors
story by Robert W. Chambers has for its bloody back-
ground the villainies of Captain Walter Butler and the Indian
raids in the northern grain region. We follow the fortunes of
the girl, her father, a Tory converted to the fight for freedom,
and her lover, a brave youngster who performs as many deeds
of daring as a serial hero. There are moments of suspense
when the spectators kid themselves into believing that the
outcome is doubtful, when everybody who has ever seen a
Griffith picture knows to the minute when the rescuing forces
are due to dash up. The gel, ha, ha, is enabled to flutter at
Washington's inaugural address, which provides the conclusion.
It's a worthy effort and unlike most things like that it has
its bright moments. Griffith's naivete is once again apparent.
He is ever the romancer; the genial weaver of fairy tales that
never could happen. His fanciful ramblings include an orgy
conducted along the usual Griffith lines. When the loathsome
Captain Hare, grimaced, not acted, by Louis Wolheim, calls for
the camp women, in trips as beautiful a bevy of cuties as you
could wish to see — well-groomed, dainty creatures who look as
if they had just dashed out of their Park Avenue apartments
to look at those quaint Indians.
. For me, Lionel Barrymore as Battling Butler is the suavest
and most satisfying screen villain of the fiscal year. The
Barrymore boys always uplift the screen and they are doing
very well this month. (See "Beau Brummel.") Lionel's bad
end, a fall face-downward into the mud, taught him, I hear,
by a Hippodrome clown, is as pretty a flop as a camera ever
caught.
Neil Hamilton's good looks are against him but if he con-
tinues to contribute the sincerity he shows here he may in time
live down his profile. As a Revolutionary knight he does not
give an imitation of Richard Barthelmess. He doesn't have to.
Charles Mack is hardly my idea of a studio Salvini so his
omnipresent dimple almost spoiled my patriotic evening. Riley
Hatch's Tammany Indian was as imposing as could be expected.
Erville Anderson and Frank McGlynn, Jr. stand out. Carol
Dempster, always graceful, is a little lady every minute. She's
so well behaved. But she's decorative and she doesn't flutter —
much.
"Glass" backgrounds are used, and often. They may have
been absolutely necessary but they weren't heard of at the time
of Intolerance.
The first night of America was
the occasion for tremendous ap-
plause at every scene of any con-
sequence at all. A little love scene
— applause. A close-up of Miss
Dempster — more applause. A
glimpse of Washington — cheers.
But the midnight ride of Paul
Revere deserved the huzzas.
Q. Marion Davies acquires, in Yolanda,
a childlike elusiveness often reminis-
cent of Mary Pickford.
QThe Month's Four Best Performances
Yankee Consul Thoroughly
Enjoyable
0[ John Barrymore in Bean Brummel
(\Holbrook Blinn in Yolanda
(\Douglas MacLean in Yankee Consul
QJLionel Barrymore in America
Y»
ou'll have the time of your life
at The Yankee Consul. Everybody, from the director and
Douglas MacLean to the theater ushers, enjoyed themselves.
I caught an usher chuckling. Proof.
Frankly farce, its plot is so old-fashioned it wheezes. There
may be a few people alive today who saw it as a musical comedy
but if there are they don't brag. But it bounds along with
all the speed of a plucky flivver. Just a movie, and proud
of it. This is how it runs. Another one of those young men
with an obese bankroll is the victim of a practical joke designed
to show him he is still alive. The bright ones out front are
in on it and have a lovely time nudging one another and
laughing at the goat. He obliges by participating in some
lively South American adventures. If you're one of those
who take your
humor seriously
you will prob-
ably roll right
out of your seat
and down the
aisle at the
finish.
Douglas Mac-
Lean has made
so many darned
?ood comedies I
wonder why
he's not fussed
about. He has
imported to the
screen the
finished techni-
que of the
expert stage
farceur. He's
given me more
legitimate
laughs than any
other screen
actor except
Chaplin. So I
a m convinced
he is a more ac-
complished comedian than Harold Lloyd. What? Well, we
all have a right to our own opinions, haven't we?
Patsy Ruth Miller is present, too, the little cut-up. She
conducts herself in a manner worthy of the finest traditions of
Our Club. Perhaps I had better admit that I can't be fair to
our Patsy Ruth. You may think she gives a great performance.
I don't.
Beau Brummel an Almost Perfect Motion Picture
IB)eau Brummel is sheer romance. It's a costume picture
without a single battle except one fought over a lady. There's
a king in it but not one conference with responsible royalty
grouped about a carved table in crested chairs. It portrays
the private life of the prince who
became George III — odd, how he
has changed when you meet him
in America — and of another George,
Mr. Brummel, who becomes the
royal favorite and arbiter of man-
ners, fashions and morals; and of
various ladies and gentlemen who
are involved in the highly unim-
portant social events of the day.
There is no historical significance
and no world crisis, so it may not
be a costume picture after all.
Beau Brummel has a strange
disregard for film formula. Its romance is not of the moon-
light-garden-pierced-hearts-on-birch-trees variety. Its drama is
not physical. It's the romance of a man's life — a man who
could never, by any stretch of the imagination, come up to
the standards set for screen heroes. That's why I prefer it
to other productions more extensively advertised and contain-
ing stronger moral lessons. The emotions of one man or
one woman can be just as hair-raising or as soul-stirring as
a chariot race in five colors. There are in Beau Brummel
three of the most poignant scenes I have ever watched. The
gradual decay of a splendid personage is movingly illustrated;
and there are times when I wanted to break down and have
a good, old-fashioned cry.
42
No actor is as well equipped as John Barrymore to play
the Beau. John himself is said to have remarked that he owes
a great deal of his success to his shapely underpinnings. His
performance is matchless. I say this disregarding, with an
obvious effort, the handsome figure he makes of Beau Brumr::l
in the first reels and recalling the pitiful, shabby man in
middle-age and obscurity and finally the broken wreck he
becomes before the picture ends.
Next to the work of Mr. Barrymore and his director, Harry
Beaumont, comes Willard Louis' priceless caricature of the
fat and fatuous prince. Altogether, Beau Brummel is one of
those rare events — an almost perfect motion picture.
Yolanda a Lovely Spectacle
A costume picture about which there can be no doubt is
Yolanda. There is a battle every so often and all sorts of
skirmishes just as it begins to look as if the extras may have
a little breathing spell. The Cosmopolitan spear-carriers are
the hardest-worked supernumeraries in the world.
Another one of those billion-dollar dime-novels in rare bind-
ings, with Marion Davies, five thousand men in armor, genuine
antiques, and a moat. The moat deserves all the publicity it
receives on the program: It is all that it's cracked up to be.
A good old trusty moat even if it did cost $21,000. Handi-
capped with gothic tapestries, all, we are assured, the real
article; a palace extending over two city blocks; and the
largest outdoor set ever constructed. Yolanda provides good
entertainment, if you like to see masquerading royalty and
tournaments and romance.
Robert Vignola directed and if anyone could make this
pageant real it's this signor. He manages
mobs and Marion with equal skill. The
gold-and-white Miss Davies, under his
guidance, becomes alert and interested;
she acquires a childlike elusiveness often
reminiscent of Mary. And surely she is
a lovely picture in her medieval robes,
as human as possible weighted with gem-
laden gowns and crowns.
The acting honors belong to Holbrook
Blinn. As a creator of kings his only
rival is Herr Jannings. He makes the
crafty Louis Eleventh plausible and ter-
rifying, particularly in the most imagina-
tive scene in the picture — that in Louis'
dreadful orchard, with the bodies of his
victims hanging from the trees. Marion's
moment of honest emotion occurs soon
after this; her Princess Mary becomes a
very real and a badly frightened little girl.
In all her costly costume plays Marion
reminds me of an excited youngster parad-
ing in gorgeous grown-up clothes and
having a wonderful time doing it. Her
appeal, like Pickford's, is that of a sweet,
ingratiating and slightly spoiled child.
When a Man's a Man Insipid Hokum
^6Jt is as I wrote it," runs the solemn
advertisement of Harold Bell Wright's
epochal novel, When a Man's a Man.
"Greater than the book" is another way
they have worded it. They can't prove it
by me because Harold, right or wrong,
is not one of my passions. However,
judging by the fact that the film ran for some weeks in Man-
hattan, he has his following, and if they liked it why should
I complain? The New Yorkers wallowed in his conception
of the great open spaces, which seems to prove you can't kill
a thing by kidding it.
After innumerable satires have been indited on this very
subject, with red-blooded heroes and distressed damsels from
the effete east and God's own outdoors coming in for a
complete kidding, here is Mr. Wright, the principal exponent
of Nature in her gentler aspects, the most faithful champion
of the sjlent hills, the ardent advocate of western sunsets, still
going on about it at great length and, what is stranger, still
entertaining multitudes with his murmurings. It is all beyond
me because I refuse to admit that because a man lives in a
nice house with good plumbing and dresses for dinner, he must
necessarily be a weakling or a bum; and that the moment he
discards his manners he becomes God's own gentleman.
Sombrero, a swagger, dirty hands and a horse are, in Mr.
Wright's opinion, the apparent qualifications for initiation into
that noble fraternity of Men, who are Men.
I won't go into detail about this thing because if you like
it you like it and won't want your fun spoiled; and if you
don't like it you won't care. Except to remark that its cast
is possibly as insipid a collection of actors as has ever been
assembled under one all-star banner. John Bowers is somehow
invariably chosen to play a man who 'is a man. I don't want
to be hard on him because after all he didn't write his own role
and as far as I know he may prefer Remy de Gourmont to
H. B. W. But the shot of him here that I liked best was the
long one showing his descent into, an . especially splashy
sunset. ' ■ " '7~'.~. '
Shadows of Paris Not Worthy of Pola
Shadows of Paris, or, Twixt Love and
Dooty.
When I see Pola Negri in such slush
and remember her Carmen and her Du
Barry I could cry without calling for my
glycerine. It's a shame, that's what it is
Yes, I am worked Up over it. I, as a
fair-minded reviewer, had to sit through
all six reels — it seemed twelve. You can
walk out on it if you want to.
If it weren't for the lavish settings and
the expensive Pola you would suspect it
of burlesque tendencies. It is almost,
but not quite, funny enough for farce.
A weak edition of The Humming Bird,
it has its motion-picture-Paris society,
its apaches, its "Forward, wolves of
Montmartre" motif. Charles de Roche
as an apache is an unconscious caricature.
The only reason for seeing it is Vera
Reynolds. She, not Colleen Moore, should
be the screen's stellar flapper. Hers is
an electric personality, and if she doesn't
go far — in the right direction — I am per-
fectly willing to eat my spring chapeau,
feather and all.
The prize sub-title of the month hap-
pens here. It is, "And now, my beauty,
I want you!" The title writer was evi-
dently unaware that this title is no longer
being used except by Mack Sennett —
and even Mr. Sennett doesn't use it
any more. (Continued on page 84)
d Adolphe Menjou does some
splendid work in The
Marriage Circle.
5°
ome Life of the Stars
*\Screenland 's artist - - the well known KHz - - gives his
impression of Charlie Chaplin on his day at home.
Q I nearly lost my
self respect in
those bathroom
scenes.
I,
.t's Gone
Far Enough.
I Can't Stand it
Much Longer. I've
Simply Got
To Cry
On Somebody's Shoulder —
And It Might as Well
Be Yours.
I^obody Knows
What I've Gone Through!
I'm Not Sure, Myself.
I'm
Only Seven —
By Actual Count, not
My Press Agent's —
But Oh,
How I have Suffered !
Life
Holds Nothing More
For Me.
I've Seen Everything,
Shaken Hands with Everybody,
Been Everywhere,
And Earn More Money
Than the President.
Nothing
Could Possibly
Give Me a Kick —
Not Even
The Key-hole Privilege
At the Studio.
e
Studio
Child's
anient
That I Struggled; but
She Pinched Me and I
Howled Instead — the Hussy!
When my Mother
Read the Reviews
In the Papers
They Said
That my Performance
Was Well-Nigh Perfect.
One Critic Raved About
The Indescribable Pathos
Of my Crying Close-up —
He didn't Know the Half of it.
I
was Sick of Rattles
Before I was Six Months Old.
I Soon Got on
To the Director and his Tricks.
He'd Yell
I
was the Original
Orphan of the Storm.
A Girl
Carried Me Out into It
Wrapped Up in her Cape
— they always
Wear Capes.
1 Remember Distinctly
01 I was the orig-
inal Orphan of
the Storm.
52
By
Delight
Evans
Decorations
• By Wynn
For a Rattle, Hold it Up. and
Gurgle at Me.
"See Pitty Sing?" he'd Say —
The Darn Fool!
Nobody can Call Me Names
And Get Away with it.
The First Time I Admit
I Fell for it. But
After That
I Just Gave him
A Haughty Stare, and
Turned my Head Away, and
Pretended to Go to Sleep.
Didn't that
Get his Goat, though — you never
Heard such Language!
He'd Howl about
Overhead, and
Things like that; while I
Would Lie There
With One Eye Half Open
And Laugh to myself
Until my Cradle Rocked.
Heaven Knows
If I'm
A Howling Success
On the Screen, it's
My Own Fault.
I Never
Needed Glycerine
Or Pins or Pinches.
Although they Seemed to Think
I was a Pinch-Cushion.
All Right.
I Cried as Often
As I Could.
If I
Had Been Able
To Toddle
You Can Bet Your Life
I'd have Walked out on them.
Q_ I was always the
unwanted baby.
I
THOUGHT
As I Added Inches
Things would Improve.
But
They Only
Got' Worse.
I
was Always
The Unwanted Baby.
Now I Ask You!
A Good, Healthy Kid
Like I was — and
Nobody Loved Me.
My Screen Poppa
Would Reel In
And while my Momma
Cowered in a Corner,
He'd Break the Furniture —
I Always Rather Liked
That Scene.
The Trouble with it was
The Flying Furniture
Never Hit Momma.
It Got on my Nerves —
I Never
Begged to be Born.
I Might have Had some Fun
In the Comedies, with
Freddy the Dog; only
They Pulled a Double on
me
In all the Best Scenes.
Said I was Too Valuable
To Take any Chances
with — they'd
(Continued on page 97)
Q I would lie
there with
one eye half
open and
laugh \o
myself.
5i
(j[.4n Unusual and Beautiful Study of Dorothy Phillips and Her Daughter, Marie Gwendolyn.
OMEONE has said
sorrows that make
edies, the heart-
life, leave us dry-
membered
Bj/ Sydney "V T alentine
that it is only the little
us weep. The true trag-
breaking happenings of
eyed and shuddering.
A close friend of hers said that Dorothy Phillips, since the
death of her husband last November, had not shed a tear. Not
for her the hysterics; the gasps and the sobs. Just a new look
in her eyes — a look that might bring the tears to yours.
If, the next time she is called upon by a director in a studio
to portray grief for a close-up, she lets you look into her eyes
— naked eyes, sombre and deep — you will say that she is even
a finer actress than you had thought her. You will be wrong.
It won't be acting. It will be real.
For Dorothy Phillips, her career is a thing apart. She has
always shrunk into herself. When she left the studio she lost
her screen identity. She became another person. A woman of
great dramatic resources, she has thrilled you with passionate
outbursts on the screen. In real life she would have none of
that. Unanimously voted the quietest actress in Hollywood.
Known of, but not intimately by the motion picture colony.
Ask a stellar friend of yours about her; you are answered:
"A fine girl. No — I have never met her. Why, I've never even
seen her on the street."
Dorothy Phillips, when she removed her make-up, practically
disappeared — as far as professional Hollywood was concerned.
She went home.
Home, to this film star, was more than merely a place to park
her new chapeaux. It contained things other than her Persians
— kitten or carpet. She had her imported perfumes there, but
also her private life. Dorothy Phillips always has been a
puzzle to me. How she ever elected to become an actress is
more than I can understand. Not that she isn't well equipped.
She has beauty and intelligence and actual ability. But she
is such a demure person. Such a shy, reserved little thing.
The kind of girl-child you want to put your arms around and
pat on her pretty head. Hardly a girl to fight the world.
But she was an actress all the same. If she had not, early
in her career, met the one man of her life, it might have been
different. She might — just might — have lacked the necessary
aggressiveness to go on. She might — instead — have made a
marriage to a successful banker or merchant, have settled down
and become a youthful matron in Baltimore. But she chose
the stage, and was cast in "Everywoman," as Modesty.
She was a good selection. Modesty! Her gentleness; her
violet-like loveliness. No wonder that "King Love" fell in love
with her!
He was a handsome young actor, this "King Love." I do
not doubt that the minute he saw {Continued on Page 96)
54
^Introducing Mary
the little known sister
of famous Nita.
Ntf Id i
By Eunice Wiarshall
M.
_ary Naldi was in town.
We had heard rumors of this mysterious little sister of
Nita's: how the child had spent most of her seventeen years
in the peaceful confines of a Florentine convent; how Nita
has been sister, mother and stern duenna to the girl since her
school days were finished; how Nita had guarded the little
Mary from contact with the harsh world which she herself
had to face so early and alone. We had heard of Mary, but
Lobody had ever seen her. She had become almost as mythical
a person as Santa Claus or Gloria Swanson's baby.
So when the papers stated that Nita Naldi had brought her
young sister out to the coast on this, her latest grudged visit
to California, we hastened to drop in at the Naldi apartment
at the Biltmore to observe the convent maid's reactions to
Hollywood.
"* * * and I told her it was a baby police dog and she
believed it!'' came to me over the transom, followed by a
gust of strictly American laughter.
Has Pronounced British Accent
T„
.he door was opened by a beaming young person who
ushered me in with a large gesture. Under one arm she
snuggled a microscopic dog that looked exactly like a Mexican
hairless pup but was a black-and-tan instead; evidently the
animal so basely put off as a police puppy. '"Yes, I'm Mary.
Come in and meet my little friend, Miss Del Mar."
The convent-bred Mary's education obviously hadn't ceased
when she left the cloister! Black straight hair, bobbed and
banged in severe Egyptian style. Black eyes, large and snap-
ping. Red, red lips made up into a Cupid's Bow that would
surely have sent the good sisters to their prayers. A Forty-
second-and-Broadway accent that had once been as British as
the Prince of Wales, the nuns preferring English as it is
spoken in London rather than the strictly American brand.
That was Mary!
No, she hadn't come to Hollywood on purpose to break
into pictures, though she wouldn't break down and sob if a
good part dropped into her lap. Nita wanted her to wait for
something big; none of this extra stuff at $7.50 per. No, she
Edward Thayer Monroe
Q_Black eyes, large and snapping. Red, red lips made up into a
Cupid's fioiii' that iL-ould surely have sent the good sisters to their
prayers, that icas Mary!
didn't want to do vamp parts particularly, unless she could do
something like Iras in "Ben Hur." The kind of things Norma
Talmadge does, now. She'd like to try her hand at them.
Yes, she was having a great time, sitting around on Nita's set
and meeting the movie people for the first time; Nita had
never let her meet any before.
Born in Italy
Yes , she was born in Italy, though Nita had been born right
here in the U. S. But then she went back to Florence a little
while ago on a visit, everybody said, 'My God, Mary, you're
a regular American now! And {Continued on page 89)
55
hose
Q As an Aggregation of Pulse-quickeners
Carmelita Geraghty
For the past five years producers have been proclaim-
ing loudly their intention of doing away with the
star system. Every year more and more talk is heard
about the all star cast, the importance of the story
and the subjugation of the personality of the indi-
vidual actor and actress.
The public reads and chuckles to itself. For it knows
all too well that the history of the screen is based upon
the worship of personalities, and that these per-
sonalities will continue to be created for it and
by it year after year, ■ in spite of all efforts to
the contrary.
In the beginning, the producers gave no screen
credit to any of their players. "The little blonde
Biograph girl" became known only many years
later as Mary Pickford. In her we may see
perhaps the actual dawn of the star system.
Since that time the system has grown and
grown in spite of its disastrous effects upon production costs,
until today it is no longer possible to wait for the public
to pick its stars; it has become necessary
because of the great quantity of annual
film output to select a list of stars in
advance.
Some girls achieve stardom;
some have stardom thrust upon
them. The latter system is now
being employed in order to speed
up the star system.
A great deal has been said about
the power of suggestion. We
know that the proper advertising
of an article multiplies its sale
many times over. The same thing applies to motion pictures.
One well known producer once said to me: "I would
rather have a poor picture properly exploited than a good
picture that the public knows nothing about."
Of course this statement will meet with terrific popular dis-
approval, for the public feels that it is very quick to recog-
nize merit by itself.
The fostering of the baby star movement as an annual
feature from within the industry itself is an effort to apply
the psychology of suggestion on the screen public. Thirteen
baby stars are selected and widely advertised as the pros-
pective inheritors of screen glory. The idea is a good one,
but unfortunately not so much can be said
execution.
The choice of the 1922 aggregation of
Baby Stars scarcely proved the
gift of second sight on the part
of the sponsors. They picked
'winners in all but three instances,
which is an excellent average, but
the winners had already "arrived."
Bessie Love, Pauline Stark, Helen
Ferguson, Colleen Moore, Lois
Margaret Morris Wilson, Claire Windsor and Lila
56
Clara Boiv
Alberta Vaughn
Lee had all reached the leading lady class. As a matter of
cold fact, Bessie, Pauline and Lila had had their fling at star-
dom; their progress has been limited. Louise Lorraine, Kath-
erine McGuire and Maryon Aye never justified their choice.
The remaining two Baby Stars did really become stars: Mary
Philbin and Jacqueline Logan. Mary's progress has
\ amply justified her nomination; she has proved her
genius under Von Stroheim and Julian in Merry-Go-Round.
Jacqueline Logan's rise to fame may perhaps be
dated from her splendid work in Java Head.
The 1923 Baby Stars have so far cut no dra-
matic ice. In personal beauty, personality and
dramatic ability they seem to be merely medi-
ocre. Most of them get by as leading ladies as
foils for some male actor of vivid personality.
Now for the 1924 Baby Stars. Three of the
Wonder Girls have proved their dramatic mettle :
Dorothy Mackail, one of the most interesting
personalities in filmdom, who stood out so strikingly in Dick
Barthelmess' The Fighting Blade; Lucille Ricksen, who emoted
with the best of them in Marshall Neilan's
The Rendezvous ; and little Clara Bow,
wholly adorable runaway of Down to
Sea in Ships, and the less ador-
able but capable flapper of Black
Oxen. Stardom waits for these
girls, if the promise of their youth
does not fail: not the meaning-
less stardom of their names in
bigger type than the rest of the
cast, but stardom that connotes
dramatic genius.
There is quite a lot of feverish
prophecying about Dorothy Mackail, who had already won
distinction before she was picked as a baby star. Some critics
believe that her lack of real beauty may hamper her as seri-
ously as it hampered Pauline Stark, who undoubtedly can
act with the best of them. The public demands beauty with
its brains and talent, and the greedy maw of the box office
must be appeased daily with fresh young pulchritude. Sad
but true. And the not so beauteous girl who believes that
force of personality alone can carry her past the handicap
is likely to get a nasty fall. Look at Zasu Pitts !
Dorothy Mackail is not, strictly speaking, only a "star of
tomorrow", since she was billed by the producers as star of
Mighty Lak a Rose. One starring picture
does not, of course, make a star,
still Dorothy Mackail is a mighty
bet.
Lucille Ricksen is a baby of
yesterday, a featured player of
today, quite bewildered by her
grownup-ness, and a star of to-
morrow, according to the press
agents, met in solemn conclave.
Lucille is Goldwyn's contribu-
tion to the aspirants for fame. Ruth Hiatt
Marion Nixon
BABY STARS
the Thirteen Starlets of 1924 Are Right There,
Says Lucille \^arrimer
Dorothy Mackail
Elinor Faire
of her evi-
Undoubtedly Goldwyn has signed up the wistful little girl,
too suddenly plunged into leading-ladyhood, and this bit of
national publicity is a very good thing for her contract.
But is it wise to thrust Lucille into the limelight as a star
of even so distant a day as "tomorrow"? She has scarcely
cut her eye-teeth yet, and her wisdom teeth will not be
causing her dentist worries for another five or ten years.
For Lucille is really only a kid, probably the first player
ever press-agented as older than she actually is.
About ten years from now Lucille is going to
have a lot of bother making people believe that
she is only twenty-four or five.
Lucille Ricksen was a thin, rather anemic
looking little girl who played in the Edgar come-
dies, written by Booth 'Tarkington. She got the
job largely because of her yellow finger-curls and
her demure little smile. Then one day we saw
a picture in which a nervous, fidgety little lady
seemed to be doing a good bit of acting, in spite
dent self-consciousness. It was in a married-flapper picture
of Marie Prevost's. The program gave us
the astonishing news that it was Lucille
Ricksen, little Edgar comedy Lucille, play-
ing at being nearly grown up. At
that time Lucille was positively
not more than fourteen years old.
At the time she was cast for
The Rendezvous by Marshall
Neilan Lucille was fifteen, and
press-agented, probably in fear of
public opinion, as seventeen. The
timid, shrinking little girl of that
somber picture was made to think
thoughts and face situations which no child of fifteen
should deal with. In the hothouse of stardom, she may
lose the wistful childishness which has made her a fondly
remembered figure in kid pictures for the last
few years.
At that, Lucille will probably make screen his-
tory, if they can find plays to suit her. It is a
safe bet that Goldwyn will know better than to
star her for another four or five years yet. Lu-
cille is probably doomed to play leading roles
opposite Conrad Nagel and other male stars for
an indefinite but needed period. Gloria
As for the others, Time alone will re-
their capacity as actresses. But physic -
, the little dears present a soothing
eyefull. As an aggregation of
pulse-quickeners, they are there.
The press agents proved them-
selves excellent judges of optical
values when they chose as Baby
Stars cuddly little Gloria Grey,
Norma Shearer of the cameo-like
features, Hazel Keener, the artists'
Lucille Ricksen model, sloe-ey Carmelita Ger-
Julanne Johnstone
aghty, cunning Alberta Vaughn, Elinor Faire, Ruth Hiatt,
Blanche Mahaffey, graceful Julanne Johnstone, Marion Nixon
and Margaret Morris.
Julanne Johnstone has just finished the leading feminine
role in Douglas Fairbanks' picture, The Thief of Bagdad. That
picture will be the proof of her ability as an actress. If
she is as good an actress as she is charming to look at,
her success is assured.
Elinor Faire had a long and inconspicuous en-
gagement in Fox pictures. She emerged out of
obscurity in Charles Brabin's Driven. Since then,
nothing of note or interest.
She will also be dimly remembered as the in-
valid miraculously healed in The Miracle Man.
But as far as starring goes — well, somehow Eli-
nor Faire does not seem to have the strength
of personality or the background of success to be
a real candidate for stardom "tomorrow."
Norma Shearer had her chance in Pleasure Mad. There
was a lot of talk about Norma when young Benny Schulberg
hired her. Seems like she was a Toronto
society girl, or something like that. At
any rate, she is pretty and very slender-
has a wealth of frizzly golden-
brown hair and piquant features.
But in Pleasure Mad her eyes
failed to register — probably be-
cause she was not accustomed to
the harsh studio lights. Pleasure
Mad was not a great picture by
any means.
Something of the local "fame"
that the other Baby Stars enjoy
may be deducted by the fact that the writer, who has
been in intimate touch with Hollywood and pictures for
three years, had never heard of the girls until their names
were mentioned as Baby Stars; that the dramatic
editor of a Los Angeles newspaper could give
me no bit of information about them; that one
prominent casting director had never used any
any of them even as "extra talent;" that a
woman publicity writer for one of the big studios
was equally in the dark about them; and, most
strange of all, that one of their fellow Baby
GreV Stars could tell me nothing about them except
that "she had heard somewhere that Gloria
Grey was a dancer and had the lead
The Girl of the Limberlost."
Maybe the 1924 Baby Stars
can all act. Maybe they will all'
come to that Promised Land,
where their names will always be
in electric lights four feet high
But, anyway, they're awfully cute
And when you come right down t o,
it, that's more than Duse is. Hazel Keener
Blanche Mahaffey
57
PET
QJFew people know that Mack Sennett
keeps spies in all school yards— on the
lookout for ' 'School Marms" fit to figure
in the bathing comedies of Hollywood.
MARY THURMAN, a likeness of
■whom can be seen at your imme-
diate left, is the same Mary who
several years ago was the Queen of
the Mack Sennett bathing beauties. In fact
it was Mary and Phyllis Haver who made the
bathing beauties famous.
It is popularly supposed that Mr. Sennett
recruited all his famous beauty squad from
ladies of the ensemble, known in days gone
by as chorus girls. But such is not always
the case and most certainly not in that of Mary
Thurman. This young lady is a graduate of
the University of Utah and during her college
days taught school. She not only taught the
young idea how to shoot, but also to swim.
During the progress of one of her swimming
classes an emissary of Mack Sennett's cast his
gaze in Mary's direction and decided she was
of the type that should be seen and not heard.
Hence he waved before her an attractive con-
tract calling for her appearance in the silent
drama which at times can say so much.
But with all due respect to Mr. Sennett, Mary
Thurman was destined to become something
more than the means of exploiting the Pacific
Coast one piece bathing suit. It was Bill Hart
who discovered this and he immediately offered
Mary an opportunity to try her hand at dra-
matic roles. With a sigh of relief, more than
one of regret, the Queen of the Beach laid aside
her bathing suit and donned the gingham gown
of a simple girl of the golden West. This was
in "Sand," one of the first Hart pictures made
for Famous Players-Lasky.
Miss Thurman was a success as a dramatic
actress from the start. Following her appear-
ance with Bill Hart she appeared in several
productions opposite James Kirkwood, among
which were "The Heart of a Fool" and "The
Scoffer." She was also the star of "The Sin
of Martha Queed," produced by Allan Dwan.
A couple of years ago Mary deserted the
Pacific Coast and came East to play with Rich-
ard Barthelmess in "The Bond Boy" and she
has been in New York ever since. Her most
recent screen appearance was with her old friend
and colleague of the Sennett days, Gloria Swan-
son, in "Zaza."
Mary sometime since bobbed her auburn
tresses. Looking at Mary can you wonder she
got so many apples accompanied by notes say-
ing, "I love my teacher."
JETTA
Q There are advantages
in being a Chinese vamp
— even in America.
By E. V. Durling
JOHN ROBERTSON, who suffers from an acute case
of artistic temperament, was on the verge of a nervous
breakdown. So was his household, his wife, his man-
sen-ants and his maidservants. Mr. Robertson in di-
recting ''The Bright Shawl" had assembled with ease the sup-
porting cast for Mr. Barthelmess until he came to the part
of the aforementioned Chinese vamp.
There were Chinese actresses galore but none could play a
vampire, and vampires by the score but none could play a
Chinese. Files were turned upside down, agencies visited, cast-
ing directors harassed but all to no avail. There was nary
a Chinese vamp East, West, North or South of the Mississippi.
Finally he became desperate. The customary kindly lines
of his face became severe, his gentle tones became hard as
tempered steel, firm resolve permeated every portion of his
features. Striding with quick nervous steps to the studio, he
entered the gate, slammed it behind him, crashed menancingly
on the set and grasping Dorothy Gish by the arm with a vise-
like grip said :
''You are to play a Chinese vamp!"
"Who? Me?" asked Dorothy tremblingly.
"Yes, you a Chinese vamp."
"Oh, Mr. Robertson," cried Dorothy, and fainted dead away.
All seemed lost but just then John Emerson, Anita Loos'
husband, came into the studio to see how moving pictures were
made.
' How are things?" said John Emerson to John Robertson.
"Rotten," said John Robertson to John Emerson.
"What's the trouble?"
"I want but little here below," said John Robertson, his
voice shaking with emotion, "but I can't get it. I need a
Chinese vamp."
CI Jetta GouJal Insists
She is Nat a Vamp.
"A Chinese vamp?" said Mr. Emerson, who might well pose
for efficiency on a monument smiling at obstacles. "Ah! just
the one. Can I use your phone?"
Twenty minutes later Jetta Goudal, our heroine, appeared
on the scene. Forty minutes later ' The Bright Shawl" was
started and the rest is history or something like that.
For five long years Jetta Goudal struggled but never gave
up hope and the moral of this story is "Trust in God and get
acquainted with John Emerson."
Jetta insists she is not a vamp. This point we discussed
freely and finally compromised by agreeing she might be an
unconscious vamp. Anyway she is not a woman who does
not care and if she breaks your heart you have nobody but
yourself to blame.
But to get to the point, men. Jetta is not married. Says
she won't be until her success is assured. As I see it that
means the lady will be willing to listen to reason very shortly.
Now, if you will gather around closely and not interrupt
I will tell you the way to Jetta's heart, and may the best man
win. •
First, no matter how Jetta looks on the screen or appears
in person you must conjure in your mind a picture of her in
a gingham gown. The reason none of the boys has made a hit
with her to date, Jetta confided in me, is that they take this
French actress, vampire stuff too seriously.
For instance say John Dough, the millionaire poultry king,
is introduced to Jetta. He has seen her in "The Bright
Shawl." He has heard she is from that dear Paris and so forth.
Immediately he invites her to take a ride over to the Mont-
marte and then suggests a road- (Continued on Page 89)
59
Dramalan d
T
i.
.HE principal elements of the average American revue
are a flight of steps down which an assortment of tall hussies
dressed up like so many Chinese restaurants troop majestically
at intervals of every twenty min-
utes, a ballet in which a toe dancer
whirls around rapidly for a dozen
times, falls in a heap and thus
depicts, according to the program,
"The Decline and Fall of the Roman
Empire," one joke about the income
tax and another about monkey glands,
a song number in which the coy girl
star is flirtatiously chased around the
stage by the male chorus in evening
clothes, and a sketch in which an
actress who bears a striking resem-
blance to Marie Dressier gives an
imitation of Jeanne Eagles by put-
ting on a blonde wig and a pair of
white stockings and striking an atti-
tude like Benny Leonard. In this re-
vue, save on rare occasions, there is
approximately as much jollity as one
finds in a case of White Rock. Two
hundred thousand dollars is spent for
costumes, scenery and expensive performers and then, a few
hours before the dress rehearsal, the producer telegraphs Tommy
Gray or Ring Lardner a couple of hundred dollars to get busy
and think up something funny to stick into the $50,000 Diamond
Horseshoe scene. Chariot, the London revue producer, works
the other way 'round. He first lays in enough good comedy
to fill the evening and then thinks up the expensive decorations
and embellishments. After he has thought up these expensive
decorations and embellishments, he promptly proceeds to forget
them. And the result is a revue that is twice as amusing as
60
Q Says Mr. Nathan
the majority we get from our native impresarios. The Chariot
''Revue of 1924," currently on view in New York, is excellent
light entertainment. For every three hundred dollar costume,
there is a five hundred dollar joke.
And in Beatrice Lillie and Gertrude
Lawrence it has the two best music
show performers of the London stage.
Chariot's Revue is excellent light en-
tertainment. For every three hun-
dred dollar costume there is a five
hundred dollar joke.
The Way Things Happen is too stale
to pop present day interest.
II
C,
' lemence Dane's "The Way
Things Happen" played in Philadel-
phia before opening in New York
and made a profound impression.
You now know what it is like. Over
in Philadelphia, any play in which
The Living Mask is a stage-struck
novelette.
Gypsy
icalla.
Jim is sentimental walla
the heroine surrenders her person to
the villain in order to get the papers
that will save the honor of the hero
still works the populace up to fever
heat. The dramatic taste of the
Pennsylvania metropolis continues to
linger in the Henry Arthur Jones*\
and early Pinero epoch, when wom-
en's virtue was regarded as the
strongest of all dramatic themes and when any scene that
showed a girl about to give herself to an actor in a gray
toupee and with a gardenia in his button-hole — thus identified
a villain — was certain to be a subject of discussion for the
next three or four weeks. Miss Dane's play carries a wrong
date line. It is at least twenty years behind the times. It
belongs to that period of the Anglo-Saxon drama when no
woman ever left a bachelor's chambers without leaving a tell-
tale wrap or pair of gloves behind her and when the news of
the villain's painful death in South Africa always arrived in
tty George jean Nathan
Decorations by Wynn
time to pave the way for the more or less happy ending. There
are instances of good writing in the Dane opus, but the whole
business is too stale to pop present-day interest. What inter-
est attaches to the hoopdedoodle cen-
tres in Katharine Cornell's excellent
performance of the leading role. The
rest, while excessively noisy, is
silence.
<XSays Mr. Nathan
in
P_
iTiRANDELLO and Mah Jong are the
two leading New York fads up to
the time of going to press. Doubt-
less by the time the ink is dry, both
will be in the discard and succeeded
by the latest Serbian dramatist and
strip poker. But as I write, Piran-
dello is the leading favorite of the
local intellectual petting parties. The
natives are doing everything to Piran-
dello, in fact, but understanding him.
A He is hailed as the greatest dramatic
genius of the day, and is being given
The Miracle is the most thoroughly
beautiful spectacle that the Ameri-
can theatre has known .
The Show-Off .is one of the most per-
fectly recognizable portraits in the
album of native drama.
Mr. Pitt as a play has no more
shading than, the Arizona desert.
The Goose Hangs High is another
one of those plays in which a flock of
ingenues and juveniles sass the older
actors who play the roles of their
parents.
you already know. Of his "Henry IV," more recently pro-
duced under the title "The Living Mask," it may be said,
as I once observed of a play of Zoe Akins, that it is a stage-
struck novelette. For all its very in-
teresting and intelligently manoeuver-
ed theme, it is as lacking in theatri-
cal and dramatic properties as an
essay by Dr. Jacques Loeb. The con-
siderable theatrical to-do that has
been made over it in certain quarters
may be laid to the intellectual push-
ing that is so characteristic a part
of the New York stockbroker kultur.
Arnold Korff, who is the star of the
piece, had such a blustering cold on
the night I reviewed the performance
that he might better have been cast
for the snowstorm in "Way Down
East."
IV
receptions by Otto Kahn, dinners by
the American Society of Stamp Collectors, balls by the Elks
and embroidered handkerchiefs by the sweet ones of the Junior
League. His plays are being put on by his fellow Italian,
the Signor Brocco Pembertoni, at the Forty-fourth Street
Theatre; everybody is dolling up in evening clothes for the
occasion; the ushers have temporarily stopped chewing gum
in honor of the great event; and even the actors have magnan-
imously lent their share to the festivities by learning some of
the lines.
Of Pirandello's "Six Characters in Search of an Author,"
J'nce in a while I hear it said of
me that I talk about everything con-
cerned with a play but the play it-
self. In other words, that my method of criticism often neglects
to tell my flock exactly what the play I am eloquently writing
of is about. So that there may be no complaint on this score
in the instance of "Gypsy Jim," by the Messrs. Hammerstein
and Gropper, let me change my customary tactics — and see
how you like it. "Gypsy Jim," therefore, is about a romantic
millionaire who dresses himself up like a Webster Hall ball
and in this guise prowls around the country on a Pollyanna
mission of cheer. Accompanied by the Knickerbocker Grill
string quartette that plays sad music {Continued on Page 94)
61
^Popular
Pets of
Piffure-
dom
CIA g n e s
Ayres and
h c r p u />
named
Kiki.
OGS are by far the most popular pets
in Hollywood, as elsewhere. The exotic
pets, like Viola Dana's little pig, or
Sigrid Holmquist's Whozit (nobody
could quite figure out what species Sigrid's pet
was supposed to be) are strictly for pub-
licity purposes. I doubt very much i
whether the dainty Viola ever murmured, ;
"Wasim a fweetest ittle sing ever was?" j
to her little porkling, when the camera's |
eye was not trained on her. Pigs are
simply not simpatico, somehow, even lit-
tle pink baby pigs.
Though as a rule we never like to touch
on scandal in the movie colony, we feel
we really must tell you about Ignatz.
Ignatiz is Alice Terry's white Spitz, a
most amiable dog who allows visitors to
Alice's set to stroke him at will, especially
if they will scratch him gently just at
QRiglit: Charles Ray and his wire
haired p u p p y — "Whiskers."
Below: Raymond McKee, Goldwyn
actor, has trained his dog to mimic
his every action, as shown in this
picture.
QV i o 1 a
Dana has a
chow
puppy for
a pet.
the base of the ears. Ignatz was given Alice by an Eastern
dignitary on one of her trips to New York, and on the way
back, some heartless baggage man or brakeman must have
booted poor Ignatz off the train, for Ignatz was lost in the
wilds of Arizona. Railroad officials took one look at Alice's
pleading face and burned up the wires
with instructions to get that dog back
if it became necessary to throw the brake-
man off after him. The dog was finally
found, his white fur matted and stuck full
I of burrs, his tummy very empty, but
otherwise intact. He was returned to
Alice's welcoming arms and quickly be-
came the pet of the Rex Ingram company.
But we mentioned scandal. Lean closer,
I and don't say who told you. Ignatz one
; morning presented "his" mistress with a
\ fine litter of silky white puppies. Rex and
Alice thought at first they would have to
I change Ignatz's (Continued on Page 78.)
Q Below:
mother,
mother,
fornia.
ing off.
Enid Bennett and her
and Harrison Ford and his
at Balboa Beach, Cali-
Miss Bennett's pup is show-
h e
Original %
COCOANUT (
GROVE
^ x By Myron ZoM f|TT
"nJ VERYBODY knows the Cocoanut Grove dining-
room in the Ambassador Hotel of Los Angeles.
It has become famous to screen fans the world
over as the gathering place of screenland's socially
elect. Tuesday night is the night to go if you would see
Charlie and Pola and Claire and Viola and scramble madly
"with your favorites for the toy balloons that are dropped
at midnight from the artificial cocoanut trees overhead.
And now comes Palm Beach. Florida, trying to ween the
movies away from Hollywood and claiming the distinction
of possessing the original Cocoanut Grove. There you may
sit under real cocoanut trees beneath the canopy of heaven
with the glory of a real Florida sunset coming down about
your head and the twinkling little Japanese lanterns lighting
up as the sky grows dusky.
Broadway Jones and his orchestra is there too. Art Hick-
man's only rival. And as you dance there beneath the trees,
from which real cocoanuts instead of toy balloons may topple
on you, may be seen so many stars that you might think
almost you were in Hollywood.
Betty Compson, on her way to Miami to film her new
picture by that name; and Norma Talmadge and Dorothy
Dalton and June Caprice — vacationing.
For that is Palm Beach — the {Continued on Page 89)
Q. Movie Stars Vacationing at Palm Beach — Florida's famous cocoanut grove. Reading left to right: Betty Compson, Norma
Talmadge, Dorothy Dalton, Mrs. Sam Harris and June Caprice. In the back ground: Irving Berlin, Senator Archibald McNeil
of Conn, and E. Ray Goetz, producer.
■5 J
Gnxke Income Tax
is the BOGEY MAN
B"
EWARE the Ides of March!
Julius Caesar had his Brutus, Fatty Arbuckle his
Will Hays — and the movie stars — the stars have the
income tax collector.
If this be treason, make the most of it.
The Ides of March have come and gone. And many a
bright new dollar that came to Hollywood to get into the
movies, has gone to Washington — perhaps never more to return.
"I've sent more than a million
friends upon their way to Congress,"
weeps Bill Hart, "more than a million
sweet green paper dollars. And this
year — "
The double-barreled hero of the wide
open spaces grinned pleasantly —
"I wish I had a million to send this
year — but there'll be enough young
Bills representing me anyway."
Yes, the facts about the real in-
comes of the stars and the producers
— washed out by the Ides — make the
movie industry gleam like a tale from
ancient Sybarus.
Floors of gold, ceilings of precious
stones, pillars of hewn marble, walls
of jade and amber, chariots of beaten
silver and hammered platinum — Uncle Sam takes mighty
tribute from this modern city of the Sybarites.
isn't always the big name that draws the big salary.
"And here's something else again — Uncle Sam gets more
money out of the small salaried people than he does out of
the stars — because God made so many of the little-time folks."
Bill Hart's Tribute to Uncle Sam
w,
ell, Bill Hart
G[Can you imagine a star who
earns $4,000 a week and asked
to take a two weeks' vacation
yearly without pay in order to
keep her income tax below the
$200,000 mark? She prefers
to rest rather than work for a
measley $2,000 a week and
give Uncle Sam the other 50
per cent. Hollywood is just
full of sad cases like this.
The Tax Collector Talks
I
would receive — even
•if he were allowed to
serve three terms.
But then — ask any
(Cont. on page 92)
has a big name, and
of dollars every
year. It is stated
he never made a
picture that didn't
take in more than
half a million dol-
lars — and Bill's
rakeoff hasn't been
so under sized,
either.
He has paid over
$1,000,000 to the
government in a
few years. Which,
if you figure it out,
is more than the
President of the
United States
he gets a big pile
N case you think that's too flowery, let the Los Angeles
collector of internal revenue, Mr. E. C. Goodcell, tell it in
his way:
"Moving picture stars are earning tremendous salaries, larger
than even the public imagines. Salaries of $2,000 a week are
not unusual. Some of them get much more.
"However, the number of stars isn't large — and the
number of people making big money who are little
known in the pictures is amazing.
"I could astonish you, if I
dared, by telling you what some
of the big producers make each^-^^,^.
year — and showing how insignifi- \/) \
cant those sums are compared v.
those sums
with the incomes
ond-rate actors.
are
of sec-
No, it
JUNE
MATH IS
WALLACE
Beery
CONRAD
NAGEL
. Salaries per treeK
tOO, * ZOO.* 300. "500. "750.
i 10,000 CHARITY
EXEMPTION
o ~u
"1000. %1 500.* 3000.
64
Collector
of HOLLYWOOD
1 fliv
GLORI/V
SWAN/SON
TOM 7
MIX J
WILLIAM
S HART
PICKFORD l
FAIRBANKS
em's share
Salaries per weeit
"SOOO '5500 70,000 75,000
?l,0OO EXEMPTION
FOR UNMARRIED MAN
uj H N
w a h
4
20,000
65
o u n g
Q The Queen, or the Lady? — Seven Years of Training
have fitted Lois Wilson to play either part.
By Ruth ~kAary Harris
e t e r a n
M
"ISS LOIS WILSON, a brown-eyed, timid slip ot
a girl, sat behind the teacher's desk of an old
country school house in Morris, Alabama. She
was watching her hulking, twenty-year-old pupils
gamboling at recess. It was time to ring the bell — but her
thoughts were elsewhere! Just how did girls, without money
or influence, get into the limelight, how did they become
famous? Why, yes, the Harold Bell Wright ladies of luck
usually did a solo dance on the greensward — and positively
fascinated the right man! But that was out of the question
here. And at her boarding house she would surely upset the
kerosene lamp, and there'd be a hot time in Alabam' — Oh, my.
who was that?
She clapped one hand to her head and the other to the
bell rope. For the august members of the School Board,
whiskers, goatees and all, were stalking in to visit "teacher."
Hastily she garnered her flock together and tried to demon-
strate the latest method in the
rule of three. But, as far as the
husky lads and lassies were con-
cerned, recess was still on, in a
slightly modified form. Between
fear of the grave henchmen star-
ing rigidly at her, and the strain
of trying to keep order, the little
school ma'am could hardly hold
on to the chalk.
But the hour passed, and the
girl was soon packing to go home
— for school was dismissed by the
revered gentlemen during cotton
picking time. Happily Miss Lois
thought of the winter's session —
she would be earning money,
money for a trip to Hollywood,
to the door of the Silver Screen.
The world was a beautiful place,
and this little vacation at home
would be a taste of Heaven after
three weeks of that terrible school-
room.
ILDut one day came a letter into the midst of her roseate
plans, and the envelope bore the portentous name of the
School Board inscribed thereon. In fear Miss Lois carried
it to her mother. "You open it, please, I don't dare," she
pleaded.
With cold formality these tried men and true regretted that
they had found Miss Wilson not the person to teach their
Future Presidents — no reflection, personally, just youth and
inexperience.
Her heart was broken, her bubble of dreams burst! Bat
father Wilson took his weeping little daughter into the shelter
of his arms, and reminded her that some of the most famous
people had made failures of their first ventures. But the way
they had used this defeat to spur them on — this was the
measure of their success.
Inspired by his faith in her,
Miss Lois made out some rules
.for future reference — and awaited
her chance, which didn't come to
Alabama. So she went more than
half way to meet it — to Chicago,
where she found an opening wedge
as "atmosphere" in the Pavlowa
pictures. Beyond weaving the
iweb of grease-paint fascination
more tightly about her, this of-
fered no great opportunity — and
Miss Lois went on to Hollywood.
If you crave a sensational story
of fatal, persecuted beauty, of an
innocently questioning face that
lured every director to plot the
heroine's downfall, of sweet help-
lessness that intrigued all the old
roues to acts of misunderstood
devotion, and a rescue from the
midnight bathing party— if that's
what (Continued on page 92)
OILois Wilson in the part of the Queen which she plays opposite Valentino, in Famous Players Version of "Monsieur Beaucaire,
66
The
Girls
that
Men
Forget
OL A Chat in the
New Manner
with Richard Dix
By E. V. D
QRichard Dix is a
"regular fclloiv"
and this article
proves it.
Photo by
Melbourne
Spurr
A FTER a terrific hand-to-hand fight with a crowd of wild-
A\ eyed subway commuters I finally came up for air in Astoria,
J— \\ Long Island, where the Famous Players-Lasky company has
built a studio apparently for the purpose of making their
stars appreciate Hollywood and discouraging ambitious extras. Crash-
ing through the gate, walking across the stage and winding my weary
way through a maze of corridors I came upon Richard Dix in his
so-called dressing room. With his chair tilted back at an unbelievable
angle, smoking a particularly vile smelling pipe and reading the Amer-
ican Golfer, sat the man who is reputed to have broken a thousand
hearts.
"To what," asked Mr. Dix with a tinge of sarcasm, "do I owe this
honor?"
"I have come," I replied simply, "to interview you."
At this remark, I am sorry to say, Mr. Dix extended me the none
too respectful raspberry.
"Say," he said, "why don't you go to work? You've been in the
newspaper business long enough."
"If you can find any harder work," I replied, not without some
heat, "than to spend an afternoon traveling over to Long Island to
talk to actors, name it."
"Why, you poor sap," said the pride of St. Paul, "the actors do
all the talking."
"You said it, kid," I answered, "and that's what makes it work,
hard labor in fact. But let's get down to business. Here you are
eating regularly, getting a haircut once a week and on somebody's
payroll. To what do you attribute your great success?"
"Are you kidding me?" inquired Mr. Dix suspiciously.
"Perish the thought," I said. "Let me repeat, I have come to, as
the saying goes, interview you."
"Forget it," begged Poor Richard, "just have me
holding a copy of the magazine and write what you
want. I've been insulted by experts."
"To what," I said firmly, "do you attribute your
success?"
"Have you got a cigarette?" asked Mr. Dix, shak-
ing out his pipe.
Grudgingly handing the gentleman the package I had
foolishly revealed I suggested as politely as possible
that he open up his heart and buy some himself once
in a while.
"I'll walk a mile for one," he said, "but that's my
limit. Out in these wide open Long Island spaces you
have to walk ten to get anything."
"To what do you attribute your success?"
"Do you drink anything?" asked Mr. Dix, opening
a drawer in his desk.
"Ah!" I exclaimed enthusiastically, "Richard is him-
self again. Don't mind {Continued on page 85)
67
^Observation—says
Alma Whitaker—-
not experience, has tau
what I know about
laves
Beauty
I WAS at a party with a score of successful young maidens
recently, three of them right in the inner circle, all of
them at least past the first barrier and basking inside
the outer circle. I was the only homely — and comfort-
able person there. Try as we would to get the conversation
round to other subjects, somehow we always came back to
the cult of beauty. So presently I teased them about it.
"Oh, forget your charms for a spell, you vain little girls,
you all seem to be worrying about how you look and your
chief obsession is new forms of beauty treatments. Don't you
get sick to death of beauty treatments?" I teased.
"Oh, well, it is our business you know," piped
up one little beauty well known to fame. "We
have to worry about our looks."
And then they began to tell me how they have
to consider every little part of them. One exquisite
little thing was most unhappy about her elbows
— and we are not wearing sleeves this year. Oh,
the time and attention and fussing that dear child
puts in on elbows.
Another had to take a role in which she showed her ears.
And the director had said her ears
were too large for her face. She was
RBP$^~""^B almost ready to weep about it. There
J wasn't any torture she would not readi-
A | \ ly undergo to shrink those plaguey
^21^^ ears.
JBM Another suffers from imperfect
hands. ''And oh, hands are so impor-
68
tant," she wailed. Hence mountains of
creams, rivers of lotions, hours of care-
ful massaging are lavished upon those
hands. In any other walk of life those
hands would not have occasioned her
a moment's pang — but in pictures they
were an ever-present misery.
Still another little beauty was heavy-
hearted because she was heavy-footed. It appears that with
all her obvious charms she cannot walk with that gay and
springy, sprightly step. And a brute of a critic
had noted it in a newspaper story. Now it was
getting worse than ever because she was self-
conscious about it. "Clumsy" — perfectly ghastly
word as applied to a lovely little picture star.
Hair, it appears, isn't so bad. Wigs can be
so clever. But still one beautiful little creature
who had a bob and a permanent wave only to
discover that it was wholly unsuited to her style,
was allowing that factor to blight her young life. It would
take at least a year for it to grow in again, and in the mean-
time the only solace was a hair-net.
Actually there was not one girl at that party, successful
and distinguished though they were, who was not worried sick
about some defect. And these were the girls, the very young
ones. Can't you imagine the even greater misery of the older
beauties? How they scan their mirrors and see hazy little
lines that no one else has noticed. How they quiver with
fear and misery at each tiny bit of new evidence that beauty
0-
cannot last forever. And every time
they quiver, they hasten the dread pro-
ceeding.
Why, some of these lovely creatures
even fear to smile. Smiles, you see,
bring lines round the mouth. And yet
they know that the glad and lovely
smile is an asset, too. So they are
torn between present necessity and future laugh-lines.
I was enjoying a confidential chat with a very famous
star recently and, turning over a book of cut-
tings, I found a mean cartoon from a French
comic paper. It was a picture of a lovely girl
serious, and then the same lovely girl laughing.
The laughing girl's laugh-lines were hideous. It
was a brutally clever drawing. And my star gazed
at it, fascinated. "Yes, you know, laughing does
that," she murmured with awful seriousness, step-
ping to the mirror and intently inspecting the
lines around her mouth. And really that beautiful woman's
soul seemed to be in unspeakable anguish, like a mother
watching a dying babe, as she spied the evidence of reckless
laughter once-indulged. Oh, she is so thrifty of her smiles
now. Caught off her guard she will start a merry silvery
laugh, only to remember hastily, and suddenly compose her
face into an unsmiling mask.
I know one young beauty who has been out of a job sev-
eral months. She is worrying terribly. Her little store of
money is giving out. She is miserable and afraid. But that
doesn't prevent her spending every penny she can scrape to-
gether on beauty treatments. She goes on short rations, she
has moved into a cheaper room, she pinches and screws in
a dozen cheap and paltry ways — on everything but the beauty
treatments. And then she cries and ruins the artist's work.
Crying, you see, is just as bad for beauty as laughing. And
worrying is the worst of all.
I used to envy beautiful women. How I longed to be
beautiful. But after living in the capital of filmdom, after
realizing the daily fears and agonies of beauties, I am not so
sure. They are slaves, slaves to their beauty.
More than half of them live in terror of
"putting on weight" and restrict themselves
to a most unattractive diet — or, when the self-
control falters, suffer agonies of fear and remorse
and rush straight from the weighing machine to
the anti-fat expert. And the irony of it! Every
male admirer who yearns to shower affection on
these lovely damsels always wants to feed them,
always wants to stuff them with rich and epicurean food.
You have only, for instance, to hear Charlie
Chaplin make a succinct comment on Edna
Purviance's contour to appreciate why Edna
famishes on lettuce leaf lunches and spends
bitter fasting hours with her masseuse.
But in their beauty is their fortune and,
if they are self-denying enough, they are
passing rich. And still always, bitterly, with
an accent on the "passing."
69
Q Bull Montana shows new uses for ancient weapons.
— photo by Braun, L. A.
Listening
POST
Q What they are saying
and doing in the
Hollywood studios
Bj/ Eunice ^Aar shall
'HEN Hollywood puts on a party, it
likes to strut its stuff big-town fashion.
So when the city fathers enforced the
law forbidding dancing after midnight,
the movie folks took their doll rags and went up
to San Francisco to play. The Wampas Frolic,
which marked the social debut of the 1924 crop of
Baby Stars, was a red letter day in the calendar of
the Bay City, and San Francisco was so exhilarated
at seeing so many stars at one time that they prac-
tically handed the town over to the Hollywood
pilgrims.
They donated the use of the Civic Auditorium,
draped with blue and gold crepe and wreaths of
redwood that lent a pleasant pungent odor. A gor-
geous Oriental palace was the stage background,
against which the stars appeared to make their bows
to the audience that packed the great place to the
doors and beyond.
Pola Negri was the sensation of the evening.
When she appeared in the powdered wig and crino-
lines of her Madame DuBarry in Passion, she re-
ceived an ovation that might have healed in part
the hurt that she has felt over the coldness she
has encountered in this country.
Bebe Daniels and Car-
mel Myers sang for the
crowd, and did it very
nicely, too. Viola Dana
and Shirley Mason did-
their now famous imita-
tion of the tango as done
by Valentino and Ram-
bova, and won a great
hand.
70
(\Estelle Taylor has
made a -pet of "Sam-
son," the peaceful
lion of the Al G.
Barnes Circus now
in winter quarters
near Los Angeles. —
photo by Interna-
tional.
Jl
Strongheart Makes Personal Appearance
3trongheart, very much on his dignity, was there with the
rest of the stars. Lillian Rich had him in tow. Tom Mix
and Tony were right there on the job, too. Antonio Moreno
made his entrance to the Auditorium, trying to look as if
he didn't hear the piercing whisper of a fan to 'Took'ut the
shiek!" Hoot Gibson won a crushing victory over Tom Mix
by wearing a sombrero at least two inches wider around the
brim than Tom's beaver. It quite spoiled Tom's visit, we
hear. And Bill Hart received a welcome from the fans at
the train that must have convinced him that his troubles have
not alienated his friends.
3am Goldwyn tells this one on himself in his book, "Behind
the Screen":
It seems that Goldwyn very much wanted to film some of
Bernard Shaw's plays, and one happy occasion he met Shaw.
He started right in to garner in the screen rights to the British-
er's works. He talked eloquently for an hour on the artistic
treatment he would accord the plays, promising to engage the
finest artists of the screen to act and direct the stories, and
the real contributions to art that the finished products would
be. And when he stopped from want of Breath, Bernard Shaw
rose, put on his hat and said:
"I am sorry, sir, but I am afraid we can never understand
each other's point of view. You think of nothing but your
art and I think of nothing but money."
Fashion Note
Jr you happen to be a girl, and especially a girl with a none-
too-robust bank account, you're bound to be interested in Ethel
Chaffin's statement that calico is going to be the material for
frocks this summer. And not only that, but the styles are
to be so simple that any female woman that knows how to
thread a needle can make them herself.
The sort of calico that grandma used to cover quilts with
is going to be most favored, so if you have any old comforters
up attic, rout them out now. In addition to calico, Mrs.
Chaffin says, gingham and organdie are again going to be very
smart for summer. And by the way, the calico left over
from your dress can be used for a hat and also for a hand-
bag with a tortoise-shell top. Calico and gingham bags are
the very last word in chic, Mrs. Chaffin assures us, and sev-
eral of the girls on the Lasky lot are going to carry them in
their new pictures. • -
ecoming a little bit bored with hitching his wagon merely
to a star, Fred Xiblo decided to hitch his to a prince. And
sent the following cable to the Prince of Wales:
' Most respectfully submitted. Would your royal highness
consider appearing in an historical photoplay of magnitude
and dignity? Time, place and financial arrangements at your
convenience. Xiblo, Los Angeles."
We'll bet the prince would like to come, at that. There
are lots of pretty girls and good dancers in Hollywood, and
that's about the fondest thing the prince is of, we hear. And
maybe Hollywood wouldn't like to have him! (Con*, on p. 86)
QBetty Blythe arrives in New York on the
S. S. America after eight months spent in
Europe making pictures. — photo by Pacific
& Atlantic.
71
G[ Claire Windsor
in a lovely bouf-
fant frock of
chiffon which she
wears in "Nellie,
the Beautiful
Cloak Mode I,"
Goldivyn produc-
tion now being
released.
G[ The screen sets the fashion. This monthly
department will be conducted by Miss
Anesley to help our readers to follow these
fashions by keeping ever abreast of them.
Through the
She
Fashions
CLAIRE WINDSOR wears some of the most delect-
able and adaptable of the fashions of filmdom. In
her new starring vehicle, brightly christened Nellie,
the Beautiful Cloak Model. I see her in frocks of a
loveliness that will fill every Feminine Film Follower's heart
with delight and envy. And after all there is no cause for the
envy to remain for every one of the F. F. F.'s just mentioned
may quite easily emulate Miss Windsor's taste in wardrobes.
Even though many of us are not as munificently rewarded
for our labors as the so ravishing Miss Claire, we can still
adapt expensive ideas — if we are clever. Why not seize the
inspiration of the lovely bouffant frock she wears in one of
the later reels (sketched at the left of this page). This cos-
tume was itself quite obviously inspired by those airy dreams
in shaded tulle that Callot recently launched. As you doubt-
less known, Callot is one of the greatest Paris coutouriers.
This model with its fluffy daintiness is an ideal summer even-
ing dress. It could be developed in several shades of chiffon
— as it is in Miss Windsor's dress — or in tulle, which is even
newer. The front panel of the skirt and the underbodice
are of shimmering silver larce. The scarflike drapery of the
overbodice strikes another new note. And it adds flattering
softness to the many other
charms of the gown. For danc-
ing this dress should be much
shorter. Brevity does not in the
least detract from its chic
The evening wrap pictured
at the top of the next page
is one of the smartest models
appearing now in exclusive
New York shops. Its collar
and deep hembands are of
that novel and interesting
trimming ostrich fringe. Miss
Windsor wears this wrap in vel-
vet. But for summer wear I
recommend two thicknesses of
Mallinson's indestructible voile
(silk, of course). The outer
part might well be of orange
and the inner of yellow with
the ostrich trimming a blend
of yellow and orange. It was
in this delightful sunset-color-
ing that I saw it at one of our
very best shops.
And because we must all
have smart little frocks for
every day wear as well as love-
ly frivolous things for evening I have chosen two very at-
tractive and simple dresses from the same picture. The de-
mure dotted swiss morning frock pictured at the right is the
sort of thing that every woman needs. Its collar, cuffs and
fluted bandings of organdie give it the ingenuous freshness
CI Miss Windsor in a
summer frock with
collar, cuffs and
fluted pleatings of
organdie.
72
Looking Glass
Sees
of Filmdom
that is so charming for mornings at home. Miss Windsor
shows that Nellie is a practical as well as pretty girl by
choosing such a useful little dress.
The other daytime dress worn by Mae Busch as Nellie's
friend in the early part of the picture, is characteristic of
the type of dress being worn by four-fifths of the girls in
New York now. It is typically boyish and correct, from its
Bramley collar and string tie to its ultra smart plaid belt.
It is the dress one sees everywhere in twili or vivid flannel.
And it is the dress that is most worn at Palm Beach in Rosh-
anara or heavy crepe de chine. It is pictured at the bottom
of this column.
The belt of this dress deserves special mention, for it is
quite the smartest and most outstanding thing in an otherwise
beltless season. These belts are called hatband or harness
belts, because the belt itself is of gaily striped or plaided
men's hatband ribbon and the fastenings are of tan or black
leather. The hatband or harness belt is worn with all types
of sports costumes and is especially smart with a plain colored
boyish dress or slip-over sweater.
Charming and wearable fashions from pictures that are just
being released will be presented Through the Looking Glass
every month. Anything I show here will be of the type that
is lovely to wear as well as to see. You may write to me —
care of Screenland Magazine,
145 West 57th Street, New
York City — and ask any fur-
ther details of the clothes
shown or ask advice about
those you plan to have. Ar-
ticles mentioned in this de-
partment are actually available
in the New York shops and I
will be glad to tell you their
cost, and where they may be
purchased if you care to know.
It is possible to actually see
all these costumes in Nellie,
the Beautiful Cloak Model,
which the Goldwyn company
released during March.
Yours,
€\.Mae Busch, in a
typically boyish and
correct street frock
with Bramley collar
and cuffs.
m
f A via a t J5r4*&
Q Wrap worn by
Miss Windsor of
velvet ivith _ os-
trich trimmings
on collar and
deep hembands.
The same design
may be used to
good effect in
voile.
Q Miss Anesley will be pleased to answer any
questions concerning fashions that our read-
ers may care to ask of her and to conduct-
quite without charge— any shopping service
they desire in New York City.
71
Our Own
News
Reel
(\ Cinema News
in Picture Form
Hollywood, Cal. — R aoul
Walsh, Cornelius Vander-
bilt, Jr., Charlie Chaplin,
Doug Fairbanks, Jack Pick-
ford and an unknown gen-
tleman strum a mean racket
on the Fairbanks tennis
court after a day's work.
New York City. — Below is
shown June Mathis, noted
screen editor and writer,
with her grandmother, Mrs.
Emily Hawks, pictured as
they sailed for abroad.
) — International.
London, England. — Not
an anti-Klan costume,
but a hood to prevent
"Klieg eyes" : This
weird head cov-
ering is wont by
players in a Lon-
don moving pic-
ture studio to rest
their eyes from
the intense glare
of the studio
lights. It helps
to prevent "Klieg
eyes", the studio
malady from
which many Am-
erican stars have
suffered lately.
Hollywood, Cal.
— By the time this
is published, it
will be April and
Spring will again
be with us. Here's
a tip on how to
spend the hot
summer days.
Pretty soft for
Doug, eh?
~1\
Hollywood, Cal. — Abdul the
Turk, trainer for Douglas Fair-
banks, brings the year-old thatch
under the rule of brush and comb
•while "Jazz," the bootblack plays
''blues." — Underwood
New York City —
Among the many
notables who sailed
on the Mediterranean
cruise were Mr. and
Mrs. Jules E. Briila-
tour. Mrs. Brulatour is
popularly
know: n as
Hope Hampton
International.
£51 i
"'0
/
4 p
Culver City, Cal.— That Rupert Hughes can do other
things than write novels and direct pictures is demon-
strated here, when the camera caught him hanging a
right to the jaw of Jim Tally, boxer and author.
Los Angeles, Cal.
—Pretty Lola De
Lillies, film act-
ress, likes to play
golf and also likes
dogs, especially
her pet "Ranger",
so Lola has
taught Ranger to
be a regular
caddie. — I nter-
national.
Hollywood, Cal.— The inimitable
and the incomparable, Chaplin and
Pavlowa, are good friends. Anna
recently visited Charlie at his Holly-
wood studio, and, without a sugges-
tion from the nimble press agent,
Charlie did an unusual thing — he
posed for the camera, and the pose
•was real chummy-like too.— Key.
stone.
76
$1,00
Scenario
QThe Palmer Photoplay Corporation's pro-
duction of Judgment of the Storm marks
an interesting era in the history of the
screen, representing a real endeavor to un-
earth new film writers. The author, Mrs.
Styles Middleton, is a Pittsburgh house-
wife. She receives $1,000 and five-year
royalties for her work. The screenplay,
which was directed by Del Andrews and
has Lloyd Hughes, Lucille Rickson, George
Hackathorne and Myrtle Stedman in the
principal roles, is being released by Film
Booking Offices.
SCEEENLAN©
QjS/Lail Order Movies — An Expose of Fake Sce?iario Agents — From page 2Q.
77
Worked on "Editorial Staff"
JLwo years ago the writer of this artcile
was almost as ingenuous as the "sucker"
who tries to learn how to write scenarios
by correspondence. Almost — but not
quite. He did believe at that time, how-
ever, that there were honest concerns
which rendered to their clients a vital
service. He therefore entered the employ
of one of these scenario mills, on the
"editorial staff. He larned vrey soon,
however, that no editorial discretion what-
ever was permitted him in the rejection
of obviously impossible manuscripts, and
therefore promptly severed official con-
nection with the concern. Subsequently,
however, on a piece work basis, he "re-
vised" — happy euphemism — over two
thousand pitiful efforts of amateurs. He
is in a position, thereore, to write with
some feeling and some authority, regard-
ing the "inside" methods of these flourish-
ing concerns.
While they may vary regarding the
actual nature of the promises they
make and the "service" they render,
nearly all these concerns have various
factors in common. They use sucker
lists, which they trade among them-
selves for a few dollars a thou-
sand names. These are obtained in va-
rious interesting ways. Stenographers
and clerks in the employ of big motion
picture producers are bribed to obtain
lists of the names of all those who have
submitted synopses to the scenario de-
partment. Editorial assistants on popu-
lar magazines are likewise offered induce-
ments to obtain lists of those who have
mailed in contributions.
The clever gentry who run these sce-
nario concerns know very well that the
belief in literary ability is one of the
most common of human emotions, and
by far the hardest to kill. They trade
shrewdly on this phychological truth, and
as a result, thousands of luckless ama-
teurs are added each month to the list
of suckers.
Not Actually Illegal
lD)ucKEr shops and fake oil-stock pro-
JL^moters are definitely illegal, and can
be stamped out by due process of law.
The danger of the scenario school, or
what-not, lies in the fact that it is not
actually illegal.
The advertising pages of practically
every popular magazine today are full
of the skillful and disingenuous announce-
ments of these concerns. "Write for
the Movies," "Let Us Help You Turn
Your Ideas Into Cash." they say, invit-
ingly;— "Producers Pay Big Prices For
Idea;." -Send Us Your Ideas For Mov-
ies And We Will Market Them For You."
The phrases are familiar to everyone.
These advertisements are diabolically
clever and psychologically perfectly sound
— from the advertiser's point of view.
It so happens that ninety per cent, or
more, of the average audience at a movie
theatre are saying, or thinking, to them-
selves: "Gee, I bet I could write as
good a movie as that." You have only
to stand in the lobby of any movie theatre
and overhear the snatches of conversa-
tion as the audience files out after the
performance, to be convinced of their
mental processes. It is almost universal
— this belief of a man or a woman in
the ability to write as good a movie as
any they have seen.
Similarly, nearly every man believes
himself capable of editing a magazine, or
running a successful hotel.
Misleading Promises
Now, the postal regulations are so
strict that the operations of nearly
all these concerns are perfectly legal.
They are far too shrewd to attempt any-
thing too raw. They have no desire to
open their files to Uncle Sam's inquisitive
inspectors. It is only indirectly that
they hold out promises which they know
can never be fulfilled, and they are also
extremely careful to cloak anything they
say in a mass of pretentious verbiage,
so that it requires no little intelligence
actually to divine what it is all about.
Let us examine the nature of these va-
rious institutions and specious promises.
The worst offenders are those who un-
dertake to elaborate the rough ideas sub-
mitted by amateurs and "put them on
the market." It is with them that this
article will deal.
How it Is Done
Briefly, under the promise of helping
him to sell his story by "putting it
into the proper form," sums of money
are extracted from the ambitious writer.
In one instance, known to the author, the
initial sum demanded is thirty-six dol-
lars. A small percentage actually pay
this amount in full. There are, however,
dozens of appropriate form letters grad-
ually reducing the price and tempering
the wind to the shorn lamb, so that quite
often the "service" gets under way upon
receipt of the first payment of $4.00 on
a total of $12.00, "the balance of $24.00
to be paid when we have sold your
story." There is, of course, not the re-
motest chance that this happy event will
ever take place, but meanwhile $12.00
is better than nothing. The "service" con-
sists in re-writing the author's story to a
length of approximately eight hundred
or nine hundred words. This may entail
boiling it down from a full-length novel
or over a hundred thousand words, or,
on the other hand, building it up from
a few scribbled words on the back of a
post-card. The finished manuscript,
which could easily be contained on one
sheet of single-spaced foolscap, is made
to appear far longer by using immensely
wide margins so that not more than four
or five words go to make up a line. There
is triple spacing between paragraphs and
approximately three inches left at the
top and bottom of each sheet. The re-
sult is a manuscript consisting of from
four to six pages of typed matter. These
are then neatly dolled up in attractive
"art folders" and lo! and behold! the mas-
terpiece is ready for the second stage of
the service, namely, to be submitted to
the various producers.
The nature of this finished work may
be judged when the writer confesses that
he has dictated as many as ten of these
"scenarios" to his stenographer, inside of
two hours.
Anything Accepted
HP hat no editorial discrimination is ex-
■W- ercised in the acceptance of manu-
scripts, has been amply proved by the
test case quoted and illustrated earlier
in this article. With much profession of
sincerity the printed literature of these
concerns states that "only stories of
photo-play merit will be considered."
This is not the case. Manuscripts which,
to the inexperienced eye of any normally
intelligent office boy, must appear impos-
sible at first glaece, are cheerfully ac-
cepted— provided the money is forthcom-
ing. Occasionally a manuscript is re-
jected, and a form letter is sent, stating
that the plot is too hackneyed. This,
however, is only done where the cover-
ing letter sent with the manuscript in-
dicates a state of financial embarrass-
ment on the part of the author which
renders his payment for the service ex-
tremely problematical.
The general procedure, however, is to
mail the author who submits the manu-
script an enthusiastic form letter, telling
him that the work shows great possibili-
ties— all within forty-eight hours of its
receipt. At that time, it has not even
been read.
Some Actual Cases
Among the manuscripts accepted by
one concern and alleged to possess
photoplay merit, which were subsequent-
ly turned over to the writer for revision,
have been the following:
1. A school boy's valedictory speech.
2. An eight-line verse by a small girl
about a bunch of flowers — submitted by
her fond mother.
3. A copy of a letter from a woman
to a friend, describing her operation for
a fractured hip in a hospital.
4. The obvious ravings of a lunatic,
describing in bloody detail the crucifixion
of three women.
In each of these cases the writer, un-
der protest, has completely ignored the
submitted manuscript and has dictated
a few hundred words of banal rubbish.
This effusion has been returned to the
author in its beautiful art cover as "our
version of your story."
In justice, however, it should be stated
that in most cases the unfortunate au-
thors have been perfectly satisfied ac-
cording to the terms of the ornate and
meaningless "contracts" made between
themselves and the company. This "sat-
isfaction" of the client's is the Sine qua
non of these contracts. Great care, how-
ever, is taken to impress upon the au-
thor that, after all, he knows very little
about it, and this form of sophistry is
usually successful in avoiding complica-
tions and objections. Inasmuch as the
7S
■'SCREENLAND
clients of these concerns are nearly all
ignorant and illiterate people, they sel-
dom have the courage or the intelligence
to say that they are dissatisfied, and, on
such occasions where an enterprising au-
thor duly registers a '"kick," a few words
are hastily altered in the "preliminary
manuscript," another soothing form let-
ter is sent out, and all is once more
well.
Claim "Pull" With Studios
Without any basis in actual fact
many of these concerns claim to
be in close touch wicth the producers,
creating the false impression that they
have a "pull" with the big executives.
With the exception of the "scenario-edi-
tor-in-chief" (a "has-been" who lends his
name for $50 a week), this writer does
not know of one person connected with
a certain one of these concerns who has
ever been inside a studio. If they had
been, common sense might tell them that
it is nothing short of robbery to accept
payment for the revision of a "slap-stick"
comedy scenario when it is well known
that these are never bought under any
circumstances from outside sources, "Gag"
men on the studio lot being employed
exclusively for this purpose. Ethical con-
siderations, however, do not as a rule
enter into the calculations of the pro-
moters of these concerns, which are run
mostly by mail-order men who find in
it a very profitable source of income.
In proof of the utter insincerity and
worthlessness of the promises made by
these concerns, several instances may be
cited. Numerous manuscripts were re-
ceived dealing with such obviously dis-
gusting and impossible things as inces-
tuous marriages and venereal disease. In
each case, the form letter went out as
usual, telling the author that his story
has been read and found to contain ex-
cellent photo-play material.
Statements are made in the litera-
ture of several of these concerns, and
bolstered up by facsimile letters, that
clients have been enabled to sell their
scenarios for several thousand dollars on
the strength of the revision and service
rendered by the concern. Those state-
ments are, almost without exception,
false and misleading. The name of the
(\Popular Pets of Pictur
name, but "he" had grown so attached
to it that they didn't after all.
One of the most traveled pups in
Screenland is Natacha Rambova's Pom-
eranian. Everywhere that Natacha goes,
Pom goes, too, and Natacha has com-
muted to Europe lately as often as Tom-
my Meighan used to from New York
to Hollywood. Natacha's puppy plays
around its home with the monkey that
Rudolph gave his bride, but the monkey
isn't permitted the advantages of foreign
travel such as the Pom enjoys.
There are more police dogs in Holly-
wood than a hound dog has fleas. Every,
star with any pretensions to keeping up
appearances has one. The police dogs sit
in stern dignity on the front seats of
company purchasing the story is care-
fully withheld, as is frequently the name
of the alleged story. If that were a bona
fide statement, the concern would em-
blazon those names on their advertising
and shriek them from the housetops.
With the exception of the Palmer
Photo-Play Corporation of Hollywood,
Calif, who maintain a Sales and a Pro-
duction Staff, it is doubtful whether all
the "scenario schools," "studios" or
"agents" combined, have ever enabled a
student to sell — or sold on behalf of a
student — one single scenario.
Disgrace to a Great Industry
The evil is growing and it is an off-
shoot of the motion picture industry
of which no one can be proud. The
industry has grown to a point where ,it
should no longer be possible to "trim
suckers" in its name. That it is a
"sucker-trimming" business, none can
deny. The .first requisite, in fact, in
starting such a business, is a sucker list.
// you have ever contributed a story to
a magazine, and subsequently received
letters from any of these concerns, you
need no longer be puzzled to know how
they obtained your name.
Fearless exposure of these concerns
and their methods is a duty and a serv-
ice to the public and it is a duty which
this magazine is glad to assume. It is
high time that the eyes of amateurs all
over the country were opened to the
colossal proportions of this lawful lar-
ceny.
The great fact to remember is that
these concerns all operate within the let-
ter of the law. They are nearly all ex-
tremely careful £o leave themselves a
loophole of escape in their ridiculous
literature and pretentious "contracts."
When pressed, they occasionally refund
the money demanded by their clients.
Far more often, however, they gently
"kid the sucker along," and not only avoid
refunding ,the money, but actually take a
little more away from him. They ap-
peal to the vanity and egotism of the
"sucker" with uncanny skill. The de-
sire to see one's name in print is strong
in most of us; — and they trade on this.
As part of their service, some of them
print a "bulletin" every month, contain-
ing several hundred "thumb-nail synop-
'dom — From page 62 .
their owners' cars, evincing the most
superb scorn of any common canines that
may yap at them. But the dignity of
Kenneth Harlan's dog was pathetically
absent, the day we saw Kenneth Harlan's
big Cadillac shoot by and draw up be-
fore a dog hospital on Western Avenue.
There was something seriously wrong
with the poor beastie, for his ears drooped
dejectedly, and if ever a dog looked sick,
he did. We hope it was nothing more
than a tummy-ache.
Have All Breeds
M\e Busch has a police dog, a mag-
nificent animal named Baree. So
has Agnes Ayres. Her police dog re-
ses" of the scenarios revised during the
previous month. This weird document
is , mailed to the scenario editors of the
large producers, and the ingenuous au-
thor who receives a dozen or so copies
for himself is assured that "his name
is being put before the producers so that
they become familiar with his work."
Scenarios Mailed Out in Bulk
Naturally, the scenario editor re-
ferred to drops this printed drivel
into the waste-paper basket unread. The
typewritten scenarios in their pretty "art
covers" are likewise mailed out in bulk
to the producers and frequently returned
unopened. When the producers have
mailed back the bundles of "master-
pieces," the terms of the "contract" have
been fulfilled. The concern is richer by
a goodly sum, and the "sucker" has a
beautifully .printed "contract," — which
means nothing; two copies of his sce-
nario, as many copies of the "bulletin"
as he wants, and innumerable form let-
ters full of high hopes and encouraging
promises.
But is, he any the richer by experience?
Not a bit of it — he promptly submits
another piece of rubbish and goes through
the whole business again. Hope certain-
ly springs eternal in the breasts of the
amateur writers.
It is truly amazing how they come
back for more. The writer has seen
many genuine and pathetic letters from
widows, orphans, servant-girls, school
children, illiterate immigrants, and others,
telling of their struggles to raise the
money necessary for first payments on
stories, which any one who is not a half
wit must recognize as the most pitiful
nonsense. These people beg, borrow,
pawn, and steal in order to finance their
pathetic flights into literature.
But all is grist that comes to the sce-
nario mills, and the same futile and sterile
service is rendered to all these poor un-
fortunates, provided they can somehow
scrape together the necessary money.
It is in the hope that the eyes of the
public will be opened to this poisonous
form of fraud which brings discredit to
the whole motion picture industry, and
which is yet within the letter of the law,
that this article has been written.
joices in the title of Thor, and quite
ignores Agnes' other two pups, a cute little
snub-nosed Boston bull named Tinker
and an Irish terrier named Kiki.
When Rudolph Valentino lived in Hol-
lywood, he used to promenade with his
police dog up and down the Boulevard
every night, at about eight-thirty. The
flappers used to line up and wait for the
parade. Rudie and his dog and two or
three other slick-haired, foreign-looking
chaps, each with his dog on a leash, like
a bunch of little girls out wheeling their
dolls. One night a bull-dog picked a
fight with Rudie's dog and very nearly
choked it to death, before Rudie ended
(Continued on page 90)
79
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(\Petrousbka — From page 46
golden head is seen against the black
shoulder of a tall, lean man who is rec-
ognized as C. C. Julian, a Los Angeles
oil promoter. Theda Bara, from her ring-
side table, observes the throng through a
be-jewelled lorgnette, thereby looking
strangely dowager-ish.
The music ceases, and the dancers
surge back to the tables. A rustle of
menus. A scurrying of black-clad wait-
ers. Flourishing of white napkins. Clink-
ing of glasses. Ginger ale at eighty cents
a bottle, gurgling as loudly as if it were
aware of its new importance. Caviar at
three dollars an order.
Local bon vivants trying to look as if
they really liked it. Lobster Pavlova for
gentlemen of erratic digestion who will
regret it presently. Parfaits for plump
ladies who have spent the afternoon in
reducing parlors. Gossip. Craning of
necks. A patter of applause. Prince
Holiloff is about to dance.
Prince Holiloff is also from Russia,
that unhappy land so prolific of royalty
and revolutionists. Late of Moscow and
even later of Paris. He is a toe dancer
and dances superbly the Caucasian
dances. Bravo! Stupendous! Isn't he
handsome? Cake eater! You men are
so jealous of any man who can dance
on his own feet! Is that so! An ap-
plause-ridden exit.
See, there's Mildred Harris, sitting
right opposite Charlie Chaplin. There,
the blonde girl in white with the pearls.
Charlie won't see her; see how he slides
his glance past her when he looks up.
Mildred is whispering something to her
man. That's Julian, you know; the man
they're having up in court about this big
oil squabble. I wonder what she said.
They're looking at Chaplin. Look,
Julian's getting up! He's going over to
Chaplin's table! Watch him lean up
against Mary Miles Minter, would you!
The man must be pie-eyed. Charlie's
mad; see how he tightens his lips. Won-
der what he said. Mary Miles looks
furious. Charlie's getting up. What did
he say? I couldn't hear. Oh, "Please
do not annoy Miss Minter." Oh! Oh!
Oh, boy, what a wallop! Charlie ducked
just in time. Good night, it's a free-for-
all, Julian's friends are getting in on it!
Look out, Charlie. Oh, he ducked again.
The boy's light on his feet. Ooh! A
darb, right on Julian's eye! Atta boy,
Charlie! Looka Charlie's nose bleed.
Gee, the place will be pinched! Oh,
they're stopping it. Who's that holding
Julian? Mary Miles looks as if she were
going to cry. Mildred doesn't, though.
They're taking Julian out. Charlie's ruin-
ing that napkin; they'll never be able to
get the blood out of it. What's he say?
What's he say? Ssh! "If anybody else
wishes to fight me, I am ready?" Well,
the darn little sport!
The prices are high at the Petroushka,
but the entertainment, on occasion, is
worth it.
^GREENLAND
QAlgonquiji — From page 4.J
keep her waiting. Ah! There he is —
the brute. Her frown vanishes as a
prominent playwright hurries in and
hustles her to the dining room — for
at noon there is really only one
dining room— that one presided over
by George. The "other" room is just
as good for all practical purposes, but
nobody wants to eat there. "Everybody"
eats in George's, no matter how long the
wait. It is like a queue at the box-office
of a successful play, one with a real all-
star cast.
Other head waiters, in George's place,
might be inclined to hauteur; might show
favoritism, and usher in the author of a
current hit ahead of the leading man
whose show has just closed but who has
been waiting longer. George is a benign
tyrant. He is as suave to press agents
as to producers. Perhaps George knows
life — at least life on Broadway; perhaps
he has seen too many stars rise and fall,
experienced the temperament of the prima
donna, in the smalltime vaudevillian; per-
haps George has also seen a good many
plays without bothering to buy a ticket,
thanks to those same press agents. How-
ever that may be, certainly George knows
his customers. He is always there —
suave, smiling.
You may see John Drew playing with
his grandchildren — or somebody's; Paul-
ine Garon gossiping with Billy Reardon,
Irene Castle's dancing partner; Rex
Beach and Hugo Ballin swapping yarns;
Robert Sherwood looking down on his
wife — she's Booth Tarkington's tiny
niece; Matt Moore hurrying by, shy;
the two reigning musical comedy queens,
from England — Beatrice Lillie — whose
lunch is almost always a glass of milk
and who has never been seen to smoke —
and Gertie Lawrence; Margalo Gilmore,
looking bored ; Marc Connelly, looking for
her; someone accosting Larry Reid, mo-
tion picture critic, and calling him Louis;
someone accosting Louis Reid, motion
picture press agent, and calling him Lar-
ry; Rita Weiman, who writes "originals";
Peter Milne, who writes "continuities";
Thyra Samter Winslow, who writes; Mrs.
Leslie Carter, looking as she looks in the
third act; Theodore Roberts and his wife;
John Robertson and his . . .
Of course, the food and the cooking is
kidded. It would be. There may be sev-
eral explanations of this. One is that
many of the folks who eat here never eat
anywhere else; and we have been told
time and again that even mother's cook-
ing will give indigestion in time. An-
other is that the food may not really be
very good.
"Come on over to the Algonquin and
have ptomaine poisoning," runs a fre-
quent facetious suggestion. All in a spirit
of good clean fun, of course, Mr. Case.
If you like some other place better
why don't you go there? There isn't
any other place. At least, no place you
can see everybody you know. Now that
the Claridge is gone and its grandeur
almost forgotten, and the Astor's atmos-
phere a bit thick, why, what is there left?
{Continued on page 88)
SC1EENLANB
81
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start to spray your hair and massage
your scalp with this delightful liquid,
you will see and feel new "life," new
vitality in your scalp and hair. Hair
growth will be apparent at the end
of a single week. And if you have a
"bob" to lengthen, you will find your
hair extending down your back in an
almost unbelievably short time.
These results are guaranteed. I want
that understood. For it is only on
such a guarantee that I can show my
unbounded faith in this remarkable
discovery.
Where There Is a Need, Science
Finds a Way
Probably the women of America never
needed any beautifier so suddenly
and so urgently as they needed this
one, for Paris has decreed that long
hair must prevail.
Science has answered woman's call
with this amazing liquid called Nitrox.
Although Nitrox is so pure that you
could drink it, it is the most powerful
hair growing product Science has ever
known. As its name suggests, it is a
fusion of Nitrogen and Oxygen com-
bined and liquefied by a formula of my
own. I have simply gone directly to nature
and bottled her ozone and sunshine by a secret
process of my own, mixing them with de-
lightful balsams and emollients. The result,
I firmly believe, is the most wonderful hair
grower and beautifier the world has ever known.
In addition to promoting hair growth, Nitrox
rids the scalp promptly of all dandruff; fluffs
out dead and listless hair, and gives to it won-
drous light and sheen.
One week after you have started the use of
Nitrox, rubbing it into the scalp for five min-
utes each day, at bed time — your new hair
will differ from your old hair as day trom
night. No more straggly, loose hairs blowing
every-which way. Your hair will stay in place
perfectly, with that delightlul, natural lustre
that can come only from perfect hair and scalp
health.
Not For Sale
But Sent to You Direct
McGowan's Nitrox is not offered for sale
through drug or department stores, for the vital
elements in this remarkable liquid evaporate
when kept standing for any length of time.
T distribute this wonderful product direct from
laboratory to user, shipping, in every instar>
the same day the liquid is compounded.
At first, we contemplated selling Nitrox at
810 a bottle — for it seemed easily worth that
to any woman to save four or five months
in getting her hair growth back to normal.
But that price would confine the product to
a very limited market. And since Nitrox Is
the greatest achievement of my laboratories,
I am anxious to make this discovery known
universally.
So I have decided to retail the first 25,000
bottles at only enough to pay the cost of
production, handling and advertising — which
I have figured down to just $2.47 per bottle,
plus a few cents postage.
Whether your hair is bobbed or long, if 3rou
want to control its length and add to its
splendor, don't delay another minute. There
is no formality for you to go through. I do
not even ask that you send any money. Just
sit down and fill out the coupon and send it
in — you can pay the postman $2.47 plus a few
cents postage, when he delivers the package.
M. J. McGowan
President.
The McGowan Laboratories,
710 W. Jackson Blvd., Dept. 510, Chicago.
Dear Mr. McGowan: I am willing to let you prove
to me, on your guarantee, that Nitrox will grow mv
hair at twice the normal rate of growth; that it will
thicken, soften and beautify my hair, ridding it of
any dandruff or scalp troubles. You may send me
a full size bottle, and I will deposit 32.47, the spec-
cial introductory price, with the postman on its
delivery (plus a few cents postage). This is with
the undertanding that, if I am not delighted with
the results from the very outset, I can return un-
used contents of the bottle, within five days after
its receipt, and you will refund my money
NAME.
ADDRESS
If you expect to be out when postman calls, en-
close JS2.60 with your order, and Nitrox
will be mailed postpaid.
82
He Said Her Eyes Were
Like Spring Flowers
AND so they were — round and soft and melting.
■** Long ago she had learned the trick of accentuating
their beauty and heightening their expressiveness by
darkening their lashes with WINX.
Do you know this secret? Have you tried applying
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eyes? If you haven't, there is a thrilling experience in
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stopper of the bottle. It makes the lashes appear lon-
ger and heavier. Dries instantly, invisibly. Harmless,
waterproof. Lasts for days, unaffected by perspiration
or weeping at the theatre.
WINX (black or brown) 75c. To nourish the lashes
and promote growth, use colorless Cream Lashlux at
night. Cream Lashlux (black, brown or colorless)
50c. At drug, department stores or by mail.
Send a dime today for a generous sample of WINX.
For another dime, you will receive a sample of PERT
the rouge that stays on until you remove it.
ROSS COMPANY 235 West 18th Street, New York
W I NX
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ENTERTAINMENT
IN
NEW YORK
at the
ALAMAC HOTEL
Broadway and 71st St.
PAUL SPECHT and his Or-
chestra play for afternoon Teas
each Saturday and Sunday and
for Dinner Dances nightly in
the Medieval Grille.
Each evening from Ten in the
Unique Congo Room atop the
Alamac. Tropical in Winter!
Breezy in Summer!
The delightful location for food
and recreation.
The Movie Clock
0[ Recording by weeks the record runs in New York screen
theatres of five feature productions.
F
"^eature productions of the screen
are rivaling in length of run even
some of New York's best dra-
matic hits. The public which
once paid 5 cents to attend a
fifteen-minute "moving picture" of a rail-
road train in motion in the local livery
stable made over into an impromptu
"nickelodeon" has grown accustomed to
the spectacle of the so-called legitimate
theatres being turned over regularly to
the screen.
New York's magnificent movie palaces
— such as the Rialto, the Rivoli, the
Strand, the Cosmopolitan, the Criterion,
and the Capitol — are famous, but the
screen drama has spread beyond these
and is encroaching upon Broadway's older
playhouses, long sacred to the spoken
drama.
As New York City constitutes a fairly
accurate indication of the nation's taste
in amusement, we have decided to run
The Movie Clock as a regular monthly
feature in Screenland. On it will be
listed monthly the five leading screen
plays in the order of their longevity. As
we go to press — March first — the list is
as follows:
Covered Wagon opened at the Criterion
Theatre March 16, 1923, Hunchback of
Notre Dame opened at the Astor Theatre
Sept. 1, 1923, now at Strand; White
Sister opened Sept. 5, 1923, Lyric Theatre;
Scaramouche opened at the 44th Street
Theatre Oct. 28, 1923, Ten Command-
ments opened at the Geo. M. Cohan
Theatre Dec. 22, 1923.
Other pictures which give indications
of long runs are as follows: Yolanda,
which opened at the Cosmopolitan Thea-
tre Feb. 19, 1924; America, which opened
at the 44th Street Theatre Feb. 21, i924.
replacing Scaramouche.
SCIREENLANB
83
^[Editors Letter Box — From
page 8 ■
the girls that don't like her don't purely
because they are jealous. They won't
admit that she is what they would like
to be. And, what's more, she can act.
Frederic Leitzan,
3651 Waterloo St.,
Detroit, Mich.
Dear Editor: —
I'm really get-
t i n g disgusted
with some of the
magazines the
way they keep
putting Gloria
Swanson before
us all the time,
why in the world
don't they give
us more about
the "Human
CI Mary Parks
Ones"— Jane Novak, Lillian Gish, Ethel
Clayton, Ella Hall, Claire McDowell, Lois
Wilson, Dorothy Philips, Charles Ray,
William S. Hart, Harry Carey, Lon
Chaney, John Bowers, Casson Ferguson,
Theodore Roberts, Richard Barthelmess
and several more who are human, sincere
and possessing real acting ability?
Bluebeard's Eighth Wife, the French
Doll, Gold Diggers and Wandering D't's
were certainly not much, but we welcome
and should have more like Big Brother,
The White Sister, Way Down East, the
Girl I Love, Little Old New York, Only
38, Desert Driven, and Human Wreckage.
I especially want to say that I like
Screenland because of its independence
and I appreciate the fact that you can
read it through and feel that it is not
being paid to sugar-coat some of the
"stars."
Mary Parks,
928 No. 23rd St., Waco, Tex.
Dear Editor: —
Shall we pub-
licly crucify a lit-
tle star on a hos-
pital cot? I have
in mind little
bright-eyed
Mabel Normand,
who comes in for
the unjust cen-
sorship of
thoughtless wom-
en's clubs, whose
members will be found in the front ranks
fighting for standing room in our divorce
courts, while this little Child of Tragedy
lies helpless.
I have no doubt in my mind but that
the hand of Fate has fallen upon her
in this unfortunate affair, just as many
other victims are subjected to that eter-
nal Law of Destiny. The leading physi-
ognomists of this country point to her
picture as a striking child of innocence
through whose clear eyes there shines a
soul of beauty.
She has been my idol from the start
and is my idol still. ^ q gig
304 Bouquet St.,
Pittsburgh, Pa.
(Continued #n page 91)
Heres«200aWeek
for any Man or Woman and a
Special Offer for QukkAdio!t-61*ab it
I KNOW that there are thousands This Is All You Have To Do
of men and women who are inter- . , .
ested right now in making more A1J that my representatives do is take
money. They want immediate ac- orders— and they get their money
tion— without red tape, and without immediately. If your profit for one
delav. Now lam going to make day is $10, you will have that $10 in
a personal, special offer that will cash the same day You don t carry
enable any man or woman to make a st<?c.k of c°ats; You don r ehyer
from $100 to $200 a week, depending anything and I do my own collecting
upon how much time is devoted to through the mail.
my proposition. Accept My Special Offer
How Much Can You Make? Now— the important thing is to get
I want a man or woman in started. I know that you
each community to act as .i^l^B^fev can make at least $100
my representative— to call writhin one week of today
on my customers and take \ and have that $100 in cash,
their orders for raincoats. mf i I know that within a short
That's all there is to it. SI time you can be making
If you take four average / * • j $200 a week — every week,
orders a day I will pay you ' i Tiic important thing is to
$96 a week. If you take \" . get started and get started
only one average order a <tL quick. If you will fill out
day you will make about ^dA^x ^jflBP^ me coupon with your name
$24 a week, and that is easy, *t^^9£$0 -m^^ and address, I will send
Hundreds of my represen- ' you without any prelimi-
tatives are earning that E- A* Sweet nary correspondence, and
much just in their spare with absolutely no deposit
time. For instance, George Garon whatever on your part, a complete
made $40 clear profit his first day. selling outfit with full instructions,
And there is Harry Swartz of Penn- samples of raincoat material, style
sylvania whose commissions on one 1 book, order blanks, and everything,
day were $66. And W. S. Cooper, that you will need to make money,
who has averaged over- $5,000 a year I will write you a letter that is so
for six years, ' working only four complete, clear and concise that after
hours a day. you read it you will know absolutely
No Experience Is Needed • where to S°» what t0 say> and how t0
It is not necessary for you to have make money.
been a salesman. You do not need Within *he paf few, wf 1 have Paid„ my
. . representatives hundreds of thousands of dollars,
any previous knowledge abOUt rain- And I am willing to make this concession to you
coats. I will give you all the informa- -send. you 5h.e complete outfit, confidential in-
. ° J , . . formation and instructions at once. So if you are
tion you Will ever need. 1 here IS no one of those men or women who want a real
trick tO taking Orders for Comer All- opportunity to establish a big, permanent sub-
WT C i A • stantial and profitable business — if you are sincere
W earner COatS and the reason IS an(j earnest in your desire to make more money,
simply this — they are such big bar- si8» and n,aiI the C0UP°n at once- In less than a
- 11 1 i t-i week you will be making more money than you
gains that they sell themselves. JJeo- ever thought possible,
pie like to buy direct from the factory, _ _ ^rr -v!
for the money saved by this method C- E- Comer, The Comer Mfg. Co.
of selling is passed on to the customer. Dept. 26-LS Dayton, Ohio
We manufacture otir own coats and aiiHHiii»HUHHiuiHu»iiiiiiiii»ii»»i>
sell them direct to our customers by 5 _ _ #1 ._ . tvt/"\1W7 f -
parcel post. Our representatives g J USt Mail 1 111S IN U W I g
simply take orders. The values speak g g
for themselves — and with such values, g The Comer Mfg. Co.
styles, and materials as we offer, our | Dept. 26-LS, Dayton, Ohio
representatives often take from 2 to g „ . ... . «■„„«„», s
* • i 11 ■ please sen"5 me> without expense or obligation, ■
4 Orders at a Single Call. g your special proposition, together with com- ■
Anrl hpraiisp Tomer Tnatd are such ' Plete outfit and instructions, so 1 can begin at .
rinci uecause v^orner v^udis die sulu ■ once to earn money.
big values and sell so easily, E. A. g 5
Sweet, of Michigan, made $1,200 in S Name S
a single month — Spencer earned $625 B
in one month's spare time — McCrary S Address 8
increased his earnings from $2 a day S print or write Plainly
to $9,000 a year =.„. ..„.„.„........................«?
84
SC1EENLANB
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Pert has a light fluffy cream base which
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At Last — a Pert "Waterproof Lipstick
to match your Pert Rouge. Made with
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Rouge and Lipstick obtainable at drug or
department stores or by mail. 75c each.
Send a dime to-day for a generous sample of
Vert Rouge. For another dime, you will receive
sample of Winx, for darkening the lashes.
ROSS COMPANY
235 W. 18th St. New York
9erb
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(\Delight Evans Reviews the New Screenplay — From page 50.
Daddies Too Sticky Sweet and Kittenish
I began by liking Claude Gillingwater.
Now I discover to my horror that the
excellent actor has become my particular
aversion. It isn't his fault that he is
just the type for these crusty old bach-
elor parts — these fussy fossils whose
hearts melt automatically at the machina-
tions of infants whose weekly salaries
triple mine. In Daddies Mr. Gillingwater
does it again. This time it is even worse.
He falls for the child's mother as well
as the baby prattle and the patter of
little feet. His susceptibility is shock-
ing.
Daddies is great stuff if you like your
sweetness and blight in large doses. It
is Formula 16, upholstered with a good
cast and Mae Marsh. Miss Marsh is so
human she seems out of place in a role
any ingenue could have played. But in
the one or two moments she is granted
in the merry melange of melting bache-
lors and hard-boiled babies she is her-
self, which is enough for most people, or
should be.
Don't bring the children. They know
enough tricks now. The director has
just turned the infant actors loose and
let them wreck the place. Whatever re-
muneration the kiddies or their parents
received for their participation in the
awfully-cute scenes was overpay.
The Next Corner Very Poor
The Next Corner is one of those pic-
tures which prejudice people against
the movies. Its titles tell the story. The
company which produced it might just
as well have issued a list of the titles
and saved money. Even intelligent act-
ing doesn't help. Dorothy Mackaill, one
of the most interesting young women
who ever trouped, makes it seem a little
better than a bad dream. Ricardo Cor-
tez is present with the slickest coiffure
ever seen outside an ad. for hair polish.
Name the Man Realistic
Remembering the amazing photoplays
he made in his native Sweden you will
be disappointed in Name the Man, Victor
Seastrom's first American effort Pos-
sibly if left to himself Mr. Seastrom
would not have insisted upon a story by
Sir Hall Caine. But he has done won-
ders with his material and the result is
a production far above the ordinary and
with an incident or two that approaches
great drama. He can impart to a scene
a stark power that is equalled only by
Von Stroheim.
Seastrom has made few concessions to
the motion picture book of behavior. The
hero, leaving his love after a quarrel,
does not glide out gracefully as is the
way of screen leading men. He trips
oyer a rug. And this director has pro-
vided a seduction scene which is the first
one in cinema to ring true. Mr. Griffith
should see it.
The heroine's home life isn't all it
should be. Again the atmosphere is de-
cidedly unethical according to movie regu-
lations. The audience I sat with shud-
dered at the crippled mother's maddened
outburst against her brutal husband in
defense of her unfortunate daughter. Too
long, it is still a superb episode, unique
for its fearless realism. In fact, realism
is present in large chunks; and those ac-
customed to the light fare usually served
may suffer from slight indigestion.
Mae Busch proves that she is abso-
lutely original as an actress and an indi-
vidual. At times her repression actually
irritates. But she is not at home in a
role requiring naivete and girlish charm.
I want to watch her sometime in a woman-
sized part which calls for everything she
does.
Marriage Circle Excellent
ttt is too late to tell you that The Mar-
triage Circle is a charming picture. You
know it yourself by this time. A gay
quartette rendered by the Misses Pre-
vost and Vidor and Messrs. Blue and
Menjou. Menjou, of course, does some
splendid work. But the bit I liked besv.
belonged to Marie. Do you recall that
after her emotional Waterloo with Monte
she calmly filed her finger nails? Ernst
Lubitsch knows too much about the in-
ner workings of a woman's mind. If he
keeps on revealing the secrets of the
make-up box he'll give the whole thing
away.
The Ant a Microscopic Classic
But if I were asked to consider gravely
and name the best performance of the
month I would present the gelatine medal
to The Ant, whose engaging work in Louis
Tolhurst's microscopic close-up is en-
titled to immortality. This diminutive
actor is as acrobatic as Doug, as amus-
ing as Chariot, and with full command
of all the emotions. The Ant is not merely
informative; it is much more fun than
several of the month's fiction films.
(Additional Reviews Will Be Found on
Page 12)
Mc
DELIGHT EVANS
ost reviewers feel too heavily their responsibilities as critics. Either they grow
tedious in a recital of the plot of the picture because they lack the originality required
in critical work, or else they sacrifice an honest criticism of the picture to a desire to
show off. Miss Evans has the happy faculty of being able to see a picture and transmit
her impressions of it to the reader without garbling its good points or falling over
herself in condemning its bad ones. And, by the way, she has asked us to inquire of
our readers if they prefer the character sketches by Covarrubias, run in this department,
or if they would rather have back the old fashioned "stills" from the pictures we
review. Which shall it be? — Editor.
I I I 3 ■ I I
I I I I I I
I llll I
II f If
85
— all the difference
between just an ordinary cigarette
and — FATIMA, the most skillful
blend in cigarette history.
(\Girls That Men Forget —
From page 6 J
if I do."
"Try and get it," he said, taking out of
the desk a box of matches.
How a guy like that can be popular is
beyond me.
"Look here," I said nastily, "to what
do you attribute success or in plain words
how do you get away with it?"
Putting my pack of cigarettes into his
pocket and handing me his matches Mr.
Dix replied, "To a heluva lot of nerve,
good luck and Charlie Chaplin."
"Charlie Chaplin?"
"Sure, Chaplin said I would never
screen well. Somebody gave the story
a lot of publicity and within a week a
hundred producers wanted to prove Chap-
lin was wrong."
"Well, I suppose all these producers
are now saving to Chaplin, T told you
so'."
"No," Mr. Dix, "that's what Chaplin's
saying."
" There's a matter on which some of
our feminine readers want an expert
opinion." I continued, "and that is, what
sort of women do men forget?"
"Say," protested the world's most elu-
sive bachelor, "who do you think I am,
Valentino? I don't know anything about
that. My trouble is that I can't forget
them.
"I have an idea," he said suddenly,
"let's hire a hack and drive out to Coney
Island. Great place this time of the
year. Or maybe you would rather go
over to the club and play handball? After
that we can sneak into Dinty Moore's
and kill a couple of steaks. Then you
can go home and write the interview. Say
anything you want."
"Now look here," I said determinedly,
"I want your opinion. Let's get to the
point. What sort of women do men
forget?"
"Well," answered Mr. Dix, sighing sub-
missively, "there's the girl of only thirty-
eight who bobs her hair."
"Very good, excellent, in fact," I ex-
claimed, handing him a fresh cigarette.
"And there's the plump, jolly damsel
who talks baby talk and calls everybody
'honey'."
"Immense," I cried, "continue."
"There's the girl who won't ask you in
when she's only met you once and there's
her friend who imitates Ethel Barrymore
by saying, 'that's all there is, there isn't
any more.' And the sweet, young thing,
with the girlish laughter and the dead
dumb pan who can't say anything but
"too cute for words' and 'just perfectly
wonderful'."
" And what is your ideal girl?"
"Now," said Richard, "you're getting
personal. But along about June that
question may be definitely answered."
"By the way," he said, "must you be
going? Too bad. Come and see me again
soon."
"How about coming over to the studio
Thursday?" I asked.
"Fine! Great!" said Mr. Dix, "I'll be
on location that day."
Are iuu neaumng lur \m inuinr
I will tell you Under which Zodiac Sign
FTk |j* T> were you born? What are
IX. J> JC* your opportunities in life,
your future prospects, happiness in mar-
riage, friends, enemies, success in all under-
takings, and many other vital questions as
indicated by ASTROLOGY, the most
ancient and interesting science of history?
Were you bom under a lucky star? I will tell you,- free, the
most interesting astrological interpretation of the Zodiac
Sign you were born under.
Simply send me the exact date of your birth in your own
handwriting. To cover cost of this notice and po stage, inclose
twelve cents in any form and your exact name and address.
Your astrological interpretation will be written in plain
language and sent to you securely sealed and postpaid. A
great surprise awaits you!
Do not fail to send birth date and to inclose 12c. Print
correct name and address to avoid delay in mailing.
Write now— TODAY— to the .
ASTA STUDIO
309 Fifth Avenue Dept. CS
New York
86
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STEIOINGSCQ
(Diamond Importers- $1,000,000 Stock -Est. 1879)
63 PARK ROW, Dept. 1471, NEW YORK
{\Lucille Larrimer Reports the Listening Post — From page ft
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N ot even knowing that Lon Chaney
was married or anything, we were sur-
prised to learn that Lon has around six
feet or so of son. The boy is just about
ready for college, and he is among those
sons of famous when who are not ruined
by prosperity. Lon gives his strapping son
a small amount" of spending money every
week. And the boy earns the rest of
the money he wants, by working out of
school hours.
Bull Montana Buys Home
JLdull Montana has bought himself a
luxurious new house, and is as proud of
it as a boy with his first long pants. The
new home is brown stucco on the outside,
and is fixed up inside with pink silk cur-
tains in the bedroom, and everything.
The piece de resistance is an imposing
portrait of Bull himself, done in oil, which
takes up practically one whole wall of
the living room. Bull lives there happily,
by himself, playing the phonograph and
watering the lawn for recreation.
Oicar, the Lasky Bootblack
When you send your most adored
hero candied cherries, you may or may not
be scoring what the critics call "a personal
hit." Some ardent lady fan sent such a
gift to Rod LaRocque the other day, and
all the ten-minute eggs around the Lasky
lot though it was just too dear for any-
thing.
Rod himself just simpered and started
to pass the cherries around, gurgling,
"Miss LaRoque will pour." But he tripped
over one of the loose cables that the
"grips" are always leaving underfoot, and
the cherries all spilled out on the floor.
But Oscar, the well-known bootblack,
picked them up and washed them off, and
everybody ate them anyway.
Real Life Drama
dramatic incident that narrowly
bordered on a tragedy was acted in real
life recently by Nell Shipman and her
husband, Bert Van Tuyle. An accident
to Van Tuyle's right foot resulted in
severe injury and infection. Desperate
to get her husband to a doctor, Miss Ship-
man left their camp in Northern Idaho,
with her husband out of his head with
pain on a dog sled. For twenty-five miles,
through snow and over treacherous ice,
she struggled, with her husband raving
in delirium. Once Van Tuyle left the
sled and walked upon his injured foot,
now infected by gangrene. While crossing
the thin ice of Priest lake in Idaho, near
Coolin, Miss Shipman and her husband
broke through the ice several times, fall-
ing into the icy water up to their waists.
That night, when their strength was al-
most exhausted, they came upon a ranch
house, where a motor boat was obtained.
The next morning they continued the
journey in the boat, breaking a slow and
tortuous path through the ice. The last
three miles were covered by Nell Ship-
man alone on foot, and a rescue party
was sent back for Van Tuyle.
Van Tuyle suffered the amputation of
his infected foot, and his brave wife was
on the border of collapse from her ter-
rible ordeal.
Film stars are heroines sometimes in
their own right.
A
Flexible Flesh
film star has to take on pounds or
dispense with them on order as casually
as she produces tears. Estelle Taylor
was given the role of Miriam in the Ten
Commandments, on consideration that she
take on a little more weight. So she
groomed herself to weigh 140 pounds.
Then Mary Pickford chose her for Doro-
thy Vernon, and the role required a sylph.
So Estelle went in for massage and a
strict diet, and soon weighed a mere 105
pounds. And now her doctor has ordered
her back to her normal weight of 125
pounds for the sake of her health. Es-
telle is hoping she'll be allowed to remain
that way for some time.
Conway Tearle's Story
v^ONWAY Tearle got a great laugh with
this one at the Writers' Club the other
night :
The Irishman and the Hebrew were
arguing. As usual. "Aw," said Mr.
O'Flaherty, "I'm sick and tired of seeing
Cohen and Isaacson and all these Yiddish
names on all the windows. I'm going
where it's too doggone cold for any He-
brew." ':
"And vere," asked Mr. Cohen politely,
"is that?"
"The North Pole!" said Mr. O'Flaherty.
"Veil," drawled Mr. Cohen, spreading
his hands and smiling gently, "uv course,
if you call Izeberg an Irish name!"
F,
A Delicate Situation
act is what some stars have nothing
else but. Occasionally they need it.
Adolphe Menjou and Lew Cody, along
with three Hollywood actresses whose
names are not relevant here because we
dont know them, were making personal
appearances in a small town not so long
ago. After the picture, the audience was
given permission to ask questions of the
stars. Somebody from the audience piped
up and asked Lew and Adlophe:
"Say, who's your favorite picture act-
ress?"
Lew looked at Adolphe and Adolphe
looked at Lew. They retired for consul-
tation. Presently they emerged and an-
nounced cannily, "Baby Peggy!"
I
t is not true that Bill Hart got mad at
Paramount. It is equally not true that
Paramount got mad at Bill Hart. They
love each other just as well as they ever
did, and Bill is going to continue to make
pictures for Lasky. Charles Eyton says
so. So there!
Po
A M artvred Maiden
oor little Lila Lee ! Because her foster
father became embroiled in an ugly affair
concerning some missing funds, one of the
nicest girls in Hollywood or elsewhere is
suffering the cruelest sort of notorietry.
The black head-lines scream her name.
SCiEENLAN©
The newsboys proclaim on every corner
the fact that "Lila Lee's father" is wanted
by the police. Every newspaper mention
of the case, no matter how brief, "plays
up" the fact that the fugitive is the father
of a famous film star. And so poor,
sensitive Lila is being hounded to the point
of retiring from the screen, from the
shame of it all. And all through no fault
or deed of her own.
Don't leave the screen, Lila Lee! The
films need just such earnest, fine little
actresses as you. The public knows that
all this hurly-burly is your misfortune
and not your fault.
W E wonder if Ethel Chaffm. head de-
signer at the Paramount West Coast
plant, designs Cecil DeMille's costumes
as well as the stars, or whether his sar-
torial triumphs are his own creation. The
other day we saw him directing some
scenes in his new picture, Triumph, and
indeed, he was restful and soothing to the
eye. A soft sport shirt of a delicate green
was visible under his tweed jacket, and
the color note was repeated in the gem
that blazed on the little finger of his left
hand — a green diamond set in green gold,
one of the five jewels of the kind ex-
isting in the world.
Bill Hart Tells This One
Jl- hey tell this story about Baby Turner,
the two-year-old youngster who is play-
ing in Bill Hart's new picture. Baby
Turner seems rather young to hang it
on, but it's a good story, anyway.
It seems that Bill was talking about
wars and generals with Phyllis Haver,
who is turning the bad man of the plains
from ways of violence these days — on
the screen. Bill happened to mention U.
S. Grant. The youngster, who was lis-
tening in, turned to Phyllis and asked:
"Is that the Grant we pray to in
church?"
"Why, honey," said Phyllis, "we don't
pray to Grant in church."
"Oh yes, we do,' the che-ild is alleged
o have insisted. "Last Sunday the preach-
er said, 'Grant, we beseech thee to hear
us!"
87
T,
Bigamy?
have been plenty
here have been plenty of movie
actors who quit acting to direct, but not
so many directors who gave up directing
to act. But in Norma Talmadge's new
picture, The House of Youth, Frank Bor-
zage is going to do both. He's going to
direct a spell, and then he'll put on his
make-up and act a spell, as one of Nor-
ma's leading men. The other one will
be Eugene O'Brien, who is giving Con-
way Tearle a chance to rest up after sup-
porting the combined Talmadge family in
goodness knows how many pictures. We
like Conway — when he forgets to look
noble — but somehow when he embraces
Norma in the sixth reel, we always think
of his love scenes with Constance. And
vice-versa. It looks sorta bigamous to
us, somehow.
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QNew York has its Algonquin— from page 80.
Sometimes, at the Knickerbocker Grill
you can still see magnates scribbling fig-
ures on the table cloths; but they are
not always there; and if they are they do
not always scribble. There's the Ritz,
where Hedda Hopper, Mabel Normand,
Anita Stewart, and often Tommy Meighan
like to lunch. Alma Rubens prefers
Pierre's; Lucy Fox and Lilyan Tashman
the Plaza. The Gishes go to Sherry's.
But you may run into all of them at the
Algonquin.
And Ann Pennington's dimpled knees
with Brooke Johns. And Frances Marion
lunching with her publisher. And Betty
Compson, on her way to Florida. Dag-
mar Godowsky, all in black — and it seems
only the other day she was kissing her
then-husband, Frank Mayo, in this same
dining room. May McAvoy sits next to
you at one of the tables against the walls,
May, demure in a boyish suit and hat,
and May's mother. Again, Bebe and Mrs.
Daniels.
There is the Round Table, that solemn
gathering of the great — well, anyway,
they look important. They are the men
and an occasional woman or wife who
make and break Broadway's stars, actors,
authors ; who write the columns that New
York would rather miss its train and its
breakfast than go without; who make
millions laugh — sometimes intentionally.
They are a little Algonquin all to them-
selves, bless their hearts. No one else
ever sits at their table. Perhaps, one
day, someone will elude George, slip in
and take a chair there. But when the
Others come in for their lunch — for even
Great Men must eat — they won't even no-
tice him, and he will get up and slink
away.
There are strange sights in the Algon-
quin. There is the fur-collared coat which
Alexander Woollcott wears — he, the au-
gust critic. And the cap on Heywood
Broun's head when he comes shambling
in — the cap which looks as if he stole
it from an umpire in the days when he
criticized baseball games; and the fur-
lined great-coat of Edmund Goulding,
who has found scenario writing remunera-
tive. There's Strongheart, without his
wife, Lady Julie. Sssh!
Chorus men and actors out of work.
Dancers and dramatic artistes and Doug
Fairbanks, Jr. Doug's dad used to live
here with the first Mrs. Fairbanks. Lea-
trice Joy being interviewed and looking
as if she enjoyed it — Leatrice is an hon-
est woman. H. L. Mencken, in but not
of it. Conrad and Ruth Nagel. Morris
Gest, performing another miracle with his
luncheon.
You'll never find George Jean Nathan
no matter how long you sit there or how
hard you look. He eats across the street
at his bachelor abode.
"Ladies are requested not to smoke in
the lounge" by means of dainty cards pre-
ferred on silver salvers by obsequious
servitors. Ladies continued to smoke in
the lounge and now nice ash-trays may
be found at every chair.
Romance and intrigue. Ambition and
heart-break. Brave smiles and run-over
shoes. Flashing ties and walking sticks,
and hope of a cordial, "Come on and
eat with us, old chap." A little world
all to itself — a mimic world. Of course,
it's unreal. You look for a director and
a grinding camera. Then a boy pages
Theda Bara and you wonder if someone
has a sense of humor or if she ever really
does appear here in person. But ah —
here's Anita Loos.
They say that in Hollywood the mo-
tion picture people have become too pro-
fessional; that they live too much among
themselves; that they lack perspective
and the vision of the rest of the world.
California has its Hollywood. New York
has its Algonquin.
Except that the hotel is not monop-
olized by the flickering tintypes and their
fleshly incarnations. You'll find there
Carl Van Vechten, who wrote "The Blind
Bow Boy," and Fania Marinoff, his wife.
Burton Rascoe and Ernest Boyd and the
Liverights. And there is always an off-
day when the lunchers are mostly made
up of Aunt Saras from Indiana who point
out Cousin Kates from upstate as Betty
Compson or Mary Pickford. Mary her-
self always visits when she's in town.
On Tuesdays the Woman Pays. It's
a club composed of well known news-
papermen and motion picture writers —
all female — and every meeting is attended
by a famous guest. Hardly a motion
picture star of consequence has failed to
rise before them and begin, "Unaccus-
tomed as I am — "
But outside of all this, there's really
no reason for the popularity of the place.
It's near Broadway and all that, but so
are scores of other hotels. It serves food,
but so does Childs. It is rumored — only
rumored, mind you — that every Christmas
the barber shop is turned into a bar;
but then Christmas comes but once a
year. After all —
What? You're running along now?
Well, I'll see you Tuesday. Make it one
— at the Algonquin.
NEXT MONTH
OeligHT EVANS is a versatile writer. Tragedy, comedy, satire
— stories of every kind flow from her pen with equal facility.
Next month she will contribute a story on D. W . Griffith and
another on Lillian Gish — different types of writing, alike in
only one respect, that they are equally good. W atch for the
June SCREENLAND. Ready May first.
SCMEENLAMD
(\Original Cocoanut Grove —
From page 63.
resting up place of America. Society
leaders, politicians, movie actresses and
millionaires go there in the Winter to
rest up before going someplace else.
A queer place. Palm Beach — three
hotels and as many golf clubs. Not to
mention America's greatest gambling club
and a scattering of private homes, priv-
ate yachts and private railroad cars.
Wealth, luxury, opulence. And across
the bridge, in West Palm Beach, a little
town not unlike Long Beach, California,
the natives are pitching horse-shoes. On
one side of the bridge: Rolls-Royces — on
the other: rebuilt Fords.
A charming place, Palm Beach, with its
eternal sunshine, its bathing beach, its
clubs, hotels and its Original Cocoanut
Grove.
I have my reservations made already
for next winter.
(\Another Naldi — From page 55.
you couldn't notice any accent on her,
now, could you? Did you happen to see
the picture she had in the paper? Yeh,
the reporters came and interviewed her,
just like they do to Nita, but they didn't
use any of the good stuff she told 'em,
but just went and printed what she hap-
pened to let slip about her and Nita tak-
ing turns running a rolling-pin over each
other, to make lines where the curves
used to be.
Convents seem to be putting out a
snappy line of spring graduates these
days. But anyway, if Mary screens as
well as she photographs, there'll be an-
other star in the Naldi family.
QNo Jazz for Jetta — From page 59-
house. He offers her a cigarette, winks
at the headwaiter and says. "See what the
little lady will have."
All wrong, boys, all wrong.
Now when you meet Jetta, and I can
wish you no better luck than to hope
you do — gaze at her in astonishment and
say, "I can never believe a girl like you
could play vampire parts."
At that, mark my words, Jetta will
have the preliminary sensations of think-
ing you a very discerning fellow.
' Why?" she will ask, widening her eyes
as only she can.
• Oh, because you are so sweet, so
young, so innocent, so simple."
Then follow this up by saying, "I am
driving out in the country to-morrow
morning to get away from all this hustle
and bustle. Won't you join me?"
Jetta will. And once out in the great
open spaces speak of nothing but sermons
in stones, books in the running brooks,
bnbies, bungalows and so forth.
And the girl is yours.
89
How the Shape of My Nose
Delayed Success
By EDITH XELSON
1HAD tried so long to get into the movies. My Dramatic
Course had been completed and I was ready to pursue
my ambitions. But each director had turned me
away bcause of the shape of my nose. Each told me
had beautiful eyes, mouth and hair and would photo-
graph well — but my nose was a "pug" nose— and they were
seeking beauty. Again and again I met the same fate. I
began to analyze myself. I had personality and charm. I
had friends. I was fairly well educated, and I had spent
ten months studying Dramatic Art. In amateur theatri-
cals my work was commended, and I just knew that I could
succeed in motion pictures if only given an opportunity.
I began to wonder why I could not secure employment
as hundreds of other girls were doing.
FINALLY, late one afternoon, after another "disappoint-
ment." I stopped to watch a studio photographer who
was taking some still pictures of iliss B , a well-
known star. Extreme care was taken in arranging the de-
sired poses. "Look up and over there." said the photog-
rapher, pointing to an object at my right, "a profile ."
"Oh, yes, yes," said Miss B — - — instantly following the
suggestion by assuming a pose in which she looked more
charming than ever. I watched, I wondered, the camera
clicked. As Miss B walked away, I carefully studied
her features, her lips, her eyes, her nose . "She has the
most beautiful nose I have ever seen," I said, half audibly.
"Yes, but I remember," said Miss B 's maid, who was
standing near me, "when she had a 'pug* nose and she was only
extra girl, but look at her now. How beautiful she is."
IN a flash my hopes soared. I pressed my new-made acquaintance
for further comment. Gradually the story was unfolded to me.
Miss B had had her nose reshaped — yes, actually corrected —
actually made over, and how wonderful, how beautiful it was now.
This change perhaps had been the turning point in her career 1 It
must also be the way of my success! "How did she accomplish it?"
I asked feverishly of my friend. I was informed that M. Trilety, a
face specialist of Binghamton, New York, had accomplished this for
Miss B in the privacy of her home!
I THANKED my informant and turned back to my home, deter-
mined that the means of overcoming the obstacle that had hindered
my progress was now open for me. I was bubbling over with hope
and joy. I lost no time in writing to M Trilety for information. I
received full particulars. The treatment was so simple, the cost so
reasonable, that I decided to purchase it at once. I did. I could
hardly wait to begin treatment. At last it arrived.
To make my story short— in five weeks my nose was
corrected and I easily secured a regular position
with a producing company. I am now climbing fast
— and I am happy.
ATTENTION to your personal appearance is nowa-
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You must "look your best" at aD times.
M. Trilety's latest improved Nose Shaper, "Trados"
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— -.-»««■•« m-i—
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2011 Ackerman Bldg., Binghamton, N. Y.
Dear Sir: Please send me, without obligation.
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X\Pups — Popular Pets of .Picturedom — From page 78.
the battle with a neatly implanted boot
on the bull-dog's head. It was a surprised
and battered dog that Rudie led home
that night.
. Al Christie breeds prize terriers when
he isn't making comedies. When the dog
fanciers of Southern California hold their
shows at Pasadena or Hollywood, the
Christie dogs are always very much pres-
ent when the blue ribbons are given out.
Christie favors the wire hair terriers.
A:
"Whiskers" Rated Cutest
nd speaking of wire haired terriers,
Charles Ray's Whiskers is about the
cutest pup in Hollywood. An actor of
parts, too, is Whiskers, though he does
feel that acting interferes somewhat with
his real vocation, which is adoring Charlie.
Whiskers really should be named Shadow,
because he clings to Charlie just as tightly
as Charlie's shadow-self. We saw Whis-
kers almost go into hysterics on the Ray
lot, when the lot was all cluttered up
with descendants of the Mayflower pas-
sengers, at the "launching" of the May-
flower set last spring. Whiskers had in-
advertantly become separated from
Charles, and he was frantically searching
through the crowd for his master, sniffing
at strange heels and squirming out from
under the hands of plump matrons who
sought to pet him. Finally Charlie
whistled to him from his post on the deck
of the Mayflower, and Whiskers shot up
the gangplank and catapulted against
Charlie's legs as if he hadn't seen him for
years.
The real boss of the Harold Lloyd
household is Pat, a diminutive Boston
bull. Mildred Davis Lloyd bosses Plarold,
you see, and Pat bosses Mildred. Mil-
dred started out to be very stern with
Pat, but inside of three weeks, Pat had
Mildred excellently trained. Pat ran
away . one day. Or rather, stepped out
to see a little more of the .world than
could be noted from the grassy back- yard
of the Lloyd home on Irving Boulevard.
That night he didn't come home. Tragedy
reigned in' the Lloyd menage. Mildred
couldn't eat her dinner, and Harold didn't
have much of an appetite either. The
next day came and passed, and no Pat.
Then Harold sent out an S. O. S. to the
newspapers, which published a description
of the missing pup. And on the third
day Pat came back, towed by an angel in
raiments of light who had found Pat
curled up asleep on his front porch, quite
worn out by the strain of being a dog-
about-town.
I
Mary's Dog Disappears
t was the newspapers that brought back
Mary Pickford's little wire-haired ter-
rier, Zorro, named after Doug's picture,
The Mark of Zorro. Zorro rides home
from the studio every night on the run-
ning-board of Mary's car. One night, no
Zorro. The studio was scoured for traces
of the missing puppy, but to no avail.
The newspapers were notified, and a few
days later Zorro came back. He had
picked the wrong automobile and had
curled up on the running-board of a
strange visitor to the studio, who had not
noticed the dog's presence until he got
him home. :
Helene Chadwick is another star who
has a terrierj a snow-white little animal
with sharp eyes and a most inquisitive
little black nose. He can "speak," stand
up on his hind legs and beg and do other
tricks appropriate to the pet of a famous
star.
An educated puppy who understands
French is Fino, the puppy belonging to
Jeanette Davis, the little French actress
who is working with Pola Negri in her
pictures, "Man," and "The Shadow of
Paris."
Fino's mother must surely have con-
tracted a messalliance at some time', for
Fino has the head and stocky frame of
a bull terrier, and short legs of.. a dasch-
und. The rear view of Fino dashing down
the walk reminds one strangely of a -bat-
tleship on wheels, but Fino has the cutest,
most understanding face and is almost
human in his comprehension. His prize
trick is to play the soldier. Propped, up
in a corner, with a stick in his paws to
serve as a musket, Fino comes to atten-
tion and stands stiffly erect until little
by little his short legs slip on the polished
floor and he collapses in his corner like
a picket overcome in his cups.
I
Miss Daw's Formidable Pet
t is a case of Beauty and the Beast
with Marjory Daw and her great bull-
dog, Jocko. Jocko is so ugly that he is
beautiful, with his bowed legs and great,
undershot jaw. He looks as formidable
as Jack Dempsey, but is really an amiable
beast. Of course, he doesn't have to be
cross; his fighting face gains him imme-
diate respect.
Gail Henry kills two birds . with one
stone by making her pets work for their
living. Her favorite of her seven dogs
is Pat, a huge Irish wolf-hound that is
only seven months old but is already
about the size'of a ton-truck. . Pat As
principally legs, but harbors the idea that
he is a curly little lap-dog; he loves to
curl up in your lap. When this is done,
the holder is completely eclipsed, and
about two yards of dog legs hang over
the sides. Gail occasionally puts him on
a leash and parades him along Hollywood
boulevard, where he invariably draws as
big a crowd as Ben Turpin doing his
favorite stunt of directing the traffic on
the corner of Western and Santa Monica
Boulevard.
Gail Henry has pups of all assorted
sizes. Pat is the biggest. The littlest
is a tiny black ink-spot of a dog. He is
small enough to be held in the palm of
your hand, but has a voice out of all
proportion to his size. He cost exactly
one dollar. Gail's mother picked him up
at a farmhouse in the country and gave
him to Gail. Gail's husband, Henry
East, trains dogs for the movies, is fast
teaching Nigger to be a breadwinner.
Trained dogs get anywhere from $50 a
week up. Gail seems sure to realize on
her dollar dog, both in affection and
profit.
SCIREENILAN1D)
91
Q Madeline Glass
^Editor's Letter Box — From
page 83
Dear Editor: —
It seems to me
that a rejuvena-
tion of some sort
would improve
Conway Tearle a
great deal. He
looks so tired
and careworn.
Just why Tearle
should be so
enormously pop-
ular and Nor-
man Kerry so
unappreciated is
something I
never expect to
understand. I ad-
mire Clara Bow but her makeup is very
crude and obvious. As for her flapper
characterization — well, I'd like to see a
girl behave like that with my father.
He'd roar at her just once and tough
flapper would become as meek as a lamb.
I wonder why it is that we have so
few realistic death scenes in our pictures.
Mae Marsh's histrionical demise in The
Birth of a Nation was a piece of realism
never to be forgotten. The average cine-
ma death is crude and stupid. Dying
people don't usually thrash about their
bed and execute a detailed farewell of all
their friends and relatives; neither do they
emote prettily and request that senti-
mental songs be sung.
Madeline Glass,
720 So. Coronado St.,
Los Angeles, California.
Dear Editor: —
Screenland re-
minds me of T.
R. It has the
courage of its
c 0 n v i c t i 0 ns.
Thank God-
here at last one
magazine comes
forth monthly
minus the usual
sugar-coated in-
terviews.
Please let me
state here, now,
and with the
rumbling of per-
chance a thou-
sand Windsor fans in my ears. Here is one
who has been pushed ahead, exploited,
raved over, press-agented, until I'm ab-
solutely sick of either seeing her pictures
or plays. She is no beauty — and further-
more whatever it is that is called The
Spark — Duse has it, Nazimova, Pola, yes
and even May McAvoy (witness her act-
ing in Kick-In). Claire is about as active
as — well, we'll let it go at that — but why
do they call her the "Most beautiful
woman extant !"?
Here's another — I like Corinne Grif-
fith. I think she has some claim to
beauty — and as such is somewhat handi-
capped in her acting. I didn't like Black
{Continued on page 95)
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(\Ruth Mary Harris Tell of a Young Veteran — From page 66
you want, pass on! Lois Wilson never
had time for such applesauce.
Two Years of Struggle
For two years disappointment dogged
her and poverty clanged noisily be-
hind her. At the age when a girl craves
fun, imported frocks and excitement, she
had to be steady, capable and dependent.
The people who are so glib now about
her "life of ease" and her "soft snap"
never knew of the times that she flung
herself, weary and discouraged, into moth-
er Kerrigan's — to read the lurid press no-
tices of mushroom adventuresses who
flashed dizzily into stardom, leaving a
trail of exotic perfume along with the
dust of their foreign motors.
But the mother of J. Warren Kerrigan
was always ready to encourage, and even
when she felt that she was soon to slip
away from this world, said: "Remember
I'll always be with you, Lois, laughing
when you laugh, and wishing you every
good thing, from beyond."
She knew that Lois had stuck, even
when she didn't have the price of a pair
of shoes, to make a decent showing at
the studios — and she isn't the type of girl
to have barefoot parts thrust at her.
Along with her plodding she had to
fight that self-consciousness that flays one
before the glaring Kliegs — and passes
away rapidly with the assurance of a
devoted sugar daddy waiting with heart
balm outside, in case the director gets
snappy — but remains for a year or two
with the girl who has to make good on
her own.
So, while the fly by night actresses flick-
ered and flashed out, there was Lois, the
plodder — Roast Beef, Medium, if you
will — learning the valuable apprenticeship
that keeps one a star more than the cus-
tomary three years. She had figured out
the advantages of that staple diet — and
saw that it had its points above Meringue
Glace and Puff Pastry!
When, for instance, other ingenues were
sullen and temperamental, from midnight
parties and other merriment, Lois was
ready and awaiting her chance — and to
her came parts of increasing distinction.
A Versatile Actress
When she sat in her dressing room,
the other day, attired in the costly
and gorgeous finery of the time of "Mon-
sieur Beaucaire," I figured out to myself
what those years had done to her — seven
of them. For one thing, I didn't know
then whether she was to be the Queen
or Lady Mary Carlisle of Bath — and the
choice item was, that she could play
either. There was the youth of the fa-
mous Belle of Bath in her soft, happy
brown eyes — and the stately poise of a
Queen to the manner born — the part she
finally received.
She has arrived, today, with a clean
record, and is so schooled by experience
that she can take any given part, with
equal sincerity. She was the leading lady
in "Only 38," you remember — for the
lines of young maturity that come only
from a cruel struggle, were hers, and also
the smooth complexioned freshness of a
young girl, when "Only 38" rejuvenates
herself.
I would call her the young veteran
of the screen, as we name those young-
sters who bear the traces of a lifetime,
lived in two years of the World War!
And faces do not lie, especially before the
pitiless Kliegs.
0[ Income Tax Collector of Hollywood — From page 6$
small boy whether he'd rather be presi-
dent than Hart !
Bill claims no exemption for either
Winifred Westover or his son, Bill Jr.,
though it would save him a few dollars
and cents. He is not living with his wife —
and he is therefore only a single man.
Winifred must make out her own in-
come statement — and there's been quite
a few items in the twelve months of 1923
that she must enter in the proper places.
Bill's been giving her $1200 a month for
18 months. Now she's receiving the in-
terest on the $100,000 trust fund he es-
tablished for her when she left his bed
and board.
Hart has returned to the pictures re-
cently after being away for two years.
But don't worry. You should be as flat
as William S. Hart!
Bill's books have brought him in a
number of nickels and dimes; and there
are bales and bales of tax-exempt securi-
ties in the bank — an interesting collec-
tion, and the interest doesn't die. And —
another thing about the hero of the boys —
he doesn't waste his money on wild parties
and fancy automobiles and treatments in
the beauty parlors and exquisite raiment
like many a Hollywood star. Bill's just
a regular he-guy, with no frills, and no
foolishness.
-~ y Mabel Normand Pays $55,000
X-H ow Mabel Normand — there's a gal
that gives her money away. Hers is not
the neatly catalogued list of the earnest
Lady Bountiful. Rather it is the rollick-
ing good will of a Robin Hood. She has
given fur coats to factory girls, equipped
whole regiments with silver cigarette
cases, put many boys and girls where they
could earn some jack, and foiled the vil-
lain with the mortgage more often off the
screen than on.
And yet Uncle Sammy delights to look
at Mabel's figure. Not getting naughty—
but honest her figure is as sweet to the
star-splashed old gentlemen, as is the big-
gest figure in a bank clearing statement.
Last year she gave him $55,000, after
her lawyer had made her claim exemp-
tion for $10,000 spent in charity — it was
all Mabel could remember — and for her
dependents. Yes, Mabel supports her
parents and her sister and her brother.
And then of course there was the money
spent in sending out photographs to fansr
. State.
SCREENLAND
and the money invested in stamps and
stationery and ink — it costs some stars
$50,000 a year to keep in touch with the
fans — and for secretary hire, and for
chauffeurs and other servants.
Helen Ferguson is one of those actresses
who are not so well known as others, but
who get their money every Saturday, rain
or shine ; the kind Mr. Goodcell may have
had in mind when he made those wise
cracks I have already listed.
Helen's too modest to say what her
income is — but she does carry the house-
hold cares on her slim shoulders. She
has a sister of school age, a mother, a
nice little brown bungalow, and a car.
She's earned the money for five years,
and posed for more pictures than the
Prince of Wales.
And Helen has never fallen off her
horse! (London papers please copy.)
93
I
Special Exemption for Screen Actors
ve hinted at some of the exemptions
allowed a harried moving picture star.
But I've said nothing about clothes. And
clothes — ah, where would the stars be
without clothes?
I know — you were going to mention
Mae Murray and some of the other danc-
ing girls.
Naughty ! Naughty !
A star has to buy her own clothes for
each picture, unless her contract makes
the producer pay the bills. And they are
allowed by the government to claim ex-
emption for half the amount so spent.
It comes under the head of "advertis-
ing."
There's Tom Mix now. See what he
does with clothes. A red and green and
blue and gray checked shirt — especially
if the red is a loud red — attracts Mr.
Mix from a far distance. And when Mr.
Mix wears said shirt, it attracts every-
body within a radius of a mile.
"I'm claiming exemption for all my
clothes," Tom told a friend.
"Thought they were loud enough to
speak for themselves," the friend re-
sponded. "But what's the idea?"
"Advertising," Mix explained. "You
don't think I wear those outlandish things
for any other reason, do you?"
Mix is said to be collecting $5,500
every Saturday night at the Fox studios;
and he has a yacht with his name on it
and his horse's picture, and automobiles
with his name on them and fancy adver-
tising leather.
Barbara LaMarr's galumptious jewels
and scrumptious clothes also go under the
general classification of advertising.
A,
Jackie's Little Tax
.ND you can't link stars and taxes to-
gether without mentioning Jackie Coo-
gan, or thinking to yourself
"And a little child shall lead them."
Jackie got a contract more than a year
ago which gave him half a million dol-
lars in his little pants' pockets, a salary
of $1250 a week, 60 per cent of the net
for every picture he made, and no pro-
duction costs to pay.
Poor little Jackie.
Right away Uncle Sam sneaked up and
beaned him for $260,720 of that bonus.
Jackie hasn't married yet — although
there has been some talk — and therefore
he is given exemption of only one thou-
sand dollars.
And then he has to pay taxes too on
that salary of his. on that 60 per cent,
and on the fleet of oil wells that he owns.
Jackie's papa gets $1,000 a week as
Jackie's director — under the contract.
Legally he could claim $400 exemption
for Jackie as a dependent son — but if
there are any exemptions for "depend-
ents" going around, why not give them
to Jackie.
And, just to make you feel bad, we'll
consider Baby Peggy, dependent daughter
of Mr. and Mrs. James Montgomery.
Baby Peggy signed a contract with
Principal Pictures last August, whereby
she got a very nice bonus that was placed
in a trust fund for her, and something
over $1,000,000 a year for three years.
Peggy is a thrifty little lass, and even
if she does work while other children
play, she probably will never have to
learn how to run a typewriter or a carpet
sweeper.
Her income tax alone will top the earn-
ing capacity of all the business men in
many and many a town.
Neck and Neck With the President
3Doug and Mary and Charlie and many
another Hollywood millionaire must pay
a fee for the purpose of finding out how
much they owe to Uncle.
Doug's not worried anyway. His in-
come tax battalion has already done its
dirty work; and Doug's all washed up and
ready for travel. He's spent $2,000,000
on The Thief of Bagdad, sent his check
to Washington — and still has enough to
tip every bellboy in the world.
Calvin Coolidge is the head of a na-
tion. He gets $75,000 a year. He doesn't
have to pay that $36.50 a month rent
any more. He gets his rent free.
June Mathis is the head of a scenario
department. They call her an editorial
director. She gets $75,000 a year, but
she's got to pay an income tax, and so
does the president.
Tom Gallery and Zazu
T om Gallery and Zazu Pitts made
individual returns, although they are
married. Each claims $1,000 exemption,
just like unmarried folks. And they split
poor little Ann in two, Tom claiming
$200 for her support, and Zazu $200.
Ann is only 20 months old. When
she's older — well, there are many couples
in the movies who wouldn't object to
having a child. It would mean exemption
of $400 to the actors who were working
steadily — and it might mean money in
the sock in the long run. Many people
who aren't actors travel thousands of
miles to put their babies in front of the
camera.
Buster Keaton got another little ex-
emption not long ago; but it came too
late to put it on the blank this year.
Gladys Walton, Mrs. Earle Williams,
and Doris May are expecting exemptions
soon.
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stage whenever he gives the Show-Off" is an elaboration of a '
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off stage whenever he gives the
signal, he enters a household that
is in the throes of despair. By
crafty use of his money, he persuades the
inmates that they can succeed and be
happy if only they put their minds to it.
In the last act, true enough, the Polly-
anna Peruna has worked. All their ills
are cured and they are each as rich and
handsome as Charlie Schwab. When the
final curtain falls, the beautiful young
daughter of the household, who through
the heroic Dr. Frank Crane's efforts has
become a writer as great as Johnny Far-
rar, is found gurgling matrimonially in
noble Gypsy Jim's arms.
In other words, dear reader, reverting
to the deplorable George Jean Nathan
species of criticism — sentimental walla-
walla.
Leo Carillo is the star. The Mons.
Carillo is the kind of actor who is very
fond of the romantic charm of his own
eyes. He rakes them, drops them, casts
them sidewise, narrows them, blinks them,
gazes ardently with them and further em-
ploys them as constant substitutes for
histrionic ability. Martha Bryan Allen is
an attractive heroine.
V.
i 6 fjpHE Miracle," as directed by Rein-
JL hardt, designed by Norman-Bel
Geddes, and set into motion by Prof. Dr.
Morris Gest, is by all odds the most thor-
oughly beautiful spectacle that the Ameri-
can theatre has known. So much has been
written about it already that doubtless
the natives of even remote Kansas are
by this time as familiar with it as they
are with long-sleeve undershirts, embroid-
ered suspenders and the poetry of Edgar
A. Guest. All that remains for me to
say about it is urge it upon your notice.
It is everything that one of the numer-
ous million and a half dollar moving pic-
tures claims to be and isn't. It is stu-
pendous in taste, in splendor, and in its
emotional effect. It has converted the
Century Theatre, once a dramatic poor-
house, into a cathedral of sweeping dra-
matic grandeur! To come to New York
and not to see ''The Miracle" is to come
to New York and miss the greatest new
sight that the city has boasted since
•'Abie's Irish Rose" was a bud.
VI.
THE usual play elaborated from a
vaudeville sketch consists of an avail-
able ten or fifteen minute idea surrounded
by two hours of cheap and imitative dra-
matic writing. The first act is gen-
erally patterned after the first act of
Smith's "Fortune Hunter"; the last is an
imitation of the trick finish of a George
Cohan comedy; and all of the second act
save that portion of it that is consumed
by the original sketch is modeled more or
less faithfully after the middle act of
Roi Cooper Megrue's "It Pays to Adver-
tise"— whether it fits the idea of the orig-
inal sketch or not. George Kelly's "The
Show-Off" is an elaboration of a vaude-
ville sketch, so my agents report to me,
but what I have observed of the majority
of such elaborations does not apply to it.
Kelly has carefully elaborated his sketch
as a careful writer elaborates a character
and a theme, not as a theatrical hack
amplifies a character merely by keeping
him on the stage two hours instead of
twenty minutes and a theme merely by
taking two hours to tell it instead of ten
minutes. What results is a thoroughly
amusing and vital study of a typical young
American master of bunk and a comedy
which, while decidedly uneven, yet com-
prises an effective background for that
character. It is the character of the
young braggart, a thirty-two dollar clerk
in the freight department of the Penn-
sylvania Railroad who passes himself off
as an official of the road, that is actually
the play, however. There is more real
drama in this single character than there
is in nine-tenths of the plays along Broad-
way. It is so completely vivid that it
seems almost to dramatize itself. And as
it is embodied by a newcomer named Bar-
tels, it becomes one of the most perfectly
recognizable portraits in the album of
native drama.
VII.
Zona Gale's attempt at character
drawing in "Mister Pitt" is not nearly
so successful as Prof. Kelly's. La Gale's
efforts in this particular case remind one
of the numerous writers of detective
stories who followed in the wake of Conan
Doyle and his celebrated bloodhound Sher-
lock. These writers believed that charac-
terization was an absurdly easy business
and set about to negotiate it by identify-
ing this one of their sleuth heroes simply
as an invariable smoker of purple cigar-
ettes and that one simply as an omniver-
ous reader of cook books. La Gale simi-
larly appears to believe that all that is
necessary to the identification of a stage
character is to put the hard pedal down
on his chief pecularity. As a result, her
Mister Pitt has no more shading than the
Arizona desert. It is less a character than
a single trait of character. And it, to-
gether with the play that surrounds it, is
accordingly monotonous. Walter Huston
is an effective actor, but the role deadens
his performance.
VIII.
The Goose Hangs High," by Lewis
Beach, is still another play dealing with
the Younger Generation. I am tired of
hearing about the Younger Generation.
The next time I go to the theatre and a
flock of ingenues and juveniles trot on
with bobbed hair, white flannels, copies
of Freud and tennis racquets, gabble loud-
ly about jazz and cocktails, and sass the
older actors who play the roles of their
parents, I am going to write a letter of
protest to the newspapers. Scott Fitz-
gerald will surely have a lot to answer for
on Judgment Day!
CjIeorge Jean Nathan brings the theatre to your door every month in Dramaiand.
Watch for his reviews of current stage plays in Screenland for June. Ready May first.
SCIREENLAND
(\Editorys Letter Box — From
page 91.
Oxen. I think it was absurd to cast her
in this role. She was not in character
at any time, although she worked very
hard. And right here I rise up to state
that the absolutely adorable Clara Bow
stole the picture entirely. Here is a mere
slip of a girl with a personality like La
Negri. Why Colleen Moore, here is an-
other manufactured "star," outside of be-
ing Irish, and being able to "flap" suc-
cessfully through several pictures, why
make the mistake of starring her when
there is so much better material at hand?
Consider Zazu Pitts. Here is a genuine
actress who can act — why doesn't some-
one star her? Oh, she has no sex-appeal.
95
Bah!
E. B. McCONNELL,
703 Maryland Ave.,
Pittsburgh, Pa.
Q Jeanne Villiate
Dear Editor: —
I frequent the
movie houses 4
times a -week
but I haven't
seen yet one
young man capa-
ble of making
love to our beau-
tiful screen stars
— M e i g h a n,
Tearle, N a g e 1,
etc., are all medi-
ocrities when it comes to courting a girl —
They twitch their mouths, they raise their
shoulders, they make sour faces, they
cross their hands, they raise their fists,
they shut their eyes, they look over the
skies, but they positively cannot and don't
know how to make love to a girl. I ask
myself should one of the so-called stars
attempt to court in real life one of our
beautiul screen girls — will they ever suc-
ceed to conquer their hearts if they would
employ the same mediocre mimicry as
they often exhibit on the screen.
Jeanne Villiate,
1885 7th, Ave., care L. Goulet,
New York City.
In addition to the regular payment at
space rates for all material published in
The Editor's Letter Box, Screenland is
offering monthly a $10.00 cash prize for
the best, and five free one-year subscrip-
tions for the five next best letters grading
the stories and illustrations in this issue
according to the following rules:
90 to 100% — The stories or illustrations
that pleased you perfectly.
80 to 90%— The stories or illustrations
that you considered very good.
70 to 80% — The stories or illustrations
that you considered pretty good.
60 to 70% — the stories or illustrations
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Screenland, 145 West 57th Street, New
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her he called her "Queen" — in his own
heart, at least. And she, even though her
part did not call for such an emotion,
fell in love with him.
And so they were married. Their ro-
mance is one of the sweetest and cleanest
in the records of the mimic world. You
may not have heard much about it. They
never employed a press agent. They
didn't need one. To them it was enough
that they loved each other. Not for them
posing for the public on the front porch,
arms about each other's shoulders; nor
the home and fireside chromos to grace
the pages of the papers. They were too
happy to call in the press and summon
the photographers. Just because their
faces, cheek to cheek, did not adorn the
magazines, don't think that they were not
as devoted, as affectionate and as loyal
as a husband and wife can be.
Not Seeking Publicity
Possibly because she feared that if she
refused she would be accused of delib-
erately hiding her small daughter's exist-
ence from the world, Dorothy Phillips
posed with her for mother and daughter
pictures. Only, I happen to know, at the
urgent request of the editors. She never
sought publicity. She almost t'lrank from
seeing her name emblazoned here and
there. Interviewers will tell you she is
the most difficult of all the picture people
to pin to paper. Always charming, always
gracious, but always aloof. That's why
the world knows so little about her.
She has been content. She wants it that
way. But she expressed a wish — a wist-
ful little wish — that the world of pictures
and picture followers would not forget
him. And so she should not mind if her
heart is held up and dissected by a sym-
pathetic surgeon.
She is so quiet that, if you had not
known her, you would never guess that
she has experienced a tremendous emo-
tional upheaval. Women like her, so frail
and shy, are often indomitable; of splendid
courage. That's why she is going to carry
on. That's why she has smiled instead of
crying.
With her sister, she has just spent a
few weeks in New York. The Man-
hattan motion picture world hardly knew
she was in town. One of the few she saw
was a little bride. A very new bride
whose very new home is far uptown. The
bride's husband called at the Biltmore for
Dorothy and her sister. He whistled for
a cab. But the stellar visitor said, "Why,
the subway's right there!" and started for
it on foot. It was a rather long ride —
almost an hour's, in fact. It was also the
rush hour. She laughed it off. She would
rather spend an evening eating an ama-
teur culinary effort and exclaiming over
wedding presents, in a little apartment far
from the "heart of things," than anything
else.
Baer Bros. Co.
6 MAIDEN LANE - NEW YORK.
Does Not Believe in Mourning
he has not been in mourning. She
doesn't believe in it; and she knows
that he would not have wished her to be.
He is still a part of her life.
It is only when you see her pause in
front of a shop on Fifth Avenue, with
men's ties and shirts displayed, that you
realize just how lost she is without him.
She was one of the old-fashioned wives
who went along and helped pick out things.
And he was one of the old-fashioned
husbands who really enjoyed holidays, and
remembered birthdays and anniversaries.
This last Christmas in the home in Holly-
wood was not a merry one. Instead of
the family, only a housekeeper. A faith-
ful soul who wrote to her mistress in the
east, "Christmas don't seem like Christ-
mas this year, without him trimming the
tree."
He enjoyed things like that. A more
than capable director in the studio — busi-
nesslike, attentive, keen. At home, Doro-
thy Phillips' husband. Not that anyone
ever referred to him as that. Nor to her
as his wife. They preserved their iden-
tities.
My most vivid recollection of him is
one of those personal appearances at a
New York theater several years ago. He
was the only director in a group of stars
who were to make their bows to the au-
diences. He stood a little way off from
the others, smiling. The insincere "mes-
sages" of the stars to their dear, dear
friends out front left him a little amused.
His heart wasn't in it. He couldn't pose.
He didn't belong in that crowd of glitter-
ing cuties. His air was not superior; he
simply seemed to think that the joke was
on him.
Allen Holubar
Allen Holubar was only thirty-five
t when he died. One of the most prom-
ising of the younger picture-makers, he was
scheduled for big things. He began his
screen career as an actor with Universal.
Then he became a director, and his wife
became his leading woman. Their first
big picture together, "The Heart of Hu-
manity," employed the best talent of both.
They worked well together. She did her
finest acting under his direction. Her
presence on the set inspired him. It was
a fifty-fifty combination. The exigencies
of the business took them apart profes-
sionally, but it did not, as in so many
cases, affect their co-starring combination
at home. She was his star whether she
appeared in his pictures or not.
"Broken Chains" featured another act-
ress, but no one was prouder of its suc-
cess than Dorothy Phillips. Her encour-
agement and criticisms meant more to
him than any producer's.
They would have done greater things
together.
But the Great Director decreed other-
wise. The star is going on alone — often,
it must seem to her in her loneliness,
without anyone at the megaphone. But
she is not the sort to hide away. She will
face the camera with a smile on her lips
even if her heart is shattered.
There will be a new Dorothy Phillips
picture soon. She is back in Hollywood
now, going on. Still, not quite alone.
There is a living memory for inspiration.
SCREENLAND
(\Delight Evans Quotes the Studio Child's Lament — From page 33.
97
Save me for the Close-ups.
The}' Never Knew
What Chances thev Took.
Oh, for—
Crying Out Loud!
S
till, It Got Worse
As the Boy Grew Older.
I Almost Preferred being
The Unwelcome Arrival
To What I Walked Into
Later On.
I Became
The Little Child Who Leads Them.
What a Life!
As Soon as I was
Big Enough, they Cast Me
In Parts like that — you know —
I Never Wore Anything
Except a Nightie — and sometimes
Not Even that.
I Nearly Lost
My Self-respect
In those Bath-tub Scenes
That Draw Delighted Gasps
From the Ladies in the Audience.
I Wish they'd Mind their Own Business.
I
was always
Asking Papa
If he Loved Mama — when
I Knew All Along
He would Like
To Knock her Cold — she
Was Always Trying
To Steal his Scenes.
I Had to
Climb out of Bed
In my Prop Nursery, with
The Duckies and the
Doggies and the
Wooly Lambs, and
Come Down Stairs
One Step at a Time when
I Wanted
To Slide Down the Bannisters —
And Take Mama and Papa
By the Hand
And Bring them Together — and
Then Ride Upstairs again
On Papa's Back —
How I Loved
Kicking the Leading Man
In the Scene —
I
'm Broad-Minded, though.
When
The Leading Lady
Asked me to Stay one Night
For some Retakes, I Said,
"Sure. I Don't Mind the Scandal
If vou Don't."
JLJut Now,
It's Come to this!
I've been Made a Star.
Of course, I've Fought my Way
Up the Ladder
Rung by Rung; what little
Success I have Achieved,
Has been Earned, and
In the Right Way.
But
As soon as I Could Lisp,
I Asked
For a Pair of Roller Skates.
Instead, I was Handed
A Contract
To Star in Kiddie Pictures
At a Thousand Bucks a Week.
I've Got to Remember
That I'm in the Public Eye —
Like a Cinder or Something.
I've Got to Pretend
That I'd Rather Ride
In a Rolls-Royce
Than an Express Wagon,
And Play with
A Pedigreed Pup
When what I Want
Is a Mut.
The Only Time
I'm Allowed
To Thumb my Nose
Is in my Comedy Stuff.
The Only Way I Can
Get Even with 'Em,
Is to Get Too Big
To Play Kiddie Roles.
I Wish' to God
I'd Grow Up!
WHAT SHALL IT BE?
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HEROES ARE NOW DOING THEIR HAIR
H B K WILLIS
We can't make up our mind which one of these subjects to choose for Willis'
article next month. They are all good hunches. Write in and help us make the
choice, and watch tor the result in the June Screenland. Ready May first.
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(\Barry Vannon's Story of One Little Scene — From page 45
deeply regretted that he could not accept
the honor. General Pershing, Senator
Johnson, and the governor also sent re-
grets.
Mary and Doug were finally selected
as sponsors, although Sam plainly didn't
like it.
"For why should I advertise Mary and
Doug with my money?" he demanded.
He gave up only when Graham convinced
him that the famous couple didn't need
the advertising.
"Why the people call it Doug and Mary
furniture now," Graham said.
Merry soon began to play young
mother roles, with the baby in the
cast. There were near riots at some
theaters. Perambulators, bassinets, tiny
frocks, bootees, rattles, dolls, and ma-
ternity gowns were named after her.
She asked for a new contract.
"Oy, Jerry," the old man wailed to his
press agent. "Nothing but troubles since
I started this, you should ask me. It's
made me lots of money, yes. But it's
made Merry Morrow a miser, Jerry. Like
a stone she is.
"And the kid, Jerry" — he sighed prodi-
giously— "she don't care for him, and
neither does the papa. Me, if I had that
kid yet, Jerry, the money wouldn't mean
nothing — or nothing much anyway. Ach,
such a baby! He should be mine once.
I am his real papa, Jerry, so?"
It was even so. And the parents real-
ized it themselves.
"Everybody's crazy about our baby but
ourselves," said Merry one night. "The
only time I pick him up is when there
is a man near with a pencil or a camera.
"I can't bear his crying. I can't bear
to dress him. I even hate to hold him.
Sometimes I think I hate him."
"He was sure a little boob to pick us
for his parents," added Drury.
"He's getting on my nerves," Merry
continued. "If we'd been like other mar-
ried couples, and there hadn't been such
a tremendous palaver about him, we would
have loved him. But he isn't really a
baby at all. He's only a press agent
story. And we feel like hypocrites
when we read how we adore him. I wish
to God he had never been born!"
Sam Kesser took up the scenario of a
popular novel and tossed it to Jerry
Graham.
"We'll put the baby in this, Jerry,"
he said, "and feature him in support of
his father. You should tell Eddie to
write ninety scenes into it, about the kid.
Maybe you can give it him a couple
hints, Jerry, eh?"
Graham was going out. Kesser stayed
him.
"Hey, Jerry, wait a minute. Sit down."
He bent his head in deep thought.
"Jerry, you think maybe Merry Mor-
row she really loves her baby, Jerry, and
don't know it?"
"Mebbe," said Graham. "But I doubt
it. If she had a speck of affection for it,
she could act with it. Did you see the
rushes on 'Angel Child'? Terrible. Ab-
solutely terrible. Take that one little
scene where Merry's holding her sick
baby in her arms, and she's supposed to
be frantic. She's just peeved."
"I know," said Kesser wearily. "We
did that scene one hundred and thirty-
seven times. I taught her everything I
knew — and still she's rotten. Oy, Jerry,
we got to make her act! It's the biggest
picture of her life. And she's nothing but
a stick. You think of something, eh,
Jerry?"
He sat long in his swivel chair, munch-
ing a cold cigar, and suddenly he jumped
up and smashed his right fist into the
palm of his left hand.
"Maybe that does it!" he shouted, and
bit the cigar in two.
The scenario concerned a big game
hunter, a young girl in a beautiful eve-
ning gown lost in the jungle, a band of
savage tribesmen, a battle, a smashing big
ship wreck scene, the slaying of a wild
elephant, and a few other thrills. It had
nothing whatever to do with a baby.
But Eddie had his orders, and he put
the baby into ninety scenes. Of course
ninety other scenes had to be cut out.
The plot had to be twisted and jerked
and pulled and twined around the baby.
The girl was the baby's erring mother,
abandoning her child in the jungle, hoping
some nice man would come along and
save him and make him his heir. The
jungle, by the way, was made into a
desert, and the baby's saviour was the
cowboy son of an eastern millionaire.
Eddie was quite proud of his "adapta-
tion."
When the continuity was finished the
company went on location in the
Mojave desert. Merry went along. She
had been "resting," but that was no ex-
cuse. Sam Kesser made her go. She didn't
want to. She pleaded her fear of snakes,
and her dread of the desert heat.
"You got to," Sam answered. "What
would people think if you let your baby
go away without you — out in the desert — ■
even for one day? Can't you see, Mer-
ry— to you he's the most wonderful baby
what is. You — you idolize him, see? You
can't let him out of your eye-eight, eh?"
She would have felt better if he had
slapped her.
An August day in the desert. The sun
blinded. The winds scorched. Lips
cracked. Tongues dried and swelled, de-
spite the fact that there was all the
water needed. The sands, the Joshua
trees, the cactus, the greasewood, the very
air seemed to shimmer with the heat.
Everyone wore colored glasses, everyone
cursed.
"Quit whining," Kesser shouted. "You
ain't half hot yet. Put them tripods right
here. We'll put the baby by that big
cactus, and the dog is guarding him, see?
There's some shade there, and the baby
won't feel the heat. Where is the little
feller, anyway?"
The nurse brought him forward. He
was holding out his arms and saying, "See
Sam! See Sam!"
Sam snatched him from the nurse, and
kissed him.
SGKEENEANB'
"Your my own baby, Drury," he said
vehemently. "The damndest finest kid in
the world, you should ask me."
He leaned closer to the baby's ear
and whispered.
"But today, I think you get a mamma
and a papa, and you lose old Sam. I hope
you do, Baby, as God is good."
H
e sat the child down in the cactus
shade, and summoned the nurse. He
drew her to one side, out of ear shot,
and talked to her a long while. She
seemed to be protesting. But Sam drew
something out of his pocket, and she
grinned, and they shook hands. Naturally
everybody expected something mysterious
to happen.
"Where's the dog?" Sam demanded sud-
denly.
Vance Jones, who owned the animal,
brought him forward. He winked one
eye at Sam.
"He'll do just what you want," he said.
"Shut up" — Sam seemed fighting mad.
"Did I ask you something? You stand
over there, out of camera range, and
do your stuff when I give you the signal."
Jones grinned the grin of a man who
grins when rebuked in public, and stepped
back, silent.
"Now we're all ready," Sam said, col-
lecting the company around him — all save
Merry Morrow, who sat under her sun
shade, very cool, very bored, and very
wooden. "I tell you just what you do,
and maybe we make only one rehearsal.
"Drury Jr. here is playing with his rag
doll. His mother — that's you, 'Rene —
has just left him. Drury here comes
riding up. He doesn't see the baby at
first. He just sees the dog. He whistles.
The dog perks up his ears — and he will,
too . He's the best actor I got. But he
won't leave the baby.
"You ride up slow, Drury, and then
you dismount, and come up. The dog
won't let you get near the baby at first —
not until the baby puts out his arms to
you, see. Then you take your baby up,
kinda awkward like you weren't used to
it. You won't have no trouble about
that, and you say, slow, so the camera
catches it, you say — 'Well ,I'll be darned.'
Like that. You poke a finger in the
baby's tummy. Then you give him some
water out of your canteen. See? Then
you take him up with you, and ride off.
And the dog will follow, see?"
Sol looked at make-up and costume,
rolled a brown paper cigarette, lit it and
pinched it out, then stuck it in a corner
of Dairy's mouth.
99 1 ■
"All right," he said. "Nurse, when I
yell, you get out of the camera range,
see? But wait till I yell."
The scene was shot. It looked well
done to me; but Sam insisted it be
done over again.
"All right," said Drury. "But this
saddle's hot as blazes."
"Put some water on it, and do your
stuff," Sam advised him; "and come slow
this time. All right. To your places."
Drury loped away. In an instant— and
so quietly that few observed — a studio set
was erected back of the baby. It looked
like the wall of a nursery, with pictures
of ducks and rabbits and cub bears and
other animals on it.
And then Sam looked at Jones, and
swung his arm. Immediately Jones
yelled. The dog began to bark, and at-
tack the baby. The nurse screamed,
"Mad dog! Mad dog! My God, he's bit
the baby!"
THE cameras started to grind.
Merry Morrow's hand went to her
breast. She sprang up. She ran through
the sage and the greasewood to her child,
not caring if all the snakes in the world
were in her path, not fearing the mad
dog, not stopping for anything.
She picked up her son, and kissed him
and hugged him, and called him all
the tender names she had ever heard.
Tears streamed from her eyes. She was
frantic with mother love and the fear
that her child had been hurt.
Drury, riding west, heard the commo
tion, looked backward, turned his horse
and came on the gallop. He too was
crying. He too was suddenly filled with
love and fear. He tried to take the
child from Merry, but she would not
have it so.
And Sam and Jerry Graham and the
camera men stood back and grinned. The
only thing Sam said was "cut." This to
the camera man when Drury came gal
loping up.
"Well, it cost us something, Jerry,"
said later. "But it's worth it, eh? Forty-
five to the nurse. And fifty to Jones.
But Merry and Drury, they find out they
love the kid, Jerry, and he gets a real
home now.
"And I get the one little scene I wanted
for 'Angel Child,' and it's a bear, Jerry,
a bear-wolf. Merry Morrow holding her
sick child in his little nursery.
"Say, Harry, if Jones sells that dog,
I buy him. You ask him Jerry, eh?
Whatever he wants. That dog he is an
actor."
COUNTERFEIT
That is the alluring title that Barry Vannon has chosen for his
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author of Black Oxen. You must not miss it. In the June
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Anne Austin's Story of the Man Who Was Lincoln— from page j>7
it to the camera."
Now can you see the tragedy that I
saw and which saddened me when I talked
with George Billings?
A star for a day. A national figure.
His name on everyone's tongue in sincere
praise.
And yet — through. And broke. And
bewildered. And made unfit for building
inspecting. Or carpentry.
Finally Yields to Offers
eorge Billings, against his will al-
most, has been led to the top of the
mountain and shown the promised land
— fame and wealth and honor and achieve-
ment. Now he will be led back down
again, or allowed to wander back alone,
forgotten after the first flush of his tri-
umph has died down.
For George Billings is not an actor.
His six feet five of awkward, gangling,
ugly body is marvelous for "Abraham
Lincoln," but for nothing else. If he
were another Tully Marshall or Lon
Chaney or Raymond Hatton, he could
create role after role, each challenging
the last for the medal of perfection.
But he is not an actor. He has played
the only role of which he is capable.
Like Lincoln he rose abruptly from me-
nial labor to national prominence. But
unlike Lincoln he will not hold the cen-
ter of the stage for years Whereas Lin-
coln was murdered by a lunatic actor,
Billings will be a martyr to the insatiable
movie monster, who makes his daily meals
off human hearts.
A man said laughingly, "Oh, the old
boy has had his fling. He's had a rip-
roaring good time while it lasted. There
are thousands of middle-aged men in the
United States who would be perfectly
willing to go back to their old jobs if
they could do one big thing like Billings
has done."
Maybe so. But have you ever seen a
child who was demoted at school? Have
you watched a workman who has been
a foreman placed back in the ranks? Not
much joy in the work, is there?
Billings has been wearing a frock coat
and a dress shirt with studs, and patent
leather shoes. He has been dining with
celebrities, making personal appearances
at the Gaiety Theatre in New York, ad-
dressing the Rotary Club and the Lions
and the Indiana State Society, — playing
the celebrity for weeks. How will it feel
to go back to Los Angeles and hunt work?
His building inspecting job has passed
on to someone with no talent to sell to
the movies. And there are only two
fingers on his right hand. And he is
nearly deaf and blind.
His salary as an actor? Probably you
didn't know that the courageous Rockett
boys — Al and Ray — made "Abraham Lin-
coln" on a shoestring, that some of the
actors took their salary in stock. Be-
cause George Billings had a bed-ridden
wife and there was no money in the
bank, the Rockett boys paid him his sal-
ary in cash weekly. I imagine it was
not more than a hundred a week, possibly
not more than seventy-five. For a hun-
dred is a very good salary for an inex-
perienced actor.
Will Screen Lose Him?
Th
Lhat money is gone. He is on a small
salary and expense while he is making
personal appearances with the picture, but
when that is over — what next? There
were hundreds of small expenses attached
to his job, which he bore himself. He
had to dress better, felt constrained to
mingle a bit with the other actors. And
the neighbors expected him to live a bit
better, since he was a movie actor and
a star and all. A hundred — maybe less —
doesn't go far under such circumstances.
At any rate, the salary is gone now.
And there is still a sick wife to care for.
As an extra in Hollywood, Billings
might make his seven-fifty or even ten
dollars a day — when he worked. I can
imagine a call going out for backwoods
lumbermen or for a rawboned old-fash-
ioned preacher. And I can see George
Billings hastening with dozens of others
to snap at the chance.
Wh.
Sacrilege
/hat sacrilege to tarnish a matchless
performance by becoming a Hollywood
hanger-on, a half-starving extra! Un-
doubtedly some producer will attempt to
cash in on the publicity which George
Billings is getting by giving him a role
in a picture. But George Billings him-
self says he is no actor. Will not Bill-
ings himself be happier to have given to
the world one perfect thing, a thing no
one else could have given it, than to
tarnish the perfection of that gift by fail-
ing in other roles, perhaps even by mak-
ing himself ridiculous, grotesque. For
Billings is no actor.
So — if you have envied George Billings
his sudden rise to fame, the plaudits of
the multitudes, be a little sorry now for
the carpenter who was Lincoln.
Anne AUSTIN has written us a story for next month in quite a
different vein. Cupid as a Press Agent is the title. It will be
one of the many good things in store for you in the June SCREEN-
LAND. Ready May first.
SCREENLANB
CO
G[H. B. K. Willis Talks on Pose and Adipose — From page 35
of the building on Santa Monica Avenue
which houses the executive offices of the
Pickford-Fairbanks company.
Strenuous Physical Torture
A edul the Turk took him away from
■^a. my questions by falling to work and
disclosing that Fairbanks at play had as
many coats as a tamale. The room was
full of people, Fairbanks the Younger,
Raoul Walsh, Tom Geraghty, a pompous
gent who looked like a scenario writer
and several others, including a lantern-
jawed bird with a zitz whom I mistook
for a baron though he was only a barber.
Quickly Abdul peeled Doug's clothes
from the most athletic frame in filmland.
Soon the floor was heaped high with
steaming aparel. Then off came the gutta
percha pants with a snap. Fairbanks was
as bare as the back of Nita Naldi in
"Don't Call It Love," but, since it was
but a step from his costume in his latest
venture, "The Thief of Bagdad," he ex-
hibited no perturbation.
Then straightway he fell to his on-
slaught against fat. Fifty times did he
perform that physical torture stunt so dear
to the heart of drill sergeants in the late
unpleasantness, the "leaning rest." Sup-
ported only by the palms of his hands
and the tips of his toes, fifty times did
he raise his stiffened body from the floor
on his extensors in defiance of the laws
of gravity and tendons which should have
been tired.
With bulging eye-balls I awaited the
popping of a blood-vessel as Fairbanks
counted-off his round-trips to and from
the carpet upon which he had first spread
himself.
"Forty-nine — fifty!" he said with final-
ity and sprang to his feet.
"Do that often?" I queried.
"Fifty times, night and morning," he
answered before running off to his bath
with his rubbers, Abdul the Turk and
another burly.
Soon the air was filled with thwackings
and slappings such as one would expect to
hear when a giant stropped his razor.
More larrupings and poundings and then
the hiss of stinging showers followed by
splashing and floundering in Fairbanks'
private pool.
Then Douglas re-entered the room and
strode toward the door leading out to
the lot to meet another Fairbanks face
to face before stepping on him. Not
Douglas, Jr., but his father's famous
"Fairbanks scales."
Abdul fiddled with the weights. Fair-
banks argued with him about the quarter
of a pound. Abdul shrugged his shoul-
ders and added a cabalistic "ISO" to the
long straggling column of figures pencilled
on the wall beside the door-jamb before
enveloping Fairbanks in a bath-towel as
big as a winding sheet but much fuzzier.
The figures told of the endless battle of
pose and adipose in which the former is
still the victor.
Then the lantern-jawed bird with the
zitz had his inning and Fairbanks lost
the quarter of a pound with which he
had taunted Abdul. With his scissors he
removed the heavy thatch which Fair-
banks grew for "The Thief."
With bated breath the salon watched
the most emulated side-burns in Holly-
wood fall before the barber's glittering
snickersnees. The snip-snip of the scis-
sors as they took their poll tax was bro-
ken but once when Raoul Walsh, with
anguish in his voice, sent Fairbanks flying
to his mirror with his query :
"Why did you let him cut it round in
the back?"
The barber exhibited a straight flush
at the intimation of treason on his part,
focusing his eyes on the electrical Gilda
Gray which stood nearby. (Gilda is a
motor, mounted on a pedestal. A shaft
extends from each side of it with an ec-
centric mounted on each end. The ec-
centrics are connected with a broad can-
vas band to cradle the Fairbanksian hips.
The motor is cut in; the canvas band is
drawn rapidly to and fro, imparting a
fat-dispelling shimmy to the hips pressed
against it.)
As soon as a handglass told him he
had been hoaxed Fairbanks again sub-
mitted to his barber, and a great laugh
arose, the latter's scissors clicking an obli-
gate The laughter subsided and Fair-
banks gloomily sipped a glass of ginger
ale in a solitary and silent toast to the
fat cells which had that day departed.
101
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HELP EDIT SCREENLAND
H. B. K. Willis is Screenland's literary battleground. Our readers either like his
stuff better than anything else in the book or it doesn't get over at all. Nathan is
another one that comes in this class, and Upton Sinclair and Covarrubias and Ben
Hecht and Wynn. What is your opinion of all these? Who is your favorite author
in this issue? Who is your favorite illustrator? The best letter received during April
that lists every article in this issue and rates them will be awarded a $10.00 cash
prize. Five free one-year subscriptions will be awarded to the five next best letters.
In case of a tie, full prizes will be awarded to tying contestants. Grade stories as
follows :
90 to 100% — The stories or illustrations that pleased you perfectly.
80 to 90% — The stories or illustrations that you considered very good.
70 to 80% — The stories or illustrations that you considered pretty good.
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Herbert Crooker Speaks of That Misunderstood Art, The Movie Kiss — From page 31
"Pity the poor laboring man," remarked
his friend sarcastically.
The star excused himself for a moment,
and while his friend was waiting for him
he was approached by a small person
wearing a charming organdie frock, but
looking, as the young man expressed it,
"as though she'd been buried and dug up
again." It was not until she spoke that
he recognized her.
"Good Lord!" he exclaimed. "Are you
Miss Harts?"
"Why — ye — yes!" she stammered, taken
aback. "What's the matter? Don't I
look all right?"
And then it dawned on pretty Nina
Harts — it was her make-up! She sur-
rendered to the desire to laugh — indeed,
so hearty was her laughter that it caused
several of the studio hands to look in her
direction.
"There!" she said, suddenly sobering in
the midst of her mirth, "you've made me
laugh so hard that I've ruined my make-
up!"
The girl clapped her hands for her
maid, and then the initiate saw what he
never expected to see in a sane world —
two damp, black eyes suddenly removed,
blacked over deftly, and a smooth coating
of yellow grease-paint and powder applied
to the damaged portions of Nina Harts'
face.
"Now, Mr. Dulane, Miss Harts," com-
manded the director, "this is the betrothal
embrace. The girl is shy and a bit fright-
ened— the man masterful and tender. All
right, Mr. Dulane, now speak the lines,
Ts — it — possible — that — you —
love — me ! ' "
And Then — the Kiss!
And the ghastly Mr. Dulane took the
livid Nina Harts in his arms and spoke
the fatal words. When that business was
done an endless number of times for re-
takes, the couple clinched for the kiss,
which the onlooker knew would be a fear-
ful and wonderful conglomeration of yel-
low, pink and red.
"Time!" the director shouted. And then
there were more re-takes, for the kissers
seemed slow in giving the director just
what he wanted.
"Lights out!" he finally shouted, when
the kiss was performed as he approved.
"Thank heavens, that's over with," said
Dulane, coming smilingly toward his
friend.
"Yes," agreed Nina Harts. "Wasn't it
sticky today?"
"Well, what did you think of it, old
man?" the star asked his visitor.
"I think I'll stick to engineering, if you
don't mind," he answered apologetically.
And that's one of the insights into the
studio where the famous film kiss is daily
manufactured.
A Friendship, Spoiled by a Kiss
Before the Ernst Lubitsch production,
"The Marriage Circle," went into pro-
duction, Florence Vidor and Monte Blue
were good friends. When the picture was
finished they were almost enemies. Why?
Simply because the energetic Lubitsch in-
sisted that every time a kissing scene was
done it should be absolutely correct.
Monte Blue and Florence Vidor each prob-
ably thought they knew something about
kissing, but the famous director convinced
them they did not. Forty re-takes were
made for one scene before the osculating
couple satisfied Lubitsch. Now mention a
kiss to either of these splendid screen
personalities !
There are many other insights. There
is the feminine star whose mother sits
off the set and watches to see that the
kiss is not being overdone when her daugh-
ter is the featured participant. There is
the wife of the star, who watches her
husband kiss his supporting leading lady,
and who makes up her mind that this
screen kiss will not cause a rupture in her
home life.
But to most of the motion picture
lovers, a kiss is considered merely a part
of the day's work — sometimes a pleasure
and sometimes distasteful.
But at the same time there are the
mimic romances of the studio that have
endured. Some kissing scenes before the
camera have led to actualities. Is it the
perfect kiss of two screen personalities
that has brought this about, or is it the
lines of Fate that have cast two congenial
souls together in their similar line of fasci-
nating work?
• When two pairs of lips meet, there is
a flash of souls, or there is not. And
when there is a flash of souls, there is
the flash that endures, or the flash that is
merely tragic. There are evidences of
these differences with all their queer twists
among the studio folk.
Tragedies in Kisses
Let us look at the tragedies first.
The romance of Geraldine Farrar
and Lou Tellegen was as stirring a ro-
mance as ever recorded itself among love
stories of the films. Who will forget
that memorable night when the famous
diva was carried away by her husband's
acting on an opening night in a Broadway
theatre? Forgetting the audience, forget-
ting everyone, she sprang from her chair
in the box to the stage and publicly kissed
the man she loved. But this love was not
enduring! Was the first kiss a lie?
Owen Moore was considered the most
fortunate of men when he won the heart
of Mary Pickford. It began when he
played opposite her, but the romance
snapped. The same can be said of his
brother, Tom, who married Alice Joyce,
only to have the result a divorce. His
second studio love match, with Renee
Adoree, also went on the rocks.
Among other screen sweethearts who
could not carry their romances into real
life are Pearl White and Wally Mc-
Cutcheon, the serial lovers; George Walsh
and Seena Owen, who found and lost ro-
mance in the films; Anita Stewart and
Rudie Cameron, whose comradeship ended
when it should have continued everlast-
ing; Bill Hart and Winifred Westover,
who faced thrills and movie struggles to-
gether which led to the happy ending,
could not find a happy ending in matri-
mony.
But the studio kiss has, on the other
hand, brought happiness to many. The
love scenes, urged on by the shouts of
the director, now need no urging with
these happy, contented folk, whose first
love contact was a cool studio kiss in
sticky make-up. For three years Harold
Lloyd made bashful love to Mildred Davis.
Their friends still watch them, happy in
the throes of a real love affair which is
not before the camera, but in their own
home.
A Lucky Studio Kiss
A boyhood and girlhood kiss ripened
into romance when little Marguerite
Courtot and Raymond McKee renewed
their friendship in a studio kiss and there-
upon decided upon a happy continuation.
Dorothy Gish and James Rennie fanned
the spark of love before the studio lights
and rejoiced in the flame that followed.
James Kirkwood and Lila Lee Kirk-
wood found the studio kiss altogether
desirable and something they could not
live without — they are now living with!
Francis Bushman and Beverly Bayne
emerged from love tragedies of the past
and found real love when they first em-
braced before the camera.
And there are quaint touches to these
love matches that evolve from the studio
kiss. In Japan kissing isn't done. Mo-
tion picture kissing scenes are eliminated
from all pictures shown there. And yet,
Sessue Hayawaka and Tsuru Aoki, stars
from Nippon's Isle, found pleasure in the
great American pastime. They kissed
after being instructed by a director — they
liked it — they were married!
But for a glimpse of the future.
Rumors creep out now and then —
rumors which are smilingly denied. Glenn
Hunter and May McAvoy have sobbed
forth words of love beneath the Klieg
lights. They are reported to be engaged.
Lois Wilson and Richard Dix have played
endless love scenes together in numerous
pictures. They have become attuned to
one another in scenes where love domi-
nates. They are now constantly seen to-
gether, but they smilingly deny all reports
of approaching nuptials.
Now all this should prove that kissing
is really a modern art which has been
developed to its highest plane by the
movies. And to some people it will come
as a surprise to learn that only within
recent years, speaking from a geological
viewpoint, has the kiss been practiced at
all.
In fact, today the art of osculation is
not universally indulged in. But give the
movies time and the kiss may yet pene-
trate the wilds of darkest Africa, Green-
land, China and Japan, where it is now
eschewed. When such a startling act as
kissing first invaded Russia, most of the
horrified citizens grew beards as a pre-
ventive.
But the motion picture is a universal
instructor. It instructs the indulgers and
it instructs the onlookers.
102
SCMEENLAN©
QUpton Sinclair — From page 38.
world — evils we might easily remedy, if
we were willing to take the trouble. But
some draw their income from these evils
— and so don't want us to think. Those
who profit by our system of organized
greed insist that the moving pictures shall
entertain and beguile us with sentimental
fairy-tales. Their view was expressed
by our new propaganda master, Mr. Will
H. Hays, who said at a banquet of bank-
ers in New York: "Unless people are
properly entertained, this country may go
red; but shake a rattle at the baby and
it calms down."
Pictures Incite Social Discontent
Well. I will tell Mr. Hays something
about this new "rattle." I will tell him
that the moving pictures are — in spite
of themselves, and in spite of everything
the masters of capital can do — the great-
est inciters of social discontent yet dis-
covered in the world! The reason is
because they accustom the masses of the
people to the idea of the free spending
of money. They place on exhibit before
millions in the loneliest mining and lum-
ber camps, in the most degraded factory
and mill-towns, all the latest inventions
in costumes, jewelry, furniture, plumbing,
automobiles, and house construction. To
see these things is to want them.
Not merely in America, but in the jun-
gles of Central Africa, in the deserts of
Arabia, in the snowy wastes of Green-
land, in the swarming cities of India and
China — everywhere comes this miracu-
lous picture of America, the land of in-
finite and unlimited wealth! Mr. Hays
thinks this is propaganda for capitalism,
because America is the classic land of
capitalism, and this wealth has been cre-
ated under capitalism. But just wait a
while! Wait until the masses, both at
home and abroad, have come to be thor-
oughly convinced that all this free spend-
ing is for their masters, and not for them.
Wait until all the small fishes have def-
initely given up the hope that they may
become pikes!
UPTON SINCLAIR
C Mr Sinclair will contribute the third
and last article of his series next month.
These articles have caused much com-
ment throughout the country. Mr.
Sinclair is considered the greatest of
American social writers and his con-
tributions to this publication may be
looked on as one of its most distinctive
features. His final article entitled
"Money and the Movies" will appear
in Scref.nland for June. Ready May
first.
103
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104
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Q.Heart Break Town — From
page 33.
those payments, but she managed to do
it, and she got another job on the strength
of that car. She picked up a producer
whose chauffeur had misunderstood orders,
one day, and gave him a lift out to loca-
tion. Her conversation impressed him,
and so did her obvious prosperity, and as
a result he gave her a job at $100 a
week * * * when the slump is over. She
won't be on salary until they start shoot-
ing, and they won't start shooting until
the producer can persuade his banker to
come through with some more money, but
anyway, the car was a help.
Extras can't afford "props" like that.
It's a hard game, getting ahead in the
movies, even if you are a beauty contest
winner. There are hundreds of beautiful
girls in Hollywood, who have won beauty
contests. There is too much competition.
Hollywood is full of Kansas beauties or
the Elks' Favorite Daughters. It doesn't
help much. The girls are sent to Holly-
wood with promises of contracts and other
wonderful things. Sometimes she gets
them, but in the majority of cases all
she gets is a tryout, perhaps a screen
test, and that doesn't mean a thing. After
a few weeks of showing her around the
studios and meeting the stars she is
dropped and left to make her own way.
Inevitably she joins the ever increasing
ranks of extras. Publicity? Yes, she gets
publicity, but what good is it if you are
new and haven't proven what you can do?
The directors are afraid to use you as
anything but atmosphere.
The future looks gray to the extras in
Hollywood. The word has come that the
big spectacles are to be discontinued and
program pictures are to be in evidence.
What are we extras to do when no big
mob scenes are made? Perhaps for some
of us there will be the fate of the girl
who took an overdose of veronal, from
discouragement of ever achieving the suc-
cess of which she had dreamed.
I can't understand whv any woman
would leave a home and a husband to go
into pictures. There are manv who do,
however. I know of one woman who
dreamed of pictures until she left her
home and came here. Her husband and
father disowned her. When she came,
she had quite a bit of money and several
very good pieces of jewelry. Her money
is gone, and her jewels are reposing in
an obscure pawnshop, and she is screw-
ing her courage to the sticking-point of
asking her husband to let her come home.
The situation has become so serious
that the Hollywood Chamber of Com-
merce is sending out thousands of posters
describing the scarcity of jobs here, to
inland towns. But the horde of movie
struck girls and men still nour into Holly-
wood and Los Angeles. Some leave with
high hopes utterly dashed, but many others
take their places.
The slump was due to end about the
first of the year, but as this is written,
it seems to be still on. Let us hope, for
the sake of the people in the profession,
that it will end soon and things become
endurable again.
SCREENLAND for June contains
STORIES and ARTICLES by
Delight Evans Upton Sinclair
Anne Austin Eunice Marshall
George Jean Nathan H. B. K. Willis
and a host of others
ON SALE EVERYWHERE MAY 1st
SCEEENLAND
105
C[Tfie Jinx on Mabel Normand — From page 2$.
One time in New York she was speed-
ing along in her car. A big shiny car, and
warm. She was wearing a new ermine
coat. It cost some thousands of dollars.
Outside on the snowy sidewalk she saw
a girl, walking, bending into the wind,
dressed in a thin skirt and a thinner jacket.
She stopped the car, got out, put her
ermine coat on the girl, and jumped in
the car again and cried "Drive on" before
the girl could thank her.
Ever a tear in her eye, ever a laugh
in her heart — before the jinx got busy. A
man's brain, a man's endurance, a man's
courage, a man's sane outlook — but a
woman's sympathy and an imp's love of
fun.
There was a woman writer in Los
Angeles who had just been married. She
was sitting in a theater box with the bride-
groom, waiting for the play to begin,
when Mabel walked into the box.
She knew the writer, and had heard of
the wedding; but she didn't know the
groom.
Yet she threw her arms about him, and
whispered in his ear — loud enough for the
bride to overhear — "'Oswald, Oswald, I
have found you at last, my darling. Oh,
Oswald, life has been so bitter for us
since you left. But you'll come back now
to your wife and your little chee-ild? Oh
promise me!"
"Mabel, you humbug," said the writer,
"you almost frightened me!"
But the jest was so good it was re-
peated— and there were dull ones who
knew not Mabel, and saw no jest what-
ever. They looked serious, and said,
"where there's smoke there must be fire."
Calls Taylor a Gentleman
j^nd then the Taylor tragedy.
"He was a gentleman," says Mabel.
"An aristocrat who loved only brilliant
minds. Many a girl has loved him — but
I doubt if he loved any girl.
"He never did more than kiss my hand
when he left me at my home. And he'd
say, 'Goodbye, my clever little lady,' or
'Goodbye, little friend; when shall we
meet again?'
"Nothing more than that. He always
did the correct thing — sent flowers, books,
candy. He was an elderly man and a
scholar, a gentleman always.
"And the stories they told of him when
he was dead — and the stories they told
of me!
"Well, maybe he was peculiar. Maybe
he was all they say he was. I don't
know. Looking back I can see little
things — things I passed over at the time,
not understanding.
"Oh, have you ever felt that no one
in the world was honest and sincere?
Haven't there been times in your life
when you knew that all the world was
false? That's how I felt then."
Yes, Scandal was almost satisfied. But
bis job was incomplete. Nearly two
years, he waited, to enter the Dines' apart-
ment.
"I went to Mack Sennett's New Years
eve," says Mabel. "But I left early,
without seeing the New Year in. I was
depressed and lonesome. I wanted to be
alone.
"I came home, and wept most of the
night, silly tears for myself. And I start-
ed a letter to my mother — a letter I fin
ished next day."
She was addressing and signing New
Year's cards — and the phone kept ring-
ing. At 11 o'clock New Year's morning
Edna called up and invited her to the
Dines apartment. But Mabel was busy.
At 1 o'clock, and at 2, and at 3, and
4, and 5 o'clock she rang.
"I thought there might be something
the matter." says Mabel. So I went
Dines started joking about the Christmas
package that Mrs. Edith Burns, my com-
panion, had bought for him, and forgot-
ten to give him.
"I called and asked Mrs. Burns to send
it over with Joe — the chauffeur I knew
as Joe Kelley, not as Horace Greer. And
Joe came, and Dines had been drinking,
and Joe shot him.
"A joke over a Christmas package, and
I took it seriously, and once again my
name danced before me in the headlines
of a thousand daily papers — and once
again my brain repeated 'Mabel Nor-
mand! Mabel Normand! Mabel Nor-
mand!' until I thought I should go mad."
I
T was Mabel who wrapped the wounded
man in blankets; Mabel who called the
doctor; Mabel who made arrangements
to have him taken from the receiving
hospital and its police doctors to the
Good Samaritan and her own surgeons.
It is Feb. 1. Incidentally it is the
second anniversary of the "breaking" of
the Taylor Murder story.
Greer is at liberty pending the out-
come of the hearing. Dines is in the hos-
pital, under bonds to reappear on the
witness stand and say who shot him. He
has sworn he does not remember. Mabel
and Edna have testified, and made state-
ments to the district attorney.
Perhaps you have already realized it
was only Mabel's sympathy that placed
her there with the Jinx.
Perhaps the censors will admit they
were hasty, and the women's clubs they
were wrong. Perhaps you will see her
soon again on the screen, and laugh with
her once more — and never remember her
as she looks sitting alone in her home,
anything but the Mabel of the films.
"We all make mistakes," she says as
you murmur goodbye. "I have made
many. But life is making mistakes, and
learning from them. I have made mis-
takes of course — but in all my life I've
harmed nobody but myself."
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j/lre Tou Afflicted with
"The Money Malady"?
HAVE you ever wondered what you would do if someone gave you a
fortune? Has it occurred to you that you might catch the dread disease,
the money malady, along with the dollars?
That is what happened to Daniel Waterbury, Sam Clinton and Hazel Spence,
the strangely assorted trio, to whom a hundred thousand dollars each was given
by a mysterious stranger.
Begin THE MONEY MALADY in the May Issue — a novel of mystery,
romance and adventure.
And these good things also for May REAL LIFE:
"LAVENDER and OLD LACE'', THE RED CIRCLE-More of Ben
another of Ben Hecht's "Little Stories Hecht's startling reminisceness of news-
paper life in Chicago.
THE MEDICINE
MAN— by Leavitt Ashley
Knight. The amusing
story of a chap who has
"bright ideas"— usually for
the making of new and
cure-all patent medicines.
THURSDAY FAIR—
by Paul Everman, author
of "The Cobbler's Tale."
THE DISCIPLE--by
Dorrington Griffiths. An
amazingly real story- of an
adolescent girl, her marry-
ing mother and the man
from the West.
of Real Life"
THE TRIPLE GYP,
by "Mark Mellen" and
Travis Hoke. Another of
the "gentle grafter" stories
by the authors of ' 'Conning
Through."
HOLLYWOOD
GOLD-DIGGERS, by
Selwyn K. Stanhope. First-
hand observations of gold-
digging in Hollywood.
"THE LADIES-GOD
HELP US! " by Rae
McRae. A humorous an-
alysis of "Lady thugs."
THE LIGHTING OF THE LAMP-by Edward Lawrence. When tK
man" went into the lumber region, a-seeking easy conquest, he met his match.
MARGOT-by Gertrude Robinson. The story of a triangle that was broken
by a voice in the night.
PARIS NIGHTS-by Robert M. Coates. A real picture of the real Paris;
a story that reeks with romance and mystery.
SMOTHERED WITH GOODNESS-by Helen Kent, who writes with
peculiar vividness of married life's hatreds and inhibitions.
THE DEADLY SEX-Part Three of the "so different" novel by Harrison Dowd.
THE STRAYED SONG-by Maria Moravsky. A story of love in Lithuania.
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SCEEENLANID)
The Most Daring Book,
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
get this daring book at our risk — without advancing a penny.
\X7ILL you marry the man
" * you love, or will you take
the one you can get?
If a husband stops loving his
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman?"
Will you win the girl you want,
or will Fate select your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the
love of the one you cherish — or
will your marriage end in divorce?
Do you know how to make people like you ?
IF you can answer the above questions —
if you know all there is to know about
winning a woman's heart or holding a
man's affections — you don't need "The
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What Do YOU Know
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DO you know how to win the one you
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some men antagonize women, finding them-
selves beating against a stone wall in affairs
of love? When is it dangerous to disregard
convention? Do you know how to curb a
headstrong man, or are you the victim of
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ELINOR GLYN
The Oracle of Love"
What Every Man and
Woman Should Know
— how to win the man
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— how to win the girl you
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— how to hold your hus-
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— why "petting parties"
destroy the capacity
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— why many marriages
end In despair.
— how to hold a woman's
affection.
— how to keep a husband
home nights.
— things that turn men
against you.
—how to make marriage
a perpetual honey-
moon.
— the "danger year" of
married life.
— how to ignite love —
how to keep it naming
— how to rekindle it
•If burnt out.
— how to cope with the
"hunting instinct" in
men.
— how to attract people
you like.
— why some men and
women are always lov-
able, regardless of age.
— are there any real
grounds for divorce?
— how to increase your
desirability in a man's
eye.
— how to tell if someone
really loves you.
— things that make a
woman "cheap" or
"common. "
Do you know how to re-
tain a man's affection always?
How to attract men? Do you
know the things that most irri-
tateaman? Ordisgustawoman?
Can you tell when a man really
loves you — or must you take
his word for it? Do you know
what you MUST NOT DO un-
less you want to be a "wall
flower" or an "old maid"? Do
you know the little things that
make women like you? Why do
"wonderful lovers" often be-
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In "The Philosophy of Love," Elinor
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"The Philosophy of Love" is one of the
most daring books ever written. It had
to be. A book of this type, to be of real
value, could not mince words. Every prob-
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deep sincerity, and resolute courage. But
while Madame Glyn calls a spade a spade
— while she deals with strong emotions
and passions in her frank, fearless man-
ner— she nevertheless handles her subject
so tenderly and sacredly that the book
can safely be read by any man or woman.
In fact, anyone over eighteen should be
compelled to read "The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the most danger-
ous sort to be ignorant of the problems of
love and marriage. As one mother wrote us:
"I wish I had read this book when I was a
young girl — it would have saved me a lot
of misery and suffering."
Certain shallow-minded persons may
condemn "The Philosophy of Love." Any-
thingof such an unusual character generally
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world wide reputation on this book — the
greatest masterpiece of loveever attempted !
SEND NO MONEY
YOU need not advance a single penny
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fill out the coupon below — or write a letter
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Go over it to your heart's content — read
it from cover to cover — and if you are not
more than pleased, simply send the book
Q&> PHILOSOPHY
OF LOVE
V ELINOR GLYN
dttHteraf'ThmWcdis
WARNINQ!
The publishers do not care to send "The Phi-
losophy of Love" to anyone under eighteen
years of age. So, unless you are over eighteen,
please do not fill out the coupon below.
back in good condition within five days
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The Authors' Press, Dept. 366 Auburn, N. Y.
Please send me on approval Elinor Glyn's master-
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only $1.98, plus a few pennies postage. It is under-
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up to expectations. I reserve the right to return It
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you agree to refund my money.
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IMPORTANT— If it la possible that you may not
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Also, if you reside outside the U. S. A., payment
must be made In advance. Regular Edition, $2.12.
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C1B615307
cjfie clrtdefiosiderit Screen Magazine
JUNE, 1924
VOL. IX, NO. 3
V)te)t
ANNE AUSTIN
Associate Editor
Myron Zobel, Editor
EUNICE MARSHALL
Western Editor
(\Special Features in this Issue
QTHE MONA LISA OF THE MOVIES, A personality story page 23
QHOME MADE STARS, Exposing the absurdity of "mail order actors" . . . page 27
OLBrEAKFAST TOGETHER — ONCE A WEEK, Marriage a la mode .... page 33
Q SONG OF A SPINNING WHEEL, A screen satire in free verse page 54
ROLF ARMSTRONG
Creates a study from life of May
McAvoy page 1
GEORGE JEAN NATHAN
Heralds the new stage plays of the
month page 68
H. B. K. WILLIS
Proves that the measure of a film today is
not the yardstick but the lip-
stick page 34
UPTON SINCLAIR
Says the movies are the only place where
money grows on trees . . page 38
BARRY VANNON
Tells the love story of Fanny Barr and
Tommy Loyal .... page 43
DELIGHT EVANS
Reviews without favor or malice the new
Screenplays . . . . page 48
MARSHALL and BROWN
Discuss exhibitors from roast to
coast page 64
ALMA WHITAKER
Takes you to the home of filmdom's
pioneers page 60
This is
JIM TULLY
the man who wrote The Opti-
mistic Elinor in the April last
issue ; that was the most talked
of article Screenland ever ran.
Incidentally Tully also wrote
Emmett Lawler. Arrange-
ments have been made for him
to write exclusively for
Screenland. His first article
appears next month.
Watch for the July
SCREENLAND
On all newsstands
June first
EUNICE MARSHALL
Discusses the Chaplin boys . page 31
SIDNEY VALENTINE
Carries you behind the scenes with D. W.
Griffith page 37
MYRON ZOBEL
Touches on several important screen
topics page 16
KLIZ
Renders his version of the home life of
Tom Mix page 51
GRACE KINGSLEY
Says the tragedy of Jackie Coogan is that
he is growing up ... page 46
ANNE AUSTIN
Tells of a press agent who works without
pay page 58
SCREENLAND'S FAMOUS
DEPARTMENTS
Stars of Today
.. page
10
Stars of Tomorrow .
page 39
Alice in Screenland
• page
72
Our Own News Reel
■ Page
74
The Listening Post
■ Page
78
The Movie Clock
■ page
82
-and a dozen other features—
39*
Published monthly by The Myron Zobel Publications Inc., at 145 West 57th Street, New York, N. Y., U. S. A.
Myron Zobei, Pres.; Frank Aimer, Vice Pres.; Paul H. Sanipliner,
Treas. ; Glenn Johnston, Secty.; Copyright, 1924. Trade Mark
legistered. Single copies 25c; subscription price, United States
and Canada, $2.50 a year; foreign, $3.50. Entered as second-class
matter, November 30, 1923, at the Post Office at New York, N. Y.,
under the Act of March 3, 1879. Permission to reprint material
must be secured from the Screenland Feature Syndicate, 145 West
57th Street, New York. General Executive and Editorial offices at
145 West 57th Street, New York, N. Y. Western advertising
offices at 168 North Michigan Ave., Chicago, 111.; 1004 Coca
Cola Bldg., Kansas City, Mo. Publishers also of Real Life Stories.
Subscription price United States and Canada, $2.50 a year. Single
copies 25 cents each. Club rate for the two magazines, $4.00 a
year; foreign, $6.00. Screenland Magazine out the first of every
month; Real Life Stories the 15th.
Mai -I !924
SCIREENiLANjB
The Silent Drama
(Reprinted From Last Month)
YOLANDA — Cosmopolitan. A costume
picture about which there can be no
doubt is Yolanda. There is a battle
every so often and all sorts of skirm-
ishes just as it begins to look as if the
extras may have a little breathing spell.
Yolanda provides good entertainment,
il you like to see masquerading royalty
and tournaments and romance Rob-
ert Vignola directed and if anyone could
make this pageant real it's this signor.
He manages mobs and Marion with
equal skill. The gold-and-white Miss
Davies, under his guidance, becomes
alert and interested; she acquires a
childlike elusiveness often reminiscent
of Mary. And surely she is a lovely
picture in her medieval robes, as hu-
man as possible weighted with gem-
laden gowns and crowns. The acting
honors belong to Holbrook Blinn. As a
creator of kings his only rival is Herr
Jannings. He makes the crafty Louis
Eleventh plausible and terrifying, par-
ticularly in the most imaginative scene
in the picture — that in Louis' dreadful
orchard, with the bodies of his victims
hanging from the trees. Marion's mo-
ment of honest emotion occurs soon
after this; her Princess Mary becomes a
very real and a badly frightened little
girl. In all her costly costume plays
Marion reminds me of an excited young-
ster parading in gorgeous grown-up
clothes and having a wonderful time do-
ing it. Her appeal, like Pickford's, is
that of a sweet, ingratiating and slightly
spoiled child.
THE NEXT CORNER — Paramount.
The Next Corner is one of those pic-
tures which prejudice people against
the movies. Its titles tell the story.
The company which produced it might
just as well have issued a list of the
titles and saved money. Even intel-
ligent acting doesn't help. Dorthy
Mackaill, one of the most interesting
young women who ever trouped, makes
it seem a little better than a bad dream.
Ricardo Cortez is present with the
slickest coiffure ever seen outside an ad.
for hair polish.
NAME THE MAN — Goldwyn. Remem-
bering the amazing photoplays he made
in his native Sweden you will be dis-
appointed in Name the Man, Victor
Seastrom's first American effort. Pos-
sibly if left to himself Mr. Seastrom
would not have insisted upon a story
by Sir Hall Caine. But he has done
wonders with his material and the re-
sult is a production far above the
ordinary and with an incident or two
that approaches great drama. He can
impart to a scene a stark power that is
equalled only by Von Stroheim.
Seastrom has made few concessions to
the motion picture book of behavior.
The hero, leaving his love after a quar-
rel, does not glide out gracefully as is
the way of screen leading men. He
trips over a rug. And 'this director has
provided a seduction scene which is the
first one in cinema to ring true. Mr.
Griffith should see it.
The heroine's home life isn't all it
{Continued on page 13)
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jfw Editor's Letter Box
QSpace rates are paid for all letters published
here when accompanied by photographs. Lack
of space limits our choice of the many hundreds
of excellent letters received. This is the Read-
ers' Department and SCREENLAND cannot
accept responsibility for sentiments expressed.
Address Editor SCREENLAND, 145 W. 57th
St., New York, N. Y. Send your portrait with
your letter. It is impossible to return letters
or pictures. Please don't ask questions. This
is not an Answer Department.
Dear Editor: —
<\M. E. Kains
I wish to laud
the arrival of the
"character" art-
ists, and to ex-
press a feeling of
gratitude that we
are seeing less
and less of the
" butter flies,"
"dizzy blondes"
and "beautiful
but dumb"
Doras.
Blanche Sweet, George Marion and
William Russell in Anna Christie equaled
the originals of the play. I believe that
this is the best picturization of a book
or play that has ever been made. Ernest
Torrence in some of his work has been
excellent, but he is being overworked.
Will Rogers I loved in The Headless
Horseman, a gem of a little production.
I'd like to see him play as Mark Twain's
Pudd'nhead Wilson. The combination of
Will's wise cracks and Mark Twain's hu-
mor would be a knockout.
M. E. Kains,
1817 El Cerrito Place,
Hollywood, Cal.
Q Elsie Plummer
Dear Editor:
We movie fans
are queer. Our
likes and dislikes
for the screen
players are so
pronounced. We
seldom have a
tolerant middle
ground. I, my-
self, entertain an
active hostility
for three shadow
artists. The un-
fortunate three
are Douglas
Fairbanks, Agnes
Ayres and Naomi Childers. I saw Doug-
las Fairbanks in just one picture and his
smile made me awfully peevish and ir-
ritable. I have never dared to risk see-
ing another one for fear I should go quite
mad and bite somebody. Agnes Ayres
makes me want to lie right down and
die — life seems so dull, so blank, so utter-
ly nothing.
Then there is Norma Talmadge. I
don't dislike her really (who could?) but
she doesn't interest me. She has no mes-
sage for me, or if she has, I am too much
of a dumb-bell to get it. In order to
see if at some time she would strike
a big moment in her acting, I have gone
to see many of her pictures. Too many.
She is beautiful but she never allows
6
By Our Readers
any of the strong emotions that are sup-
posedly wringing her heart to wring her
face.
I have always been passionately fond
of Pauline Frederick, and this fondness
has stood the strain of some very medi-
ocre pictures. I have never missed a
picture of Nazimova's either, in spite of
the fact that she' has been running wild.
Elsie Plummer,
426 1-2 1st Ave. South,
Great Falls, Montana.
1
Dear Editor:
I am a young
Frenchman, and
a most devoted
reader of the nu-
merous motion
picture maga-
zines. I found
SCREENLAND the
only one willing
to admit that
photo play, in-
dustry is not all
"eau de rose"
(Attar of Roses).
Better yet,
5CREENLAND i S
brave enough to
criticize silly films and so-called stars,
but always first to recognize a newcomer
or a worth-while film.
Screenland is like the up-to-date
movie fan, glad to applaud a real suc-
cess, but strongly against the favoritism
and partialism reigning amongst some
circles of the cinematographic world.
Jean Reymond,
i 24 West 80th St,.
New York City.
Jean Reymond
Dear Editor:
For the past fif-
teen minutes I
have been burn-
ing with a terriffic
fire of resent-
ment, so great
that unless I open
a safety valve I
fear I shall be con-
sumed. The cause
of my heated
GlMrs. Verna wrath is none other
Voelker . thf the °f
just having read Mr.
John Tully's article on "The Optomistic
Elinor," in the April issue of Screenland.
Do not misunderstand — my resentment
is not for the fearless, splendid Mr.
Tully. To him I figuratively remove my
hat — but rather to the ridiculous person-
ality of Elinor Glyn.
The veiled sarcasm of Mr. Tully made
me rejoice, and unconsciously I held my
breath for fear he would ask the Madam
whom she considered the greatest writer
of all times. Poor old Shakespere and
the rest would have turned over in their
graves at her answer.
Because I was forbidden to read "Three
Weeks" — I read it. I was quite young
at the time, but old enough to under-
stand it and never will I forget the dis-
gust that surged through me as I read
such rot. "Beloved Classic" — "The great-
est, most soul-searching psychological
description of love written in the last
fifty years." Blah! "The unanimous
opinion of Elinor Glyn." — Honestly, words
fail me.
(Mrs.) Verna Wichern Voelker,
436 Shelley Road,
Racine, Wisconsin.
Q W. D. Seidler
Dear Editor:
I can think of no other director
who has contrib-
uted so many fine
things to the screen
as De Mille. What
about Carmen and
the Little American
which was Mary
Pickford's best pic-
ture. What about
For Better, For
Worse and We
Can't Have Every-
thing? Weren't
they good pic-
tures? Of course,
I admire The Birth
of a Nation as one
of the greatest pictures ever made, but I
don't know of any other picture of Grif-
fifth that came anywhere near it. And
yet he is regarded as the genius of the
screen. I remember one picture of his
that surely no genius would have made —
True Heart Susie with Lillian Gish.
Concerning other directors I can't help
but express some of my opinions. I fail
to see what the critics admire in James
Cruze and they do admire him. They
have given him more columns of praise
than any other director of recent months.
I saw Hollywood and I came out of the
theatre feeling headachy and bewildered,
wondering why any person would take
the trouble to bother with such nonsense.
I wonder why George Fitzmaurice isn't
accorded more notice. Of course, I realize
The Cheat was one of the awfullest, dullest
movies made last year or any other year.
But on the other hand, he made On With
the Dance which some critic has called
the best picture she had seen dealing with
SCIREENLAN©
New York night life. I didn't see the pic-
ture myself and regret it exceedingly (too
bad they don't revive it). But I did see
To Have and To Hold and it was the best
of the costume pictures to my mind. And
I saw Robin Hood, When Knighthood Was
in Flower, The Spanish Dancer and Ashes
of Vengeance. Fitzmaurice made Kick In,
which has flaws but was very interesting
and about the best crook melodrama I
ever saw. I hope that in Cytherea, the
Hergesheimer novel, he fulfills his promise.
Rex Ingram made a marvelous picture
in The Four Horsemen, and I thought
The Prisoner of Zenda worth while. But
Trifling Women was a trifling picture and
Where the Pavement Ends was a stupid,
banal, incre dibly dull thing. If The Arab,
his new picture, isn't any better, I'm off
Mr. Ingram.
I don't like Sidney Olcott. I saw both
Little Old New York and The Green
Goddess. The latter was dull, to say the
least, and the former was mediocre stuff.
I failed to find the spark of genius in
either.
W. D. Seidler,
207 West State Street,
Hammond, Ind.
Dear Editor: —
p The movie art
and industry are
based upon the fact
that the image
made upon the
retina of the
human eye persists
until another pic-
ture comes and
causes a new image
to displace the pre-
ceding one. This
produces the mov-
ing picture effect.
<\S. E. Weaver It is well-known
that this principle or property operates in
the ps}rchological world as well as in the
world of optics. It is interesting to note
how fully the moving picture producers
have exploited the possibilities of this
principle.
Producers frequently leave all manner
of gaps and illogical situations in the
development of the plots of pictures.
They seem to believe and hope that the
momentum of thought will carry across
such places without breaking the thread
of thought or otherwise marring the
effect.
S. E. Weaver,
Santa Anna, Texas.
Dear Editor:
I sometimes won-
der why movie
fans do not pro-
test against the
misleading adver-
tising of motion
pictures playing
at local theatres.
Of course a true-
blue fan knows
nearly all there
is to know about
the films his the-
atre is showing,
but often a fan
goes to a film he
(\Gerhardt Hoffman has heard nothing
of, or very little, and is very much dis-
appointed on finding that the advertise-
ments were greater accomplishments than
the film itself.
Daniel Carson Goodman's The Daring
Years is advertised as "a smashing drama
of the younger generation — reckless
youth" and is plentifully sprinkled with
"* * * lying lips, mocking eyes, seductive
form luring to destruction the unsophisti-
cated!" Yes, indeed, luring the unso-
phisticated into a theatre to see about
the worst film that has ever been made.
I am only taking the above picture as
an example. Nearly every picture is ad-
vertised as was this one, and when a truly
worth-while production is shown, despite
the fact that we know it to be good,
the advertising will ofttimes hold one
back for fear of another disappointment.
Gerhardt Hoffman,
R.F.D. 1, Mamaroneck Ave.,
White Plains, N. Y.
Dear Editor:
It just occurred
to me that per-
haps your readers
would like to hear
of some of the
experiences I have
had writing to dif-
ferent movie stars.
I wrote to Alice
Calhoun about two
years ago and she
sent me a wonder- Q. Gordon R. Silver
ful large photo of herself and one of the
sweetest letters I have ever received from
anyone. Since then she sent me a whole
stack of letters and several beautiful
photographs. She is one of the most
charming and sincerest girls I have ever
known and I'm very proud of her friend-
ship.
Another charming girl is Lucille Rick-
sen. I have been corresponding with her
for only a month and I already have four
delightful letters that I will always treas-
ure. She is a wonderful little actress and
under proper direction she should go far.
I wonder if many fans have ever re-
ceived a telegram from a popular actress?
I have, and Vera Reynolds is the thought-
ful little actress that sent it to me. I
think she is one of the most promising
players of all and she certainly is one of
the most charming. Anyone who has seen
her in ''Prodigal Daughters", "Woman
Proof", or "Shadows of Paris" will agree
with me, I'm sure.
Others that I have received lovely let-
ters from are Lillian and Dorothy Gish,
Priscilla Dean, Marion Davies, Bebe
Daniels. Doris Kenyon, Julia Faye and
several from Allene Ray.
(Continued on page 9)
FOR. 2,5 CENTS
Many readers dislike tearing or marring their
copies of SCREENLAND and yet they would
like to frame the eight handsome rotogravure
portraits that appear each month. Two un-
bound copies of the complete gallery in this
issue — ready for framing — will be sent upon
receipt of twenty-five cents in coin or stamps;
or FREE with a five months' subscription to
SCREENLAND for £1.00.
PRINT DEPARTMENT
SCREENLAND MAGAZINE
145 West 57th St. Dpt. 624 New York City
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Photo by George Edward Drury
Q. May McAvoy poses for Rolf Armstrong, Screenland's celebrated cover artist,
at his studio in Greenwich Village. Mr. Armstrong is the only cover artist who
paints the screen stars from the life. The original painting — one of his finest —
is reproduced on the front cover of this issue.
Rolf Armstrong
Paints May McAvoy in Words
I studied May McAvoy, for a point of view from which to sketch
her, I was reminded again and again of the beautiful coral carvings
produced by the cameo cutters of a century ago. Here in flesh and
blood I saw the same frail perfection, the transparent shell tint, the arched
poise. And to intensify the illusion, — Miss McAvoy's size. Ninety-four pounds,
I believe she boasts, but in proportion to the massive Spanish chest on which she
posed, her weight seemed more like ninety-four ounces.
Heretofore, I had never had any desire to be a cameo cutter. Nature designed me,
both physically and mentally, along totally different lines. But the diminutive perfec-
tion of this Scotch beauty was a challenge. So I sharpened my pastels to needle
points, and brought to bear upon my portrait of her the same exacting finesse
as if I were etching it on coral.
SCEEENLANP
{^Editor's Letter Box — From
page ?
And now, before closing, just a word
about your wonderful magazine. It is my
favorite of them all and perhaps the fol-
lowing will explain why. First, the covers
are more brilliant and lovelier than those
of other movie magazines and they are
not marred by lettering. Your rotogravure
gallery of stars I like especially well be-
cause they are different and seem more
finished. Your interviews are all fine and
your series of life stories of the different
stars are splendid. Also your review col-
umn and The Listening Post are good, too.
The only thing that oould possibly im-
prove Screenland is the addition of a
Question and Answer Department. Why
don't you have one? Wishing you suc-
cess always, I am,
Gordon R. Silver,
56 Maple Ave.,
Windsor, Conn.,
March 11, 1924.
Dear Editor: —
Allow me to con-
gratulate you upon
acquiring Jim
Tully as one of
your contributors
to your most
worthy magazine.
I'd like to shake
him by the hand,
for his illuminat-
ing article of that
most esteemed 0! Mrs. A. Simon
aristocratic lady, Elinor Glyn.
Now, I have read many magazines on
moving pictures, in fact still do and hope
to as long as my eyes hold out, and I
can safely state that yours is my fav-
orite. I admire your fearlessness You
are the only one that is not afraid to
speak the truth.
It is very difficult for me to choose
who is the best author for this month,
as I adore George Jean Nathan's scath-
ing comments upon the drama. Ben
Hecht is another. In fact all of your
writers are interesting in their line of
work. But to Jim Tully, I hand the
"Kat's whole outfit," for bis keen, pene-
trating portrait of one whom to my
knowledge is more to be pitied than con-
demned.
Most sincerely,
Mrs. A. Simon,
Hicksville, L. I.
March 7, 1924.
Dear Editor:
i It is indeed a
j ^^^^^ pleasure to read
^ m^^^^ this latest i^sue of
Screenland, for
April. It has some
of the most inter-
esting screen news
'^^^ that I have ever
jf^^V if h,:ir' the casion to
^^^W read. One of the
TT „ . best articles that I
Q Harold Revme w eyer read was
that written by Upton Sinclair, your
new contributor. He is a very frank
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SCMEENLAN©
writer on the topic of "Big Business
And Its Movies", and is to be com-
plimented for the fearless manner in
which he has endeavored to present this
to the readers of Screenland. My
conscience, however, would always be
bothering me if I said that I agree with
some of the things which he has said.
It is indeed a sensational article. But
nevertheless, we want more such frank
writers of his type.
In concluding, let me say that
Screenland is really the "Magazine of
Frankness and Fearlessness!" For here
is another advocate, in the person of
another new contributor, Mr. James Tully.
He is a very sincere writer, and his
mode of expression is so frank and
genuine. Let's have more of him!
R. Harold Revine,
179 Arthur Street,
Ottawa, Ontario, Canada.
Dear Editor:
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April's issue of Screenland that I found
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thought the best.
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came to the con-
clusion that Upton
Sinclair's article
Big Business and
Its Movies, ap-
pealed the most.
It was a fine0! Mrs. Dan Dyer
satire on the way things are run in
"Movieland," and as money talks louder
than truth — money wins.
Truth is lacking in the way things are
presented before the people — whether
they swallow it or not lies with just how
much knowledge they have regarding the
true state of affairs.
Just as long as "money" rules this out-
rage will go on. It is sad to think that
an "industry" which could be such a
potential influence for good in this world
is ruled by the almighty dollar.
Anything that would make the masses
sit up and take notice," as the saying
goes, is promptly squelched.
I liked Upton Sinclair's article because
it shows how the people are mis-led and
shows to what extent the real truth is
held back. However, I beg to take issue
at his statement, namely, "movies being
made for grown people who have remained
at the mental age of children." You will
find at the "movies" intelligent, well-read
people, for they need a diversion as well
as those not so well-educated. But out-
side of that statement I think Mr. Sin-
clair's article "hits the nail on the head."
Screenland shows splendid judgment
by adding him to its staff of writers.
Here's hoping his articles will draw
the wool from the too-easily hood-winked
public.
Mrs. Dan Dyer,
5016 Navarro Street,
Los Angeles, Calif.
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Dear Editor:
For a long time
I have wanted to
tell Miss Delight
Evans how much
I enjoyed her ar-
ticles,, but I did
not know just how
to reach her. Now
I say, as I have
often remarked be-
fore, I think she
is one of the bestQ Betty Walter
authors contributing to Screexland.
I have followed her articles in Screen-
laxd for a long time and some of my
present delight in this magazine has come
from them.
Her ruthless manner of tearing away
your cherished illusions of famous stars
is stimulating as well as interesting. Each
time I get my Screenland I hastily turn
to her articles to see if she has at last
dethroned the idol I hold nearest my
heart, and each time I find myself reveling
anew in the clever, satirical remarks of
her reviews.
Some months ago Screexland pub-
lished a picture of Miss Evans, and I
received the biggest shock of all in find-
ing my favorite author, this young, ador-
ably pretty girl. Somehow I had expected
her to be older, or at least a little queer
looking.
However, I think she gives me and
many other readers of Screexland many
interesting ideas and more than one good
laugh. And after all what is more re-
freshing than a good hearty laugh.
Here"s to Delight Evans, may she con-
tinue writing for Screexland just for —
forever.
Betty Walter.
Punxsutowney, Pa.
WATCH FOR
JULY SCREENLAND
Better than ever!
Dear Editor:
Having a moment to spare, I will write
and tell you what is the matter with the
movies. Of course
we can start with
the hypothesis that
they are all wrong ;
if anyone doubts
that fact they need
only be referred to
some of the ' best
minds" who from
time to time in-
dulge in the popu-
lar pastime of Dtllwyn.Pan tsh
movie-mocking in our current journals.
Mr. Upton Sinclair says in the April issue
of Screenland: ". . . The movie world
is a world of sticky, sweet sentimentality,
of rigid propriety, and of hard and fast
conventionality," while in the same issue
| Mr. Ben Hecht commences a distribe with
j "It is unfortunate but true that Evil is the
I basis, the veritable mainspring, of all
moral drama." Mr. George Jean Nathan,
the enfant terrible of contemporary
scribes, says — I don't know what he says,
but if he doesn't poke holes in the silver
| screen with his satiric pen I miss my
{Continued on page 88)
12
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The Silent Drama
Q Brief Reviews of Current Screen Releases
By Martin T^kkstein
THE UNKNOWN PURPLE — Truart.
One of the few really exciting mystery
melodramas that have come to the
screen. An adaptation of the play of
the same name, the film is even more
weird than the original. Henry B.
Walthall in a perfect characterization
of chemist turned master crook sup-
ported by a cast that includes Helen
Ferguson, Stuart Holmes, Ethel Grey
Terry and Alice Lake. It will make
your hair stand on end. Thrills galore.
WOMEN WHO GIVE — Metro. A tale
of women who weep and wait for their
men folk out on the bounding main.
An excellent story, but poorly inter-
preted by a cast that includes Barbara
Bedford, Robert Frazer and Frank
Keenan. Some good deep sea fishing
scenes a la "Down to the Sea in Ships"
but not nearly as thrilling. Reginald
Barker directed. Probably not the best
picture in town, but neither is it the
worst.
STOLEN SECRETS — Universal. Gentle-
man crook mystery play with lots of
thrills. Has enough excitement to
make "The Bat" look like a Sunday
School concert. Herbert Rawlinson
plays the crook, but you'll find your-
self pulling for him
hard. There is a skein Q.
of delightful .romance
threaded among the
rough stuff. Irving
Cummings has directed
well. A better than
average mystery film
that should keep you
gripping your seat
throughout.
THE PHANTOM HORSEMAN — Uni-
versal. Jack Hoxie in a ride-'em-
cowboy western thriller with a stage-
■ coach hold-up and everything. Two
gun action aplenty — all for the love of
the finest little gal in the cattle country.
Robert North Bradbury directs a well-
balanced cast. Light and easily diges-
tible entertainment.
MRS. DANE'S CONFESSION — Herz
Film Corp. Released by F. B. 0. A
foreign film that shows only too plainly
the lack of modern equipment and
capable screen players in the studios
abroad. Count Ludwig Salm von
Hoogstraeten, successful wooer of
Millicent Rogers' millions, plays the
heavy in a badly handled mystery
melodrama. See it if you're curious to
see the Count. Otherwise, don't.
THE NIGHT MESSAGE— Universal
A melodramatic romance of a smoulder-
ing feud in the mountain regions of the
South. Lots of hokum laid on thick
and a last-minute stay of execution
by the Governor. It's a real thriller
for all o' that. Perley Poore Sheehan
is the author and director. Charles
Cruz and Gladys Hulette do some really
worth-while acting in the leading roles.
First rate entertainment, this, and well
worth seeing.
YANKEE MADNESS — F. B. 0. Revolu-
tionary stuff in Central America in
which the hero squelches the rebellion
and marries the daughter of the Presi-
dent of the republic. Has an intriguing
plot, plenty of romance of the 0. Henry
variety and enough fist fights to
satisfy the blood - thirstiest film fan.
George Larkin has the masculine lead
while Billie Dove is charming as the
senorita. Charles Seeling directed. A
really entrancing romance.
SINGER JIM McKEE — Paramount.
Wishy-washy sentimental slush with
wild Bill Hart dishing it up. Not a
typical Hart picture for there is a
marked absence of his famous shooting
irons. He sings and he weeps; he
keeps house and he amuses the kiddies,
but there's nary a sign of Bill, the
he-man. Clifford Smith directed;
Phyllis Haver has the feminine lead. A
disappointment for the followers of
Two-Gun Bill.
THE DAWN OF A
TOMORROW — Para-
mount. Done in the
style of Cheapside,
London, and has a
moral that says :
"H'ev'rything will
come out h'all right
h'if you'll only keep
an 'appy fyce." Jac-
queline Logan has a Pollyanna role of
"Glad," gamin of London's underworld
and Raymond Griffith plays opposite.
A George Melford production. Recom-
mend it for what it is — uncamouflaged
melodrama.
THE SHOOTING OF DAN McGREW — ■
Metro. An interesting picturization of
Robert W. Service's "The Spell of the
Yukon" with much stress laid on the
villainy of Dangerous Dan McGrew.
Excellent acting on the parts of
Barbara La Marr, Percy Marmont and
Lew Cody in the principal roles off-
set the flimsiness of the story itself.
Many sub-titles are borrowed from the
famous Service poem and lend color
to the action. Clarence Badger directed.
Good melodrama.
GALLOPING GALLAGHER — F. B. O.
A Western with the tang of the Arizona
desert and the drollery of Main Street.
Tender romance, too, and lots of rough-
and-tumble scrapping. Fred Thompson
has the title role and Hazel Keener is
the girl. Red blooded, out-door
stuff from which you'll come away
with your chest sticking out and look-
ing for a maiden in distress to rescue.
A real movie for a real boy.
This department will serve as a
perpetual guide to the screen.
Every picture of importance will
be reviewed here, and the reviews
reprinted for three consecutive
months to enable our readers to
use this guide as a directory in
selecting their month's entertain-
ment. Additional reviews on
page 49
SCKEEMJLANB
JLudolph
V alentino
A limited quantity of art studies in full color
of the above cover by Rolf Armstrong have
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are reproduced upon heavy pebbled paper,
suitable for framing, or as a gift.
Mr. Armstrong is famous as a painter of
beautiful women, but in producing his much
talked-of series of star covers for SCREEN-
LAND, he has outstripped all his previous
efforts.
Connoisseurs of art and admirers of the
screen's celebrities will cherish this series. It
is for their benefit that this limited edition of
five hundred special prints is being run off each
month as the covers appear on the magazine.
All lettering has been eliminated and the cover
alone stands forth in all its brilliant coloring.
It is a piece of art worth keeping and framing.
Sent postpaid on receipt of twenty-five cents in coin, siamps%
or money order; or FREE with a year's subscription to
SCREENLAND for $2.50.
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0[ The Silent Drama — from
should be. Again the atmosphere is
decidedly unethical according to movie
regulations. The audience I sat with
shuddered at the crippled mother's
maddened outburst against her brutal
husband in defense of her unfortunate
daughter- Too long, it is still a superb
episode, unique for its fearless real-
ism. In fact, realism is present in large
chunks; nad those accustomed to the
light fare • usually served may suffer
from slight indigestion.
Mae Busch proves that she is abso-
lutely original as an actress and in
individual. At times her repression
actually irritates. But she is not at
home in a role requiring naivete and
girlish charm. I want to watch her
sometime in a woman-sized part which
calls fo reverything she does.
MARRIAGE CIRCLE — Warner Bros.
It is too bate to tell you that The Mar-
riage Circle is a charming picture.
You know it yourself by this time. A
pay quartette rendered by the Misses
Prevost and Vidor and Messrs. Blue
and Menjou. Menjou, of course, does
some splendid work. But the bit I
liked best belonged to Marie. Do you
recall that after her emotional Water-
loo with Monte she calmly filed her
finger nails? Ernst Lubitsch knows too
much about the inner workings of a
woman's mind. If he keeps on reveal-
ing the secrets of the make-up box
he'll give the whole thing away.
THE ANT — First National. But if I
were asked to consider gravely and
name the best performance of the
month I would present the gelatine
medal to The Ant, whose engaging work
in Louis Tolhurst's microscopic dose-
up is entitled to immortality. This
diminutive actor is as acrobatic as
Doug, as amusing as Chariot, and with
full command of all the emotions. The
Ant is not merely informative; it is
much more fun than several of the
month's fiction films. .v '
SHADOWS OF PARIS — Paramount.
When I see Pola Negri in such slush
and remember her Carmen and her Du
Barry I could cry without calling for
my glycerine. It's a shame, that's what
it is. Yes, I am worked up over it.
I, as a fair-minded reviewer, had to sit
through all six reels — it seemed twelve.
You can walk out on it if you want to.
If it weren't for the lavish settings
and the expensive Pola you would sus-
pect it of burlesque tendencies. It is
almost, but not quite, funny enough for
farce. A weak edition of The Hum-
ming Bird, it has its motion-picture-
Paris society, its apaches its "Forward,
wolves of Montmartre" motif. Charles
de Roche as an apache is an unconscious
caricature. The only reason for seeing
it is Vera Reynolds. She, not Colleen
Moore, should be the screen's stellar
flapper. Hers is an electric personality,
and if she doesn't go far — in the right
direction — I am perfectly willing to eat
my spring chapeau, feather and all.
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SCREENLAND
Alfred Cheney Johnston
Delight Evans
Facile of pen-equally adept at tragedy, comedy, appeared as one of its distinguished features these
satire. The readers of this magazine need no intro- many months past. We take pleasure in present-
duction to this young woman whose stories have ing a new and interesting study of Delight Evans.
Reissues, False Alarms, the
Editorials By
Griffith Goes to Italy
ARRANGEMENTS have been made
/-\ for D. W. Griffith to produce in
Xll Italy under Italian management a
series of pictures among which are
numbered Faust, The Last Days of Pompeii,
and The Quest of the Holy Grail. One mil-
lion dollars capital is put at his disposal. The
object of the enterprise is not so much the mak-
ing of profit as the rehabilitation of the motion
picture industry of Italy which was so badly
crippled during the war.
It seems to us a lamentable fact that the
father of the American screenplay should have
been first forced to leave Hollywood, the home
of his early triumphs, for lack of proper back-
ing and should be now about to abandon the
"series" of American historical films which he
so valiantly undertook in order to carry abroad
the genius which American business enterprise
has failed to recognize.
Ingram Quits
A NOTHER director who threatens to
/-\ quit the commercialism of the New
A )\ World for the paternalism of the Old
is Rex Ingram, who . is preparing to
give up his job and go to Tunis to live. "I do
not like motion pictures," Mr. Ingram is
credited with saying, "so why should I direct
them?"
Strange sentiments these, from the youngster
who five years ago walked the streets of Holly-
wood in a frayed out uniform pleading with
the studios to give him a chance.
Famous Players Show Annual Profit
F FAMOUS PLAYERS has issued a finan-
cial statement for 1923 which shows
clearly the advantages of the home-
made product. While other companies, galli-
vanting around the globe in search of new lo-
cations, have succeeded only in putting danger-
ous ideas into the heads of their actors and
directors, Famous, in its Hollywood and Long
Island studios, has been grinding steadily at
it, rolling up an operating profit for 1923 of
$4,605,784.93. Here is food for thought.
16
Re-Issues
^HE open season for the re-issuing of
old Valentino pictures under new titles
is now on. We have warned our read-
ers before of this practice of releasing
old prints which feature present day stars who
in these films played only bits. Valentino
is one of the worst sufferers in this regard. His
rise to fame was gradual and during his lean
years he played in many films. All of these
discarded negatives are now being carefully
gathered up, re-edited to feature him as
strongly as possible and offered for sale to the
small theatres against the time when Valen-
tino's return and the releasing of his first new
feature picture will make of value any film
that bears his name. An amusing example
comes to mind of one producer who owned a
print featuring a woman star with Rudolph
Valentino appearing only for a flash in one of
the cafe scenes. The producer, however, con-
trived to cut the film in such a way that in re-
sponse to the applause of the spectators, the
little cafe dancer was obliged to give an en-
core. And sure enough, in the new reissued
version of the film that portion of the picture
is run off twice and Valentino does two dances
that are exactly alike!
The Soldier's Choice
j\ Y what standard do you think these
choices were arrived at? They are —
)) according to the Exhibitors' Herald —
the result of a campaign to determine
the most popular star in the Sixth Corps
Area, U. S. Army:
Mae Murray 5, 000
Viola Dana 4,820
Shirley Mason 4,002
Claire Windsor 3>994
Lois Wilson 3>54-0
Agnes Ayres 3,oo^
Many stars on this list are conspicuous by
their absence. Those listed are, without excep-
tion, very estimable and entertaining young
ladies. But where, according to the soldier's
choice, are the artistes of the screenplay?
Where is Pola Negri, where is Gloria Swan-
son, where is Norma Talmadge? The answer,
oh Sixth Corps Area, we crave to know!
Soldiers' Choice and Ingram
Myron T^obel
Movie Workers All
T
y ]f N HE Board of Inquiry of Toronto, has
decreed that the minimum wage for fe-
male employees at picture theatres shall
be $12.50 per week.
It is interesting to speculate on the wide range
that separates the little girl working for a pit-
tance in the movie theatres of Canada, from
the proud star drawing her thousands weekly
in the studios of Hollywood. Both of them are
serving the same master and each in her way
is part of an industry that embraces great and
small. And to their proud family and friends
these little girls are above the run of other
people's children, for are they not all "work-
ing in the movies?"
False Alarms
D
ISREPUTE was brought upon the
screen industry recently by the expos-
ure of a publicity stunt perpetrated on
the daily press and published in some
of the screen magazines. It had to do with
the purported finding of Spanish treasure at
the bottom of Nassau harbor by the star of a
company on location in that place. As
a result of this deception the company was
made the laughing stock of the local commu-
nity when the hoax was discovered and the
local paper which threw out much valuable
advertising to carry what it was told was a
true account of the finding of the treasure will
surely not look on screen press agentry in the
same light again.
The publicizing of motion pictures is just
beginning to take on a dignity and a love of
truth in keeping with the improved quality of
screen productions. To this new order of pub-
licists we will look for the squelching of the
old type of space snatchers who sought to gain
free publicity throughout the country by the
circulation of false alarms.
Bebe Daniels to Star
"E wish to congratulate Bebe Daniels
on her forthcoming elevation to star-
dom, by Famous Players. No girl in
pictures has worked harder or better
deserves the right to have her name in electric
lights along the Broadways and the Main
Streets of America. Bebe has had a long ap-
prenticeship to the screen — dating back to the
days of her work as leading lady with Harold
Lloyd. She is a friendly, sensible and charm-
ing girl. Welcome, Bebe, to the ranks of star-
dom.
Lifetime of a Film
1
7 U ^WO years is said to be the lifetime of
a film. Within three months the larger
cities net for it 50 percent of its total
income. At the end of one year, 88
percent of its value is gone and when two years
have elapsed the life of the film has virtually
passed away.
And yet the selling cost is very high — under
present methods of distribution — in the small
towns from which this latter profit is derived.
It runs in most cases to forty per cent of the
gross income.
The average film rental of the small town
is $7.50 a booking. To secure these little
bookings each of the important distribut-
ing companies maintains a staff of salesmen
who visit the towns of their territories once
a month. These salesmen, with travelling
expenses, cost about $150 a week to maintain.
For one of them to do a steady business of
$400 a week is considered very good.
The Film Daily suggests joint distribution
and the use of Ford trucks as "traveling film
exchanges — loaded with as many varieties of
subjects as the body will hold." This would
cut down the high cost of distribution. The
high cost of distributon is one of the worst prob-
lems of the industry. And whatever is a prob-
lem of the industry is a matter of concern to
the screen patron.
Page Mr. Hays
KlMHE poor movies have been accused of
many things from arson to may-
A
hem; but here, apparently, is a new
one.
Says a dispatch from St. Louis: — Proprie-
tors of some of the cheaper-priced picture
houses in this city have objected to the activity
of the Police Department in selecting their
houses for special treatment in a drive against
crime. A special squad has been detailed to
watch them on the theory that criminals use
the darkened seats as hiding places. Police
are stationed at the entrances to make arrests
as suspects enter or depart. 17
As We Go to Press:
0[ Douglas Fairbanks and Mary Pickford reported to be
about to sign with Famous Players under very heavy
guaranty per picture.
Q Harold Lloyd said to be leaving Associated Exhibitors
in order to join up with Inspiration Pictures.
QJames Cruze, director of the Covered Wagon, reported to have
received salary increase from $600 to $6,000 a week— the largest
salary ever drawn regularly by any director.
Q Agnes Ay res, engaged to marry Ricardo Cortez April 19. She is
wearing his diamond, which is so big that insurance on it comes
to dollar a day.
QSam Wood will direct Dorothy MacKail in Associated Authors
Production,
Q. Charles Ray has signed with Ince to be directed by Ralph Ince.
QJack Pickford to have Ann May as leading lady in next picture.
0[ Stork is coming to homes of Harold Lloyd, Leatrice Joy, Doris
May, Lila Lee and Barbara Bedford.
Q Priscilla Dean to do Siren of Seville, directed by Jerome Strong, a Stromberg
production.
Q Universal to spend as much money on new Rupert Julian film We Are French as
on Hunchback. Madge Bellamy and Charles De Roche featured.
Q Phyllis Haver and Marie Prevost to go back to Sennett for one picture: The Hollywood Kid.
Q Alice Lake weds Robert Williams, movie actor. Couple now on way to New York.
Q Loro Bara, sister of Theda, here to break into pictures.
Q. Viola Dana finishes Along Came Ruth.
CI Reginald Denny is putting finishing touches to The Missourian.
0[ Joseph Henaberry is directing Agnes Ayres in The Quilty One.
Q Fred Niblo to go abroad to film own story, The Red Lily, with Enid Bennett and Ramon Navarro.
Q Dorothy Davenport Reid to star in new picture of problem of bringing up sons.
18
QLillian Gish — famous as the Little Nell of the silent drama;
the most persecuted heroine of all time; the victim of more
unfortunate, circumstances than any other girl who <was ever
cast out in a cape into the night that was forty beloiv.
M
ona
Li
sa
movies
°17j it because Lillian Gish's life has been
devoid of glamour that she shrinks from
the uncertainties and perils of romance?
Bj/ Delight Ilvans
IF an intrepid producer today decided to do Cleopatra, who
would you select as the most likely interpreter of the
title role? Cleopatra, enchantress of the Nile; with
Salome, holding the vamping championship of the ages;
Egypt's luscious queen called Cleo by the vulgar varieties and
tin-pan alley.
Nita Naldi?
Barbara La Marr?
Theda Bara — she made it once, you know.
No.
Lillian Gish.
Now that the uproar has subsided and the hoots and hisses
have died in the distance, let me repeat: Lillian Gish. That
same Lillian whose last name has come to be a verb among
film followers. Famous as the Little Nell of the silent drama;
the most persecuted heroine of all time; the victim of more
unfortunate circumstances than any other girl who was ever
cast out in a cape into the night that was forty below. In
short, the sweet seducee of hundreds of celluloid chromos —
what, she, Cleopatra?
Exactly. Lillian Gish is the only logical candidate for the
role. You may picture Cleopatra as a large and luscious lady;
a voluptuous creature with black, black hair and sloe eyes;
a mouth that looks always as if it has just been kissed. A
combination of Naldi and Negri and La Marr with a dash of
piquance a la Alma Rubens.
Wrong again.
Cleo Was a?i Ingenue
Cleo could be classified, according to type, only as an ingenue.
She was essence of ingenue, de luxe. She was very,
very slender; she had wide, innocent eyes. Feminine, soft,
soothing and sweet. She had her own way, but in her own way.
She caressed and cajoled, as ingenues have always done. She
would have fitted in beautifully in any gathering of the Ladies'
Aid of Alexandria. She was a little lady — and the most
dangerous one of her day.
Oh, yes, Cleopatra was an ingenue. A devastating darling
with an iron will and a fixed purpose. A slim, bright sword
in a shimmering sheath.
It was a noted archaeologist who said that her twentieth-
23
century celluloid incarnation was none other than Lillian Gish.
The girl who has been for years the screen symbol of female
virtue, modesty, and meekness.
He looked at her, so the story goes, and exclaimed:
"Cleopatra!"
"What?" said the surprised maestro, Mr. Griffith. "Miss
Gish?"
"Ah— she is the perfect type! She has everything any actress
needs to play the part."
"But she's an ingenue," protested her great teacher.
"That may be," smiled the authority on dead ages and liv-
ing ladies. "Nevertheless, she has it— that inflexibility, that
subtlety that Cleopatra exhibited, to the ultimate degree. If,
my dear sir, you do not film Cleopatra with Lilian Gish in
the leading role you will be overlooking an opportunity — a very
great opportunity, indeed."
Doubtless the showman side of D. W. G. foresaw the pub-
lic's inability or reluctance to view a re-creation of Cleopatra
other than in the well-upholstered person of Nita Naldi. He
smiled and said nothing. And Lillian Gish went her own way
with her own company, and D. W. went his. Hence Cleo-
patra and Miss Gish have never gotten together.
Lillian an Enigma
Lillian seems determined to confine herself to the por-
trayals of unvarnished virgins; to dedicate her art and
her subtle smile to the perpetuation of many more Anna
Moores. A pity. Because the screen has never reflected the
Cleopatra complex in our most stainless heroine. Her adorers
would shudder to see her in the arms of Antony; her little-
girl fans of all ages would stop sending her crocheted doilies
if she ever enacted a person of adult passions and intelligence.
The virgin queen of the screen is an enigma if there ever
was one. Where is her Leonardo? Griffith, as her professional
da Vinci, painted her as the Giaconda of the gelatines, as faith-
fully, perhaps, as anyone ever will. But the Griffith Gish was
never half so baffling as the curiously quiet, gentle-voiced
woman who is the real Lillian.
So many think they know her. Her hordes of girl inter^
viewers swarm about her and come away worshipping, calling
her by her first name and devoutly believing they have been
admitted inside the shell. Her co-workers admire and often
adore her — I know this is old stuff, but it's fact this time. I
remember Kate Bruce, who has played with her since Bio-
graph days, when her eyes filled with tears as she said: "God
bless her! She's a wonderful girl. Always the same; always
kind and patient. She works harder than any of us. That
guillotine scene (they were making Orphans of the Storm)
was done a dozen times, and she was better every time."
They used to stand on the sidelines out at the Griffith stu-
dios and watch her go through a scene. When she had wrung
the hearts of the studio spectators and the camera had cap-
tured her tragic tears she would look around at the friendly
circle as if surprised she could stir them so. Always, she
was the calmest of them all.
The Ingenue Grows Up
I've watched her grow up. Not from baby days. But from
an ingenue leading woman to one of the three or four
outstanding women of the silver-sheet. I saw her for the
first time, in Chicago, about seven years ago. It was after
Hearts of the World had been a triumph for Griffith and for
the Gish sisters. It made Dorothy, the Little Disturber, a
star. Lillian and Mrs. Gish wired me to meet them at the
station where they had an hour before boarding an east-bound
train.
Lillian took my breath away. She was so ethereal I couldn't
believe the evidence of my own eyes in her earthliness when
she ordered and ate an artichoke. She was carrying a tall cane
really a wand — which she used for the exercises she per-
formed faithfully every day. Always frail— but her indomin-
able courage has made her strong. For one old Griffith pic-
ture she learned to turn cartwheels. She taught herself to
swim a few years ago. Work — work — work — that has been
her whole life. She is absolutely selfless and sincere in it.
Her inflexibility is incongruous with her smooth, suave sur-
face. She is as delicate and as dainty a creature as you would
want to see. Faint perfume; a soft "veil"; perfect gloves and
all that sort of thing. A clever author once remarked to me
that she was a great woman because she was so adaptable.
She is a chameleon. She is a lovely mirror in a quaint frame.
In any salon, at any court in the world she would not be
out of place.
All the more remarkable when you consider that her youth
was spent almost entirely on the stage, and not the New York
stage. The stages of small towns'; the hard, relentless life of a
trouper was hers until the movies, that fairy godmother of so
many Cinderellas, lifted her from obscurity to fortune.
Disillusioned by Hard Knocks
There was one time of her career when she lived in a little
hotel near Washington Square and cooked all her meals
over a one-burner gas stove. When she actually did not get
enough to eat. David Belasco told her afterwards he thought
she was wasting away. There were times when she and her
mother and Dorothy could not be together; when the exig-
encies of their uncertain profession called them apart. Her
training was a stern school. She has known all the hard
knocks, all the disappointments; and I have always thought
her a little disillusioned.
In the years I have known her I recall a glimpse here and
there that interests me — for no particular reason except that
it reveals something of the real Lillian — a creature as varied
in mood and mind as anyone I have ever known.
She has always seemed to me to be an unconsciously com-
plex individual. Exteriorly, she is somewhat of a Pollyanna,
with a respect for the good, wholesome, middle-western things.
I saw her after she and Dorothy and Mr. Griffith had lunched
at the White House with the Hardings. She marvelled a bit
that the President and his wife were so much like other human
beings — just plain, simple folk like ourselves. It was apparent,
too, a long time ago, when I went with her and her mother
to see Broken Blossoms. The audience contained several repre-
sentatives of the higher social order of Manhattan. We went
to an ice cream emporuim afterwards and over our sundaes
Lillian thrilled at the fact that the once-lowly movies could
now attract the creme de la creme of the aristocracy. And
yet she cannot help being the friendliest and most democratic
of souls. Sympathy is within her and she has made up help-
less little extras and taken under her wing pretty aspirants
for screen honors. She is one of the few stars of importance
who will go out of her way a little to help someone, without
thought of return.
Really Old-Fashioned
She is really old-fashioned. Her dressing-table drawers are
neat and orderly. She used to keep piles of pretty silk
underthings, and hundreds of handkerchiefs, and never wear
them. Her sister and James Rennie once escorted her to a
smart hotel where the youthful fashionables were wont to
cavort. Lillian couldn't believe young people really acted like
that. Her visit to the suburban home of a famous novelist
and his wife opened her wistful eyes still wider. "And they
say that motion picture people are gay," she exclaimed. "Why,
I never saw anything like it in all the time I have been in
pictures." An eminent and elderly French artist asked her
to pose for him. He did some charming things of her and
called her his most entrancing subject. I heard him rave.
He bent over her hand. He gave her a rose and asked her to
pose for another head. Lillian thanked him prettily and told
me later that she always took someone with her to the sit-
tings. Her shyness and her {Continued on page 84)
24
Alfred Cheney Johnston
Q. Almost uuithont exception the girls that Lillian Gish has been called upon to play have been
dumb-bells; they suffer, but only physically. You feel that they have learned nothing from
life. Lillian has absorbed. She has a receptive mind and a retentive memory: and, unlike
her heroines, she has grown up, with the potentialities for honest emotion and drama.
HOME MA
fUn his previous article, entitled Mail Order Movies, which appeared
in the May, 1924, issue of Screenland, Mr. Allen exposed the farce
of the so-called "Scenario Writing Schools" showing the shameless man-
ner in which these concerns are prostituting the motion picture industry,
and robbing thousands of ignorant people of their hard-earned savings
in a futile search for the screen playwright's fame and fortune.
^Lupert
AS I write this article, I have before me, on the one
Zj\ hand, a small newspaper clipping, and on the other,
1 \\ a pile of flamboyant literature.
The clipping is a brief paragraph from a Los
Angeles newspaper, telling of the suicide of a young and very
pretty girl. Hunger and despondency over her fruitless efforts
to find work as a movie extra are given as the motives for
her self-destruction.
The literature is that of a concern which purports to teach
you how to become a star in your own home. It is literature
of the sort which is poisonous, wicked, and pernicious, for by
such pamphlets young girls and boys are subtly and indirectly
being lured to leave their quiet occupations, to seek easy money
and fame in that hectic welter of human commerce — -Hollywood.
The tragedy of that unfortunate girl's suicide is not isolated.
The files of the papers might be searched and dozens of almost
identical cases would be found. Hollywood is the city of dis-
illusionment, and the sooner that fact is deeply impressed upon
the young people of this country the better off they will be.
"Teaching movie acting by mail!" There are, it would ap-
pear, no limits to human credulity. I have shown in a previous
article how poor, ignorant, illiterate people are being robbed
of their savings by the lure of fabulous wealth at the hands
Of the "Scenario Writing Schools" and similar concerns.
26
The object of the present article is to turn the spotlight
of ridicule and publicity upon the conscienceless com-
panies who fatuously offer to teach amateurs how to act by a
series of lessons by correspondence.
The brazen futility of such a proceeding must be apparent
to all. No matter whether the lessons are prepared by Sarah
Bernhardt, Duse, and the Barrymores combined, it is ob-
viously impossible to teach even the rudiments of acting by
mail. Occasionally one hears of a "born actor" or a "born
actress" and even in such cases it is only after long training
and experience that the inborn talent can be effectively dem-
onstrated on a stage. In ninety-nine cases out of a hundred,
however, movie actors and actresses are not born, but made —
made very laboriously, by constant coaching and patient di-
rection.
The mail order movie acting schools, like their cousins the
"scenario schools," are, first and foremost, "sucker-trimming"
concerns. They very shrewdly capitalize the tremendous lure
of the screen with its grossly exaggerated press-agented figures
regarding salaries and contracts. When reputable papers give
front page space to stories so palpably absurd as that Aurelia
Amour is to receive one million dollars a year for her serv-
ices, it is scarcely to be wondered at that Mamie Snooks, of
Little Rock, Ark., should burn with a desire to trade her steady
$12-a-week job of clerking at the village store for a chance to
"break into the screen" via the correspondence-acting schools.
(\The following article deals with another offshoot of the industry,
which is even more dangerous and futile— namely the attempt of
certain concerns to "teach movie acting in your home"-— than ivhich
there has never been a more ridiculous proposition.
Allien
As in the case of the "scenario schools," however, we are
confronted at the outset, in trying to deal with these people,
by the unfortunate fact that their operation is in no way
illegal. It would be far easier to cope with the evil were the
law in any manner transgressed. But it is not. Fundamentally,
we are forced to recognize that there is probably nothing more
fraudulent in trimming a sucker fifteen dollars for a course
of acting lessons, than in charging him fifteen dollars for, let
us say, a "spinal adjustment" to cure him of chilblains. The
one is no more -(or less) fraudulent than the other. In fact
they are both likely to do him an equal amount of good.
The Film Information Bureau of Jackson, Mich.
The particular concern under investigation in this case is
an organization calling itself the Film Information Bu-
reau, of Jackson, Mich. It's a good name, and a nice
little town — but inasmuch as it is some thousands of miles
away from any motion picture producing centre,- one is led
to wonder why it should have been selected as the place from
which to broadcast acting lessons. However, that is not highly
relevant, and in dealing with a theme so fundamentally inane,
becomes merely another foolish detail.
It has ever been Screenland's policy to publish the exact
facts about extra life in Hollywood without glossing over the
situation with the sickly hue of romantic sentimentality. We
have hoped in this way to cool somewhat the overheated imagi-
nation of screen-struck boys and girls, in order to lessen — as
far as lies in our power — the heartache and the misery of the
countless thousands of impressionable youngsters who annually
sacrifice all in a futile effort to attain screen fame.
Hollywood Chamber of Commerce Issues Warning
IN quoting the following misleading statements from the
garish literature of the Film Information Bureau of Jackson,
Mich., the reader's attention is called to the official statement
of the Hollywood Chamber of Commerce, reprinted from last,
month's issue of this magazine:
WARNING!
Don't try to break into the movies in Hollywood
until you have obtained full, frank, and depend-
able information from the Hollywood Chamber
of Commerce. It may save disappointments. Out
of one hundred thousand persons who start the
climb up screenland's slippery ladder, only five
reach the top.
With these authentic facts well in mind, consider what must
be the dire effect of the following appeal — quoted verbatim
from the pamphlet entitled MOVIE ACTING — How To Learn
It in Your Own Home — when it is made upon the minds of
children. For it is children and grown-up persons of the men-
27
tal age of children who write for and devour literature of this
description.
Be a Movie Player! — thus starts the pamphlet
reproduced on pages 26 and 27 — Fame, Fortune,
and Joy of Succeeding Are United in This New-
est Avocation. . . . Join the silent army of favor-
ites of the films! Let millions learn to applaud
your appearance on the screen! Be loved and
and lauded by the mighty public! Be known in
the palaces of the great and wealthy and in the
cottages of the lowly!
No Long Years of Hard Study or Great Ex-
pense. . . . The student of medicine, law, architec-
ture, dentistry, or the other professions must put
in four years of good, hard study at college, and
go through a starvation period of perhaps as
many years more. But here, within a few
weeks, you are put in a position to learn all
of the requirements of movie acting, scenario
writing, film advertising, managing a picture the-
atre, and the numerous other things of which
we have told you.
It makes no difference what your size or com-
plexion may be! All kinds of people are needed
in the movies! There is room for thousands.
Whip your ambition into action! Say fare-
well to old cares, worries, and disappointments.
Get into the light of public favor. You will enjoy
the fun of Filmland — the new friendships — the
different people you will meet. You will thor-
oughly relish being pointed out as a real movie
actor or actress. It's like stepping into a dif-
ferent world. It's like being born over again.
"Satisfied Students" Cannot Be Found
To discuss further the claims of the Film Information Bureau
in the face of their statements — quoted above — seems
futile. And yet when notified that their advertising was about
to be thrown out of the columns of Screenland they sent us,
in support of their claims, five letters from "students who re-
port that they have secured employment."
These letters — emanating from Denver, Colorado; Port Ar-
thur, Texas; Rockford, Illinois; Los Gatos, California, and
Force, Pennsylvania — are all written in obviously childish
handwriting; but in order to test their genuineness, letters
26
were sent to each of the individuals, asking them if they could
recommend the Bureau. Not one of these "satisfied students"
has been located, for no replies have been received, although
a stamped addressed envelope was enclosed by us. One of
our letters has been returned unclaimed.
The methods adopted by the Bureau are similar to those
used by the "scenario schools." Windy and wordy form letters
are used extensively, and a "Twelve-Hour Talent Tester" takes
the place of the worthless and pretentious contracts of the
scenario schools.
Twelve-How Talent Tester
oome of the statements in this twelve-hour talent tester
0 are so naive as to be amusing. Witness the following:
Think of some very sad incident in your life.
Carry yourself back to it. Keep a mirror before
you. THINK HARD about that sad affair. Do
the lines in your face look shadowy? THAT
IS ACTING.
Think of a romance — one you have had, or ex-
pect to have. Imagine yourself experiencing
that romance. Does a look of EXPECTANCY
come over your features? Do you have a look
of PLEASURE? Then you really DO possess
the power of expression.
Think that you are a criminal — escaping the
police. Every footfall on the walk or in the
hall fills you with horror. Every moment you
expect to be arrested. Does your face SHOW
this horror? Does FEAR creep into the lines
of your features? Then surely you have the
power of EXPRESSION.
Typical Boob-Lure
Atypical boob-lure is reproduced on this page in the shape
of a "coupon" for fifteen free lessons. This nicely en-
graved piece of nonsense is sent to every sucker and "will be
accepted as the equivalent of five dollars in cash if accompanied
by remittance."
Strangely enough, in these enlightened days, there are peo-
ple still so unsophisticated and simple that they fall for these
absurd inducements. In exposing the hollow farce of the Bu-
reau's pretentions, Screenland has been merely following out
the fearless policy which, in the interests of better motion pic-
tures, it has constantly maintained.
NOTE: While this story was going to press, the following
letter was received from one of the "satisfied students" referred
to in the body of the article. It is a reply to the inquiry sent
out by the writer's secretary, Miss Herbert. This reply is such
a human document and testifies so (Continued on page 85)
20
One of Charlie's first posters — on his American
tour with the Fred Kamo troupe. Yon can tell
the date by the cut of Charlie's clothes.
Charlie Chaplin
for his brother
in the costume he wore when
Svd.
Here's how they used to bill Syd in England — he's standing beside
the billboard.
mimes.
TEN YEARS AGO
(\The above photographs are rare ones — never
before published. Notice the billing that Syd
Chaplin got in Europe and compare it to that
'which Charles got in San Francisco. Movies
30
work strange miracles, but none stranger than
this quirk of fate which has made Charlie a
popular idol while Syd, his equally talented
brother, is known as only "Charlie's brother"
{j h a r I i e y
Brother
CL That's what he u called now. But
before the tables turned, it was "Syd's
young brother — Charlie," who got
his chance to come over from Eng-
land with a "second company" because
Syd himself could not be spared.
Q Syd Chaplin as the
British sergeant
Winkie in The Ren-
dezvous.
Bj7 Eunice ^Aarshall
"^IME works strange changes. Speak of Sydney Chaplin
when the talk veers to pictures, and nine out of ten
of any group will say, "Oh, yes, Charlie's brother."
The tenth will say, with George Jean Nathan, "an.
actor head and shoulders above the run of the industry."
It wasn't "Charlie's brother" back in England, when Syd was
I
Q Looks like Charlie when he smiles — but he's got a
line of comedy all his o<wn.
a famous pantomimist and vaudeville headliner, nor before
that, during the days of savage poverty and bitter despair of
their unhappy childhood. Charlie was "Syd's young brother"
then. In fact, it was because Syd could not be spared to
make the trip to America with Fred Karno's "A Night in an
English Music Hall" company that Charlie Chaplin got his
chance to come to the United States.
I tell this story over Syd's protests, he being desperately
unwilling to seem to detract from any of Charlie's glory. The
mummers' show, A Night in an English Music Hall had been
running merrily in England for five years, with Sydney Chaplin
in the leading role. Fred Karno, the manager, wanted to send
a second company to the States, and Syd wanted to go along.
But he had built up a tremendous reputation in the part, and
the London theaters refused to book the show at all unless
Syd Chaplin was retained in the cast. No such stipulation
was made regarding the cast of the touring company, however,
and Syd arranged for Charlie to go to America in his stead.
It was while Charlie was dancing in this piece that Keystone
signed him up for a series of short-reel comedies. When Charlie
wrote his brother that he had been {Continued on page 86)
31
BREAKFAST
By ^Lucille
HEN Fannie Hurst
proclaimed her
now famous
"breakfast - to-
gether-once-a-week" formula
for marital happiness, an amused but sceptical world declared that the scheme
would never, never work.
In the first place, the wives pointed out, what good was a husband who wasn't
on hand to put on the screen windows and fix the furnace when it smoked and get
up in the night to see what was that mysterious noise down in the dining room?
And, furthermore, what man could be trusted for six whole days out of the seven,
with no one to keep tab on the time he got in nights?
Even the husbands, while admitting that the proposition had its really excellent
points, felt that it was apt to fall down a bit in the matter of a sufficiency of
buttons on shirts, and waffles made properly with cream instead of the paper-
hangers' paste concoctions served at the corner restaurant.
Just how Fannie Hurst's how-to-be-happy-though-married plan turned out in her
own case, we cannot state. Mr. Fannie Hurst may be still happily breakfasting
one morning a week with his charming and gifted wife, and keeping bachelor's hall
in his own private apartment the rest of the time. Or he may have converted
his wife to the more conventional habit of living with her husband seven days
a week; or, failing that, may even have departed to other fields where the business
of matrimony is run more intensively, on a day and night shift. However that
may be, the Hurst theory that occasional absences make married hearts grow
fonder is being practiced in other vicinities. To wit: Hollywood.
The Allison-Ellis Menage
ay Allison and her handsome husband, Bob Ellis, are willing to tell the world
that Fannie ejaculated a mouthful.
The Ellises have been married about three years; perhaps a little less. The
first year was gloriously happy, as first years are apt to be. During the second
year, the glamour began to wear a little thin in spots. There were disagreements,
quarrels, followed but not effaced from memory, by ecstatic periods of "making-up."
M
J
TOGETHER
Once a We
Perhaps Husband Bob Ellis forgot
L. to do some of the little things that
UTTI17I6T made him so delightful a lover in the
sweethearting days.
Perhaps May Allison, wife, did not
make the effort to charm, as she had done two years before.
At any rate, the matrimonial bark of the Ellises veered dangerously close
to the rocks, so near that May actually filed a divorce suit.
But the memory of the past was too dear to them. They had too many
interests in common, too many dreams and aspirations.
So they decided to go back to their courtship days.
May was to live in one apartment, Bob in another. They would go
Fannie Hurst one better; instead of one breakfast together a week, they
would have none. But occasionally they would dine together. Conditions
would be exactly the same as when May was still Miss Allison instead of
Mrs. Ellis. And perhaps, they hoped, the happiness that they feared had
fled forever would come back to them.
And do you know, it actually looks very much as though it had!
M
How it is Done
r. Ellis calls May up on the telephone and asks her if she wouldn't
like to go to dinner at the Montmartre and to the theatre afterward.
May says she'd love to, and would he like her to wear the blue dress?
You see them everywhere together; dancing at the Biltmore or the
Plantation, or sitting spellbound under the dramatic magic of Duse, or
laughing at the comedians' jokes at the Orpheum. From Bob's devotion
and May's coquetry, many imagine them to be honeymooners.
"It's fun, being courted again," May says. "We're going to be very sure,
this time. We're going to wait until we know. Perhaps ..."
But the other day, May had her divorce suit dismissed. So perhaps, after
a while, the Ellises will be back in the same apartment again, and the Fanny
Hurst theory of marriage-at-intervals (Continued on page 88)
CI Jack Gilbert
^Florence and King Vidor
33
H. B. K.W/7/ix
Says: the measure of a film
today is not the yardstick
And the
ET your mind's
eye rove back to
^ the days when
John Bunny was
regarded as "perishingly
droll" and Mary Pickford was only
the little Biograph blonde.
If then the hero caressed the heroine
before that last dismal, eye-straining
flicker, your girl looked at the screen
through the fingers of one hand while she slapped
your affectionately exploratory arm with the other.
The Anthony Comstocks of the villages also
took a hand. The film was branded as harmful to
the growing mind unless the concluding caress was
preceded by the sub-title: "I've got the license!'
small town Will Hazes were not always sure that Our Nell had
been treated white even then.
The adolescent youth of that day never hesitated to repro-
duce the sound, originated by lethargic cows as they pulled
laggard hoofs from muddy and sodden barnyards, whenever
the principals in the early cinemantics fell into a clinch. They
scorned sentiment and made mock of it openly.
Maids with emotions in the same uncertain state, though
they secretly approved of treacly twosomes in that heart of
hearts, discovered by Laura Jean Libbey, waxed wroth when
the yokels of their choice sought to put in effect those same
simple principles as taught by the equally simple principals.
And this secret approval is the reason why necking has be-
come the strongest weapon in the armory of the men-at-arms
of the movies ; the reason why most producers will understand
that you mean footage when you refer to the length of one of
their products as "lippage."
The rule by which and with which one measures a film to-
day is not a yardstick, but a lip-stick.
Movies Made for Maidens
kNE must always remember that movies are made for
maidens, either early or antique, and that the maidens
are made for the movies.
The movie-mad maidens tired early of chaste caresses and
demure surrenders, of five reels of fight and fifty feet of frenzy.
[ust before
olive drab
became the
correct thing
for the man
of the hour, box-office cash-drawers
coined the adage that one could
trap more frails with mush than with muscles.
During the hectic wartime days the movie male with verdant
chest and a penchant for portraying primitive passion had
his inning.
Today the neophytes of the new art neck and neck and neck
through more celluloid than ever came out of Troy, N. Y.
Charlie Ray, in The Coward, baled buckets of brine froir
feminine tear-ducts but for another reason. His success as a
heart-throbber, dating from that early day, cannot be raised
to flaunt and taunt me. He twanged the maternal strings in
damosels who had sent their one best bet off to France to bait
the cannon and the mademoiselles. The man of mush and
muscles still hit them where they loved.
Imported Products
But when the Johns came marching home again, war-
time ways of the movie men - at - arms became all
34
G. H. K//J*
Shows: the science oj screen
necking in five reels and
a stagger.
wet. The
lads with
the red
chevrons
brought
something more potent than home-
grown technic back home from
France. So the forerunners of the back-seat buccaneers of to-
day had to shake something new out of their bag o' tricks.
Thus was ushered in the era of subtlety in necking. The
period in film-making, when final fade-outs found the lad and
the lass looking away from the lenses but registering intense
emotion with their shoulder-blades, was perhaps due to the
fact that the photoplay pulse-bounders realized that their stuff
lacked the snap of the imported article.
The era of subtlety did not last because lippage left so little
celluloid for it. Or, perhaps, screen heroes learned the latest
in love-making via correspondents. At any rate, things came
to such a pass that the owner of a trained eye could enter a
theater late and peg the progress of the screen play at once
by noting the area upon which osculations were implanted.
Fingertips spelled Reel One ; palm of the hand. Reel Two ; point
of the shoulder, Reel Three; No Man's Land behind an ear,
Reel Four and the grand wind-up with all steps out, Reel Five.
And then came the
specialists in sweet noth-
ings— the specialists who
are with us today in this
age of specialists.
These boys have some-
thing on the ball for they make the
flappers curl up in their seats like
potato-bugs caressed by Paris green.
Dandies at Dalliance
Look over this list and see the variety offered
3 by screendom dandies at dalliance:
First comes Rodolph Valentino of the limpid
looks and lacquered locks leading a flock of what
Grace Kingsley terms Valentino substitutes, with Ramon No-
varro and Joseph Schildkraut in the van. Rodolpho has the
girls so bewitched he could sell them tanglefoot for face clay.
Ramon does not scare 'em much, while Schildkraut would have
been a cinder in the Ashes of Vengeance.
John Barrymore in Beau Brummel is bored but volatile,
while Conway Tearle is only bored.
Rod La Rocque is superficial and artificial. He glitters
like the stud of a Nubian gambler. He is the antithesis of
Milton Sills, the honest two-by-four hero in homespun.
Jack Holt is the favorite of wives with errant spouses, just
as Herbert Rawlinson is the husbandly type which is supposed
to work well on schedule.
Walsh Can Wear Tights
George Walsh is soulful and can wear tights, while Carl
Miller is bovinely unconvincing on the screen.
Edmund Lowe is restrained, the opposite of Eugene O'Brien,
strained and vacuous in his shadow-world amours.
Warren Kerrigan and Bryant Washburn are favorites of the
Ladies Auxiliaries whose banner is 'Lips that touch liquor shall
never touch mine." They are as upsetting as modified milk.
Lou Tellegen is perfervid; so much so in fact that the censors
are forced to measure his kisses with a taximeter. They do
not seem so long that way.
Charles De Roche, on the other {Continued on page 87)
3S
QA new and unusually characteristic study of David Wark Griffith.
mm
Photo by Frank Diem
G]Mr. Griffith is a cinema tradition. He is the little about pictures, rode in the same elevator with
most romantic figure in the whole world of films. him one day. "He didn't even look my way," she
A girl who had never seen him before, and knew gasped, "butl knew he was somebody. He gets, you."
36
QLike all great men, Griffith is a bit pathetic. He-
has made very little money compared with the
directors who have done much less for pidtures
than he.
r. GRIFFITH keeps his Date
Bj/ Sydney V alentine
IT was the opening night of "America."
The audience, slightly hoarse, was still cheering. It
had been applauding more or less, off and on, all evening,
as parts of the picture inspired it to enthusiasm. It
went quite, quite mad at the ride of Paul Revere. But now,
with the final scenes flickering off, it wanted more. It rose
to its feet — its dainty little feet in
French slippers, and its bigger,
broader feet in shiny shoes — and de-
manded— ''Speech ! "
For a while there it looked as if
there would be no response. And
then from the wings came a slow
figure — a rather gaunt man with
flushed cheeks and unnaturally bright
eyes. "Mr. Griffith!" greeted the
audience.
He bowed. He placed one hand
over his heart in a familiar gesture.
He waved for silence. His lips moved,
but for a moment no sound issued.
Was he overcome by emotion?
"Thank you," came in a hoarse
rumble, hardly audible. Then he
added, though only those in the first
rows could hear, "Can't say more —
cold in chest — thank you."
That wasn't the half of it.
While the audience was out there thrilling and sighing and
smiling over the fortunes of Revolutionary heroes, there was
a little heroism going on behind the scenes. Back there, in
a little draughty dressing room, the master of the movies
was still at work. At the very moment when the friendly
folk out front were applauding his patriotic screenplay, the
director was actually cutting the final reels of the film for
them to view a few minutes later!
Griffith always works up to the very last minute. "America"
wasn't really ready at the time of the premier. But the
theater had been rented, and if the picture didn't open at the
scheduled time it would mean the loss of much money. Besides,
its premier had been advertised for the eve of Washington's
Birthday. And all the Daughters of the American Revolution,
and important personages from New England, not to mention
the eastern film world, were already assembled. "America"
had to make good; it had to keep its date with New
York.
It did. But Mr. Griffith came very near not keeping his
with the audience.
For weeks before the world saw his latest picture, he had
been working, a steady grind of sixteen to eighteen hours
a day, seven days a week. Occasionally he took a Sunday off.
But mostly he was at his studio at seven and sometimes he
worked all day and all night, too. It was even more strenuous
on location. He toiled more earnestly than the most ardent
of his extras. He did as much riding around the camera
battle fields as Paul Revere on his famous sprint. And all
the time he was vaguely aware that he wasn't feeling as fit
as usual; that, in fact, he seemed
to grow more and more tired as the
filming of "America" progressed. But
he brushed it off. He couldn't be
bothered. Besides, it was just a cold.
But it was a rather tired man
who sat in the dressing room in that
New York theater the afternoon be-
fore the opening. The last few days
and nights he had done nothing,
thought of nothing except "America,"
which was in its final stages of cut-
ting, titling and editing. And now
he sat there in a little corner back-
stage supervising the last-minute
work, and often taking a hand him-
self in the actual mechanics of cut-
Behind the Scenes:
(\JVhile the audience at the first show-
ing of America was out in the front
thrilling, and sighing oner the fortunes
of Revolutionary heroes, there was a
little heroism going on behind the scenes.
Back there, in a little draughty dress-
ing room, the master of the movies was
still at work. At the very moment
when the friendly folk out front were
applauding his patriotic screenplay, the
director was cutting the final reels of ting and sPIicins the film- His staff
i £i r- i • r was w*tri him. Griffith's staff is
the film for them to View a Jew composed of quiet, clever people who
minutes later.
know their business thoroughly and
know what he wants and how he
wants it — they have all been with him for years. But would he
give it up and leave it to them? Not on your life. He was
going to stay with it until the finish. The doctor said it
would be his, too.
Someone had sent for a doctor the day before. Griffith
didn't want one around. But he came, anyway; and after
one look at the director he assumed the sternest expression
and growled, "You're a sick man. Go home and go to bed."
Mr. Griffith paid no attention to him. He just went on
cutting.
The doctor became less stern; almost pleadingly he protested.
"But look here, man! You're all in. You've got a bad
throat and your lungs "
"Doctor," said Mr. Griffith — not very loudly because he
wasn't talking much above a whisper just then, "I never felt
better in my life." He coughed as he continued, "Besides,
even if I didn't, do you think I'd leave this picture? I can't.
I've work to do."
The doctor told him just what he thought about his
picture and pictures in general. Then he added, "Well, be a
fool if you want to. But I'm going to stick around here and
see that you get the best attention possible under the circum-
stances. Open your mouth. Say a-a-a-h." {Continued on page 89)
37
MONEY
And The Movies
By Upton Sinclair
Q The third and last article of a series by the distin-
guished author of The Jungle, The Brass Check and They
Call Me Carpenter.
"HEN I was a boy my mother would say to me:
"Do you think money grows on trees?" In those
days it didn't, but the movie world is the place
where it does. In the movie world it is no trouble
at all for a young fellow of twenty or twenty-two to go out
into the world and pick a million dollars off the bushes in
a year or two. Particularly he can do
this if he is inspired by the love
of a pure and beautiful girl — and has
to have a million dollars before he *\When I was a boy my mother would say
QS^j/f Mr. Sinclair:
can marry her.
I say "no trouble at all"; but I
realize that is not quite accurate. He
will have a lot of trouble — that is
what makes the story. But he will
always overcome the trouble, and he
will always get the girl. Never can
it possibly happen, in this wonderful
movie world, that a modern young
male doll could fail to grow rich,
and to fold in his strong arms the
sweet young darling. And never
could it happen that they would
have any troubles or problems after-
wards. The thing for which these
darlings are paid a million dollars a
year is to marry the strong young male doll over and over
again, in story after story, in China, Alaska, Mexico and Brazil,
in the millionaire palaces of New York, and in the old-time
castles of England and France — wherever else the search for
new costumes may inspire the director to take them.
And yet there are people who produce movies, who really
think they are telling the truth about life, and would have their
feelings hurt if I told them they never do, and would never
be allowed to. A friend of mine, a very famous producer, once
wrote me that he had made a drama of the struggle between
capital and labor; he had really told the truth, he said, and
I would be interested. So I went. Here were scenes in which
the tent colony of the strikers was burned down by the mine
guards — quite an unusual lot of industrial truth. But in the
very beginning, the scene in the miner's cabin, I noticed that
the movie star had had her hair dressed by a hair-dresser. I
don't know whether she had a marcel wave, or what.
But I know that every little hair was in place, and
if I had not been told on the screen that this was a
miner's cabin and a miner's daughter, I would not have
recognized it — despite the fact that I lived among the miners
quite a while before I wrote King Coal.
The strike was fought through, and the problem of capital
and labor solved. And how was it solved? Why, of course,
there is only one way to solve the problem of capital and
to me : "Do you think money grows on
trees?" In those days it didn't, but the
movie world is the place where it does.
In the films it is no trouble at all for a
young fellow of twenty or twenty-two to
go out into the world and pick a million
dollars off the bushes in a year or two.
Particularly he can do this if he is inspired
by the love of a pure and beautiful girl —
and has to have a million dollars before
he can marry her.
labor in the movies; it was solved by the daughter of the
miner marrying the handsome, young son of the owner of the
mine. Or may be it was turned about — I forget at this
distance of time — maybe it was the handsome young labor
leader who married the beautiful, only daughter of the capitalist.
Either way, it solves the problem — in the movies.
You see, that is one more way of
making money in a hurry, and so it
suits the movie formula. A friend
of mine remarked sarcastically that
if the daughters of the capitalists
were willing, undoubtedly enough
labor leaders could be persuaded to
accept this solution of the industrial
problem. But what about the poor
devils who slave in the mines, at
risk of life and limb, and cannot get
a living wage?
Of course we are supposed to
assume that after this movie solution,
the owners of the mines will be good
and generous, and will pay a living
wage. But if you put this up to
the owner of any coal mine, he will
tell you that he is competing with
other coal mines, which do not pay
a living wage. Also he will tell you that if he made terms
with the union which didn't please the coal mine owners'
association, he would be blacklisted and have his credit cut
off; then he would find that he couldn't get coal cars, and
before he knew it he would be out of business. All this is
a kind of truth which the movies could not tell. At any rate
they do not tell it!
I have been trying to break into the movies ever since they
started, and so perhaps you will say I am a "grouch." Let me
hasten to state that I have had many opportunities to write
for the screen, provided only that I would consent to write
what the movies wanted, instead of what I knew to be the
truth. As it happens, I am in the business of writing the truth,
so I generally let the movies alone.
Several times I did try it, and I will tell you just one of
my adventures. Shortly after the great panic of 1907, I pub-
lished a novel called The Moneychangers. In this novel I
told the story of that panic, how it was deliberately brought
about by J. P. Morgan, the elder, in order to put out of
business certain independent trust companies which had got
in his way. That was the truth; I knew it from a dozen
different sources, several of them first hand. But it wasn't until
twelve or thirteen years later that a man came to me proposing
to put this story of The Moneychangers on the screen.
I won't name the man, he is an {Continued on page 93)
38
(\F(iiniy
Barr
F^ANNY BARR, "the great Fanny Barr," the star of'
stage and screen, sits in her boudoir and weeps for
her lost old age.
A little girl she seems, looking into her mirror.
Her face is soft and smooth and full. Her lips show the curves
and the pout of youth. Her butter-colored hair is bobbed.
Her teeth are white and small and even — baby teeth! Her
hands are slender and white — and neither old nor young.
"Give me back my age," she murmurs through her pout-
ing lips. ''Give back the wrinkles, the hollow cheeks, the
crow's feet about my eyes, the dear gray hairs you used to
show me."
Her face is smiling into the glass. But there is heartbreak
in her voice, despair in her old eyes. She brushes the yellow
clouds from her temples, and two new moons shine forth.
"There are my wrinkles," says the old voice in the young
mouth. "There my years are held, there my comfort, my
peace of mind, my husbands, my lovers, and my child
"If I could die!"
Fanny Barr removes the baby teeth from the baby mouth
and puts them in a glass. She hides her moons beneath her
hair.
A lying face is covered by honest fingers and an old woman
weeps old tears.
The wind elbows in through the window and taunts her with
the echo of a laugh.
Faxxy Barr was the infant wonder of the stage some
fifty years ago; and at one time there was no more fam-
ous woman in the world. But you of this generation never
heard of her — all fame is grass — until the movies gave her
reincarnation.
Sam Whipple, the producer, who once had been a call boy,
whispered in her ears the name of a surgeon; and she went
to Paris. She returned to Hollywood a blushing girl, the
ounterfeit
Q JimWellworn sponsors here
a fable of Hollywood that
?nay well have inspired
the author of Black Oxen.
Af told to Barry Vanon
\lliistrations by A. W. Sperry
secret of her years buried in the moon scars made by the
surgeon's knife.
Nobody knew her, my friend, Jim Wellworn. told me, and
it was great fun, at first, twitting old men about old love
affairs until they walked from her in awe; reading old ladies'
palms until she frightened them.
Sam Whipple announced her rejuvenation in newspaper head-
lines and billboard bulletins — and so made her an outcast in
Hollywood. She was too young for her old friends, too old
for her new ones. Her only intimates were the
sleep-walking moon and the star-dripping sky —
and the counterfeit sky her window overlooked —
Hollywood lit with a million lights.
She would talk to the moon and the skies.
"I was old, and I am young. I am
young and beautiful and alone. I must
have love."
Now and then a pair of meteors
Tommy Loyal
flashed through the counterfeit heavens beneath her.
"Young foiks, speed, laughter and no cares. I must find
me a man. I must buy me a roadster to-morrow."
The great cities called her, curious to look upon the miracle
of recovered youth. She was glad to go. She packed the
theaters wherever she went. She sang old songs and acted
bits of half-remembered
dramas.
But she found no happi-
ness anywhere, for she was
both young and old, and
on the screen — an impish little thing, a sweet rogue. He re-
membered telling Dick Little she was the madcap of tht movies,
and that, with a little more experience, she could become a
marvelous actress.
He had heard of her — but the memory was confused —
for he remembered little that did not concern himself.
And when he peered into her skilled, sure eyes he remem-
bered nothing at all.
Poor, dumb Tommy! One look, and the great Fanny Barr
had scented her years with lavender and put them away. She
was really young now — for a young man's love has greater
wizardry than any plastic surgeon.
There was no time lost through a long engagement. Fanny
saw to that. A judge who stuttered, asked the questions. And
Fanny, who knew them by heart — and the answers to them
as well — almost snickered aloud.
"Old Fanny Barr and her juvenile lead!" "Fanny's
bought her a new husband to go with her new face!"
But the Loyals, far from the laughter and the
jeers, were happy with each other.
"Oh, Chin-Chin, dear," she would say, "it
was worth all these years to find you."
she wanted only
to be young. It
was not like her
first youth, for
she tired easily
now, and she was
weary of old bal-
lads and old dra-
mas and old memories.
and so she rested in Chi-
xA. cago and fell in love with Tommy
Loyal, for she fell easily into love — and
easily out of it.
Tommy was young and tall and beauti-
ful. Under the spell of him, plain little
girls and fat and red-faced women became
romantic, and sighed for the unattainable.
He was leading man in the Azure Theater
stock. He sold his photographs at 25 cents
apiece, and made more money thus than
he received as salary. Ah, you should have
seen him as "Armand!"
"You were wonderful," Fanny said when
they met.
Her voice was the wind on a peach, se-
ductive, ripening. And her laugh was a
gentle rain, cool and satisfying.
He held her hand.
He had heard of her. He had seen her
Cl'Tll charge you ivith obtaining
matrimony under false pretenses, '
said Fanny, laughing scornfully,
while Tommy stood abashed in
all his Arab glory, and Eckstein,
the director, bellowed with rage.
44
"Years?" and he'd laugh his nice dumb laugh. "Why,
you're only a baby yet."
Then would she take his chin gently in her hands and stain
it with little red kisses. Always, it embarrassed him. Always,
he touched his chin with a funny gesture when she was done.
She liked that.
"I love every bit of you," she would say. "But your chin
is so strong and handsome. I think I love it best of all."
She dreaded taking him to Hollywood — for she knew it meant
a fight to keep him. a battle with young generals eager for
the fray and better equipped. But Whipple had promised him
a chance in Hollywood — and she wanted him to have it.
She dreaded it, but she never quailed.
"I still am Fanny Barr," she said.
Tommy had never been to Hollywood. He was prepared to
let it bore him, but he loved it at sight.
A glorious stage, this Hollywood, with the foothills and the
mountains for back drop, blue and gray and brown and purple
and black, an unreal drop, a beautiful crinkled impossible
curtain.
Nice wide streets, frothy pepper trees, shaggy eucalyptus,
wide-spreading palms, magnolias, acacias, Lombardy poplars.
Houses in fantastic shapes and designs, white or pink or mauve
or blue, strange tints he had never seen, green lawns and
hedges. Gay shops and busy stores, tall buildings on the
boulevard, thousands of autos. a gas-filling station with blue
and orange turrets and minarets, men in shirts and knicker-
bockers and funny shoes, men with bangle bracelets on their
arms, and long hair and no hats, women in sports clothes,
beautiful, beautiful women.
"Here we can surely be happy," he cried.
And Tommy learned her years, and all the pillows her
fulvous head had known.
He did nothing, for he had need of her — her money and
her influence. It was not until Sam Whipple gave him a
contract that he bade his wife goodby. He wanted Fanny
to divorce him. But she would not.
'That meant divorcing her youth, the false youth that she
loved and must retain.
"I will show him I am really young," she thought. She
hired a physical director. She danced every night, rode horses
every day, and day and night kept herself surrounded with
young men.
But he did not come back, she began to seek him — timidly.
She would go to the set where he was playing, and stand
where she might watch him. The tears came easily. If she
could only kiss his chin — and see him make that funny little
gesture once again !
He wrote her, one morning in August, saying he had arranged
with his lawyer, and the divorce would be filed. He would
charge desertion — that was the most chivalrous thing he could
do. And he hoped she would not contest.
Fanny rent the letter hastily, and flung the pieces into the
waste basket. No man had ever divorced her before —
and this, this child
She jammed a girlish tarn upon (Continued on page 90)
But it was not so, and as the days grew the great Fanny
Barr came to realize it. She fought valiantly, but the
young generals were crafty foes. Old stratagems she had put
aside with her first divorce were used against her. Tactics
she thought too simple gained victories for the enemy. They
laughed at her, even as they smote.
45
e KID himself
QThe tragedy of Jackie Coogan
is that he is growing up
By Grace YLingsley
Sounds just like Tom Sawyer, doesn't it? Not
V y a bit like a Midget Midas, whose touch turns
everything to gold, — even the toy which he may
happen to fancy, and which is at once turned into a million
dollar syndicate enterprise to exploit the Jackie Coogan
Tiddledewinks, the Jackie Coogan Woolly Sheep.
There in the bosom of his family, or anywhere else for that
matter, you find Jackie as hard to interview as the lady who
has just married a second husband without having divorced
the first.
Jackie just will keep changing the subject to play. Yet
he plays little with other children, — doesn't seem, somehow,
to belong in their world.
"Play is the business of childhood," said some wise man.
And Jackie is going to tend to business every minute he isn't
working.
When I first knew Jackie, he lived in a tiny flat; now he
lives in a big mansion. But he is the same little Jackie,
with his eagerly inquiring mind, his passion for play.
Jackie will be a perfect little tyrant at play, if you let him.
He wants you to be the horse and giddap; he wants you to
build the sand houses for him to knock down; but this is just
a combination of the powers of pleading and commanding within
himself that has nothing at all to do with his fame. I don't
think he cares the snap of his finger about his fame or his
wealth. There is a mysterious superiority to it all in his
dark-brown eyes.
And, oh, but Jackie is of an investigating turn of mind !
I took my cat over to the Dog and Cat Hospital in
Hollywood one day, and Jackie kindly loaned me his limousine
and himself as escort. When we arrived, Jackie was deeply
interested, and had to take a look at every animal in the
place. When we went back to his home, we saw him looking
over a dog from next door. Finally Jackie found a tiny
sore place on the dog's neck which the animal had gotten in a
fight. Jackie showed the place to the dog's owner, and solemnly
declared the animal must go to the hospital. The neighbor
humored the boy, and next thing we knew Jackie had popped
the animal into the limousine, and we were all again on our
way to the hospital. Jackie's mother wisely let him have his
way, feeling, no doubt, that he would learn lessons of kindness
to animals by this experience. Jackie duly deposited his
charge and every day thereafter, until there wasn't the smallest
excuse for the dog's remaining in the hospital, the little boy-
went and called on the animal. He took the canine home,
paying for his keep out of his own pocket. Usually he wouldn't
be permitted such extravagance.
Jackie's father kidded Jackie, declaring that Jackie took the
dog violets every day!
So much for Jackie's activities. But there is another side
to the child with the big eyes that have the unearthly look
in them. He is a great little dreamer.
One day at his home, when we had exhausted the possibilities
of his toys, — many of which, by the way, were given him by
Charlie Chaplin — he began to tell me (Continued on page 91)
My friend
BILL HART
Q.Some hitherto unpublished
facts about the leading expo-
nent of the two-gun drama
By E. V. IDurl
mg
w;
'HEX I first met Bill Hart in Los
Angeles he was getting $50 a week
from Tom Ince and considered him-
self particularly fortunate. His chief
trouble at that time was trying to learn how to
ride a horse.
For a good many years Bill and myself were
members of a group that dined every night at
what was known as "the round table-' at Hoff-
man's Cafe in Los Angeles. This group was
made up of newspaper men, press agents, actors,
directors and so forth. It was something like
the table occupied every noon at the Algonquin
Hotel, New York, by the "intelligencia" merely
claiming to have good sense.
Now when you interview a man he is apt to
be guarded in his conversation and the picture
3-ou get of him is often as accurate a portrait
as the minister gets of the juvenile portion of
his congregation the week before the Christmas
party. But when you have met a man nearly
every night over a period of years it is safe to
assume you have an idea what he is really like.
So basing my remarks on that premise I will
tell you all I can with propriety what I know of
Bill Hart.
Several years ago when Marshall Neilan was
engaged in making a film version of In Old Ken-
tucky he sent his able assistant, Al Green, from
Los Angeles to Kentucky to get some special
scenes to lend realism to the picture, the most
of which was being made in California.
'"Get me some real, good Kentucky scenes, Al,"
were Mr. Neilan's parting instructions.
Two weeks later Mr. Neilan received a telegram
from Mr. Green saying "No Kentucky scenes in
Kentucky, will have to make them in California."
That's an old story in the movies. They can't
find a typical New Yorker in New York, a typical
Parisian in Paris, or a typical Westerner in the
West. The public has its own ideas on these
things and as the people pay the money they
get the choice.
W. S. Hart, the so-called two-gun man of the
movies, is more typical of the West than any
Westerner ever painted and yet he was born in
Newburgh, N. Y., and spent the greater part of
his life as a resident of {Continued on page 92)
Q Bill can't help laughing when he recalls the sliched-lmck pompa-
dour and yellow spats and cane he used to sport along the Great
White Way. This was when Bill lived in Brooklyn, N. Y. —
years before he achieved fame in the movies through his won-
derful Western characterizations.
47
ew
SCREENPLAYS
Bjy T^elight YLvans
Illustrations by Covarrubias
IN the latter reels of The Thief of Bagdad you expect any
minute to have the scene switch to a rich young man's
boudoir with the valet, pronounced vall-ay, bending over
the recumbent hero and shaking him, with a title follow-
ing, "You wished to be awakened early, sir."
But the picture proceeds to a finish without a dream ending.
And Douglas Fairbanks once again
proves himself the screen's great-
est gambler, a hero as brave as he
is handsome. Doug, producer, is
ten times greater than Doug, actor.
He has a broader vision and a
keener imagination than any other
man engaged in film production
with the exception of Charles Spen-
cer Chaplin. Anyone but Doug
would have thought twice before
making Bagdad and concluded that
an Arabian- fairy tale is not what
the public wants. Doug knows
that the public hasn't the remotest idea what it wants. He has
been making up its mind for it ever since he embarked upon
the high seas of pure romance beginning with The Three Mus-
keteers. I hand it to him for Bagdad; it's the longest and
the highest jump he ever made.
Just take the pleasanter features of all your best night-
mares, group them against a somewhat Maxfield Parrish back-
ground, and you have the screen's first real fantasy. It's great
because it defies exhibitorial and every other tradition; it's
in a class all by itself— and not because of its trick photo-
graphy or the Morris Gest presentation which includes, in
Manhattan, the beating
of tom-toms by alleged
Arabians and the tempt-
ing of the audience with
deadly demi - tasses in
the interval, as we say
in England. Not be-
cause of Doug's per-
formance, which calls
for little besides his
lithe legs and ready
smile. But because it
captured the elusive
charm of all the fairy-
lore in the world, never
c jming down to earth
an instant, never losing
its dream-like delicacy
and gossamer grace.
Doug is a leaping,
thieving knave whose
prankish ways take him
inside the Caliph's pal-
ace. But he sees a
QBest Pictures of the Month:
(\Secrets
(\The Thief of Bagdad
(\The Enchanted Cottage
QfThe Fighting Coward
One for Every Week
(ovarrubiat/
QGloria has a new personality; a
mental face-lifting. She has
stopped posing and begun to act.
sleeping beauty — the princess — and comes away with only her
slipper, leaving all the loot behind. Then he dedicates himself
to her service; to win her he slays dragons, fights fire, over-
comes all obstacles — riding to rescue her on the well-known
winged horse of all fairy fiction. His magic chest conjures a
vast army out of nothingness — and provides one of the biggest
thrills you ever saw on the screen.
The photographic magic is amazing.
There are genuine gasps when the
magic carpet sails through the air,
bearing the hero and his princess
to some enchanted land as the film
fades out.
All the children in the world
should see this picture. Parents
should be punishable by law who
refuse to let their little darlings
watch all their favorite tales come
to life. True, it may keep tb::m
awake or give them dreams of
dragons and things; but then dreams like that are a part of
childhood and they might just as well be inspired by such a
gorgeous spectacle as The Thief of Bagdad. Doug will delight
small boys and girls of every age as the cavorting thief. Julanne
Johnston is the beautiful princess of every fairy-tale. She is
a vision and she should never be seen except in the costumes
of the time — which cannot be questioned as to accuracy since
it's all a dream and certainly will never be questioned on any
other score. Three bits of carved ivory are the lovely little
orientals, Anna May Wong, Winter Blossom, and Etta Lee,
who are even more decorative than the scenic effects. As for
acting, you wouldn't criticize a Dulac illustration for not dis-
playing emotional ability, would you?
Elderly ladies in the audience were overheard observing that
they liked it, but they didn't believe they'd care to sit through
it again. That isn't exactly the point ; but I knew just the way
\hey felt. In the course of a showing of Bagdad there comes
a time for every member of the audience when he will wish
he had brought a pillow with him; or that an usher would turn
off the incense. I left the theater with that Thanksgiving feel-
ing— a case of too much dessert. But I wouldn't have missed
it for anything.
Secrets Proves Norma' s Greatest
Secrets should be advertised as "a cross-section of a woman's
heart." I don't know why its exploiters failed to make
use of this catch-line. That's the sort of picture it is. But
you won't resent its slightly sweetened sentiment because it
has been sugared by experts who will make you like it whether
you want to or not. Women will love it and husbands will
love it too, or their better-halfs will know the reason why.
Hard-boiled individuals may be bored but I doubt it. It will
have the same effect on them that the singing of "Home Sweet
Home" has on the tough eggs in the movie dance-hall scene.
43
It is the most home-like picture you ever saw. Its sub-
caption might be, "What every woman knows." It might happen
to anybody at all — with the reservation that some of us would
find the wild-west episode a little strenuous. But you know
what I mean. The action is right here on terra firma and the
actors don't go rummaging around the clouds on winged steeds
for adventure. Bagdad left me as limp as my first airplane
excursion when the pilot decided to do a falling leaf without
any warning. Secrets is just a nice, quiet evening at home with
the family.
This may sound is if Secrets will put you to sleep. Far
from it. It's one of the most entertaining motion pictures of
any month. Chiefly because it re-introduces Norma Talmadge.
No more the Norma of The Song of Love and similar atroci-
ties; but a brand-new Norma with all the verve of Panthea
and Poppy plus the poise of early maturity. If anyone had
asked me, as I was leading the theater, who is the greatest
actress of the screen, I'd have piped up in my tremulous treble,
"Norma Talmadge''. Nobody asked me; and now it's too late.
But I won't be thwarted; I hereby proclaim her the most ver-
satile. Mary and Lillian will have to move over and let Norma
sit down on the Bernhardt-Duse bench; and I wouldn't be sur-
prised if Norma in her crinolines shoved them both off.
She has here four separate and distinct characterizations —
four, count 'em. f-o-u-r. Ingenue; young matron; middle-aged
wife and old lady. And while you may suspect without the aid
of the handsome program that Norma Talmadge plays them
all, her talents are explicit enough to keep up the deception.
If we were having one of those old-fashioned voting contests to
determine the best ingenue, etc., of the gelatines, she would
grab all the prizes. Her youthful Mary is a delicious flapper
in hoop-skirts; her gun-woman of the second episode is thrill-
ing and touching; and as the middle-aged and elderly Lady
Carlton she is a real revelation. A black silk dress and lace
cap, a white wig and wrinkles — and any good actress is a
convincing grandma. But creating a portrait of middle-age
is no mere matter of make-up. As the silver-haired heroine
Norma forgets she is a movie queen and becomes the real,
genuine article, accept no substitutes.
This is a woman's affair. And so I suspect that ranking
right with Norma's work is the scenario of Frances Marion.
It is the second splendid thing that Miss Marion has done
lately; her Abraham Lincoln was an achievement even for
the screen's premier scenario
writer. She is a star in her line
as Norma is in hers; and her per-
formance is just as remarkable.
Besides these co-stars, there is Di-
rector Frank Borzage, who has
given the cast a chance; Eugene
O'Brien, at his best opposite Miss
Talmadge; Emily Fitzroy, a fine
character actress; the charming
Claire MacDowell, seen too seldom
these days; George Nicholls, usu-
ally Mabel Normand's film papa
but just as enjoyable as Norma's
parent; and clever Patterson Dial make it almost an all-star
affair. In fact, it must be apparent by this time that I
consider Secrets worth your time and money. I liked it so
well that I paid to see it again.
Fighting Coward Another Cruze Hit
This is one of the months whose celluloid products would
convert almost any unbeliever to the thank-God-it's-silent
drama. Here's another picture you mustn't miss — The Fight-
ing Coward, directed by James Cruze, who is doing his best
to live down his reputation as the driver of The Covered
Wagon. He's done some good things since that classic,
remember.
QErnest Torrence plays the old south-
ern gambler in The Fighttng Cow-
ard.
QBest Performances of the Month:
(\Norma Talmadge in Secrets
(\Richard Barthelmess in The Enchanted
Cottage
(\Emest Torrence in The Fighting Coward
QJackie Coogan in A Boy of Flanders
Whenever I hear
someone say that
James Cruze is
certainly a lucky
guy, having all
those directorial
plums hurled his
way this season,
insuring a success
with every release,
I think of the first
time I ever saw
James Cruze. It
was in person. He
was touring the
theaters to shake
hands with the
fans who admired
h i s villainies in
The Million Dollar
Mystery. I wish
I could say that,
even as he stood
there shaking my
eager hand. I felt
with a thrill of
prophecy that here was a man destined to do great things
for the screen; to scratch its surface, in fact. But all I
thought of was whether I ought to ask him for his autographed
photograph or not. I didn't because I liked heroes then:
but I wish I had.
Cruze has had the highest batting averages of any director
in several seasons. The Manhattan reviews and the exhibitors'
comments on his films have read practically the same, word
for word: and this has never happened before or since. Some-
how he manages to combine popular appeal, heart interest and
all those somethings which make box-office attractions with-
out losing his balance. Strangely enough his success hasn't
upset his sense of humor: and The Fighting Coward will
please everyone except those southerners who are still fighting
the Civil War.. It's a deft satire on the old south, more ex-
pertly directed than the original by Booth Tarkington. which
was Magnolia.
You will see Cullen Landis, who
is a butterfly - chaser at heart
scorned by his family as a coward.
He sets out to become a desperado
aided by the advice of Ernest Tor-
rence, a gambler, that all he has
to do is to put up a good bluff.
He returns home a hero to every-
body but the gentle girl who loved
him all the time; and. of course,
eventually goes back to chasing
butterflies again. There is another
one of those admirable etchings
which we have learned to watch
for from Ernest Torrence. His suave presence is a positive
delight. Noah Beery is almost as good as a genuine desperado.
The heart interest is handled by Mary Astor and Phyllis Haver.
Miss Astor has moments of charm; but Phyllis, even in crino-
lines, is as captivating as she ever was as the world's favorite
water-baby. Her comedy training is apparent in everything
she does. She has learned her lessons in screen technique
without losing any of her original wallop. She reminds me of
a particularly sprightly kitten.
Enchanted Cottage Worth-while Picture
There is no doubt that The Enchanted Cottage is a really
worth-while picture. It has a message. It is clean. It
is suitable for every member of the family. And it stars
40
Richard Barthelmess. Perhaps because I am always pre-
judiced against a picture which does all these things except
the latter, I don't call it the best of the month's offering.
But there are many who will.
It is adapted from Pinero's play about two unfortunates
who believe each other beautiful because they are in love.
It is all very Barrie-esque and John Robertson was just the
man to direct it. For me it hasn't the appeal that Sentimental
Tommy had; but it must be my own fault. I liked Tommy
because he was human. The lovers of the Pinero romance
are too good to be true. Hiss me if you want to; but I
stick to it.
Everything is intelligently presented. Robertson is a fine
director and he has able aid from his actors, especially Dick,
who makes the best of his opportunities. I don't have to
tell you that; you know what the screen's first young man can
do with a part. May McAvoy is entirely adequate as the girl.
Boy of Flanders Charming
I AM as foolish about Jackie Coogan as a maiden aunt. I
have no perspective on him at all. Ever since The Kid
he bas been my favorite actor. If he turned cute on us I'd
like him anyway. I tell you this so that when I say A Boy
of Flanders is a perfectly delightful picture you'll know how
to take it.
The Ouida tale has been trifled with a little to permit Jackie
to occupy the center of the screen; but the original leading
man, A Dog, is present, too; and there is nothing to disappoint
any kid who liked the story. For a film which has no adult
love interest, no pursuit and no seduction, it holds the in-
terest admirably. I would rather watch
Jackie and the lugubrious Tedcjy drag a
milk-cart around than see a chase from
tree to tree in the approved movie manner.
There was more suspense, as far as I was
concerned, at the children's birthday party
wondering whether Jackie's feminine dis-
guise would be penetrated than in a
million rides-to-the-rescue. And I dis-
like child actors intensely.
Jackie Coogan is no child actor. He
is a mature artist, and that is what's
getting to be the trouble with him. He
is growing up too fast for his age. He
has to strive now to keep within childish
limitations. Artistically he is years older
than most male stars; and now and then
an expression will creep in which is in-
congruous with his stature. His panto-
mime is as perfect as that of Chaplin or
Pickford. He and Teddy are a great
team. The Sennett dog has done it, too —
deserted comedy for emotional work; and
his success is striking. If there is any
more charming picture than these two
old-timecs in art afford in A Boy and
Dog of Flanders I'd like to see it.
Gloria Saves Society Scandal
TTf The Laughing Lady could see herse,f
as A Society Scandal she'd die laugh-
ing. Her hysterics would be occasioned
by the caricature the film people have
made of her. It's a very expensive
caricature by Gloria Swanson, posed by
Allan Dwan against a background of New
York motion picture high-life.
When I saw it the spectators
laughed, too; but it was indulgent
mirth without malice. The audience liked it. I liked
some of it. You will, too. Gloria is gorgeous in gowns
and gestures which would be ridiculous under other auspices.
She is a vivid, if harassed heroine, and she is made to suffer
and suffer; but does she make her tormentors pay? Well,
you just should see Prosecuting-Attorney Rod La Rocque
when she's finished with him! If anyone but Gloria acted
it; if any other director supervised it, A Society Scandal would
seem a horrid dream. But the way it is, with a flash of humor
now and then, and the always-interesting and pictorially ravish-
ing Swanson, not to mention three leading men — if you don't
like Ricardo Cortez you may like Allan Simpson; and if they
bore you there's always Rod La Rocque — you're not likely
to walk out on it.
Gloria has a new personality; a mental face-lifting. Her
sartorial obligations do not weigh as heavily upon her as they
used to. She has stopped posing and has begun to act.
Limes' of the Field Tiresome
Iillies of the Field has one scene which got by the censors
d all right, but goodness only knows how. It is quite the
most daring thing I have ever seen and will undoubtedly
bring the blushes. I am not at all sure that young people should
bring their parents to see this Corinne Griffith picture because
of it.
It is the scene, my dears, in which Corinne Griffith exposes
to the camera an entirely uncovered ear! Her hair is all
right on one side but when she turns, there it is. To the
best of my recollection it is the first feminine ear we have
ever seen in celluloid. I suppose Corinne knows what
she is about but she should consider
her public — all the little children who
flock to see her pictures, and who
have set her up as an idol of all that is
good and sweet and beautiful. However,
it is her own affair; she'll just have to
make the best of it.
Outside of that, there is nothing so
shocking about Lillies of the Field. I
wouldn't call it a wholesome picture be-
cause its moral is false and its preach-
ment unreal. It strives for piquancy but
its sparkle is forced. It endeavors to
portray the divinity of mother love and
succeeds only in becoming tiresome.
There are bits of real humor and
character furnished by Myrtle Stedman
and Charles Murray. I hate to call such
an attractive woman dependable, but Miss
Stedman is. She's never failed to present
a human portrait.
Corinne Griffith has always been one
of my candidates for glory, but all she
does here to live up to the future predicted
for her is to look exceptionally lovely.
It was a terrible part and Corinne may
have disliked it as much as I did. I
hope so.
P
OlDoug, producer, is
than Doug, actor,
longest and highc
made.
Happiness has Sprightly Humor
eg o' My Heart in another costume
and minus Michael — that's Happiness.
Laurette Taylor is the supreme gamin of
the stage and she brings almost as much
sprightly humor to the screen. She is
the Peter Pan of both. The play by
ten times greater j Hartley Manners has been translated
Bagdad is the { scenario by the author. It's just
st jump he ever J J
a slight {Continued on page 94)
50
Home Life of the Stars
*\The much monogrammed Mr. Mix
dashes home for a fitting with his tailor.
Second of a Series by George H. Klisbee SI
QDr. Balsinger and assistant about to perform operation for removing hump of bridge of Helen Ferguson's nose.
New Noses for Old
(\Bobbed noses are the latest fad
in merry Hollywood
/ / TT"UST let me get a glimpse
of a girl's nose, and I'll
~ J tell you what her fate in
pictures will be," a famous
director said one day at a studio cafeteria, as he finished his
plate of wieners and sauerkraut, and prepared to go back to
toil on the movie lot.
"Yes, sir," the director continued. "A nose is the most
important feature. Take a certain little blonde star addicted
to jazz roles, for instance. One day the dainty little actress
sought the aid of an Irish attorney in Los Angeles, in trying
to hold her producers to their contract made to star her in
a series of pictures. After seeing the rushes on the first
picture, the big boys decided the star wouldn't go over.
She did not screen well, but they couldn't quite decide what
was wrong. She is the Nell Brinkley type, blowy hair,
laughing mouth, and upturned little nose lying flat against her
rounded face. The attorney asked to see the close-ups and
after a moment exclaimed: 'Why, girl, it's that little flat nose
that's queered your contract.'
"The star was in-a rage, but the lawyer finally persuaded her
to go to a plastic surgeon, who built
her a classic nose out of the material
on hand. The result was a swollen nose
when she reported for work the next
morning, but when the nose had gotten well, new tests proved
that the plastic surgeon had saved her contract for her. The
joke of it is that the little screen star posed as 'a poor
working girl' and got her nose remodeled and her contract
cinched for twenty-five dollars."
The director went on:
The Bossy Nose
6 (, ttust analyze the next girl you see. You say to yourself
on meeting her, 'A disagreeable, managing sort of person;
I bet she nags her husband — won't even let him' go to the mystic
shrine." Ten to one, that woman has a prominent nose, an
'I'll go before and prepare the way' sort of nose, a buttinski
nose, if you get what I mean? Her eyes may be limpid
blue pools, her skin may be like rose leaves; but can she live
down that nose? I'll tell the world she can't.
By W. Ellen R
eamy
52
"Take a girl — any girl — with a — well, pug nose — you know
what I mean. An old-fashioned pug nose. Little stubby nose,
that seems to be scenting the air eagerly, aquiver with demure
interest, but not 'nosy' — oh, no! That sort of girl means a
cuddly, dimply girl, the kind of girl a man just must protect.
She may have freckles — probably has — and straight mouse-
colored hair that means an eternal hair-dresser's bill; and
her eyes may have a squint in them. But I'll wager every girl
with one of those cute little pug noses gets married. Ever
notice how many long-nosed old maids there are?
Winning Out by a Nose
ggnpHAT was one of the troubles with Lillian Walker. She
-U- had everything that goes with a pug nose — except the
pug nose itself. Understand, I don't say a girl should bob
her nose, like she bobs her hair, but if Lillian had taken a
quarter of an inch off her nose she'd probably still be one of
our foremost screen flappers. Marguerite Clarke held on as
long as she did by her nose, and believe me, there was no
hook on it to hang by, either!
"If Helen of Troy had had a knob on the end of her beezer,
no amount of beauty lavishly distributed over the rest of her
map would have launched a single ship. Believe me, history
or no history, I'll wager Helen's nose was petite, and not
strictly Grecian.
"You just can't get chummy with a classic nose. Maxine
Elliott, for instance, was ranked a reigning beauty, but I'll
bet no one wanted to cuddle her in a taxi-cab. Her swains
probably kissed her hand reverently as a good-night salute.
And no -girl wants to be left that way. As Geraldine Farrar
once said to me when we were working together on the
Goldwyn lot, 'I envy the cuddly girl. Most women don't
want men to respect and admire them as goddesses ; they want
to be babied and cuddled'." The director slipped the last
of his apple pie beneath his Grecian nose and felt that he
had done his duty by the industry for the nonce.
That was — that!
1
Helen Ferguson Sets the Fashion in Hollywood
TrTHETHER these remarks had anything to do with it or not,
' v Helen Ferguson went and had her nose bobbed. She
had been able to withstand the mob influence in the matter
of bobbed locks, but to go about longer with a nose which
did not express her personality was a trial Helen just couldn't
meet bravely.
And Helen is one of the best little press agents in the
business. Count that day lost that does not see an account
of Helen Ferguson at a meeting of the Thirteen Club, or
considering the offer of a producer, or teaing with Mary
Pickford, or delivering a speech in the First Methodist Church,
or something; anything. Just a good business woman. Part
of her job. So when Helen made up her mind to have her
proboscis shortened, she saw in it a good publicity stunt.
Her last conscious act was to pose for the picture which
accompanies this article.
We have not seen a picture of the liquid-eyed Helen since
her nose has lost its aquiline definiteness. Undoubtedly, Helen
now has a charming little sniffer, with no annoying hump —
slight though it was — to stand in the way of her screen
success.
Fannie Brice started all this craze for bobbing noses. Irene
Castle, who usually has the honor of inaugurating fashions,
the bobbed hair vogue for instance, couldn't oblige in this case.
For she is the proud possessor of one of the finest noses in
the whole theatrical profession. {Continued on page 96)
ong of a Spinning Wheel
Confidences Overheard in a Studio Prop Room
Bj/ "Delight JUvans
y \ < NJHE Spinning Wheel Spoke First.
Said she:
"I Declare
I Never
Get a Moment's Peace
These Days. Just
As I Compose Myself
For a Little Honest,
Weil-Earned Rest,
Along Comes Peter,
And Drags Me Out Again.
I Never Used
To Complain. But
You Know, I'm
Not as Young
As I Used to Be."
6 (/ah, Shut Your Face!"
vJ' Whirred the Phonograph.
' Don't You Go
Trying to Hand Me
That Old Line.
I Suppose You'll
Be Telling Me Next
That You're a Gen-u-ine
Antique."
The Spinning Wheel Spouted.
She Began
To Revolve a Little.
"I'll Have You Know,"
She Buzzed, When
She Could be Heard
Above Her Own Revolutions,
"That Martha Washington Herself
Used Me Once; and George
Rested His Hand on Me.
I
Am No Common,
Noisy,
Twentieth-Century Upstart.
I have been Handed Down, and
Handed Down "
6 t^xov Look It!"
Ji- Laughed the Phonograph.
"Why, You're All
Worn Out. They Don't
Even Use You
In Important Pictures
Any More. The Last Time
They Sent for You,
For that Epoch-Making
Revolutionary- Drama,
The Director
Took One Look at You
And Said,
'Take that
Decrepit Old Thing
Away ; and Tell the Carpenter
To Make me a Nice New One.'
Pete Said,
'But she's
The Real Article -
QMartha Washington
herself used me once
—said the Spinning
Wheel.
54
I belong to the
younger gen-
eration — said
the Phono-
graph.
The Spinning Wheel
Was Sobbing :
"Peter
Is Loyal. He Still
Likes Me. He
Knows the Real Thing
When he Sees It. Not
That I Wasn't Grateful
For Not Being Put to Work
In that Super-Feature.
It would have Meant
A Long. Hard Grind; and
I Can't Stand that
Any More. But Now —
Now "
i 6 all they Use you For,"
Sputtered the Phonograph,
"Is Vision Scenes. You
Can't Stand the Close-Ups,
Old Dear, and
You Might Just as Well Get Used to It
Now, I —
I have Been
In Constant Demand Lately.
Director Buldge
Is Doing
Dirty Daughters ; and
There are any Number
Of Snappy Scenes
For Me to Be In.
I'm
A 1924 Cabinet Model,
My Dear Girl.
I'm
In the Pink of Condition.
I Shine. I Sparkle.
Inside of Me,
Are all the New Jazz Records.
As for Close-Ups —
Well, in my Last Release,
Passion's Paradise,
My Face was Photographed
At Least Three Times, with
My Very Latest Record
Running. The Leading Man Himself
Has a Scene
Leaning on Me."
< «7T Wouldn't be Seen
In Such Company,"
Said the Spinning Wheel,
Her Dainty Form
Trembling with Anger.
"No,"
Shrieked the Phonograph,
"You Never Will.
You haven't Appeared
With a Principal
In Two Years. And then
You Fell Down on her."
"Oh, oh," Moaned
The Spinning Wheel,
Her Spokes Quivering
In Inarticulate Anguish.
"I Don't Want
To Be Hard on You. Old Girl,"
Continued
The Cabinet Model, in a
Milder Key. "Because,
After All, 1
Have been Having
Everything my Own Way.
I Belong
To the Younger Generation, and
We're All
Pretty Much in Demand
Right Now. Besides,
I Have
A Surprise for You."
Her Curiosity
Got the Better of
The Spinning Wheel.
She Whirled a Little.
"Well?"
"Well, Old-Timer,"
Blared the Phonograph,
(Continued on page 91)
Alberta Vaughn
(\A comedienne who is proclaimed to have more
sex appeal than any other girl in Hollywood.
Bj/ Lucille \,arrimer
/ / //^HE'S a riot, positively!"
^^^y Such was the verdict of Alberta Vaughn's pub-
l )1 licity writer. The verdicts of publicity writers
have been known on rare occasions to veer from
the line of strict impartiality, but
The best known photographer in filmdom states flatly that
Alberta Vaughn has the most beautiful figure on the screen.
Furthermore, Hollywood's Famous Director has declared
that Alberta Vaughn has the most sex appeal of any girl in
Hollywood.
In a profession of Gloria Swansons, Nita Naldis and Corinne
Griffiths, that statement carries a wallop!
"I would observe this riot," I mused. "I wonder, can she
act?"
I found Alberta huddled in an ermine wrap on the sidelines
of an F. B. O. set, observing, with lively interest, two speedy
lads battle a fast round for a fight episode in The Telephone
Girl, the film version of H. C. Witwer's celebrated stories in
which she is being starred. Alberta is Gladys Murgatroyd, the
slangy telephone operator heroine. Across from us and beneath
the ring, a couple of hundred extras filled the bleachers, earning
their seven-fifty with a minimum of effort. On signal from the
director, they cheered. On signal, they lapsed into apathy,
as automatically as water is turned off from a tap. Albert
Cooke, in his checkered vest and ever-present cigar, leaned
against the ropes, exuding satisfaction with the world and him-
self, and Kit Guard, his battle-scarred face wreathed in a
crooked smile, waved an encouraging towel at his battler.
Alberta smiled radiantly and hospitably patted a near-by
chair. We chatted clubbily of ships and shoes and sealing wax,
and the chicken sandwiches her mother made for Alberta's
party for her new club, "The Climbers", and where did I
get the blouse I was wearing and did I think she could buy
some silk like it, and the relative merits of lamb chops-and-
pineapple or prunes as a reducing diet. Alberta held out for
the former, on the grounds that you could get filled up on
chops and not on prunes. Then we viewed several installments
of The Telephone Girl.
For those who are interested in biography, let me state that
Alberta got her first job at Lasky's because of her beautiful
back and lost it because she was naive enough to admit she
was only fourteen; that she has since been leading lady in
Fox and Christie comedies and recently played opposite Harry
Langdon in Picking Peaches; that (Continued on page 90)
56
7 he DUKE
of Hollywood
(\That is his title along the
Boulevard; but, to the people
who know him best, Theo-
dore Roberts will always
be— The Grand Old Man
of the Screen
By Alma Whitaker
"F ever Hollywood was hushed and misty eyed
was when the dread news came through
that Theodore Roberts was on the brink of
death.
Hollywood always knew it loved this grand old
man of the screen, but not until then did one
realize how much, how deep-seated and vitally
sincere was that affection. It was as though
the life of a deeply beloved father hovered in the
balance. Even the most frivolous of merry little extra
girls hushed their voices and forgot their mascara. Yes,
and even the haughtiest of screen nabobs waxed
sentimental and throaty as the daily bulletins were
discussed.
Not for nothing is Theodore Roberts thus loved. For
while the film fans know him chiefly as a jolly old dog
with an everlasting black cigar with which he can do
more things than most actors can do with a hundred
stage "props", Hollywood and his host of personal friends
know him as a peculiarly kind, cultured, delightful old
gentleman, just bubbling with the joie de vivre, witty and
keen, but never sacrificing a friend to his wit, a
lover and collector of all sorts of strange pets, and a
vivid, understanding sympathy with, and for, every kind
of human.
For sixty-four years Theodore Roberts has been
making friends. He was born in San Francisco in
1S61 and went on the stage at the age of nineteen.
Before that he had had some sea training (and,
incidentally, he is a wonderful swimmer, as was
proven in the famous shipwreck scene of Male
and Female). So his people bought a lumber
schooner for him to lure him away from the stage
and for two years he sailed the bounding main. But the
stage was his first love and he returned to it — with the
added tang of the sea which must have helped to give
him that beloved rugged personality.
And he was playing as leading man with Fanny Daven-
port and delighting theatre audiences a's Svengali in Trilby,
and as Simon Legree in Uncle Tom's Cabin soon after that.
But it was as a character actor, in a Denver stock company,
that he met Cecil de Mille in 1903, when that now august
gentleman was but a juvenile extra, and that great boy-and-
man friendship ripened into a fast and concrete thing. Together
they roughed it, starved, hoped and feared, So that when,
x
|f /
in 1909, de Mille, then a
Lasky director, heard of
Roberts' whereabouts, he
sent for him to come to
California to share his then
uncertain picture future.
The very first picture Roberts played in for de Mille was
Puddin'-Head Wilson, of which he played the title role. After
that he was the Hudson Bay factor in The Call of the North,
then the Yankee Consul, then in Old Wives for New, and then
as the fantastic Lord Loam in Barrie's Male and Female.
And, of course, his latest and greatest screen role was that of
Moses in The Ten Commandments.
One of the most touching incidents which proclaims the
beloved personality of this father of filmdom, often affec-
tionately dubbed "The Duke of Hollywood", was when he
recently played in William de Mille's '{Continued on page 99)
57
CUPID
(^Presenting Dapper Dan
in a New Role
By Anne Austin
Illustrations by J. A. Ryan
[/■ T? NJHERE is a press agent in screenland
who doesn't get a cent of money,
yet he works for every company on
the two coasts and gets more "dope"
in the papers than any other publicity man
in the game.
He is never idle, this pint-size, censorable
little press agent — for he's shockingly nude —
and he enjoys his work more than any weary
dopester in the whole business, no matter
what his salary. Paul
"Daniel Cupid, Esquire! Free
publicity of the most valuable
kind. The public eats it up," reads
the card which he ingratiatingly
hands out to his prospective
clients — every unmarried player in
the whole screen world.
For be it known that there are
two kinds of publicity — desirable
and undesirable. It is undesirable
publicity to get a divorce, to be
sued as a co-respondent, to be
mentioned in a suit for recovery of
damages or back salary; to be
arrested for bootlegging, speed-
ing or non - payment of alimony.
These comprise the daily litany of the star, to which he or
she fervently adds: "Good Lord, deliver us!"
Desirable publicity consists of signing new and advantageous
contracts, trips to Palm Beach, being among those present at
a party given by Mary Pickford and Doug Fairbanks or by
the Charlie Rays, who are "society," you know; of touching
accounts of how the gracious star supports her family and gives
away ten thousand every year for charity; of accounts of the
star's trip to Europe to film
scenes for a great historical
play; of verbatim reports of the
great speech the great male star
made on Armistice Day. And
lastly, desirable publicity con-
sists of rumors of engagements,
announcements of engagements,
denials of engagements, confirma-
tions of engagements, and ultim-
ately the golden notes of wedding
bells! For all these, see Mr.
Daniel Cupid, Esquire, the
ubiquitous press agent, the only
Charlie Chaplin reliable purveyor of information
58
NX
Winifred Westovcr
on matters of the heart.
Cupid loves the stars, male and female.
He loves to see their names in the paper,
when he himself writes the story. And Cupid
has the right idea. We Americans are in-
curably romantic. We get a vicarious love
kick out of reading that little May McAvoy,
who is our idea of an adorable sweetheart, is
engaged to Glenn Hunter, though they both
primly deny it.
If there is a single old saying- that is abso-
lutely true, it is that one about all the world
me Gar on loving a lover — and his sweetheart. Strangely
enough, we don't care so much
about them after they are married,
but we are as excited as debutantes
over an announcement luncheon
for their most popular member
when we read that two of our
friends — and to all fans the picture
folk seem to be personal friends — -
are romantically interested in each
other.
But even Cupid, who seems to
want the whole world to be in a
tangle of engagements, rumored,
denied, broken or in good working
order, seems to have his favorites.
Else, why is he so partial to Constance Talmadge? Before
Connie married her Greek tobacco king, she was rumored to
be freshly engaged at least once a month. The screen maga-
zine that had the courage to come out without a new announce-
ment or rumor regarding the vivacious and wholly desirable
Constance was doomed to be scorned by the disappointed read-
ing public. The sympathy of the public was wholly with Connie
in her reported dilemmas over whom to marry. Why shouldn't
she be choosy, a pretty, smart girl like Connie? Lucky dogs
to be even mentioned as pros-
pects! And the rejected suitors
got scant sympathy in their for-
lorn condition, for Connie's very
capriciousness was loved by her
fans.
When Constance finally mar-
ried her Greek, who was the dark
horse in the matrimonial race,
her puf lie felt distinctly cheated,
but was willing to wish her luck.
Probably there was not a
single fan who mourned with the
handsome tobacco merchant
when Constance found that she
Claire Windsor
Mary Miles M inter
as a Press Agent
had made a mistake. Again Connie was free! Again the de-
lightful game of picking suitors was open to her, and, vicari-
ously, to the public. There have been many candidates for the
fair Talmadge hand since the divorce was granted. Good-looking,
successful Irving Thalberg, the boy wonder of the Universal
plant, who is now with the Louis B. Mayer studios as produc-
tion manager, seems to have had the inside track at various
stages of the interesting race. Irving Berlin, the New York
song writer and impresario, formed grist for Dan Cupid's
typewriter on many occasions, and it is doubtful if the little
press agent is through with him yet.
The two Irvings are almost lost in the
crowd of suitors, however. Business men,
directors, actors rush into the day's news,
carefully edited by Press Agent Cupid. If
Constance should marry with finality, Cupid
will probably feel a bit resentful. She has
been such a good news source!
But if Connie deserts him for a second
trip to the altar, there is always Mary Miles
Minter. M. M. M. should be eternally grate-
ful to Cupid for his unflagging devotion to
her career. There is so little that can be
written about a pink and white and gold
ingenue! Desirable publicity, we mean! Of
course, there was that unpleasant affair of the
mother and the money, with which neither
Betty Compson
Mildred Harris
Pola Negri
Cupid nor a paid press agent
had anything to do. If Cupid
hadn't stepped in to help the
Lasky publicity force, and later
Mary's personal press agent, it
is just possible that there would
have been very little about
Mary Miles in the public prints.
It is so hard to get newspapers
all agog over such items as can
safely be printed about a little
blonde ingenue who is sewed up
on a five-year contract, and
whose Mama sees to it that she
leads an entirely secluded life.
Cupid himself almost despaired over Mary Miles. For so long
as Mama reigned supreme there were not even any rumors
about engagements. Mama, you know, was determined that
all the world should think of her little girl as a mere infant,
although they do say that Mary was of legal age considerably
before she had the courage to make the matter public and
demand an accounting. Remember what a shock it was when
we read those childish little love letters Mary had written to
William Desmond Taylor?
But as soon as Mary was
emancipated, she became a
wonderful client for Dan Cupid,
the world's best press agent.
Cupid's foot slipped for the
very first thing, though, for in
his zeal to get Mary all dated
up for marriage, he let it get
out that she was engaged to
Louis Sherwin, dramatic critic
and playwright. The only flaw
in this publicity was that Sher-
win was already married and
had two children. Even Cupid
Bill Hart can't always control the forces
he starts. Some of the re-
sultant publicity about Mr.
Sherwin's almost destitute family
was not so good for Mary Miles.
But Cupid is an indomitable little
rascal. Soon he had Mary rumored
to be engaged to Hunter Kim-
brough, a charming young fellow from Alabama, brother-in-law
of our distinguished contributor. Upton Sinclair, of Pasadena.
Young Mr. Kimbrough's romantic southern manners probably
influenced Dan to interpret a warm friendship into an engage-
ment. At any rate, Mr. Kimbrough went back
south without placing a ring on Mary's finger.
Probably Cupid didn't wholly approve of
the fight between Mr. Charles Chaplin and
Mr. C. C. Julian, at the exclusive Petroushka
Club, for he neglected to make capital out of
the fact that Mary Miles Minter was a guest
of Mr. Chaplin on that memorable evening.
We haven't seen a single item in the papers
mentioning a rumor that Mary Miles Minter
is the latest enthusiasm of Mr. Charles Spencer
Chaplin.
On the other hand, Dan Cupid hasn't
neglected to make use of the occasion to further
the interests of Mildred Harris, nee Chaplin.
For Mildred was the dinner guest of Mr.
C. C. Julian on that memorable
evening in that same exclusive
Petroushka. And the papers
have fairly bristled with prog-
nostications about the romantic
intentions of Mr. Julian toward
Miss Harris.
Maybe when Cupid writes
these little stories he thinks a
bit sadly of the other suitors
about whom he wrote so defi-
nitely such a short time ago.
We can still remember when
Mildred admitted her engage-
ment to Mr. Byron Munson, Constance Talmadge
tall and blond young motion picture actor, obscure, but very
handsome. And we can't quite recall ,the name, but we do
remember the item hazily about the foreign nobleman that
Mildred was going to marry just recently.
Cupid's interest in Mildred dates back to her marriage with
Mr. Chaplin. It is not often that Cupid has a chance at such
a beautifully romantic story as that. "The greatest comedian
marries beautiful but obscure actress" — that is the sort of
thing Cupid just dotes on writing. And that we, the public,
love to read. But Cupid folded
his little wings and crept away
when that most romantic and
promising of all screen mar-
riages began to erupt painfully
into the newspapers. But
Cupid is happy again that the
lovely Mildred is free and once
more a client of his. The busy
little chap won't let her rest
until he gets her married
again. According to latest dis-
patches he's busy at it now.
(Continued on page 97)
Corinne Griffith
59
QThe Utile Bonnie Brier Hotel — just across the street from the big and fashionable Hollywood Hotel on Hollywood Boulevard.
I
-n^HEY call it
the Bonnie
Brier Hotel
— not fash-
e m o r i e s
Alma ^Wh/laker
takes you to a little-known hotel — the home of many
a one of Filmdom' s Pioneers— a Storehouse rich
in memories
ionable like the Holly-
wood Hotel, across the street, but better suited to uncertain
purses. A genteel place, dignified, and sheltering so many of
those who had-been, who might-have-been and who wistfully
hope that "being" may still be theirs by some happy trick
of fortune.
And here I met many men, lonely men but for their lonely
comrades, waiting men, hoping men, thwarted men, cynically
genial men, who between them are so sure they know "what
is wrong with the movies" and could, were authority theirs,
redeem the industry for the great future they once saw for it.
And they love filmdom — and hate it — in a breath. They
must live in its midst, hoping on, seeing and knowing every
tiny detail of its life, watching the dizzy rise and glamour of
its satellites, the progress, the scandals, its very soul.
Take David W. Gobbett. A name to conjure with, that, in
the early infant days of filmdom. David, who saw such visions
for "moving pictures," David who devoted himself to research,
studied electricity, delved into the finer technicalities of photo-
graphy, applied himself to improving "projection" and made
those very first motion pictures of the Boer War, 22 years ago,
a deep scientific dis-
sertation on The
Growth of the Mo-
tion Picture from the
Primitive Germ, and
the fourth book of De
David, who won triumph
lovingly traces its history back to
rerum natnra, by Lucretius, 65 B. C.
with his first story picture, Dolly and Her Doggie, the scenario
for which cost $1.25, eighteen years ago. David, who as an
expert and adventurous camera man, made the first travel pic-
tures, Over Livingston's Trail in Africa — really the father of
the popular travel pictures today. David, who waxes fondly
reminniscent about Buffalo Jones' Expeditions, and the begin-
nings of the Pathe news pictures, for which he was the original
camera man. It took him all over the world, amongst the
great everywhere, and all the time he was making researches,
aiding in improvements, and rejoicing as the industry emerged
through "vellum diffusion," to glass studios and artificial light-
ing, Aristo arcs, mercury vapor and now to that condition which
necessitates the electric light bill for a production being far
greater than the cost of a whole production a few years
ago.
Then he went to war — and somehow that caused a slipping
back. Where he had once been a prince of his trade, he found
himself a back number.
60
Oh. yes, they still want travelogues and he is still doing
them — but not so frequently and not such important
ones. And all the time he wants to get into a big
studio and conduct their camera work, apply his vast know-
ledge of lights and shades learned direct from Nature, show
them how certain mistakes now being made can easily be recti-
fied— and being snubbed for his pains. And. so', behold David
frustrated, wistful, ambitions, critical — but still loving this
amazingly self-sufficient child of his, this industry that is break-
ing his heart.
A Leading Man with Fanny Ward
OR there is Paul Weigel. a merry,
sophisticated. whimsical old
actor — a stage success from 1885.
who migrated to pictures in 1906.
playing in filmland's first sinful
perpetrations — notably Tennyson's
Mort produced by Universal
as Naked Hearts. He joined
Lasky's when that glamourful institution was but two
years old, playing leading roles with Fannie Ward — Each Pearl
a Tear, for instance. A brilliant scholar, he translated several
foreign plays for Mrs. Fiske — he was in her company in 1900.
He can talk for hours of enthralling reminiscences of the used-
to-be great. Loves to recall Duse. Bernhardt and Saxe-Coburg
Company from Germany, all playing Magda in their various
languages in London at the same time.
Pictures were pretty good to him at first — and even lately he
was Gloria's papa in Bluebeard's Eighth Wife, and Napoleon
III. in Mae Murray's Mademoiselle Midnight. But that only
means a few days' work once or twice a year — and filmland is
breaking his heart, too. His ambition is to go back on the
legitimate stage. "I would rather die a success on the stage
than live rich a screen hero," he says. But, all the same, he
will eagerly take the very next part that is offered in Hollywood.
Walter Coburn is
much younger — and
only here temporarily.
Walter writes exciting
cowboy adventure
stories and wears golf
stockings and handsome
tweeds, and went to war
in the air service. But
Walter is feeling the
lure of Hollywood. And
Q Hollywood is a young man 's town.
But do not think that it has not its
memories and its historians. Mm
Whitaker has written here most feel-
ingly of the men who carry in their
hearts the memories of a Former Day.
Hoxie of Universal is filming one of his cowboy stories. Walter
still sees the future before him, but he is getting a little cynical
as he listens and learns at the Bonnie Brier.
From Shakespeare to Slapstick
But Barlow Borland now — does that name conjure up any
memories? Borland, one of the finest and most highbrow
Shakespearean actors of his day. Fine old Scotch Presbyterian
stock — ran away from home in
the dim and reckless past to join
Osmond Tearle's Shakespearean Com-
pany (Conway Tearle's father) in
Great Britain. Flas played a score of
Shakespearean roles, even unto Julius
Ceasar. He says he was propelled into
pictures ten years ago — and played
with the deiunct Tannhauser
Comedies of crude and painful mem-
ory. From Shakespeare to slapstick.
He isn't very communicative about his picture career. It
is easier to wax enthusiastic about the old stage days and
glories — in Romeo and Juliet with Ethel Barrymore, in The
Tailor-Made Man, in Clarence. All the same he is to be seen
in Little Old New York, in Potash and Perlmutter, in Her Man
and a few other films — in inconspicuous roles. And, when you
ask him what his ambition is, he grins cynically and says, "To
be Chief of the Police of Los Angeles for 24 hours."
A Vaudeville Sketch Writer
Here, too, you can meet Robert Courtney. Robert, an old
newspaper man who has worked on half the best news-
papers in the country and is steeped in wide and versatile knowl-
edge. But Robert always hankered for the theater, and
privately he has been writing plays. It took long years and
infinite patience. And
his address was a trifle
unsettled. So that it
was long after that
he learned he had
won the Little Theatre
Prize with his play.
The Clock, for 1923.
that it had been actual-
ly played on Broadway.
{Continued on page 83)
OPaul Weigel — ployed leading roles with
Fanny Ward. in days gone by — today is do-
ing "bits" in Hollywood. In vain he yearns
for the footlights and declares, "I would
rather die a success on the stage than live
rich a screen hero." (Above)
(\From Shakespeare to slapstick — that has
been the tale by Barlow Borland, scholar
and actor. (Leit)
<XThe professional care of Frank Norcross
sevenly-lveo years old, bi-:rs this brave and
gallant offer — "character parts, anything
from bums to bankers." (Right)
61
(j)J a k e s &
Bj/ The Tatler
Sketches By J. A. Ryan
e t a k e s
I HAVE often wondered why Ivor Novello
didn't take. He was hailed and hur-
rahed— a potential Valentino or
Navarro. Then he went back
land I've just found out
Ivor drank too much tea.
He'd drink tea eight times
a day. He loved his tea.
He couldn't get along with-
out it. This might not
seem to have much to do
with his failure to knock
you off your theater seats
in The White Rose; but it
had. Novello was an ex-
cellent actor; he was handsome; he was charming. But the
camera was unkind to him When he smiled, his face was
ghastly. But a dentist solved the mystery. *'His gums
have shrunken." he declared, "from drinking too much tea."
And the camera caught it, and gave him that sad look.
Producing companies are now tying up their stars with their
most successful productions. We hear of Colleen Moore as
the "Flaming Youth Girl," Lois Wilson as "The Covered Wagon
Girl," Mary Philbin as "The Merry-Go-Round Girl," and so
on. Let's give the fellers a chance and present Valentino as
"The Shiek Boy," Adolph Menjou as "The Woman of Paris
Man," and Theodore Roberts as "The Ten Commandments
Kid."
A movie star and a male star, lead,
Had just decided to wed,
He'd bought the ring, the darn old thing
Then he cracked her over the head.
When folks all asked why the thing was off —
For their love had been divine —
"On the cards, this dame, she wanted her name
In much bigger type than mine!"
LOST
head.
A valuable walking stick by an actor with an ivory
But i
HAVAN'TA
TllWG TO
A
A Good Part for Alice
lice Joyce has gone to England to play
The Passionate Adventurer for Selz-
nick, working at the
Famous Players studio
on the outskirts of Lon-
don.
Just before she left
I asked Alice what her
part was Alice, who
looks younger and
prettier than ever in her
shingle hair-cut. re-
torted: "Eight evening
gowns and three negli-
gees"
np HE motion pictures seem to be in for it. Just as Will Hays
gets censorship nicely settled in some States, a certain
tooth paste manufacturer comes out with the announcement that
they are Fighting The Film.
Fire extinguisher companies report an enormous sale in their
squirty old product to motion picture theatres since every mo-
tion picture company is producing a "Flaming Something" pic-
ture.
* * *
A certain motion picture star that I know arrived at a
New York hotel, and when the clerk requested that he regis-
ter, asked absent-mindedly:: "What, sir? Love, hate, grief
or gladness?"
* * *
Monte Blue Most Honest Actor
"If must tell you that Monte Blue is the most honest
-W- actor I know. I have been wanting to tell this
on Monte for years. He visited my office several years ago
and annoyed me exceedingly. He picked up a nice quill pen
one of my admiring friends had sent me — I had hoped to keep
it always to prove I had a reader. Monte kept thumbing it
until I took it gently away from him. But I liked him any-
way. I asked him if he was married and he said, "No, I'm
not." Soon after he said good-bye. He was gone five minutes.
Then he came dashing back.
"I'm sorry," he said, draping his contrite six-feet-something
on my desk. "I couldn't go away and let you think that. I
am married."
When Film Fans Get Together
When interviewed, stars — especially
ladies — like to ask the interviewer what
other victims he has
had lately. And they
also like to corner
the harrassed
questioner and give
him, or her. a dose
of his own bromides.
The almost inevit-
able question is,
"Have you met Nita
Naldi? Well, and
what's she like?"
Nita would doubtless be flattered if she knew the amount of
curiosity and interest she occasions among the other feminine
luminaries. Only the other day a very celebrated lady whose
name shines in large electrics said to me confidentially: "You
know, I've always wondered about Nita Naldi. Is it true she
never wears stockings?"
Little Jack Horner
Sat in the corner,
Eating his Christmas pie;
He put in his thumb
And pulled out a plum —
Quoth he, "It's Ben Turpin's eye!"
02
Hp wo of the really important
events of the day are Marion
Davies' appointment as honor-
ary colonel of a regiment sta-
tioned at Plattsburg where she
went on location for Janice
Meredith — someone suggests
she should have been made a sweet cap-
oral; and Charles Ray's return to the
Thomas Ince fold after Miles Standish had
made his bow to the public and the pub-
lic had not acknowledged the introduction
in a particularly effusive manner.
Cop Befriends Mary
re Mary and Doug making a Cook's tour? Ouch! But
they are taking their chef along to Europe so that Mary
will have her food prepared in the customary manner.
The Manhattan premier
of The Thief of Bagdad
drew the usual curious
throngs. Stars have been
known to complain of the
crushes which invari-
ably accompany first
nights at which they
are scheduled to
appear, positively, in
person ; but stars have
never been known to
avoid them by arriv-
ing early at the thea-
ter. Mary, to escape
the crowds and their
rough ways, was car-
ried into the theater
by a willing cop.
Where the Stars Shop
You may think all screen stars shop in search of high prices.
Oh no. Most of the ladies I know are realy economical.
They purchase a Parisian wardrobe to be photographed in, but
around the house they are quite content with ""just a rag,
my dear — picked it up for a mere trifle."
For instance, Marion Davies, who has a tidy little income
if any girl ever did, buys many of her informal frocks at a
little shop on upper Broadway, New York. Madame
selects from her stock the dresses she thinks Miss Davies
would like and sends them up on approval. Shopping made
easy! Alma Rubens patronizes the same shop. Of course both
Marion and Alma are well supplied with imported creations,
though Alma says that on her last trip abroad the clothes she
bought were worn out long before she sighted the goddess again.
-jr illian Gish used to have all
JL*/ her quaint clothes made by
a Los Angeles dress-maker. She
told me once that for a long
time she boasted only one even-
ing dress. Mary and Doug
shopped for her in Paris during
one of their European jaunts
i—r»M»& and brought back a score of
delicious dresses from a famous
couturiere. Today Lillian does most of
her shopping in Rome, with gratifying
results. Both Gishes go in for the
sweet, simple, and girlish. Lillian, by
the way, used to wear high-necked
flannel nighties — not so long ago, either.
As a matter of fact,
most of our girls
evince pretty good taste
in apparel. Elsie Fer-
guson tops my list.
She's always perfect.
Corinne Griffith designs
most of her own things,
consequently providing,
almost always, a picture
of what the well-dressed
girl will wear. Mabel
Ballin makes many of
her own dresses, and all
of her own underwear.
Mabel likes nothing
better than to do a little
fancy stitching in her
dressing room between,
scenes. She used to
make all Hugo's shirts
and, what is more, Hugo always wore them.
Is any bug safe?
Hal Roach gathered together a flock of animals and pro-
duced his Dippy Doo Dad Comedies, and now Louis H.
Tolhurst has assembled a cast of bees, butterflies and ants to
uplift the Drama. Why not put one over on Doug and produce
"The Thug of Bagdad," with a Mexican Jumping Bean in the
title role.
Neil Hamilton's Present
Neil Hamilton has his first big chance in America. Griffith
promoted him to the lead in the current picture.
Neil hadn't seen the completed production and cornered one
of Griffith's aides who had. '"I say," he asked eagerly, ' how
is it?"
"Great!"
"Well." said Hamilton, "how — how am I? I mean, do I —
get over?"
"Boy," solemnly remarked the other, "you're a hit."
Hamilton's chest swelled a little.
"Am I, really?" he asked breathlessly.
"Yes," said the staff member a little wearily, making a men-
tal note that there was another young actor gone wrong.
"I sure am glad," beamed Hamilton. Because — " the aide
waited to hear chatter about a new car or a swell apartment
or a well-stocked cellar; "'Because now I can go out and bor-
row enough money to send the folks to Europe."
The senior Hamiltons cherished an idea all their married
lives — they'd go abroad some day. But they never quite made
it. When Neil heard he was "over", he dashed out and on
the strength of his success got enough money to send them
on a belated honeymoon.
Hollywood's Bad Girl
ois Wilson has said that she is good and tired of being
pointed out as Hollywood's good girl. If Lois really
wants to be wicked, which I doubt, we sug-
gest that she adopt a fixed program and
stick to it. As follows:
Discharge her Sunday-school class.
Eat pistachio nuts in
public.
Stick pins in doorbells.
Go to the Hippo-
drome and
hiss the elephants.
Trip up old ladies in
the subway.
63
L
Q Creator of the "atmospheric prolog, "
owner of the Egyptian Theatre, a born
showman —
r a u m a n
the pride of
Hollywood
By Eunice Marshall
IF you live in a small town where the motion pictures
at the Little Gem are still served up to the tinny ac-
companiment of an ancient piano, you probably do not
know of Sid Grauman. If you enjoy your film enter-
tainment at a metropolitan temple of the silent drama, as
the ad-writers put it, with be-pantialooned usherettes and a
fifty-piece orchestra rendering selections from grand opera,
you may still never have heard of Sid Grauman. But you
will be benefitting by his showmanship every time you enter
a theater.
Sid Grauman, of Los Angeles, is the showman of the West.
Incidentally, he is the "father" of the prologue and the
originator of half a hundred other innovations that have been
copied by enterprising exhibitors the country over. He has
done more to raise motion picture presentations to the dignity
of high-class legitimate drama than any other exhibitor; cer-
tainly he was the first, out where the West begins, to boost
admission prices to the $1.65 point and get away with it.
It was Grauman who first conceived the idea of dressing
his pretty girl ushers in flaring pantaloons and jaunty tarns,
employing them not only as ushers, but as ornamental pieces
of furniture, as much a part of the decorative scheme as the
velvet draperies and soft rugs. It was Grauman, too, who
made the movie theater a place of luxury, with salons fitted
up with luxurious divans and art paintings, and ladies' smoking
rooms — the latter an innovation indeed in the West. In his
Metropolitan Theater, he installed the only disappearing
orchestra platform in the country. On this platform the
orchestra rises to perform its part in the program and then
sinks from view as the picture comes on. It cost $125,000
to install.
Sid Grauman could no more help being a showman than
a fish could help having scales. Heredity did it. Grauman's
father was a showman before him, and the young Sid was
born to the theater. His first memories center around a motley
troupe of negro players dubbed by his father the Georgia
Minstrels. Grauman, Sr., played all the one-horse towns in
Minnesota with these Minstrels, and Minnesota is full of
one-horse towns. Admission prices were low then, and the
audiences none too large, and many were the drastic efforts
made by Sid's father to pay off those fifteen hungry players
on Saturday nights.
After the Minstrel show wore itself out, Sid's father opened
up a family beer-garden in St. Paul. Sid was strictly for-
bidden the place, though it was a highly respectable establish-
ment where Norwegian heads of families brought the wife and
children to enjoy a mug of beer and the variety show offered
by the management. But he remembers sitting on the balcony
of their house next door to the garden, watching with delighted
approval the "talent" on {Continued on page 101)
Q, Creator of "Classical Jazz," and
managing director of the Rtvoli
Theatre and the Rialto —
/ esen
-the pride of
New York
T
By Beth Brown
\f )( N^HE audience tuck the programs under their arm,
pull up their seats, button up their coats, and go
home, thinking the place shut tight for the night.
But when they have gone, a little army of ushers
with flashlights come mousing around the aisles looking for
lost things, and cleaning women with bucket handles for
bracelets descend the balcony stairs like ghostly queens, and
from backstage, comes a loud murmur of voices and a great
thumping of feet.
It is Friday midnight. The orchestra always rehearses then,
with lights up, but a house as empty and quiet as a church
after a sermon. Such strumming of strings and scraping of
feet. Enough of a racket to give a strong man a headache !
'Throo! Throo!" grunts the bassoon. The cello has a
retort for that. 'Thurump! Thurump!" it answers triumph-
antly.
A dancer, the only performer left of the evening's program,
comes curiously to the door, dressed in two breast plates and
a crimson sash. She smiles through her make-up, finding more
magic in the deserted theater than lemons in circus lemonade.
'Td love to dance!" she tells herself, but a bad case of stage-
fright comes over her, and she runs away. She knows that if
she dances to those rows~and rows of empty, staring seats, the
absence of applause will leave her with a heartache.
Everybody waits impatiently for the leader to appear.
Someone ccmes to the little trick stage door and through it,
but it is not he.
At last the door flies open and the leader comes out, small,
swift, laughing, as he touches his court favorites lightly with
his baton, threading his way between chairs. Max, the plump
drummer is one favorite, and Willie, the fiddler, another. But
come to think of it, they all are, since he spreads their bread
and butter equally thick with praises and scoldings
"Riesenfeld! Riesenfeld!" the whisper goes through the
ranks, and all eyes are turned his way. The strumming ceases.
He stands there, fresh and flashing, after an arduous 18
hour day. Here is the man himself, not as he is caricatured
in the newspapers of the country, nor seen, as he stands with
that straight, black back to the audience, while he leads the
orchestra into a frenzy. New York no longer asks, "What is
playing?" but, "Is he conducting?"
A humble and a modest man, despite the fact that he is
Manager of the theater which occupies the most famous and
enviable location in the world. The Rialto is at Broadway and
42nd Street, if you please.
Just now there is a light rat-tat of the baton on the wooden
stand. "I thank whoever left the flowers cn my desk," he
begins, and the orchestra leans forward expectantly. He
always has a story or two that is good to hear and cheers
a fellow up. "In the old country, the boys used to bring me
cheese, butter, eggs. Here they {Continued on page 101 )
^Westward to Westwood, California, the
course of Movie Empire takes its way
By Eunice M ar shall
HOLLYWOOD is in the throes of a movie hegira.
Producers, keeping in mind Greeley's advice to
youth, are preparing to go west and let the infant
industry grow up with the country. Or to be more
exact, they are going to Westwood, that rolling tract of land
midway between Hollywood and the beach already designated
as "the second Hollywood."
"Why are the studios leaving Hollywood?" is the question
asked on every hand. And "What will the effect of the exodus
be on Hollywood?"
The cause of the movement is a simple one of dollars and
cents. Land costs too much in Hollywood.
A decade back, when the pioneers in pictures looked about
for a place to turn out their crude and amateurish films, they
looked for two essentials: cheap land and sunshine. They
found both in Hollywood, then a placid, pastoral community
in a setting of lemon groves and drooping pepper trees. Today,
the sunshine is still the same, but the price of land has
catapulted skyward. Where shady lanes wound sleepily through
fields of mustard or fragrant groves of orange and lemon trees,
traffic now surges on paved boulevards lined with business
blocks. Banks, agencies for expensive motors, jewelers' shops,
metropolitan hotels and modistes' shops whose costly appear-
ance is not misleading bear mute witness to the growth and
prosperity of the city which Hollywood has become.
A modern studio is a great, sprawling thing that eats up
acres of land. The office buildings alone cover many hundreds
of square feet. Add to this the space required for the great
stages, the shops, the actors' dressing-rooms and the hundred
and one other departments of a properly equipped studio, and
you can estimate clearly how essential low-priced land is in the
business of putting the annual profits on the right side of the
studio ledger.
Famous Players' Hollywood Plant
THE land on which the Famous Players-Lasky Hollywood
plant now stands was once occupied by a barn and stable.
Today the property is valued at approximately $1,000.00 a foot.
Each working stage takes up about 150 feet by 400 feet, and
there are four of these stages, occupying about 32 per cent
of the ground space. If you're handy with figures, you will
see that just the land for these four stages alone costs Famous
Players-Lasky about $800,000.00 or its equivalent in rent.
And this constitutes only a third of their holdings in the Vine
street plant. In these unhappy days of picture making, with
the slump still a vivid and painful memory, this question of
land values gives a producer "furiously to think," as the French
have it.
The overhead first drove Fox to Westwood for financial re-
lief. The extensive Fox plant in Hollywood stretches for a
solid block on either side of Western avenue, right in the heart
of Hollywood. The comedy lot on one side, the drama lot on
the other. The sudden and rapid growth of Western avenue as
a business artery has boosted the value of the property
enormously. Only half of the land on which the studio is lo-
cated is owned by Fox, however, and the company is at present
forced to pay huge rents on the leased portion. Moreover,
the company loses hundreds of dollars every month in time
and labor spent in carting materials over the traffic-swept
avenue, from one lot to the other,
66
The new studio location is a beautiful tract in Westwood, a
stretch of gently rolling acres with the blue Hollywood hills
to the north. With a financial acumen inspired by Harry
Culver's success. Fox purchased a large number of lots adjoin-
ing the studio tract. Two-thirds of these lots have already
been sold for more than enough money to pay for the studio
tract. And the company still has a third of the lots left.
Harold Lloyd's New Studio
y |[ nhe choicest portion of the Westwood land is to house the
splendid new studio of Harold Lloyd. Lloyd has forty
acres fronting on Santa Monica Boulevard. This property used
to be the old Wolfskill ranch, and includes the family mansion
of that pioneer family. The house will be moved off when
work begins on the new plant, which
may be within the next few months or
may not take place for a year yet. The
Lloyd company's lease with the Holly-
wood studio still has a year to run.
The new studio will have three stages,
which seems to hint that the Lloyd
corporation will be enlarged. It is
possible that Mildred Davis will be
starred in pictures by her husband's
company.
Christie Comedies will soon be
turned out in Westwood instead of in the present plant on
Sunset Boulevard. Al Christie has forty acres also in West-
wood and plans to start on his new studio shortly. When he
can get $800 a front foot on his property on Sunset, he figures
it nothing short of criminal to occupy it while Westwood
property is selling for a fraction of that sum.
Hal Roach already has work well started on his ranch prop-
erty out on the road to Culver City.
There have been rumors current for some time that Charlie
Chaplin is to sell his present holdings on La Brea and move
to Westwood. Nothing definite has been settled as yet. how-
ever. But it is true that the La Brea property has leaped in
value since its purchase in 1918. The whole property, includ-
ing the fine Colonial mansion in which Charlie's brother, Syd,
now lives, was bought in 1918 for $37,800. Chaplin was re-
cently offered $500,000 for the front frontage alone, not in-
cluding the house!
The second question — what will this studio movement do to
Hollywood? — is easily answered. It probably will not affect
Hollywood much, one way or the other.
Hollywood Not au Artists' Colony
If the exodus had come even three years ago, the result
might easily have been disastrous to Hollywood as a town.
For the movies made Hollywood. Today, however, Hollywood
is not dependent upon pictures for its being, though undoubtedly
pictures contribute materially to its prosperity. Hollywood is
a city of homes and business people, not an artists" colony.
Comparatively few of the big people in the industry have their
homes in Hollywood. They live in Beverly Hills, or in the
fashionable West Adams or Wilshire districts. And many of
the studios have never been located in Hollywood.
The Mayer-Schulberg studio lies five or six miles from
Hollywood, away up on Mission road in the industrial section
of Los Angeles. The Mack Sennett studio is also a goodly
distance from Hollywood, on Glendale Boulevard in Los Angeles.
Universal City lies up and across Cahuenga Pass, on the road
to Lankershim. While at the end of a ten-mile motor ride
you find Big Three of Culver City: Goldwyn studio surmounted
by its electric-studded lion; the white-pillared Colonial home
of the Ince pictures and the Hal Roach studio.
(\Some idea of the Hollywood increase
in property values may be gained
from the case of the Chaplin Studios
on La Brea Avenue. The ground
alone purchased in 1918 for $37,800
— valued today at $500,000.
"Culver's Folly"
' ij NHE hegira from Hollywood really
started when Harry Culver read
the handwriting on the wall and bought
up all the land in sight where Culver
City now stands. The property was
farm land then, and sold for a song.
That was five or six years ago, perhaps
a trifle more. He offered generous
inducements to the Hollywood film
studios to locate there, practically do-
nating the groundsites to the comanies that accepted the invi-
tation. As always, progress followed the studios, and today
Culver City is a rapidly growing community of cozy bunga-
lows, a smart country club, three great film studios, splendid
schools and the most zealous motorcycle cops outside of
Orange County. And Harry Culver has cleaned up. Culver
City land is now valued at $10,000 an acre. "Culver's Folly"
turned out to be a bonanza.
The suburban film plants will and do enjoy every7 facility
of the Hollywood studios. The only added expense is that
entailed in the upkeep of trucks and motor cars for transporta-
tion between the city of Hollywood and Westwood. And the
cost of that ten minutes ride is infinitesimal when contrasted
with the difference in land values in Hollywood and the suburbs.
So all in all it looks as though Westwood was going to be-
come a little Hollywood. Jr. Owners of property in that
direction certainly hope so anyway, and in California the
interim between the hopes and the realization is frequently
a short one.
Hollywood probably will not change much with the new
exodus. Perhaps it will grow right out to Westwood and
absorb it. You can expect anything in this unbelievable country.
Probably it will go right ahead establishing itself as a real
estate dealer's paradise. But. as a matter of fact, Hollywood
has already become a symbol of filmdom, rather than a specific
home of pictures. The label. " Made in Hollywood" must be
taken fisurativelv. not literallv.
-Che.:stil-Studi<
•A«.CIT»CT*"
(^Architects plans for the proposed Lloyd and Christie Studios at Westwood, California
e7
Dramaland
jf\ pv^HE play in which the poor crippled girl is miraculously
cured in the last act is with us again under the title
of The Outsider. The present author is Dorothy
Brandon who, herself a
cripple, has infused her hokum with
T
such an intense sincerity and passion
that it takes on a measure ot
theatrical warmth. In only one
particular does her offering depart
Irom the many displays on a similar
theme In the majority of these
displays the cripple, who has not
been able to walk since birth, sud-
denly finds that a belief in God has
converted her into a regular Edward
Payson Weston. In Miss Brandon'-
version, it is not faith, but a
mechanical device perfected by a
healer without the fold, that ac-
complishes the trick. Yet, even so.
the author hearkens sufficiently to
the established dramatic echoes.
Faith and Love are brought in to
help out the mechanical device.
Without Faith, it appears that the
mechanical device, in the peculiar metaphysical way that
mechanical devices have, can accomplish little And even
when the mechanical device has done its work, it appears
further that the cure is not complete until the cripple feels
stirring in her bosom the tonic and beautiful tremors of Love.
Although it is certainly none of my business whether a play
runs three years or closes on the Saturday night following its
opening. I can't resist the feeling that Miss Brandon's
therapeutical ballet would achieve greater success in the
theatres of the Republic had she effected the cure of her
QSays Mr. Nathan:
QThe Outsider is hokum infused with
such an intense sincerity that it takes on
a measure of theatrical warmth.
0[The Moon-Flower is approximately as
romantic as a case of hives
G[Fata Morgana, as a comedy of sex, has
not often been surpassed in the theatre
of the more recent years.
0[ Beggar on Horseback is an amusing
satire taken from a comedy I saw in
Berlin in \g\2.
saw mil
cripple without the aid of an electrical stretcher and relied
entirely on the usual theatrical mental and emotional orthopaedy.
The introduction of this element of comparative sense into
her drama will doubtless work to its
financial disadvantage. The credo of
the American box-office numbers
among its stoutest faiths the convic-
tions that Christian Science can
handily cure everything from bow-
legs to dandruff, and that against a
Pure Love everything from curva-
ture of the spine to bowel complaint
is helpless.
The local presentation of the play
is in general superior to that made
in London. Miss Katharine Cornell
gives another of her remarkably able
performances in the role of the
cripple, although Lionel Atwill plays
the unlicensed practitioner in much
the manner that Charles Judels
might play the role in a Casino
musical comedy. Atwill is never a
subtle actor, but on this occasion his
subtlety is of a piece with that of a
Robert Milton's direction is decidedly proficient.
n
The Moon-Flower, by Zoe Akins, out of the Hungarian,
is a romantic play that, as one envisages it currently in the
theatre, is approximately as romantic as a case of hives. This
is due largely to the performance of an actor named Blackmer
in the leading male role. The role in point is that of a young
man who longs passionately for one crimson night in the
63
Bj/ George Jean Nathan
Decorations by Wynn
arms of the most beautiful courtesan in Europe and who is
willing to sacrifice everything, including his life, for that
privilege. The young man, at least in the manuscript, is
fervent, daring, hot, wild. But this
role of a fervent, daring, hot, wild,
young Hungarian is taken over and
played by the M. Blackmer precisely
as if it were the role of a vicar in
an English suburban comedy. His
idea of intense passion appears to
consist in drooping the eyelids and
affecting a pervading lassitude, like
a man who has been bitten by a
tse-tse fly. His notion of romantic
daring is to walk up to the object
of his passion and talk to her in the
lackadaisical manner of a man who
is just recovering from a severe
QSays Mr. Nathan:
0[The Wonderful Visit is a dream play
by H. G. Wells and St. John Ervine so
amateurish that it appears to have been
confected by a couple of bright Green-
wich J'illage boys.
attack of the influenza. The Moon-
Flower is anything but a good play
— it is, in fact, a pretty bad play —
but the performance of Professor
Blackmer makes it seem twice as
bad as it actually is. Casting him
for the role of the incalescent young
lover in the Akins drama is akin to casting Sam Bernard for
the leading role in A Prisoner of Zenda.
The Moon-Flower is nothing to brag about in the original
Biro version — its title in that version is The Last Kiss — and it
offers even less reason for bragging in the adaptation. The
story, discernible through the thick growth of whiskers, is
of the bejeweled mistress of a rich duke and of a poor young
man who meet on the terrace at Monte Carlo, have an affair
that breaks the young man's heart, and then separate — she to
go back to the duke and he to go back to his humdrum world.
C[The Chiffon Girl is old musical comedy
stuff. Every fifteen minutes or so
someone makes a Prohibition joke.
Q. Sweet Little Devil needs only Will
Rogers, George Ade, Stephen Leacock
and a feiv dozen other humorists to
make it humorous.
G[Moonlight as a musical comedy is not
particularly interesting. The same is
true of Lollipop.
This venerable yarn is here retold with most of the familiar
stencils and. to make it worse, Miss Akins has brought to it
all the fool nonsense with which of late she has been embellish-
ing her writings for the theatre. It
seems to be La Zoe's idea that the
way to impress an audience is to
make her plays for the most part
lectures on the best brands of
champagne, caviar, pate de foie gras
and Egyptian cigarettes, to fill the
stage with personages the very least
of whom is the first cousin of a king,
to paint up the backdrops to repre-
sent the most expensive European
resorts, and to drop a hint every
now and then that she herself, Zoe
Akins. is thoroughly up on everything
that is anything. It is all very silly
and it is rapidly making the other-
wise talented Miss Zoe ridiculous.
Elsie Ferguson is the star of the
present exhibit and acquits herself
creditably.
III.
Fata Morgana is in essence a typical Sacha Guitry farce
converted, through a somewhat deeper insight into character
and a somewhat profounder understanding and sympathy on
the part of the Hungarian Ernest Vajda, into an extremely
sensitive and hilariously amusing sardonic comedy. As a
comedy of sex, indeed, it has not often been surpassed in
the theater of the more recent years, for underneath its surface
rills and ripples there runs a very real current of the wit and
wisdom that are born of experience and reflective observation,
and of the recognizable adventure {Continued on page 100)
69
(j[ Drawing the fangs of
the Foreign Invaders
(\Ernst Lubitsch in action
Hollywood's J^elting Pot
By W. R. Benson
A BOUT a year ago a snake wriggled into the Eden of
/\V Filmdom. There was great consternation. Skirts
/\i were drawn high, brave men made violent gestures
-A- ' ^ at the snake, and long newspaper laments rose upon
the peaceful air of Hollywood.
The snake was called "The Foreign Invasion." Producers
had procured the snake at great pains, transporting it from
its native jungle, to frighten the pretty little stars of Holly-
wood and to turn all the local snake charmers green with
envy.
For it was a very big and gaudy snake. And very danger-
ous. So the American public thought, along with the actors
and actresses and directors whose lives seemed threatened.
The producers had bagged the big game because they were
afraid it would attack in another form — that it would wear
the label of ' Foreign Pictures," than which there is no more
feared calamity in all Filmdom.
The snake has been with us for more than a year now.
Many of the actor folk in Hollywood have forgotten about
it — almost. They even get chummy with the snake these
days; some brag about having made a pet of it. No one
fears it now — particularly.
For Hollywood has assimilated the Foreign Invasion. Most
of the foreigners were found to be merely fourflushers and
pretenders, snakes-in-the-grass, rather than one of Kipling's
•'Bi-Colored-Python-Rock-Snakes."
Of the vast horde of foreigners who threatened to make
the average Hollywood actor look elsewhere for his livelihood,
very few remain to boast of their conquests.
Americanized Alien Actors
Those who remain are strangely American now. They have
tried to make us forget that they are foreign. If they could
not melt in the great Hollywood melting pot, they have for
the most part slipped quietly back to those foreign parts from
which they came.
A recent article in the New York Times, signed by Wil-
liam A. Brady, veteran stage producer, shows that the legiti-
mate stage is in the throes of excitement which attended
the foreign invasion into films.
Mr. Brady laments: "Our young people have been advised
to go and worship at the shrine of these foreign artists, when
it is a matter of fact that the kind of acting these Russian
players have shown us is a style that has been tabooed in the
American theater for a generation."
Mr. Brady mourns the fact that a foreign star, visiting our
stage, wins plaudits and hysterical praise from audience and
press that a native star can never hope to equal. That is
natural. We all like "company." That is exactly what most
of the foreigners invading our films have been — exciting "com-
pany," whose foreign manners intrigued at first by their very
70
novelty, but which have palled now — for various reasons
we are too polite to mention
Mr. Brady's Opinion
In reprinting Mr. Brady's well-founded lament on the foreign
invasion of the stage, the Los Angeles Times says:
"The American theater and the American screen have been
captured by foreigners. The big hit of the season in New
York is 'The Miracle,' staged by Max Reinhardt. a German,
in collaboration with Morris Gest, a Russian. The rival sensa-
tion is Eleanora Duse, an Italian. Gilda Gray, a Pole, is the
most prominent dancer in New York. The Moscow Players
have been another New York sensation. On the screen the
niches of fame are occupied by Pola Negri, a Pole; Rudolph
Valentino, an Italian; Ramon Novarro, a Mexican; Mary Pick-
ford, a Canadian; Charles Chaplin, an Englishman, and the
most famous directors are Ernst Lubitsch, a German; Victor
Seastrom, a Swede; Erich von Stroheim, an Austrian, and Rex
Ingram, an Irishman."
The Los Angeles Times surely had some foundation for its
outburst, but it seems a little ridiculous to jump upon poor
Marv Pickford, who has been America's sweetheart since the
beginning of the industry, and upon Charlie Chaplin, who is
the dean of American film comedy. No one, most surely,
thinks of Rex Ingram as a "foreigner." These celebrities, all,
made their start, their struggle and their fame in America,
according to American ways. We cannot possibly have any
quarrel with their place on the American screen.
As for the others: Ernst Lubitsch, Victor Seastrom, Pola
Negri, Valentino, Novarro, and Erich von Stroheim. There is
certainly a nice little nucleus of foreigners, who might be ex-
pected to form the very backbone of the snake, if snakes
had backbones.
But, somehow, on looking the bunch over we find that the
fangs have been drawn. For the snake is no longer dangerous.
Ernst Lubitsch was brought to this country on a Famous
Players-Lasky contract, which, for some reason or other, he
has never filled. Possibly Pola Negri, who is said to have had
bitter quarrels with Lubitsch in Germany, may have had some-
thing to do with it.
But Lubitsch got a splendid job over
at the Pickford-Fairbanks studios. He
directed "Rosita," and a remarkably
clever piece of direction it was, too. That
it lacked trie nre and vigor of Lubitsch's German work may
have been due to the change of atmosphere, and was probably
partly due to the fact that he did not have a Pola Negri or an
Emil Jannings to direct.
At any rate,
k-wa
Lubitsch Almost a Yankee
Lubitsch unostentatiously took on American
ays, adapted himself to American methods of producing.
He has never, however, been able to conquer those economical,
efficient German ways of his. We have been told that "Rosita"
was kept to an unbelievably low overhead, considering the size
of the effort and that it was a costume picture.
Then Lubitsch was taken on by the astute WTarner Brothers,
who have unhesitatingly pursued the policy of getting the big-
gest bets in the industry, from the standpoint of readv-made
advertising. (Witness their signing of Belasco and many of
the best known stage stars, their purchase of nothing but well-
known books.) Lubitsch looked like a good publicity bet,
and the producers were wise enough to let Lubitsch alone.
"The Marriage Circle" is the result. So far as we can see,
"The Marriage Circle" is the only definite cause for worry
over the foreign invasion that the picture world has yet had.
It is thoroughly continental in its appeal. If Lubitsch had
been permitted to get actors who knew Vienna and its ultra-
sophistication, he would have produced one of the few perfect
motion pictures. As it is, it seems a little funny to see Marie
Prevost playing the faithless wife to a Vienna professor. Marie
so obviously wants to sink into the American idea of the baby
vamp. She occasionally slips a coy pout in when the director
is directing her hands or feet, instead of her face. By the
way, Lubitsch can do more with the feet than any director
on the screen.
As it is. "The Marriage Circle" is a splendid picture of the
ultra-sophisticated type. It is subtle. It is deliciously humor-
ous. It is piquant. Adjectives which we seldom need in
describing an American-made, American-directed picture.
But — and here's where more fangs are drawn, for the peace
of Hollywood — "The Marriage Circle" will not be a success
outside of the large cities. It is not a picture for what is
called in technical filmdom, "the prov-
inces." Which says that it will not go
over in small towns. It has no hokum,
no home and mother stuff, no erring wife
sentimental {Continued on page 103)
Pola Negri, Rudolph Valentino, and
Eric von Stroheim considered at one
time the most dangerous of foreign
invaders.
CI This triple strand
of pearls is a part
of the magnificent
jewel collection
owned by Aileen
Pringle. Her coronet
bandeau is popular
and distinctive.
(j\The new mask veil
finds a delightful
wearer in Miss
Gloria Swanson.
Her square-cut beads
are also a new note.
I
'nJHE all-important little
things — those weighty
trifles that the French
call imponderables — are
Through the Looking Glass
She Sees
Fashions of Filmdom
what make or mar the perfect
costume. This month I have chosen accessories worn by well
known moving picture actresses appearing in current screen-
plays. Sketched here for you are: The right veil for the dress
hat, the newest novelty jewelry, a collar and cuff set that
makes a simple frock smart and the correct gloves for two
types of costumes. Then, finally, there are two sets of
attractive underthings. All these little details are what smart
women consider carefully.
Fashion Takes the Veil Again
Veils are again fashionable — if one chooses the right kind of
veil. And nothing has more allure than a pair of eyes given
mystery and depth by the delicate shadows of a veil. One
of the most flattering and the smartest of new veils is sketched
on Miss Gloria Swanson (in the lower right hand circle).
It is the new mask veil — a mere wisp of net embroidered and
cut in crescent shape so that there will be no unsightly thick
ends to tie at the back. This veil has dainty, embroidered flowers
in two colors to give it additional distinction. As. you see, it
is worn with a small hat and is the only trimming necessary.
By placing such a veil over a simple little cloche such as
that shown in the sketch of silk or straw one has a dress hat
of picturesque charm. Bordered millinery meshes are the ap-
propriate veilings for wear with tailored clothes. The most
severe cloche — and nowadays
everybody wears some version of
the cloche — can be made flattering
if one softens the harsh brimline
with a length of sheer veiling.
Beads and Bandeaux
The tremendous vogue for necklaces causes a new kind to
be brought out almost hourly. But only a few prevail, and
the creamy pearl is always one of these. Of course, the pearl
knows that to hold its popularity it must adopt new sizes
and arrangements. The newest arrangement for the ever-
present pearl necklace is the one Miss Aileen Pringle wears in
Three Weeks. (Sketched in the lower left circle.) In the
sketch she is shown wearing the very smart, new, triple strand
of medium size pearls. The necklace fastens with a large
colored stone clasp. (Emeralds or sapphires are most fashion-
able.) Miss Pringle's bandeau, shown in the same sketch, de-
serves attention. The only really smart type of bandeau this
season is the small coronet of rhinestones worn well back on
the head, Queen Victoria fashion, as Miss Pringle wears, hers.
Quite often curved bars of rhinestones similar to those used
to trim hats are worn in this way. It is these small bandeaux,
shaped like a countess' coronet, that are affected by the
debutantes who frequent the fashionable dancing places around
New York. And, to return to beads, the square cut topaz
beads worn by Miss Swanson in Manhandled (a picture that
will be released later in the summer), are the ultra thing for
day-wear. Square cut beads of all kinds — whether they be
72
crystal, amber, jade or just plain glass — are THE beads of the
moment.
Neckwear of Distinction
The unusual collar and cuff set that makes a simple frock
seem truly chic, is a weighty trifle no wardrobe should
lack. With the severely simple modes of today such a set
is often the principal feature of the frock. The collar and
cuff set shown in the top center are worn by Eleanor Boardman
in True As Steel, her new picture. The charming originality
of her collar is due to the cut and the combination of white
organdie over a darker shade of organdie. The jagged-point
edges and two thicknesses of material give the effect of a
delicate petalled flower from which her white throat arises.
The Correctly Gloved Band
Y II nhe glove that covers the ruling hand of fashion, and is
^ itself ruled by fashion, is almost always short. And the
cuff effect is essential
to the fashion life of
the short glove. No
self-respecting glove is
without it. Although
sometimes the cuff
effect is achieved by
means of wrinkling an
eight button glove
around the wrist.
Two types of these
very smart cuffed
gloves are shown in
the sketch where two
hands are extended in
cordial greeting. One
hand is wearing a
fawn colored silk
glove with the new
eyelet embroidery
decorating the cuff.
This glove is suitable
for summer wear with
a silk dress. The
other hand wears a
glove of grey silk
with touches o f
darker grey to accen-
tuate its t a i 1 o re d
trimness. It is an
Excellent accessory for
the smart tailored suit.
The short glove is the correct glove for practically every
kind of costume except the very formal evening costume. And
it was only during the recent opera season that I noted long
gloves worn at all. The short pull-on glove is worn even with
short sleeved afternoon and sports dresses. This vogue for
short gloves worn with short sleeves, leaving a long expanse
(\Pctit point embroidery and
filet lace make this match-
ing chemise and step-in set
a tiling of sheer delight.
of bare arm, seems odd at first but it comes straight from
Paris and has undeniable chic.
Underthings Echo the Simplicity of the Mode
TC>ut it is not only the little things that one wears as acces-
sories to the outer costume that swell the sum total of
smartness. There is the proper basis for the sleekly fashionable
exterior. One must consider the choice of underthings so
carefully. With the fashions of today, lumpy, clumsy lingerie
is fatal to a smart effect. The important thing is to have
underwear that clings. At the same time one wants style
and practicality. The two chemise and step-in sets illustrated,
happily combine the three desired qualities of clingyness,
prettiness, and durability. They are of glove silk, which will
cling and launder in the most desirable fashion. One of
them is quite a dressy affair combining filet lace and motifs
of the new petit point embroidery. The flesh tints of the
silk bring out the pastel colorings of the embroidery. The
other, more tailored set has interesting embroidered oblong
monogram motifs in
opposite corners of
the c h e m is e and
step-ins. The mono-
gram motifs are em-
phasized by the use of
black embroidery on
the white or yellow
background material.
These two suits of
underthings typify the
smartest lingerie I
know for practical
wearing purposes.
The simpler and
more tailored the
lingerie the smarter it
'is today. Impractical
and fussy underthings
are completely passe.
Where lace and orna-
mentation are used
the effect is subtle.
Lace is always ap-
plied flat so that the
tailored lines of the
garment are kept.
The illustration shows
how both filet lace
and petit point em-
broidery may be used
in the same garment,
still giving the desired tailored effect.
All of these things are available in New York shops and
many of them can be found in your own town. I will be
happy to give you the cost of any article I mention, or pur-
chase it without extra cost.
Courtesy of Van Raaltf
Q 77/(? originality of its
monogram motifs lifts
this tailored glove silk out-
fit from the ordinary.
(\Eyelet embroidery decorates the
intriguing cuff of this smartly
gloved hand.
Gilts tailored simplicity makes it
•worthy to clasp the more elabo-
rately gloved hand at the left,
Our Own
NEWS REEL
Q. Cinema News in Picture Form
Q^New York. — Claire Windsor feeis
gay after a five months' film en-
gagement in Egypt, and
does a little cane jumping
when the ship readies New hi
York. Bert Lytell is hold- Jjj
ing the cane.
C[ Hollywood, Cal. — That Charlie
Chaplin has an eye for beauty is
proven by his selection of Miss
Lita Grey, with whom he is shown
Below to be his leading lady.
Q Los Angeles, Cal. — Douglas Fairbanks, Jr., proving himself a chip
off the old block when seeing the Fairbanks party off to New York on
their latest jaunt. Mrs. Charlotte Pickford is on the platform with
Doug., Sr., and Mary.
(\Plattsburg, N. Y. — Marion Davies was created first honorary colonel
of the 26th Infantry Regiment and as such is entitled to wear the
uniform and insignia of rank. She is shown here rrviewing the
troops.
74
Behind the scenes: King Attica's bloodthirsty warriors enjoying a
poker game during recess.
HPHE new German film of the Nibehmgen, produced in
Berlin on February 14, by Herr Fritz Lang, for the
Decla-Ofa Company, is described as a spectacular
masterpiece. The most remarkable scene, and
one which will doubtless prove highly
popular with the spectators, is the slaying
of the dragon which guards the Nibelugs
treasure in the giant forest. The part
of Siegfried is played by Herr Paul
Richer, who makes a typical fair-
haired hero of German legend, and ,
the forest of fairyland is a fine
piece of imaginative setting.
But the height of realism has
been reached in the represen-
tation of the dragon. This
enormous monster, which
looks like a prehistoric reptile
brought to life, is seventy feet
long and weighs a ton and a
half. Its movements are actu-
ated by a "crew" of thirty men
(10 inside the body and 20 in a
trench), and thus it crawls
about breathing fire.
Right Top — Siegfried, to be in-
vulnerable, takes a bath in the
slain dragon's blood. {Note
the lime-leaf on his shoulder re-
sulting in the one mortal spot
through which Hagen's spear
penetrated.)
Center — Behind the scenes: in-
tolerable Siegfried proves to
be rather ticklish when a hole
is being bored into his armor.
Lower left — Kriemhill and Sieg-
fried's love story.
Lower right — The murder of
Siegfried, pierced through h.s
vulnerable shoulder.
7 5
RECEIVED AT
CB603 19 COLLECT HITS
LOSAHGELES CALIF 13
SCHEKHLATO UACAZJHS CXO?^1
[J f ' - 145 WEST 37 ST HEWIORK BT
I CAS SEE AS WELL AS A3X HAB ABD COHSIDEH PSGCI HDPKLHS JOKE THE
MOST TASCLHATdG 07 WOMEH
BEH TURPI I.
IDOLS of
"E all remember the story
of 0. Henry which told
about the little working
girl who kept on her
wall a photograph of Lord Kitchener
and modeled her entire life up to the
ideal which the character of this dis-
tinguished man represented in her
heart.
Every one of us has such an ideal —
someone perhaps foreign to our own
sphere of life— who appeals, however,
to our romantic imagination or who
stimulates our intellectual curiosity.
Screenland has sought to discover
for you the idols of the stars. Some
of them are humorous — some of them
are serious — but each discloses that
subtle, and often incomprehensible,
affinity which binds together twin
souls.
Ben's Beauty
RECEIVED AT 990 SIXTH AVENUE. NEW YORK
41 FY FAB 29 COLLECT NITE
LOSANGELES i-ALIF
MYRON Z06EL
SCREENLANE MAGAZINE 145' WEST
| CONSIDER GOUVERNEUR MORRIS THE HANDSOMEST MAN t KNOW STOP
HE HAS CHARACTER AMD DISTINCTION AS WELL AS GOOD LOOKS
AND I ALWAYS WAS PARTIAL TO HORNRI MMED ' SPECTACtES
PATSY RUTH MILLER
957A MAR 11 1924
en Turpin in reply to our wire of inquiry as to his
choice replied tersely: "I can see as well as any
man and consider Peggy Hopkins Joyce the most
fascinating of women."
The editor of this publication desires to congratulate
Mr. Turpin upon the unerring accuracy of his vision
and to inform him that he does not stand alone in his
opinion, but is backed up by, one might almost say,
a group of fellow enthusiasts.
Patsy — Her Man
Patsy Ruth Miller shows judgment and discrimina-
tion in one so young by her choice. Her reply
to the wire as to the handsomest man was this:
"I consider Gouverneur Morris the handsomest man
I know. Stop. He has character and distinction as
well as good looks and I always was partial to horn-
rimmed spectacles."
Niblo Knows
r. Niblo is in a position to talk with authority on
the subject of the world's handsomest women.
76
RECEIVED AT \
SA681 12 COLLECT BITE
L0SA.HGELS3 CALIF IS
BYRON BOBEL 0X018^
CARE XREENLAHD MAGAZINE 145 WEST 57 ST HEV70BK 17
MAOTE AUKS IS THE HOST EL0SI7ELT BEAUTIFUL WOKAR I EVEB SAW
FREE NIBLO.
the Stars
(^Hollywood's film favor-
ites wire replies to Screen-
land's inquiry regarding
their secret affinities.
RECEIVED AT
91664 16 COXXECT BITE
XOSABGEXES C&IIF 18
U7B0H BOBE1 r>
scheeseato hacazibs 145 best A 'i* 'hssycsk bi
XOHD KITCHKKSR I AS ATO AXBAYS MIX BE Iff HERO STOP A FASCI1MIBG
4HD GAXXA8T GEBTXEHAB
EBIC BEHHETT.
TliECRAM
PHY ItTTIB
W1CKI MtSS'GE
WESTEjg^UNION
telRam
Received at 40 Broad Streel, (Central Cable Office,) N. Y.
SD316 15 COLLECT BIffi
LOSABGBLES CALL? 12
IS ROB BOBS!
MS ROB BOBEL F03LTCATIOBS 145 WEST 57 ST BBHYORK 81
XT CLBOPATRA LOOKED AS GOOD AS LAD! DI ABA MABBERS WHO COULD BLAHS
KARC AKTOBY
STDHEI CHAPLIH.
RECEIVED AT 990 SIXTH AVENUE, NEW YORK
106FY FAB 18 COLLtCT
HD LOSANGELE S CALIF 931A w\^^" ^
MYRON ZOEL L
SCRE ENLANE MAGAZINE 145 WEST }t ST NEWYGRK NY
THE PRINCE OF .'.ALES IS THE MOST POTENT MALE CHARMER
I EVER SAW LONG MAY HE WAVE
CLAIR WINDSOR
1250P
He is married to one of them and has
directed a great many more. Many of
our readers will agree with his apt
choice.
"Maude Adams," said Mr. Niblo,
"is the most elusively beautiful woman
I ever saw."
Bennett's Beau
TC'isiid Bennett agrees with the
heroine of 0. Henry's story for
she, too, is an admirer of the much
admired Lord Kitchener. She says
of him: "Lord Kitchener was and
always will be my hero. Stop. A
fascinating and gallant gentleman."
Chaplin's Choice
Syd Chaplin lapsed into his char-
acteristic comic vein in his very
excellent and apt selection of the
charming and talented Lady Diana Manners. Though
the message is bantering, we feel that the selection
is a very good one. He says: "If Cleopatra looked
as good as Lady Diana Manners, who could blame
Marc Antony?"
Windsor's Winner
M
iss Windsor apparently is a lover of horseman-
ship as revealed in her choice of the world's
most handsome man. Hers is a most aristocratic and,
we might say, popular selection. She wires, "The
Prince of Wales is the most potent male charmer I
ever saw. Long may he wave."
Alberta Vaughn wires, "Down in Kentucky lives a
young man by name of Paul K. Stewart. Stop. I think
he is the best looking man outside of stage or movies.
Stop. In addition has lively personality, is clean cut
and would be a success in comedy, drama. Stop. He
is young but that is no handicap."
Madeline Hurlock wires, "Eugene O'Neil is the most
brilliantly fascinating man I know."
77
Listening
NY hotel that houses the Naldis is certain never to
be dull.
The other day Nita Naldi was supposed to take,
■on a deep tan for a picture. Having no mind
to acquire a coat of tan by the usual beach process, it being
chilly in March for bathing even in California, the ingenious
Lasky vamp emptied a bottle of iodine into her bath water.
The bath produced the desired tan effect on Nita and also on
the bath tub. And all the Biltmore hotel chamber maids and
chemists and orderlies couldn't scrub that tub back to its
original gleaming whiteness. At last report, it was still a rich
ecru, and so was Nita. But the hotel management was very,
very blue.
And then Mary, Nita's young sister, started something. Or
to be exact, Mary's dog.
Shrieks emanated from the Naldi apartment. Jimmie
McCabe, the gentlemanly assistant manager, followed by a
house detective, sprinted down the hall.
"Mimi!" cried Mary,, her black bob flying. "She's gone!"
The whole service force was commandeered to find the
missing pup, which is a black-and-tan, about as big as a
minute but full of noise for its size. Not a sign of Mimi,
until
The kitchen steward looked up from his dishes to note a dark,
fuzzy something reclining in a casserole, sliding down the dish
conveyor that carries soiled dishes from the apartments to the
dishwashing department. Bending nearer, the steward was
startled to see Mimi, decorated about the head and ears with
custard and asparagus tips, leap from the casserole and scuttle
across the kitchen floor, shrieking indignantly in dog language.
Mimi, it seems, had taken a nap in the casserole, it being
handy and comfortable, with refreshment facilities and all.
Corinne Griffith to Retire from Screen
They don't always mean what they say. Corinne Griffith, who
declared herself "through forever" with matrimony after
her divorce from William M. Campbell last November, has
just returned from an ecstatic honeymoon in Honolulu with her
new husband, Walter Morosco, Jr. They were married in
Tiajuana, Mexico, a few weeks ago. She is going to make
three more pictures, she says, before she retires to give her
full attention to her home.
It will be remembered that Walter Morosco, Jr., was Betty
Compson's devoted swain at one time, before Betty became
engaged to the director, James Cruze.
POST
Bj/ Eunice ^Aarshall
TH) arbara La Marr has been a good bit in the papers here
lately, she being the star witness against H. L. Roth, the
Hollywood attorney who attempted to blackmail her through
her manager, Arthur Sawyer. The papers gave a lot of space
to the description of Barbara on the stand, dressed somberly
in black and weeping into a black lace handkerchief. The
morning after the court session, Lew Cody met Barbara on
the Mayer lot.
"Hello/' said Lew. ''I saw your ad in the paper this morning."
"Yes," said Barbara. "I'm head-lining this week. It takes
a sense of humor to do it."
Novarro Wins Popularity Contest
"O amon Novarro is a better screen lover than Rudolph
Valentino — in Minneapolis. A popularity contest that
Q.What they are saying
and doing in the
Hollywood studios
has just ended in that city established him as the most
popular male star, triumphing by a narrow margin over Rudie.
And most of his votes came from middle-aged women.
The Rocking Chair Craze
e have had directors who couldn't direct without their
puttees, and directors who were known by their loud
golf stockings. William de Mille is wedded to his famous
slouch hat, and for a while no directorial costume was complete
without a felt sun visor. But the latest is the rocking chair
director.
Roy Xeill, who is directing "Rose of the Ghetto" out at the
Grand-Asher studio, just simply refuses to work without his
patent rocker, and carries it around with him. on location
and all.
A Young Motorist
Jacqueline Logan came on the set one rainy morning recently
and found young Mickey McBan tearing some dirty old
rags into strips and tying them around the wheels of his toy
automobile.
lunch hour group
on the Golcbwyn lot.
Standing left to
right: Katherine
Kavanaugh,
Marion Frances
Lee, George Walsh,
IV ally Van, George
D. Baker, Carey
Wilson, Sydney
Chaplin, Thomas
Miranda, William
V. Mong, Edmund
Loive, Robert B.
Mclntyre, Georges
Calliga and Mae
Busch.
Seated from left to
right : H. E. Eding-
ton, June Mathis,
E m m e 1 1 Flynn,
Blanche Sweet,
Hohart Bosujorth,
C e dri c Gibbons,
A ileen P r i n g I e,
Leiv Cody and
Car m el Myers.
79
80
"What's the idea?" Jacqueline wanted
to know right off, she being a woman and
therefore curious.
"Skid chains," said Mickey briefly.
New Club in Hollywood
Life in Hollywood these days is just
' one club after another. First there
was "Our Club," the flapper organization
whose watchword was: "Lips that touch
nicotine shall never touch ours." Then
came "The Regulars," a group of good
girls trying to get along. The aim of the
club was to help each member advance
in her profession. And last, or anyway
latest, the "The Climbers." Kathryn
McGuire is the president, and the feature
that will distinguish the club from its sister
organizations is the fact that it will have a
man for its honorary president. The
distinguished gentleman is as yet un-
named.
High Cost of Stetsons
If it seems hard to ante up $20 for a
new spring hat for the wife, just be
glad that you haven't any movie actors
to buy hats for. When Jack Hoxie, the
Universal cowboy-actor, buys a new
chapeau, it nicks his bank-roll exactly
$75.00. They used to cost $85.00, but
the hattery that makes Jack's sombreros
to order recently came down ten dollars
on the price.
It costs real money to be one of these
hard-living, hard-riding men of the plains,
if you dress the part. Buck Jones' wife
presented Buck with a new saddle the
other day as a birthday gift, and it cost
$375. But it's certainly a grand saddle,
hand-carved and all decorated up with
solid silver and 14 karat gold studdings,
not to mention assorted ivory ornaments.
Alma Rubens on West Coast
Alma Rubens is out here on the Coast
again for the first time in several
years, and if she is happy to be away
from New York she is concealing it nobly.
Alma is spending most of her days in
Clare West's studio, being fitted for her
costumes for "Cytherea," which George
Fitzmaurice will direct.
A Resurrected Comedy
If you giggled a few at Will Roger's
comedy, "Two Wagons, Both Covered,"
you'll probably be interested in knowing
how you happened to get the chance to
see it.
Hal Roach hired Rob Wagner to direct
Rogers in this picture last fall. Wagner
has a gorgeous sense of humor, but his
humor is subtle; perhaps you remember
the articles he used to write for Screen-
land a couple of years back. Anyway,
he and Will began to work out the scenes
and the big guns on the Roach lot
couldn't find a chuckle in them. So, 'long
about the middle of the picture, work
was stopped and Wagner quit.
The film that had been shot was left
lying around on a .dusty shelf until a
newspaper critic asked to see it. So they
ran it off for him, apologizing profusely,
and the critic got a stitch in his side
from laughter at Will's stuff. So the big
guns took a second look at the film,
patched it together and ran it off at a
neighborhood theatre one night. The
audience whooped.
The picture is going over as one of
the biggest comedy successes of the year,
and Rob Wagner is directing Rogers again
out on the Roach lot. And some folks
aren't so certain that they know all there
is to be known about comedies as they
used to be.
Winifred Westover Wants to "Come
Back"
inifred Westover Hart wants to
go back on the screen again. So
she has asked the court to pass on her
right to act in pictures again. At present
she is constrained from acting in the
films by the terms of a trust fund estab-
lished for her by Bill Hart shortly after
their separation two years ago. The terms
of the fund, to which she agreed, provide
that she will receive the entire amount
of the fund, $103,000, upon the death
of Hart or on the occasion of a divorce
between them, and that meanwhile she
will receive the income from the fund in
monthly instalments.
Mrs. Hart declares that the income is
not sufficient to meet her needs and that
the clause preventing her from earning
a living is contrary to the law of the state.
Mr. Hart has also established a trust
fund of $100,000 for his baby, and the
income from that also goes to Mrs. Hart
as the custodian of the child.
About Hiers, Compson and Wilson
There are as many ups and downs
in the movie game as there are
in an elevator operator's life. Walter
Hiers, recently raised to stardom by
Lasky, was let out by that studio, and,
after doing a few turns in vaudeville
signed up to play in Christie comedies!
Sic transit gloria. The genial Walter is to
play opposite Dorothy Devore. We're
sorry. We always laughed at Walt's stuff.
It was hardly fair to pass on to a chubby
Borneo like Walter stories meant for Wally
Reid, and expect him to get the same
reaction from the audience.
And speaking of changes, Lois Wilson
is also to leave Paramount, after finishing
her work with Rudolph Valentino in
Monsieur Beaucaire. It seems that the
W. W. Hodkinson Corporation had Betty
Compson under contract. Paramount
wanted Betty back, and to get her, traded
Lois for her. Lois is doing her con-
sistently excellent work in Monsieur Beau-
caire, and May McAvoy has come back
from New York raving about how beauti-
ful Lois is in her regal robes in the
Valentino film. We can believe it. They
may talk all they like about Lois being
just a plain, wholesome girl, but we have
a vivid memory of her at the Actors'
Fund benefit performance of "A Mid-
summer Night's Dream," at which her
radiant beauty shone out above all the
rest of Hollywood's most stunning
femininity.
McAvoy Denies Engagement to Hunter
Yes, and May McAvoy says, right out,
that she isn't engaged to Glenn
Hunter, although she has had a very
wonderful friendship with him. So you
can expect to see the announcement of
their marriage any time now.
The Movie Stork Busy
The stork has been one busy bird in
Hollywood this past month. First he
dropped in at the Buster Keaton place
and left another boy there. Then he
stopped off at Thompson Buchanan's and
deposited a seven pound scenario writer.
Following that, he flapped over to Bert
Glennon's, who is C. B. de Mille's head
camera man and consigned to Mrs.
Glennon's admiring care a nine pound
girl baby. Mothers and children are all
doing nicely, and the dads are all wearing
14 inch grins.
The new Keaton heir has been receiving
gifts from all over the country ever since
his arrival into this vale of tears. A
hattery sent him a miniature hat modeled
after Buster's famous pancake hat.
Another firm presented him with a pair
of corduroy trousers having an intricate
assortment of buttons, permitting the
garments to be let out as the boy grows.
Warranted to last young Buster until he
is nine years old, the donors state. And
the gifts lavished upon the baby by his
aunties, Norma and Constance Talmadge,
are too numerous to mention.
Charlie Murray Plays Straight Drama
Giving a comedian a chance at straight
drama is exactly like feeding red,
raw meat to a lion cub. Neither is ever
just the same again.
For years and years Charlie Murray
played around in slap-stick comedy for
Mack Sennett. He's probably stopped
more custard pies and fallen in more
mud-puddles than any other comedian in
the business. But somebody gave him an
emotional role in a straight drama and he
emoted so well that he got another such
part in "Sundown." Then he came back
to Sennett. And the first time they wanted
to toss a nice soft dish of ice cream in
his face, he put on such a burst of
temperament as Hollywood hasn't seen
since Pola Negri's first week here. And
they had to write the ice cream incident
out of the script.
McAvoy to. Freelance
May is freelancing again, having com-
pleted her contract with Inspiration
pictures. She is going to play the
feminine lead in a William de Mille pic-
ture and will follow that up by a role in
an independent production, after which
she will go on tour with Glenn Hunter in
Merton of the Movies, behind the foot-
lights.
Mildred Davis' Anniversary Present
nybody in the immediate vicinity of
of Mildred Davis has to wear blinders
these days. Mildred is wearing a
W
4
SCMEENLAN©
81
magnificent prism-cut diamond on her
right hand, the same being the gift of
her doting husband, Harold Lloyd, on the
occasion of their first wedding anniversary.
The central stone is encrusted thickly with
smaller diamonds and sparkles like a
head-light and the price tag must have
looked like the national debt. Altogether
it is a gen-u-wine, knock-em-dead ring,
and we smash into bits whichever com-
mandment it is that forbids covetousness
whenever we see it.
Brennon Celebrates Anniversary, Too
Just to prove that some marriages are
dyed-in-the-wool, guaranteed-not-to-
fade propositions, Herbert Brennon gave a
party at one of our expensive hostelries,
to celebrate his and Mrs. Brennon's
twentieth wedding anniversary. The elite
of filmdom was present, as the society
editor would state, and there were more
jewels to the square foot than could
probably be found anywhere west of
Tiffany's. Everybody who was anybody
in Hollywood was there. Pola Negri, and
Conway Tearle and Patsy Ruth Miller
and Nita Naldi and Blanche Sweet and
about $100,000 worth of talent besides.
And seeing as how it was Brennon's china
wedding anniversary, somebody suggested
that the guests ought to present the host
with a piece of china apiece. Everybody
agreed that it was a noble idea, but how
to achieve it, with all the china stores
closed up many an hour agone? Mickey
Neilan saved the day and the reputation
of the Irish, however, by buying a whole
set of dishes from the hotel manager and
presenting it to Mr. and Mrs. Brennon.
Nita Naldi was an optical delight in a
gown of garnet. Nita confided to a news-
paper friend that she wanted to wear
another dress, but the darn thing had
long, droopy sleeves that just will get into
the soup, so she has to keep that for
dances where no refreshments are served.
William Desmond in Vaudeville
William Desmond is preparing a skit
called "The Timber Wolf," which
he expects to take over a vaudeville circuit
soon. Mrs. Desmond is a member of
the cast, also.
Kidding the Spiders
Want to know how they make those
cobwebs that you see in attic scenes
in the movies? No, they don't wait for
a spider to come along and spin 'em.
They just put a little shellac between two
flat pieces of board. Then they rub the
boards together and jerk 'em apart. And
the shellac stretches out in tiny threads.
That's all.
Cruze Directs Compson
>etty Compson, who is soon to be-
' come Mrs. Jimmie Cruze, had her
first dose of dictation from her future
lord and master the other day, when she
started work on The Enemy Sex, directed
by Cruze. They were both a bit nervous
at first, never having worked with each
other before, but they soon settled into
the harness nicely.
Charlie's New Leading Lady
Charlie Chaplin went East some
weeks ago to pick a leading lady for
his next picture. But what with one
thing and another, he forgot all about
what he came for, until the afternoon be-
fore the evening of his departure. He was
sitting in a restaurant with a party of
friends, when he suddenly realized that
he had not yet picked his leading lady.
Jumping up, he dashed out onto Fifth
Avenue, and spent the afternoon watching
the passing throng, hoping to see a face
that should intrigue him. He had no
luck, however, and mournfully returned to
Hollywood minus his leading lady. He
found her practically on his doorstep.
Lita Gray had worked for Charlie in
The Kid. You may remember her as the
young angel who vamped Charlie in that
delicious heaven scene? That was several
years ago, when Lita was 15. Since that
time Lita has been in school. The other
day she dropped in at the studio to see
if there was an extra bit for her to do.
Charlie saw her, recognized her and de-
cided that here was his leading lady.
Lita will be the only leading lady, besides
Edna Purviance, that Charlie has ever
had in pictures.
Leap Year Party.
|N April 3rd "Our Club" feted the men
of Hollywood at their leap year
party. The bills were footed by the
charming members. May McAvoy, diplo-
matic child, brought her press agent, Al
Wilkie. So did Carmel Myers — one Joe
Jackson, who has more than a story in-
terest in Carmel's career. Carmelita
Geraghty paid the dinner check for John
Considine and Julanne Johnstone escorted
John Patrick, an actor. The rest of the
girls brought their husbands to chaperon,
not to escort them.
Zasu Pitts and Tom Gallery, Virginia
Fox and Darry Zanuck, Vola Vale and Al
Russell, Virginia Valli and Demarest Lam-
son, Gloria Hope and Lloyd Hughes
formed the marriage circle.
Helen Ferguson had the thrill of the
evening when Jack Dempsey asked Bill
Russell if he might dance with her. Jack
enjoyed himself watching the knockout
blows the flappers were dealing in the car-
diac regions of their guests.
Chiffon was the favored fabric of the
evening. Helen Ferguson was in apricot
chiffon and gold lace. May McAvoy's
gown was rose and gold. Virginia Valli
was in black and gold chiffon.
Screenland's Commuter.
Thomas Meighan is looking for-
ward to another summer of traveling.
Having completed "The Confidence Man,"
he is now resting at White Sulphur
Springs. Tentative plans for his future
activities call for the start of his next pic-
ture at the Long Island studio its finish
at the West Coast studio and then a trip
to Alaska to film James Oliver Curwood's
"The Alaskan."
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Scaramouchc has been replaced at the
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White Sister has been replaced at the
Lyric Theater by the Thief of Bagdad;
and the Hunchback of Notre Dame has
left the Astor Theater.
Yolanda, which opened on February
19th at the Cosmopolitan Theater, gives
promise of a long run. America, D. W.
Griffith's latest — and, as many say, great-
est— opened in the same week. It will be
interesting to note the progress of these
two plays, one of them an epic of France,
the other of America.
Abraham Lincoln, a really remarkable
film biography, went the way of many
independent productions. It came to the
Gaiety Theater, January 21st, to remain
for only seven weeks. Lack of proper
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SCREENLANB
(\Memories — from page 61.
New York, under the auspices of
the New York Drama League —
and that press notices were beyond his
wildest dreams of glory. So far so good
— but there doesn't seem to be any re-
muneration attached to the glory and
Robert sees himself a ''successful" dramat-
ist at last — without the financial where-
withal that should accompany it. Still,
he writes vaudeville skits and Edythe
Chapman and James McNeill are even now
now starting on the road with his The
Water Hole.
In that rize lay. The Clock, Robert
has proved that action is not necessary
to intense drama — his central figure is
deaf-dumb, blind and deathly still through-
out the performance. Yoila — what an in-
novation for Hollywood! Can't you see
what Robert feels he could do for film
drama? So that is one reason why the
Bonnie Brier shelters him today. But he
has a marvellous screen story, The Life of
Christ, in which Christ is never named,
never mentioned, never hinted at — and
yet enthralls and impresses you as just
that. He treasures it — but fears to even
offer it to filmdom — fears denial, and
fears its desecration if accepted. This
play of his is a holy thing to him. In
the meantime he subsists on vaudeville
skits!
Anything from Bums to Bankers
Then there is Frank Norcross — sev-
enty-two years young — the pet young
leading man of America, the matinee idol
of Broadway, forty years ago. Our grand-
sires remember him — and loved him well.
But he, too, drited to Hollywood and the
Bonnie Brier. And he carries a little pro-
fessional card which bears the gallant
offer, "'character parts — anything from
bums to bankers."
Just once in a way, at increasingly
wide intervals, Frank Norcross "gets a
call" — and gallantly, dashingly, jubi-
lantly accepts three to five days' work.
Many months divide these exciting hap-
penings, but when they come the whole
comrade-company of the Bonnie Brier re-
joices.
Just as it rejoiced when a famous
"society bachelor and clubman", one de-
lightful Lewis Coleman Hall, who in in-
tervals of financial shadows found haven
at the Bonnie Brier, recently inherited
$50,000. Great celebrations were en-
tirely in order — and that is how I came
to find that wealth of human drama,
hopes and fears palpitating in so many
masculine breasts at the Bonnie Brier.
When I left. Lewis was going to make all
their fortunes, wipe out all their troubles,
set them all on the way to win their
hearts' desires.
And they gave me a cheer, too — for
here was I interviewing them for all the
world as though they were rich and dazzle-
ful stars. They said they rather liked the
taste of it. And so did I. Rich and
flamourful stars are not half so interesting.
83
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84
SCREENLANB
QJ)elight Evans describes the Mot.
modesty are genuine, not assumed.
But I do not doubt that, if her role
called for it, she would do a Lady Godiva
without a murmur. When she is working
she is impersonal. I spent a week-end
with the Gishes when they lived in
Mamaroneck. The family retired early.
On Lillian's bed-table was her prayer book
with its "L. G." on the cover. The next
morning she was up at six and at the
studio at six-thirty. It was Sunday. She
was directing Dorothy in a comedy while
Mr. Griffith was in the South. She made
it a good comedy by sheer determination
and desperately hard work. Everything
happened to hinder her that can happen
in a studio. The electrical apparatus
wouldn't work. It was a grind. In her
severely simple suit, with a green shade
over her eyes, and a huge megaphone,
she was L. Gish, director, and a darned
good one. Not a vestige of the girl the
world knows. She was the most im-
personal director I ever saw on a set.
Her own sister might have been a casual
acquaintance. Patient, tactful — yes. But
business-like. She hardly had time or
the inclination to pose for publicity stills.
I have always handed it to her for her
work with that comedy. It was an achieve-
ment entirely unassisted by personality.
A Good Sport
hen, the first time she left Griffith,
the company that was to have
starred her in a series of features fell
through, she was a good little sport. She
had made up her mind it was time for
her to make money — compared to the
salaries of other stars, her Griffith re-
muneration was small, indeed. But when
her company failed she went- back and
quietly became a part of the Griffith
organization again. It must have been a
keen and bitter disappointment; but if
it hurt her nobody knew it. She played
her parts in the Griffith pictures more
exceptionally than ever before. She
shared, more than any other Griffith
player, the director's triumphs. At one
of the premiers, the audience called for
Mr. Griffith; and after his speech, ap-
plauded thunderously for his heroine.
Griffith smiled. "You are looking in the
right direction," he said, waving at her
box. Somehow a Griffith first night has
never seemed so colorful since she has
left.
Now she is an established star in her
own right. She has made The White
Sister and Romola in Italy. She shops
in Paris and Rome. She has met and
grown to know men and women of the
world; the substantial things of life are
hers. And has she changed?
Of course, she has. She has taken on
a new poise and a fresh charm. Her
contact with another world — the bigger,
t Lisa of the Movies — from page 2
polished existence outside a studio — has
left its impression. She is mentally more
alert — and more silent than before.
A Trifle Tired
The thought has occurred to me about
her that she is a trifle tired. She
has accomplished so much in a few short
years. Not yet thirty, she has been
accorded a niche next to Duse. Her
personal popularity is greater than Maude
Adams' ever was. John Barrymore has
called her a truly great artiste. So have
many others. With the illusion that she,
a real actress, a conscientious, devoted
artiste, loved and lived only for her work,
I once said to her: "But, of course, you
wouldn't be happy if you weren't always
busy."
She turned to me, and her lovely eyes —
the only eyes I have ever seen which
could be called limpid — were a little
weary.
"Oh, yes I could," she said. "Do you
think any of us would work if necessity
didn't demand it? I would love to have
money enough and time enough just to
follow spring around the world."
Her earnings have been considerable.
And the Gish family has never lived
exorbitantly. Theirs has been the life
of the usual prosperous home. But the
long and serious illness of Mrs. Gish, with
its heavy expenses — for nothing was
spared that their beloved mother might
be well and strong again — was a severe
drain on the finances and the courage of
the sisters.
Speaking of courage, Lillian has it. Mrs.
Gish lay ill in the hospital while Orphans
of the Storm was being made. Lillian
and Dorothy often dashed to town from
the suburban studio for a moment's visit.
They did the greatest work of their
careers while their hearts were heavy and
their nerves at the breaking-point. Their
mother has always ben their first con-
sideration. Studio mamas have been
kidded, and often with justice. But here
is an exception. Mae Gish is one of the
finest women whose fortunes have ever
been associated with the films. Slight and
pretty, with Lillian's gentleness and
Dorothy's sense of humor, she has
sympathy and savoir faire. Her son-in-
law adores her. What higher praise?
She is well again and with her girls in
Italy.
Lillian is Old-World
Somehow I think Lillian has always
belonged there. She is old-world. I
can imagine her among the ruins of the
Renaissance; in those serene places where
the lustrous ladies she rather resembles
used to linger. I'd like to have her play
Beatrice d'Este, that capricious child of
Milan, with her dwarfs and her festivities
and her gem-encrusted gowns. Lillian
would rather play Isabella, I suppose!
If she coula only be persuaded that her
dramatic future lies along different lines.
She has played too long the passive part.
Except in a few of the old Triangle films,
such as Diana of the Follies, she has been
the instrument of a cruel fate. If she
would shake off the shackles of conven-
tionality, she would be truly great. She
has courage. Why not use it and play
Cleopatra; or Mona Lisa, or Beatrice?
Perhaps, like her friend Mary Pickford,
she is bound by cinema traditions. Mary
is firmly convinced that she dare not
trifle with the public affection to the
extent of portraying a human being; and
so she keeps on playing her pretty, in-
nocuous children. Does Lillian Gish dare
to do a Cleopatra?
I had hopes when I read the reports
that she was at last to embark upon the
high sea of real romance. The rumors of
her engagement to Charles Duell, the
president of her company, Inspiration
Pictures, still persists despite cabled
denials from Italy. And only the other
day I heard that a young naval officer
had given up his post to follow her to
Rome and Florence, and that she was as
enamoured of him as he of her. Again,
denials. Let Lillian Gish allow herself
to indulge in a little amour, away from
the blinding studio lights and the cease-
less click of the camera; let her marry
and even retire for a while — and the
screen will be richer for her experience. Is
it because Lillian's life has been devoid
of glamour that she shrinks from the un-
certainties and perils of romance?
A young man in England used to send
her poems, all nicely bound and expres-
sive of his undying devotion. Lillian
was pleased with them, and showed a
little-girl eagerness for the next edition.
Will life cheat her of the passions and
perplexities she has never enacted before
the camera? Will her own existence re-
solve itself into a repetition of the passive
part she has played on the screen?
You may answer that in Way Down
East; her Anna Moore suffered, and suf-
fered, and suffered. I know she did.
But Anna Moore was a dumb-bell.
Almost without exception, the girls she
has geen called upon to act have been
dumb-bells. They suffer, but only
physically. You feel that they have
learned nothing from life. Lillian has
absorbed. She has a receptive mind and
a retentive memory; and, unlike her
heroines, she has grown up, with the
potentialities for honest emotion and
drama. Lillian Gish is not a dumb-bell.
She is a remarkable woman. And the
sooner she proves it upon the screen
the better.
W
MAE MURRAY
Delight Evans has chosen a colorful figure to write about next month, the blonde star
with the "bee-stung lips", the exotic Mae Murray. In Screenland for July. Ready June First.
SCIEEKLAND
QjrLome Made Stars-
85
-from page 29
directly to the truth of our statements
concerning the folly of attempting to
teach film acting by mail that we publish
it herewith in full:
San Francisco, Cal.,
March 11, 1924.
Dear Miss Herbert:
I received your lettei today. I will do
anything possible to help you. As you
know, I like you, have chosen that wonder-
ful art, "Movie Acting." as my life work.
I purchased a course in acting from the
concern in Michigan about three or four
years ago. To tell the truth I gained
very little by it. All I can say is this:
no correspondence school or any school
right in your home town can teach a
person screen acting. It's a fact because
I have had experience with these schools.
To learn acting, you must learn in a
picture studio, it is the practical experience
that teaches you. Miss Herbert, you
know what this means, you must go to
New York or Los Angeles. I have been
to the latter city twice without succeeding,
but they say the third time is a charm.
I shall never give up hope and courage.
They say one in a thousand succeed. It
is true, very much so.
It is "Hell'' to go to a strange city
alone, especially you, a woman, so think
twice before leaving home. If you make
up your mind about going, try to get
your folks to go with you, and, remember,
it takes money to live in the city for six
months or a year looking for work. I
know the little I had vanished very
quickly.
After reading over my letter it sounds
more like a sermon than anything else.
But I do hope this little information will
help towards gaining your life ambition.
I should like very much to keep in
touch with you, wishing to know how you
make out.
Miss Herbert, I wish you all the suc-
cess in the world.
Yours very truly,
Alvin Carlson".
177 De Haro Street,
San Francisco, Cal.
NEXT MONTH
The daily papers in Los An-
geles recently brought to light
a group of so-called "Make
Up Schools." The gross abuses
that went on behind these
walls will shock and astonish
you. Read the details of the
Movie Make-Up Schools in
SCREENLAND for July. Ready
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86
SCMEENLANB
QJiunice Marshall tells of Charlie's Brother— from page 31.
offered the colossal sum of $175 per week
in pictures, Syd cabled in great alarm to
investigate thoroughly the financial stand-
ing of the company. It seemed incredible
to him, that salary. But it wasn"t long
afterward, as Charlie's business manager,
that he was demanding for Charlie's serv-
ices sums that made the industry gasp.
It's a standing joke in Hollywood that
whenever it came time to sign one of
those amazing contracts, Syd has worked
on the contract and Charlie has been out
of town. Charlie didn't have the nerve
to ask the sum that Syd demanded for
him, they say, and ducked out of sight
until the deal was over.
Syd came to America to study the
business end of pictures and, perhaps, do
something in an acting way while he was
studying film economics. But he soon
realized that Charlie was a gigantic asset,
and Charlie, like most geniuses, was —
and is — no business man. So Syd put
aside his own personal ambitions for the
time and retired behind the scenes, to
advise and work and plan for Charlie's
success. Charlie's Utility Man, he called
himself. The rest of the world who knew
of him at all called him just "Charlie's
brother."
It was Syd who brought Charlie's films
out in the open market, sounding the
death knell of the antiquated footage
basis of film selling, by which all film,
regardless of actor or subject treated, sold
for the same amount of money per foot.
Syd Engineers Million-Dollar Contract
It was Syd who engineered the famous
$670,000 contract with the General
Trust, and the still more famous million-
dollar contract with First National.
Charlie lost money on the contract, be-
cause he took four years to complete the
eight pictures which he should have made
:n one year, but the contract was a
stroke of financial genius on Syd's part,
just the same.
If you have laughed over Charlie's
pictures, during the last six years, you
probably have chortled at Syd's antics
without knowing it, for Syd has featured
in almost every one of his brother's pic-
tures. Whenever a particularly difficult
bit called for special treatment, Charlie
would draft Syd for the action.
Do you remember the hot-dog vender
in A Dog's Life, from whom Charlie
stole the sausages? That was Syd. The
bit required perfect "timing." Two men
were tried out and rejected, and Charlie,
in despair, was about to cut out the
scene altogether. But it was a good gag
and he hated to.
"Why don't you put on a 'muff' and do
this for me?" he asked his brother. A
"muff," by the way, is in stage parlance,
a mustache.
Syd hesitated. He thought that to
play a "bit" after his extensive stage and
screen experience in "leads" might hurt
his reputation with the industry.
"No one will recognize you," Charlie
coaxed, and Syd consented. That episode
was one of the most hilarious in the
picture.
In Shoulder Arms, Syd played the part
of the Kaiser, and also took the part
of the sergeant who slept next to Charlie
in the water-filled dug-out. You remem-
ber, doubtless, that deliriously funny bit
where Charlie rubbed the numbness out
of Syd"s foot instead of his own.
Syd's Part in Charlie's Pictures
Syd had three roles in The Pilgrim. He
was the eloping lover in the opening
scenes, the conductor on the train, and.
funniest of all, he was the visiting church
member whose derby hat figured in the
plum pudding incident.
If Syd ever wants to go into the
diplomatic service, he can say with truth
that he has had excellent training. He
has been Charlie's emissary more than
once in affairs de coeur. It is said that,
after Charlie's separation from Mildred,
whenever Syd would show up at Mildred's
house, she would burst out with, "Oh, I
know what you want; you want to see
how cheap I'll let Charlie off!"
When Charlie outgrew his old studio
headquarters, he began to think of build-
ing his own studio. Wherefore, after his
custom, he sent Syd out to find the tract.
Syd nosed out a five-acre tract that
seemed to be just what he wanted, out
on LaBrea and Sunset Boulevard. In
addition to the ground, there was a fine
old house in a setting of palm trees.
"Go in and see if they'll sell," Syd
instructed a real estate friend. "And don't
say it's for the pictures." Hollywood
looked down upon the picture industry in
those primitive days of 1918.
The owners needed money and were
willing to sell, so the deal was closed.
But no sooner had the word spread that
a film studio was to be built right in the
heart of Hollywood's residential district
than a fine hullabaloo arose, and all of
Syd's diplomacy was needed. The
churches protested. So did the teachers
of the near-by high school. But the deal
was already in escrow, and when Syd
showed the protestants the architect's
drawings of the proposed studio, beauti-
fully done in colors suggesting a row of
quaint English cottages instead of the
ugly shacks that the neighbors had feared,
the opposition died down. When the
studio was finished, it so little resembled
the usual factory-like studio that one little
old lady waxed very indignant when she
was not permitted to rent one of the
"cottages" for her own use.
After very nearly six years of behind-
the-scenes work for Charlie, the old long-
ing for the footlights that never deserts
an actor has led Syd to the acting game
again. His brother firmly established on
the pinnacle of fame, Syd is about to
resume the furtherance of his own career.
His decision was hastened by his recent
staggering loss of $350,000, wiped out in
a day by the failure of a broker with
whom he traded in the stock market.
His clever and convincing characteriza-
tion of the British sergeant, Winkie, in
Neilan's The Rendezvous, was his first
contribution. He followed that up by
two more comedy successes in Her
Temporary Husband and Ince's Galloping
Fish, and is now at work supplying the
comedy relief in Colleen Moore's new
picture, The Perfect Flapper.
Q EUNICE MARSHAL promises us something unusual in her
article for next month. She calls //--The New Pola. We have
given Delight Evans the assignment that goes with it. The New
Gloria will be the title of Miss Evans' article. The last time the
Mademoiselles Evans and Marshall combined on one of the East
and West articles they produced Petroushka- Algonquin, a study in
restaurants. That was last month. The Negri-Swanson combine
promises to be even better. Watch for it in the July Screenland.
READY JUNE FIRST
N. G. As a BRIDEGROOM?
SCKEENLANB 87
vu'wAHMMrfiiQ k. AS "BEST MAN" But
hand is simply frenzied. He makes love
madly in all directions.
Norman Kerry is turgid even if he did
give a creditable exhibition as Little
Phoebus in The Hunchback of Notre
Dame while entirely surrounded by tin-
ware.
The frigid Conrad Nagel is as inspiring
as an Eskimo pie except to little girls
who still believe in Santa Claus.
Lew Cody is turbulent while Walter
Hiers is only corpulent.
Bill Hart with his quarter-sawed, un-
finished face is pure and loves horses.
He has appeal for the Joans who find
Ray and Dick Barthelmess too chastely
chaste.
Adolphe Menjou is virulent and Frank
Mayo flatulent.
Tony Moreno was as passionate as a
pork-chop until Pola Negri caused him
to find himself, or perhaps it was impend-
ing matrimony.
Bill Haines, despite Peggy Hopkins
Joyce's dictum to the contrary, is timid.
Douglas Fairbanks as a gay Lothario
is a darned good acrobat.
Many in this list of the lovable are
deserving of the rating of "actor, first
class," but doggone it, they seldom get
an opportunity to prove it.
Art is for the few, while hearts are for
the many.
The reasoning of directors and pro-
ducers seems to be that grasping at
nuances is futile as long as necking knocks
'em off their seats.
STRONGFOET
Ths Perfect Man
UNFITNESS for marriage is the
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and lovely girl whose mate you are
physically unfit to be, of whose
children you can never honestly
become the father, whose hate and
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You can only let yourself go just
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squeezed dry, scrapped. Nature will
stand for only so much defiance of
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SING A SONG OF
SIDEBURNS
H. B. K. Willis has the facul-
ty of presenting film facts in
fanciful form. His articles are
so amusing and so pat in their
expressions that we scarcely
realize, while we are reading
them the extreme seriousness
of his remarks. Next month
the Reverend Willis, will
choose as his text the hirsute
adornment n o w prevalent
amongst our male luminaries
We have not seen the manu
script as yet, but from the ru
mors that creep eastward — H
B. K. lives in Hollywood— it
promises to be a tongue twist-
er. In SCREEXLAXD for July.
Ready June first.
yburFuture
What does it hold? Will it be fortunate? Will
it be rich in Love, Happiness, Wealth, Success?
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SCREENLANB
^Breakfast Together A Story of Marriage a la Mode — from page j>j>.
will have gained a victory.
With the Vidors, it hasn't worked quite
so well.
You remember, some months back, that
gentle Florence Vidor announced that she
and King Vidor were going to take a
"vacation from marriage." She was going
to Honolulu for a holiday. Perhaps when
she came back . . .
But she has been back for six long
months, and things are no better. The
rift in the lute of their happiness has
■widened. New interests have led King,
the youngest director in the business, fir
afield. The young couple no longer feel
the unity of spirit that led them, fresh
from a small Texas village, across the
continent in a rickety flivver to the
Promised Land of Hollvwood. Even the
common bond of a chubby, small daughter,
Susanne, cannot avail to link them to-
gether in the old close comradeship.
So the marriage vacation continues.
But in spite of it — or maybe because of
it — love still exists, unless we are very
much mistaken; a strong, steady flame in
Florence Vidor's heart; a nickering flame
in the young director's breast, but still
a flame.
Some dav. we think, when Life has had
its way with them, the old love will call
more urgently than fleeting fancies of
ambition or adventure, and the Vidors will
be happy again.
Leatrice Joy and her Husband
Leatrice Joy and her strapping actor-
^ husband, Jack Gilbert, have given the
intermittent matrimony formula more
than a fair try.
Ever since their romantic and hasty
marriage, just over the border-line in
Mexico, their married life has been a
constant, "in again, out again, gone again,
Finnegan" affair. They either are suffer-
ing from "mads" on each other and are
parted for ever and ever, or have just
"made up" and are never, never going to
be separated again.
At present writing, they have just
"made up." Their latest "marriage vaca-
tion" has proved an effective tonic.
Cullen Landis and his wife, Mignon Le
(\The Editor's Letter Box — from page II.
guess. Everyone enjoys diagnosing the
ills of the movies and wagging their heads
solemnly from side to side after the man-
ner of doctors at a consultation. But per-
haps the most unkindest cut of all comes
from Mr. Sinclair in the same article
quoted above, not in his accusation that
movies are controlled by capitalists (In-
credible though it may seem I have known
some nice human capitalists with more
aesthetic appreciation than coal heavers)
but when he says : "The movies are made
for children. . . ." Mr. Sinclair, may I
ask you what you have against children?
The business of producing moving pic-
tures is entirely too strenuous and mad
an affair to permit of much time being
spent in answering self-appointed critics,
but every now and then some harassed
director who has practically been accused
of being a mental moron will drop his
megaphone long enough to plead with a
tear and a tremolo: "Don't be hard on
us; movies are in their infancy!"
And that is just what is the matter with
the movies — they are not in their infancy,
they have had no childhood to speak of;
they were born old and have been shackled
from birth with the traditions and conven-
tions that all the other arts have been
building up from the time Man first
started fashioning images out of the ma-
terials of the earth. They are suffering
from an over-dose of inherited knowledge
too hastily assimilated; they have not
realized that where creative art is con-
cerned ignorance is indeed bliss.
For art is creation, and creation pre-
supposes beginning at the beginning. In
the case of the movies, producers have
been dissipating their energies in trying to
weld together the innumerable tag end
conventions of art, literature, and drama
and on top of the wierd concoctions re-
sulting they have placed a dash of whipped
cream and a cherry that they may slip
easily down the public throat. Though it
is doubtful that they ever will, producers
would do well to disregard artists, dra-
matists, critics, interior decorators, and
the whole crew of professional aesthetes
with their boxes of tricks; they would do
well to start all over again and, with the
assets of ignorance and enthusiasm, use
their new medium of expression creatively,
inventing and experimenting until they
either discovered a new stimulus to pro-
duce new emotional responses, or arrived
at the conclusion that their world was in
truth nothing but a shadow world' only
capable of echoing the most blatant noises
of the real world. Critics would regard
more leniently mistakes made in an effort
to attain aesthetic independence than
movies that are "artistic" mongrels.
But the Public would howl. Good —
that proves our point, for we can accept
it as axiomatic that the public is always
wrong, you and I, dear reader, being the
exceptions.
Dillwyn Parish,
Claymont, Delaware.
Dear Editor
When I sent my
subscription order
a few days ago,
I felt that I was
contributing to a
worthy cause as
well as subscrib-
ing to a magazine.
I I admire your
wonderful fi g h t
against hypocrisy
<ARalph P. Anderson and bunk in mov"
iedom. You're going up against some
strong opposition, but truth and reason
rp
Brun Landis, conscientously tried the
absent treatment theory on their marriage,
but the recent filing of Mrs. Landis' suit
for a divorce seems to prove that in
their case it did not work.
Rumors of their matrimonial differences
have been current for several years. Only
the birth of their second baby some two
years ago kept them together then, it was
said. Then Cullen left home and went
to San Francisco, remaining quietly in
seclusion while waiting for absence to
make the heart grow fonder. Unfortun-
ately, Mrs. Landis feared for the safety of
her missing husband and appealed to the
police for news of him, thus interrupting
the experiment before its full value could
be determined.
The handsome Cullen has filed an
answer to his wife's charge of cruelty,
by a cross-complaint of mental cruelty and
desertion.
Fannie's theory is rather like the Coue
system or sulphur-and-molasses; some-
times it works and then again, it doesn't.
Perhaps it all depends on how you stick
to it.
are on your side, so you'll win out.
The "sassy" telegram from the Western
Association of Motion Picture Advertisers,
reproduced in your February issue, was
amusing. I wonder if you heard about
the grand annual ball that this organiza-
tion "pulled off" in San Francisco during
January? You know, they usually hold
their annual blowout in Los Angeles, but
this year the wise Angelenos didn't sup-
port the project to the Wampas' satis-
faction, with the result that they trans-
ferred their allegiance to San Francisco.
'Twas a wise move, for they took away
from San Francisco several times the
amount of cash they had been accustomed
to garnering in Los Angeles.
Judging by the daily papers, it was a
grand and glorious affair, but the story
is quite otherwise, according to many who
attended. The Wampas advertised that
many stars would be present. They were
there all right, but the darned advertising
men sold so many thousands of tickets
to ordinary citizens (at $4.40 and up)
that the poor stars were lost in the shuffle.
The Wampas also advertised that the
stars would "put on" many stunts. There
were rumors, occasionally, that the stunts
were being performed, but so great was
the crowd, and so poorly was the affair
arranged, that only a limited part of the
audience could see the said performances.
Incidentally, only one paper had the
courage to tell the truth about how dis-
appointing the affair was. The others,
with one eye on the advertising depart-
ment, hailed it as the seventh wonder.
More power to you, Screenland!
Ralph Parker Anderson,
606 San Pablo Avenue,
Berkeley, Cal.
SCEEENLAND
89
Q_ Mr. Griffith Keeps His Date — from page 37.
The work was almost done as the audi-
ence assembled that evening. But not
quite. So while the first part was pro-
jected the latter half was still in the hands
of the film physicians, while the producer
was still in the hands of his. That doc-
tor was probably the most unpopular per-
son in the dressing room at the time. But
he persisted, and whenever he could get
a firm hold on the director he swathed
his throat and chest with cold compresses,
demanding all the time that Mr. Griffith
get out of this place and go to a hospital
— or at least, home.
Mr. Griffith, needless to say, did noth-
ing of the kind. He may have admitted
to himself after a while that there might
be something in what the doctor said,
but when he heard the appreciative
audience demanding his presence before
the footlights, he answered their call.
A Griffith first night without a speech
by Mr. Griffith? Unheard of and un-
thinkable. So he appeared. And he hoped
nobody noticed that he swayed a little
as he walked off the stage.
. His word of thanks was the last one
he spoke for several days. His voice
left him entirely alone. He became a
pantomimist through necessity. They
finally made him go to bed — not, how-
ever, in a hospital; and at the Hotel
Astor for the next week he was muffled
in blankets and immersed in medicine
with the telephone service completely cut
off and isolating him from the world.
A little illness is evidently the only
thing to make Mr. Griffith stop working.
And, after he was sufficiently recovered
to be up and about, did he run down to
Palm Beach or Miami for a vacation, to
bask in the sun with obese millionaires and
to pose for the news weeklies? No. The
only time Mr. Griffith was in Florida was
to shoot exteriors for a picture.
Griffith is a cinema tradition. He is the
most romantic figure in the whole world
of films. Because he looks the part. He's
a Great Man. See him on Broadway,
his spare frame in well-cut clothes; or on
the set, where he wears an old suit and
a battered hat and never, never puttees —
and you'll have to admit his magnetism.
A girl I know had never seen him before,
and she knew little about pictures. She
rode in the same elevator with him one
day. "He didn't even look my way," she
gasped, "but I knew he was somebody.
He gets you."
She was right. He has a curiously com-
pelling charm. Perhaps those who have
dubbed him a Svengali are correct. His
deep, slow voice; his smile; his courtesy —
he never addresses a player by his first
narr o on the set — make him a figure of fas-
cination and incessant conjecture. That is
why he can take an apparently phlegmatic
little girl, without beauty and without sex
appeal, and make her an interesting
actress. That is why he has withstood
the storm of poor screen plays and the
influx of amazing talent from Europe. He
remains our Great Director. He
inspires loyalty and commands at-
tention. Of the old school, he alone
has not altered his methods. Other
directors have adopted theirs to the chang-
ing tempo, the swifter sequences, the more
smashing effects of the present-day screen.
Not Griffith. His technique stays the same.
He represents the heroic order of things;
he believes implicitly, for film purposes, in
the pure heroine; the stalwart hero; the
shameless villain. His celluloid world is
peopled with impossibly good and hope-
lessly bad men and women. His philosophy
of life, if it can be called a philosophy, is
that of the mid-Victorian era. His out-
look has not been influenced in the least
by the moderns — possibly because he
never reads them or sees their pictures.
He lives in a poetic past— a dreamy, dis-
tant time of knights and fair ladies, where
right is always right and wrong is wrong,
and the villain bites the dust and the good
folk study the sunset.
But he is comfortable in his beliefs.
And what would we do without him? We
might not get excited over the von
Stroheims and the Lubitsches and the
Seastroms, with their slashing, ruthless
realism and their contempt for the con-
ventional, if it weren't for the Griffith
picture. We may laugh a little at his
theatricalisms ; his artifices that seem to
belong to the good old days ; but we watch
them and we applaud them and sometimes
we even weep over them.
And, like all great men, he is a bit
pathetic. He has made very little money
compared with the directors who have
done so much less for pictures than he.
He has worked hard. He has put a little
of himself into everything he has ever
done. He has believed. That is' more
than many have done. If "America" is a
great picture it is because the director
worked under high pressure. His finances
have never been excessive and right now,
it is rumored, they are low. He didn't
have money enough to make "America" as
he would have liked to make it. The
backgrounds of glass were not of his
choosing. But he put them under the
"artifices of art," resigning himself to the
fact that to build villages just for a sin-
gle shot would be useless expenditure.
The village of Lexington, which was
built on the Mamaroneck studio grounds,
was a faithful reproduction. So faithful,
in fact, that two hilarious customers, wan-
dering from a nearby town, walked down
the main street discoursing upon the nice
lil' village that had gone up over night,
and discoursing thus walked calmly off
the sea-wall. They woke up, sober, in a
hospital.
Did you notice that in the battle
scenes of "America" there was a peculiar
fairy-like atmosphere — a dream-like effect
that made them so attractive you would
have enjoyed being a participant? Here's
the reason. Mr. Griffith, despite the pro-
tests of his aides, insisted upon selecting
a horrid, nasty, drizzly day to film the
scenes. In vain did his photographers
argue that the scenes would be total losses
taken in that weather. D. W. donned
galoshes and slicker and set the smoke
from the guns to float on the air, giving
that quality the director was striving for.
Probably that's where he caught his
cold. But Mr. Griffith kept that date.
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QjSarry Vannon 's Story of Holly-wood Counterfeit — from page 45.
her girlish head, and hurried to her last
fight, crying "I still am Fanny Barr!"
Tommy was making a desert picture
not far from Santa Barbara, a few hours'
drive. Fanny arrived at noon, and parked
her car, and sat at the wheel, waiting.
It was hot. The vary winds perspired.
It had been stifling in Hollywood, but
here — there never was so hot a place.
Moe Eckstein, the director, wiped his
brow and cursed the heat, and waved a
languid arm at her, then bellowed through
his megaphone, and the cameras started
work.
Adele Blood rode out across the sands,
slowly. There was a signal. The weary
horse fell, and Adele with him. She
6taggered erect, looked toward the horizon,
brushed the sand from her habit.
"Now," Eckstein shouted, "your horse
is dead. You're alone in the desert.
You're frightened. You're nearly dead.
How many times I tell you that? Feel it!
Act it! Fall on your knees and pray!"
Fanny smiled at the acid in his voice.
Adele was one of the young generals.
Over a distant sand dune appeared the
heads of men and horses. The leader
turned, gave a command, and a body
of Arabs came galloping into the picture.
The riders jerked to a stand, the leader
cantering up to the praying girl.
It was Tommy.
Fanny's eyes caressed him. Fanny's
hands sang silently of his beauty and his
hardness of heart — and of his youth!
Fanny forgave him his letter, and wished
but to kiss his chin.
But what is that — that lump on his
chin? Has he been hurt? Her
fingers scream with their mute tongues —
her honest fingers and her eyes. But her
face smiles the smile the doctor made.
The cameras stop. Eckstein walks
through the sands, clumsily, angrily. He
feels that lump on Tommy's chin. He
pats it. He pushes it. He pats the
other side of the chin. He seizes the
chin, and squeezes it — and swears.
"Paraffin!"
Tommy stands ashamed in his Arab
glory and mutters something about his
chin — "guaranteed to stand all climates."
"Paraffin!"
The only sound in the desert — a sound
to stop your heart.
"A chin what melts in the sun! One
hundred thousand dollars gone to hell!"
Fanny smiles sweetly at Adele, and
walks past her to her husband.
"I got your letter," she says. "You
need not bother with the suit. My lawyer
will attend to that. Did you think you
could divorce me? Me, Fanny Barr?"
And as he stares in his dumb misery,
one honest hand cracks smartly against
his counterfeit jaw.
"Not by the hair of your Chinny-
Chin-Chin!" and she laughs. "I will get
the divorce, you — you chinless wonder.
And I'll charge you with obtaining matri-
mony under false pretenses."
She waits until his hand leaps to his
chin in that peculiar gesture she once had
loved, then leaves him and rides away.
Fanny Barr, the great Fanny Barr, sits
alone in her boudoir and weeps for her
lost old age. And a fresh young wind
elbows in through the window and taunts
her with the echo of a laugh.
CLASS
That is the title of next month's fiction story.
Only it really is scarcely fiction; it's so near
fact. Lillian Day tells of Fannette Bischel and
her trip to Hollywood. Fannette is so much like
a girl you know that she will tickle you. There
is a laugh in store for you, in the July Screen-
land, ready June first. .
(\Alherta Vaughn-— from page 56.
she has only worn a bathing suit in a
picture once; that she was born in Ken-
tucky seventeen years ago and is a whiz
at horse-back riding.
But we consider it a matter of much
more interest that Alberta is the most
delectable cutie that we have glimpsed for
many a day; that she calls everybody
"honey" from her director down; that
she confessed that her ermine wrap is not
"really good"; that her nose crinkles
adorably when she laughs, which is often;
that she lets her mother make her dresses;
and that she is a coming comedienne who
will make Mabel Normand look to her
laurels.
She's a riot, positively!
66TT DID not spend your rupees," said the Burmese girl-wife to
her English lover, "I saved them all — and when you told
me you were to leave me, I gathered them all together
and took them to the old silversmith whose shop is not far from the bazaar of
my father. * * * He melted the silver and it became cold and then he hammered it, as I or-
dered him. I could not watch him do that, though! He — was hammering me — the inside of
me. * * * When the silversmith returned to me your rupees, they looked like this," and she
held out a cigarette case, hand-hammered and with a representation of the Temple-Pagoda,
where the two had first met.
A story of love
'without benefit
of clergy" that
will wring your
heart with its
lyric tragedy and
its ironic ending.
A story lit with
the radiance of
passion and
painted in the
harsh, bright
colors of India.
You will want to
know all of it — this
love story of the Bur-
mese girl who loved
her Englishman too
well, of the white
man who gave up
real love in a brown
heart to seek a vir-
ginal ideal among his
own kind. You will
want to know what
he found at journey's
end — then read the
whole story — "MISS
PRETTY HAIR,"
bv Roy Griffith, in
June REAL LIFE.
And that is only one of the thirteen fiction stories that await you in our June issue.
Have you wondered what grisly and relentless game is behind the mysterious, unavenged deaths of Dot King
and Louise Lawson? STALKING SWEETIES, by Rhoda Montade, gives you an insight into the most ghastly-
sport of those warped minds which make Broadway their hunting ground.
DOES HEART BALM HEAL? A question that is aired by clever Eileen O'Rell, author of SHEIKS IN
REAL LIFE and MALE GOLD-DIGGERS, articles which have aroused a great deal of comment in former issues
of REAL LIFE.
And last, but not least, a new
department, MY SLANT ON
LIFE, in which you can air
your own philosophies of life,
and from which you can glean
sterling bits of humor.
A book of exceptional fiction,
by such well known authors as
Carl Clausen, F. Hugh Her-
bert, Hal White, F. H. Hicks,
Winifred Van Duzer, Leavitt
Ashley Knight, Travis Hoke
and Rov Griffith.
A beautifully dressed-up
book, illustrated by such artists
as C. J. McCarthy, Dudley
Gloyne Summers, Courtney
Allen, Edward Butler, Harold
Denison, A. W. Sperry and
Raeburn Van Buren.
You can no more afford to
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SCMEENLAND
91
QGrace Kingsley describes the Kid Himself —from page 46.
stories. His mother wisely, it seems to
me, does not try to curb his imagination.
"I 'member about Heaven," explained
Jackie. And he went on to tell me about
it all. A funny place, heaven, a mixture
of gold clouds, ice cream cones, Charlie
Chaplin, baseball, movies, and white
angels. He tells you quite solemnly and
with widening eyes about wandering
around the place. Maybe it is from this
childish fancy that Chaplin evolved the
greatest picture of his career, The Kid.
But Jackie Coogan has to study. He
has a governess, and his eager mind, she
tells me, quickly gathers up everything
she can feed it.
The one great, over-shadowing fear of
Jackie's family is that he will be kid-
napped! So he isn't permitted the
freedom of other little boys. Besides, it
seems to be in the minds of his father
and mother that he must not be spoiled,
— a worthy thought, no doubt, but one
that is hampering to a child in a thousand
ways.
But how Jackie minds ! Sometimes the
tears will come to his big eyes, but he
always obeys sweetly, perhaps after one
little mildly protesting and heart-breaking,
"Oh, mother, why?"
Jack Coogan, Sr., is a keen humorist,
and his son adores him. He treats Jackie
like a grown-up, which immensely pleases
the little fellow; but also he rollicks and
kids with him. Nobody can get Jackie's
goat except his father! Jack, Sr., can
make little Jackie puzzle to bewilderment
over some of his jokes, though concerning
anybody's else kidding, Jackie will either
get you at once, or dismiss your ideas
from his mind without troubling to find
out what you mean. And he can make
Jackie laugh more than anybody else can.
Little Jackie does not laugh so very much.
He is too busy and earnest about his
play, and he doesn't think many things
are funny, I think. Like any other boy,
he laughs more at horseplay than any-
thing else.
Jackie had a little sister for a while.
That is, the Coogans took little Priscilla
Moran into their home when her mother
died. The two children were great play-
mates, and Jackie was most gallant to the
little girl. But there seemed, somehow,
to be too much childish temperament
around the place; besides which, when you
get two Irish youngsters together you can
well imagine the noise. Then, too,
Priscilla's father grew lonely for his little
girl. So he took her away, and now
Priscilla Moran is another kid star herself.
There is a story about Priscilla and
Jackie. It is to the effect that Priscilla
after dressing to go out one day was
told by the maid to hang up her cast-off
clothing.
"See, Jackie always hangs up his
clothes," explained the maid.
"But," protested Priscill , "rich little
girls don't hang up their clothes."
"Maybe you won't always be rich,"
said the maid. "Perhaps you'll have to
earn your living some day."
"Well, when I do," retorted Priscilla,
"it won't be at hanging up old clothes!"
Maybe the real tragedy in Jackie's life
now is that he is growing up! Soon
a new Jackie will be coming to the screen.
But the little Jackie Coogan we have
learned to love is being lost to us forever.
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GRACE KINGSLEY
has written a story for next month. It is a tale of the pluck
and tragedies of the Hollywood Extra, whose slogan is
"Smile When You Say 'Goodbye' " and that is the title of
her story. In SCREENLAND for July. Ready June first.
(\Song of a Spinning Wheel — from page 55.
"Just Look inside that Door."
He Opened one of his
Compartments.
"What do you See?
Yes— of course.
I'm a Completely Equipped
Cellarette.
I Contain the Choicest Wines
And Liquors. And
I am Scheduled
For the Biggest Role
Of my Career.
I am to Play
In the All-Star Cast of
Cringing Cocktails; and
I am to be
In Every Other Scene.
It's
The Opportunity
Of a Lifetime.
Some Producer is Sure
To Offer me
My Own Company."
A Shaky, Silvery Laugh
Issued from the Spinning Wheel.
"Oh, oh," she Quavered,
Quite Hysterical.
"I Feel
A Couplet Coming On."
The Phonograph Glared.
"Go On."
The Spinning Wheel Sang:
"All that glitters is not gin,
Cocktails, sparkling Brut or whisky.
When you're called upon to sin
It's cold tea that makes you frisky."
"I'll Get you for That,"
Panted the Phonograph,
Running Down.
"Oh, Go Change your Needle!"
Sniffed the Spinning Wheel.
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92
0[£. V. Darling tells of Bill Hart — from page 47.
dear, old Brooklyn, the city of churches,
rubber plants, baby carriages and tail-end
ball clubs.
When Bill finally sought the West to
make his fortune he was already a middle-
aged man. For over a quarter of a cen-
ury he had been a Broadway actor starting
as a leading man for Mme. Modjeska. In
those days, according to old George Faw-
cett, Bill slicked his hair back of his brow
much after the manner of the present day
finale hopper and spent his idle hours
cruising Broadway featuring a pair of yel-
low spats and a bamboo cane as import-
ant cogs in his sartorial equipment.
Bill's best friend then, and the same is
true today, was his sister, Mary Hart.
They were inseparable. During the off
season they retired to an old farm up
in Westport, Conn., and there the ambi-
tious Bill studied Shakespeare, thinking,
some day to appear on Broadway in Mac-
beth, Hamlet and the rest. The near-
est he ever got to so-called classic act-
ing was to play in Ben Hur and that
wasn't very near, though Bill played
Messalia, one of the best parts in the
show. William Farnum played Ben Hur
in the same company.
It was Thos. H. Ince who discovered
Bill Hart's resemblance to the Westerner
of fiction, though his appearance on the
stage in The Squaw Man had given the
general public some inkling of it. So, Bill
was taught how to ride a horse, rope a
steer and handle a gun.' For something
like ten years he has lived the life of a
story book Westerner.
Bill Now Believes it Himself
"[DILL has been playing this part so
^ long that now he actually believes
himself to be an old plainsman. The cyni-
cal are inclined to say that Bill's repeated
statement that "a man's best friend is
his horse" is due to his matrimonial expe-
riences, but I feel differently. That is
part of the character he has assumed.
When introduced to a lady, this erstwhile
Broadway Lothario smiles in a shy man-
ner, sidesteps a bit and then says sheep-
ishly, "Glad to know ye, ma'am." Others
may claim to be the originators, but it
was Bill Hart who popularized the styl-
ing of one's sometimes better half as "the
little woman." It was he, too, who
astounded a lady, who had known him in
the old days, by suddenly saying, "I know .
I'm rough and Western, gal, but I've
got a heart and you've touched it."
Recently, when Bill's matrimonial ad-
ventures were receiving some special at-
tention from the press, several of the
older employees of the New York Post
Office recalled Bill Hart as a clerk in
that establishment in bygone days. He
was, they said, a mild-mannered, retiring,
well-behaved young man with an ambition
SCREENLANB
to go on the stage and become a Shakes-
perean actor.
The remarkable thing to me with regard
to Bill's transition from a Broadway actor
and a Brooklyn resident to an old plains-
man, on and off. is that he has absorbed
the ideals of the old West as well as he
wears its habiliments. ,
Bill's one thought is to treat every-
body fair and square, or as he would put
it, "fa'r an' squar'." His word is as good
as any man's bond and in every detail of
his life he is the soul of honor. He lives
cleanly and decently. There is absolutely
no show about him. In short, when you
see Bill Hart in a picture you come pretty
near seeing the man he wants to be and
is trying with all his might to be.
Bill was a bachelor for years but that
was no fault of his own. He always
wanted to be married and "have kids." I
remember distinctly, when he received a
letter from President Wilson compliment-
ing him on his work during the war, that
he said proudly, "If I ever have a son,
I'm going to give him this." When Bill
was married I am sure his one desire was
to get together enough money, retire from
the screen, settle down in a little house
by the side of the road and raise a raft
of children. That things turned out other-
wise is a great misfortune, as I am sure
no kid could have a better father than
Bill Hart, nor no wife a better husband.
PICTURE PESTS
Willie Shrimp asked Hortense Brady,
A most up-to-date young lady.
Out to have what he supposed, a lovely
time.
She prefers cafes and dancing,
So her language was entrancing,
When he tried to entertain her for a dime.
* * *
"Well, Willie, I hope you're satisfied
now you've got me here ... Oh how
it smells! . . . Just like the lion house,
in Lincoln Park! . . . Lets move! . . .
I can't sit here! — The man next to me
has been eating onions. . . Come on!
(She wedges her way across to aisle
"Look out for your feet, Willie! . . .
That woman tried to trip me! . . . Here
are two seats (sits down) Good Lord!
(jumps up hastily) . . . "Well why did
you park your baby there, if you didn't
want it sat on? ... I couldn't see it
in the dark! . . . Why, Willie, I am not
disagreeable! ... I simply am not ac-
customed to such places, (watching
screen) So that's Chaplin? . . . Well, 1
don't see anything so funny about him. . .
Awfully ordinary, I think. . . My! Such
clumsy feet! . . No wonder Bebe Dan-
iels wouldn't marry him! . . . You say
it was Pola Negri? . . Well all these
screen persons are alike to me . . .
. . . Don't laugh out loud like that!
. . . You're attracting attention. . . Isn't
By Nivien Chandler
that organ terrible? Have you heard the
new orchestra at the College Inn? . . .
Harold Jones took me there last night.
. . . He's going to take me to The Fol-
lies tomorrow night. . . Oh, Willie! . . .
There's that man with the onions again!
. . He's moved right behind us ! .• . .
1 can smell him! ... He just breathes
and breathes . . . Tell him to stop! . . .
You won't? . . . Well I cant stand it!
. . . I'm going out in the lobby, where
I can get some air! ... You can stay
here, and sniff him all you want to!"
* * *
THE LOVERS
In the dim, dark picture palace,
Jim gets mushy. . . So does Alice.
For they haven't any place at home
to spoon.
So they take some awful chances,
While they're watching screen romances,
And you wish that they were on their
honeymoon.
* * *
"O-oh, Jimmy! . . Isn't it dark here?
. . . Honestly I can't see a thing? . . .
Is that your hand, Jimmy? . . . Now you
stop! . . . You promised you'd be good,
if I'd come out with you tonight! . . .
Now stop that, or I'll go straight home!
. . . .Say, do you think I look like Lila
Lee? . . . Well perhaps I do have more
expression. . . My forehead is higher than
hers, is what makes the difference. . . .
I wish I had a Spanish comb like hers. . .
Why I wasn't hinting, Jimmy! . . . Now
you behave! ... I just know that wom-
an saw you then! . . . Oh, Jimmy you're
killing! . . . You ought to be in the
movies yourself . . . Why you're perfect-
ly scandalous! ... If you don't stop I'll
— Say, those people are getting up! ...
Let's go over there where it's darker!
THE DUTIFUL DAUGHTER
Mr. Hezekiah Crumpett
Will not purchase an ear-trumpet.
And his wife will not wear glasses . . .
(She's too proud.)
Though he's deaf, and she's near-
sighted,
With the movies they're delighted.
For their daughter reads the titles all
aloud.
* * *
"Ma, do you suppose this is near enough
for Pa to hear the music (shouting) —
"PA!— CAN YOU HEAR THE MUSIC?
. . . ALL RIGHT. . . ARE YOU COM-
FORTABLE?" (to mother) "He says he's
all right." (to father) "OH, PA! ...
MA WANTS TO KNOW IF YOU LEFT
THE KEY OUT, FOR THE ROOMER.
... NO! ... NOT RHEUMATISM!
(Continued on page 95)
SCBEENLANB
QJJpton Sinclair on Money and
the Movies — -from page 38.
old friend, and it wasn't his fault. He
agreed to do the story just as I had
written it. But after he had the scenario
made, he came to me in distress, and
said that The Moneychangers wasn't a
moving picture, it was a grand opera.
I was very much impressed by that
piece of criticism; I didn't know just
what was the difference between a moving
picture and a grand opera. But later on,
when the picture was made, I saw the
difference, and it isn't so complicated as
it sounds. In my novel, The Money-
changers, the heroine commits suicide at
the end; in the moving picture, as it was
finally produced, the heroine marries the
hero and lives happy ever afterwards.
That is the difference between a grand
opera and a moving picture.
My friend had a new scenario made for
The Moneychangers. I was busy with a
book, and didn't bother about it — until
one day I went to see the finished product.
My story of how J. P. Morgan, the elder,
caused the Wall Street panic of 1907
had been turned into a story of China-
town and the dope traffic. The only
thing that was left of my novel was the
names of three or four characters, and
the fact that the heroine worked in a
settlement.
There was the usual attempt at rape,
the heroine staggering about with her
clothing half torn off, and her hair in dis-
array— the only time that the marcel
wave or the Fauntleroy curls are per-
mitted to be disturbed in the movies!
Also there were several Chinamen stabbed
to death with bloody knives — when I saw
this picture I vowed that I would not
permit it to go out under my name. But
the contracts had been signed, and my
name was a part thereof, and the dis-
tributors wouldn't give it up. So there
I was, an inciter of race prejudice and
a slanderer of Chinamen, who do not all
spend their time selling dope and stab-
bing people, but who as a rule work
eighteen hours a day making our dirty
clothes clean.
Just now I am reading a very charming
book, called Bunk. If you don't know
it, hunt it up in your book store. Here
is a criticism of magazines.
'Three-fourths of the income of the
magazines come from their advertisers —
consequently the advertising idea per-
meates the whole thing. In advertising,
there are no really poor people, and no
melancholy endings. Just fancy how silly
an advertisement for chocolates would be
if it ended: 'And so she ate them and
died.' Most of the characters in advertis-
ing are either waving flags at a college
football game, or inspecting the beautiful
new kitchen, or listening to music, or
trying on natty suits of clothes."
In other words, everybody in the
magazines is spending money freely. And
everybody in the movies is doing the
same.
93
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thing and without Miss Taylor's
enlivening presence it would be down-
right dull. But there is an elfin quality
— how I dislike that expression, but what
other one is there? — about the celebrated
star which the camera has caught; and
it is the excuse for this picture.
She is wise to make only one picture
a year. I shouldn't care to see a Taylor
film as regularly as a Swanson or a
Compson. Our celluloid actresses must
have more potent personalities than we
usually credit them with. Surely no
Taylor or Ethel Barrymore could stand
the strain of a motion picture appearance
every few weeks. To get back to Happi-
ness— there's a corking contribution by
Hedda Hopper, who is one of the most
distinguished non-starring ladies on the
silver sheet. She is never tiresome; and
she is pleasant ointment for the optics.
Pat O'Malley is good if you like Pat.
Hill Billy Refreshingly Different
The Hill Billy is a refreshing film.
It brings back Jack Pickford, who
has been doing little of late except posing
for pictures with his lovely wife. Jack
loses his well-tailored identity completely
and becomes a mountain boy — proving
that there's another real Pickford on the
screen besides Mary. Not a startling
drama, but one you'll like unless you're
fed up with feuds, and even if you are
you'll find that this is "different" — yes,
I mean that.
Lloyd Hamilton hi Poor Five Reeler
His Darker Self is unique in that it
contains the most fearful collection
of cunning sub-titles in film history. They
are so simply awful that they are almost
worth going to read — almost. Lloyd
Hamilton may have believed, when he
left his comfortable two-reel comedies for
a flyer into the five-reel class, that he
was advancing. Mr. Hamilton is far
too good a comedian for this sort of
five-reeler. He has little or no oppor-
tunity to display his very definite comic
talents. The result is the most dismal
"comedy" in years. It concerns itself
with chocolate-colored bootleggers. This
was the vehicle selected for Al Jolson's
screen debut. Now I know why Al went
to Europe instead.
I don't mean to imply that Lloyd
Hamilton couldn't be funny for five reels.
He has as much legitimate business in
longer films as Buster Keaton. His small
cap and large feet are the least of his
resources. Given a chance, Hamilton
could step into the ranks reserved for the
real comedians of the reels. And I just
said that those puns were the worst I'd
ever read !
Clyde Cook is doing pretty well these
days. In The Misfit he displays a real
flair for farce. Now that he has returned
to the stage in Ziegfeld's Follies I sup-
pose the films will begin to appreciate
him.
Singer Jim McKee is chiefly notable
for a thrilling spill which Bill Hart and
his horse take off a cliff. The star was
worried for fear people would think his
steed had suffered in the fall so he
immediately had a strip of film made to
show that Paint was alive and trotting.
Phyllis Haver is in it, having made a
quick change from her crinolines to a
divided skirt, with equally pleasing
results.
Second Thoughts on America
Since the opening night of the D. W.
Griffith photoplay, America, the direc-
tor has stood his story on its head,
amputated parts of it and grafted on
new scenes and incidents until it is an
entirely different drama.
The second part of America, as it was
shown at the premier, lacked life. Screen-
land's May reviews called this to your
attention. Now Griffith has made over
his picture until as it stands today, it is
a great and splendid thing — stirring and
sweeping from start to finish. He has
introduced Lafayette; he has taken out
the orgy; he has builded his second act
around the attack and the rescue of Fort
Sacrifice. Therefore, the criticisms which
you read in the last issue have been borne
out and when you view America you will
see one of the most masterful screen
plays ever produced. It is now as mighty
as The Birth of a Nation — the only
worthy successor to that picture which
made film history.
Some Poor Ones
The Hoosier Schoolmaster receives
the celluloid ribbon as the month's —
no, year's — Camembert. It is too fright-
ful to be funny. The photography in
spots is so bad that the action is almost
indistinguishable from the scenery; but
unfortunately many of the scenes are
all too clear. Henry Hull certainly selects
peculiar vehicles for his film appearances.
He made his debut in One Exciting Night;
and now — but maybe he never goes to
see his own pictures. If he sees this
one I am afraid he will retire.
The best thing about Sennett's The
Halfback of Notre Dame is the title.
Why didn't Maestro Mack make a real
comedy with Ben Turpin in the title
role? This is just a weird jumble of
scenes which look suspiciously like left-
overs.
Daughters of Today is another one of
those things mortifying the American girl.
It tries awfully hard to show that the
younger generation is going to the d-v-i-1 ;
but it isn't particularly convincing be-
cause the boys and girls seem to be having
such a good time going there. They
don't begin to reform until almost the
end of the picture; so if you go in for
indictments of flaming youth you may
have a good time.
SCEEEHLAND
DRESSING THE USHERS
95
By Stanley KauL
The producer started yelling: "More
atmosphere," and they took it out on the
ushers. The poor kids have to be down
an hour or so earlier now to be garbed
out from head to foot as something or
other, which will flavor the picture. Only
the other day I dropped in to see the "Ten
Commandments" and found them all
dressed up apropos. You could have
sworn you were right up on Mount Sinai.
One little Ten Commandment was short
with black hair and blue eyes, another tall
and lean with a blonde frizzled variety,
but all naughty little Ten Commandments
they were, with searchlights too. How-
ever, they almost fooled me. On first en-
tering I thought the house was showing
Robinhood and they the robins. Perhaps
Hebrew letters should have been cut out
and pasted on but after all only a few of
them needed that.
I will never forget what happened up at
the Cosmopolitan, when I went to see
"Little Old New York." Not being accli-
mated to this additional atmosphere I sud-
denly noticed one of the Little Old New
York ushers standing near me. Nudging
my partner I said: 'John, look at that
poor Swedish girl just over from the old
country and all alone. Maybe we can
help her." So up we go in charitable
fashion and approach the maid, saying in
the best of Swedish: "May I help you?"
Imagine our dilemma when the girl replied
that "youse guys will have to speak
English." At least they could have
dressed the girls as the Woolworth Build-
ing or Mayor Hylan — or something at
least half way suggestive.
And then there was the Hunchback.
The girls had seen the picture so much it
seemed they were becoming a bit round-
shouldered. Here they were all frolicking
around all dressed up as a Midsummer
Night's Dream, "All ready for Webster
Hall" I heard one party remark.
'J
Then there was "Rosita" — ah, there
was a picture ; I mean the ushers of course.
All togged out for gym class. How could
one keep one's mind on Rosita when legs
were bold?
Exhibitors, please take notice. Here are
some suggestions for dressing your ushers
for the picture :
The Thief of Bagdad — Ushers should
wear purple tunics with yellow straw hats
and carry diplomas tied with blue ribbon.
They are representing peanut venders of
Bagdad, only don't tell anybody.
The Mailmen — Ushers should be dressed
as firemen or ambulance drivers and wear
large pink D. S. C. (Dept. of Street Clean-
ing) across the diaphragm. They should
carry a tennis racket in one hand and a
swiss cheese sandwich in the other.
Twenty-one — Half of the ushers should
be dressed up as threes and the rest 01
them as eighteens. They should always
walk in pairs as 3 plus 18 equals 21.
Broadway After Dark — Ushers should
wear light blue pajamas trimmed in gold
braid of Victorian period. They should
also carry a basket of eggs significant of
the Rubes on "Broadway Aiter Dark."
When seating guests they will place an egg
on each seat without detection, thus caus-
ing much merriment.
Lillies of the Field — Ushers should wear
lavender polo caps with green tights, thus
representing geraniums in full bloom.
Shoes should be covered with mud as
significant of field.
The Goldfish — Ushers should wear
magenta overalls with bodice of light yel-
low tulle (can be secured from any tool
chest) and dunce caps of bright opal.
They are dressed as artichokes which is
the favorite flower of the gold fish.
His Darker Self — Ushers should wear
any minstrel paraphernalia attainable and
while escorting patrons to seats should tell
the one about "who was that lady I seen
you with."
(^Picture Pests — jrom page 92
. . . ROOMER!" (to mother) "He
says his rheumatism's better. . . I'll find
out later about the key." (reading from
screen) "IN THE DAYS OF FORTY-
NINE. WHEN MEN HAD NEED OF
COURAGE, AND WOMEN OF PA-
TIENCE." "... Oh, it's one of those
old Western things again! . . . Not a de-
cent dress it it! . . . We must have got
our dates mixed. . . (to father) "NO,
PA, THAT AIN'T GLORIA SW ANSON!
. . . SHE DON'T COME TILL SATUR-
DAY! . . . THAT'S THE MINER'S
POOR OLD MOTHER!" (To mother)
"I can't make him understand. . . I
think he's gettin' deefer. (Yelling to fath-
er) "I SAY THAT AIN'T GLORIA
SW ANSON!" (to mother) "Oh, well,
what's the difference? ... Let him
think so. . . See, the bandits are goin' to
kidnap that baby! . . . Cunnin', ain't it?
(reading; "TWENTY YEARS AFTER-
WARDS, CLAUDE RE-VISITS THE
SCENES OF HIS CHILDHOOD." (to
mother) "Ain't it pathetic? — He don't
know his own mother. (To father) "PA!
MA SAYS SHE THINKS IT'S
STRANGE THE CHILD SHOULD
HAVE TURNED OUT JEWISH. . .
HE WAS A SWEDE, WHEN HE WAS
A BABY!" ... (To mother) "Pa says
they all get that way in the movies. . . .
But I never saw a Jewish cowbov before,
did you? ... (To father) "OH, PA! MA
WANTS HER TROCHES! . . .
THEY'RE IN YOUR PANTS POCKET!
IN YOUR PANTS! . . . P-A-N-T-S!"
. . . Not Turkish Trophies; Bronchial
Troches! Cough drops! . . . NO! . . .
(to mother) Here they are, Ma. . . I'll
take one too. . . I'll need it, if I've got
to keep on yellin' like this. Why wont
Pa buy an ear-trumpet? (to father) "OH,
PA! ... HUNT FOR YOUR RUB-
BERS! . . . IT'S TIME TO GO
HOME!"
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SCMEENLAND
QNew Noses for Ola — from page 33.
Fannie's "Experiment"
^UT Fannie got tired of being picked
an. She overlooked entirely the fact
that her "beak," as Fannie herself calls
it, now that it is remodeled, got her more
laughs than Wesley Barry's freckles. And-
if a comedienne doesn't want laughs, what
does she want? But before she was a
comedienne, Fannie Brice was a woman.
And what woman, I ask you, wants her
beauty spoiled by a nose that just ram-
bled on down her face, as if it didn't
know when to stop? So Fannie went
ahead — paraphrasing the old proverb — and
cut off her nose to spite her race.
Now the doctor who fixed up Fannie's
nose is in Dutch with the American Col-
lege of Plastic Surgeons, which has filed
charges against him with the Illinois
Department of Registration. Just what
Dr. Henry Schireson did is not made
clear, but Fannie sticks up for him. She
says he made her what she is today, and
she for one is satisfied. Maybe Flo Zieg-
feld wasn't so stuck on the job which
turned his best fun-maker into just an-
other pretty girl; but anyway Fannie's
nose is bobbed and that's all there is to it.
Mrs. Tom Mix Follows Suit
Victoria Ford, who has been Mrs.
Tom Mix for quite a long spell now,
objected to the aquiline cast of her most
prominent feature, and submitted to the
surgeon's knife, to the eminent satisfac-
tion of herself and husband. The press
story does not go on to say that little
Thomasina Mix failed to recognize her
mamma with the new nose, but Fannie's
tale-bearer to the metropolitan press
didn't neglect that angle. It made quite
a pathetic story — Fannie coming home all
happy over being beautiful, and her small
son or daughter, as the case may be, howl-
ing for mamma, and refusing to be paci-
fied by the bobbed-nosed Mrs. Nicky
Arnstein. P. S. — Nicky is said to have
disapproved.
Mrs. Syd Chaplin's Unfortunate Case
Not so successful, however, was the
remodeled nose which Mrs. Sydney
Chaplin, wife of the comedian and sis-
ter-in-law of Charlie Chaplin, is now
mourning over. Mrs. Chaplin has con-
sulted an attorney about bringing suit
against the surgeon who performed the
operation on her nose. She is reported to
be asking a large amount for the asserted
damage and suffering caused her. Ordi-
narily such an operation as Mrs. Chaplin
underwent can be performed at one sit-
ting and the only resultant discomfort is
a slightly swollen and sore nose, which
gradually becomes normal. But Mrs.
Chaplin's nose, she says, is far from nor-
mal. What was to have been a line of
pure beauty has proved to be marred by
a sharp dip at the end. There are also
indentations and puckers where firm flesh
ought to be, Mrs. Chaplin says. She is
going to another plastic surgeon, who
promises her to be able to cure the in-
fected organ and to remodel it along the
lines she had hoped for. The new doctor
says he will have to take cartilage from
behind the ear and use it to fill out the
nose.
Lucille Carlisle's Recovery Slow But
Successful
Lucille Carlisle also had a rather
j unfortunate experience in trying
to remedy a slip of the Potter. Or,
rather, a slip from her high chair when
she was a baby, which caused her nose
to be slightly crooked. Now, we had
always thought Lucille's nose quite a work
of Nature, even though it was a trifle
large. But Lucille was not contented to
see Helen Ferguson and Victoria Ford
and Fannie Brice get rid of their nasal
grouches, while she could see that her
nose was not quite straight. So she went
to a plastic surgeon and had the offend-
ing piece of cartilage straightened and
bolstered up so it would stay in place,
and all would have been well, except that
an infection set in which caused Miss Car-
lisle to be confined to her home for sev-
eral long weeks, while work was impos-
sible. Now, however, the storm clouds
are blowing over, for the infection has
been conquered and only a narrow strip
of adhesive stands between Miss Car-
lisle's now perfect nose and a promising
future on the screen.
For the last few years women have
been having their faces lifted, thereby
deftly removing all traces of age. Tiny
half-moon scars hidden under the hair
are the only tell-tale marks. Sometimes
this method of rejuvenation, when the
subject is not old, really, but haggard
from ill health or worry, has worked won-
ders. We are reminded of a- very splen-
did actress, whose day was thought to
be over because she had allowed her
beauty to fade before its time. A sick
heart does not make for a smooth face,
you know. Then she married the man she
had loved for years, and he helped her
to get back into pictures. He has even
directed her himself — he is one of our
most famous directors. Her fans noticed
immediately that she was different. Not
only was her beautiful golden hair bobbed
and endowed with new life, but her thin,
lined face was suddenly youthful and
rounder. Even her very good nose seemed
to be a little more perfect. Her sudden
popularity has caused great rejoicing in
the film colony.
Fanny Ward's Rejuvenation
Fanny Ward has been enviously ac-
cused by her less beautiful sisters of
having done all sorts of things to effect
her complete and marvelous rejuvenation.
She is variously said to have benefited by
the wonderful Roentgen ray treatment,
expounded so cleverly in Black Oxen; to
have had her face lifted; to have dis-
covered the Fountain of Youth; to have
used a beauty clay, and to have changed
faces with some beautiful young girl on
St. Catherine's Day. Be that as it may,
Fanny Ward has actually done it. All
photograhs, even those hideous ones usu-
ally taken by the news reel companies,
reveal her as amazingly pretty and youth-
ful.
I never felt quite so enthusiastic over
Edna Mason Hopper, though her expe-
rience with plastic surgery seems nothing
short of miraculous. She looks not so
much young as well starched and ironed.
And yet her face does not lack anima-
tion, vivacity. I suppose it is the fact
that she is really sixty-two years old, and
that all the rejuvenating was done on the
surface and not from within the body, as
in Black Oxen, that she seems more like
a violent contradiction of nature than
like the flapper which she calls herself.
Her hands betray her, even while her
face belies the sixty-two years.
Edna Mason Hopper's Complete
Remodeling
When Edna Mason Hooper went
through the beauty mill, she gave
the scientists carte blanche. She told
them not to stick at a little job like re-
modeling her nose. If her upper lip would
look better a little shorter, why go to
it, doc, and hang the expense. Edna
wanted the job done up brown. She
didn't want to come out from under the
ether and find that they had neglected
anything, even a little thing like a
wrinkle on the neck or a flaccid dimple
which needed a new puckering string. And
Edna liked the results so well that she
took the film which had been made dur-
ing the beautifying process and showed it
all over the country, along with herself.
All we ask of this new craze for sculp-
ture— using human flesh instead of clay —
is that it doesn't get too far. Especially
this nose-bobbing business.
What if Norma Talmadge should cut
her nose by the Irish pattern? Who
would believe in the depth of her suffering
through seven reels if her tears caught on
the turned-up end of pug nose?
And what if Gloria Swanson should
have her nose built up on the bridge and
shortened at the end?
And ah, perish the thought of a
bobbed-nosed Nita Naldi !
JIM TULLY will be with us again next month. Readers who enjoyed his story on Elinor
Glyn in the April issue will be pleased to know that Mr. Tully will write henceforth every
month exclusively for this magazine. Beginning in the July SCREENLAND. Ready June
first.
SCREENLAN©
97
QCuftd as a Press Agent — from page 59-
Chaplin a Stubborn Client for Cupid
Of all Cupid's clients, Charlie Chaplin
is the most stubborn. He just won't
live up to Cupid's plans for him. And
Cupid has trotted out the cream of the
picture world, as well as of the legitimate
stage and society, for Charlie to choose
from. Cupid has conscientiously press-
agented Chaplin as being engaged to May
Collins, Edna Purviance, Eleanor Board-
man, Claire Windsor, and, most import-
ant among the many others, Pola Negri.
But the rumors serve their day as rumors
only and then die out. Only once since his
fatal first wedding, has Chaplin admitted
an intention to marry again. Maybe Cu-
pid's insistence on something coming of all
his hard work for Chaplin and Miss Negri
had something to do with Charlie's
reluctant admission, when cornered by a
squad of reporters on the golf links of a
famous southern California country club.
There are those who are sure that Chaplin
never intends to slip his head into the
noose again, but it is equally certain that
he will go on entertaining visits from his
press-agent friend, Dan Cupid. Why not?
We love to read about Chaplin's amorous
adventures; we are all sentimental, at
heart. And it does help the struggling
young actresses for Charlie to allow his
name to be linked with theirs in an
artist's layout in which the heart motif
dominates.
Charlie Sponsors Pola
Whether Chaplin ever had any inten-
tion of marrying Pola Negri or not,
his decided interest in her and his an-
nounced engagement later, together with
the long arguments pro and con as to
whether they would or would not marry,
which the press loved to carry on, and
even the announcement of the breaking
of the engagement, served Pola Negri
extraordinarily well as publicity. It in-
stalled her in the hearts of the public,
where before she had been a Polish inter-
loper. If our Charlie liked the gal, there
must be something in her. If he wanted
to marry her, she'd then become an
American citizen and all would be well,
patriotically speaking. Pola did not net
much other publicity, nor did she need
any other press agent while Cupid was on
the job.
Speaking of Chaplin's many loves re-
minds us that Claire Windsor is one of
Cupid's best clients. Claire Windsor is
the "womanly woman" of the screen.
There are only one or two others of the
type, Irene Rich and Florence Vidor,
notably. Womanly women have to be so
careful of the kind of publicity they get.
If unmarried, Cupid is their safest bet.
Claire has been married, but since her
entry into the films has been free, but,
according to her press agent, Cupid, never
quite heart-whole. Whenever the popular
and beautiful Claire Windsor is seen at
the Cocoanut Grove more than twice with
the same man, Cupid gets an item into
the paper, discreetly hinting that Claire
is engaged — again.
After Cupid had squeezed all the heart-
interest possible out of her reported en-
gagement to Chaplin, he got busy on
another tack. Soon it was confidently
reported that Claire was to marry that
fascinating tenor, John Steele. We re-
member that one press item boldly stated
that Claire returned from a trip to New
York, wearing a solitaire which Mr. Steele
had given her. But so far, Claire is still
a client of Cupid's.
Compson Keeps Cupid Busy
Betty Compson gives Dan scarcely a
free moment. If the small press
agent's word can be believed, beautiful
Betty will be safely married and out of
Cupid's hands by the time this is printed.
For Cupid assures the world that Betty
is to marry Jimmy Cruze, the man who
made "The Covered Wagon." But we
remember the times we almost bought a
wedding present to give to the future
Mrs. George Loane Tucker, and to the
prospective Mrs. Walter Morosco. But
death cut short the first romance and
Betty herself severed the ties which
bound her to young Morosco, son of
Oliver Morosco, famous producer of
legitimate dramas. And now Corinne
Griffith, with whom Cupid had little to do
as long as she remained Mrs. Webster
Campbell, is married to Walter Morosco,
and Cupid is probably suffering from a
nose out of joint, for the inconsiderate
couple didn't give him a chance to press
agent their dawning interest in each other,
their rumored engagement, their coy
denial, their reluctant announcement and
their wedding plans. This ignoring of a
faithful press agent is a discourteous and
dangerous thing. Cupid may get even
with them yet.
When Gene Sarazen, golf champion,
went to Hollywood to play around the
motion picture studios and to get his
pictures taken with the leading film
luminaries, Dan Cupid snatched up a
new quiver of arrows and preceded him
by the length of a wing.
One of the first results of Cupid's
violent interest in the young golf champ's
heart was the reported engagement of
Sarazen to Miss Derelys Perdue, slated to
become a star with F. B. 0. No one
knows exactly why Miss Perdue's starring
career has been allowed to die aborning.
But while it was in its incipient stage
and the pretty brunette was making "Day-
time Wives," Cupid gave her a boost by
broadcasting the pleasant rumor of her
engagement. Mr. Sarazen consented to
have his pictures taken with the pretty
Derelys and did not deny his infatuation.
Nor did he deny that he felt a strong heart
throb when he gazed into the big brown
eyes of Clara Horton, opposite whom he
played in a picture.
A Flutter for Pauline Garon
But it was Pauline Garon on whom
Cupid at last settled definitely. For
wasn't Gene to be seen with her every-
where? But, of course, seasoned movie
people like Pauline and Gene knew what
was owing to their grand little press agent,
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Cupid. When anyone asked Gene about
the rumors he would mumble something
like, "Thanks for the compliment, old top,
but you'd better ask Pauline." And when
old top asked Pauline, she'd blush and
dimple — and she can do them both mighty
well — and refuse to be quoted for pub-
lication. But their press agent, Cupid,
kept the papers supplied with interesting
items.
Cupid, however, managed to bring
things to a crisis, in spite of his hard work.
Sarazen left the Kleigs flat and went to
Florida, where society beckoned imper-
iously. Sarazen is a great social favorite,
you know. And there he met a little
girl whom he had known for one romantic
day when he was a basketball champion
and she a winner of a Mary Pickford
beauty contest, or something like that.
Now, Sarazen is engaged to Miss Mary
Peck, who is said to be an almost exact
double of Pauline Garon. Cupid notf
would have us believe that, in Hollywood,
Pauline was only pinch-hitting for Mary.
Lillian Gish has been a sore trial to
Cupid until recently. The sad-eyed little
tragedienne persisted in living a cloistered
life. But suddenly there has broken out
in all the papers, rumors of her engage-
ment to two different men and denials and
confirmations, and all the regular press
routine. Cupid is at last working on the
Gish case.
A Faux Pas
His first step, however, was a faux pas.
He had Lillian engaged to Mr.
Charles H. Duell, Lillian's boss, head of
the Inspirational Film Corporation, who
happened to be married at the time. Then
came report of Mrs. Duell's divorce, which
she at first denied as absurd. Then came
confirmation of the divorce. Then came
Mr. Duell's denial of his engagement to
Miss Gish, along with Miss Gish's denial.
The report persisted, however, until there
came a startling new rumor that Lillian
was engaged to marry Pierro Frois, an
officer on the ship which carried Miss Gish
and her company to Italy to film
Romola. It is said that, although his
ship has sailed from Italy for America,
Signor Frois is still in Italy — in Florence,
to be exact, paying court to Miss Gish.
Miss Gish cables her denial. And Dan
Cupid has an awfully good time.
The picture world, especially in Holly-
wood, where film players live practically
a colony life, seeing only each other, there
are boundless opportunities for falling in
love. Perhaps the lack of conventionality
which obtains in any colony, where every-
body knows everybody else, makes it
easy to fall in love and out of love; into
marriage and out of marriage. Those who
are going through a chronic state of heart
troubles and joys on the screen are apt
to have a romantic hang-over in their
private lives. At any rate, Cupid has
to be eternally vigilant to keep up with
all the love affairs which ripen as quickly
as California oranges, and as quickly drop
from the tree of romance to the sordid
ground of divorce.
Undoubtedly Cupid hates a placidly
married state of being. There is nothing
for him to write about, when a screen
star is happily married or press-agented
as happily married to his wife. The
Charles Rays and Conrad Nagels, for in-
stance, are a personal affront to Cupid.
But he doesn't seem to be able to do
anything about it.
A bachelor in the film colony is simply
nuts to Cupid. He'd rather write a
palpitating item about J. Warren Kerrigan
at last succumbing to his darts than to
dine on ambrosia and nectar with the
other gods. Dan had quite a lot of fun
prophesying the marriage of Lois Wilson
and Jack Kerrigan, when the two were
working together in The Covered
Wago?i. But, unfortunately for Cupid's
schemes, Lois didn't feel about him off
the lot as she did in the picture.
Lois a Difficult Subject
Iois Wilson is terribly hard material
a for Cupid to work with. She's such
a nice, frank-spoken girl that she won't
be coy about her heart affairs. If she
isn't going to marry a man, she says so
flatly and that's that. The latest effort
on Cupid's part is to get her married to
Richard Dix, who plays with Lois in
Icebound. We're willing to forecast that
when Lois does get married, she'll
stay married. So if Cupid wants to keep
her as a regular client, he'd better not
force issues.
Two of Cupid's favorite bachelors
proved rank deserters of picture maidens.
For Elliott Dexter married Mrs. Nina
Untermeyer and Antonio Moreno married
Mrs. Daisy Danziger — both of the brides
being society women. And Cupid had
tried so hard to marry these favorite
leading men to screen heroines, thus kill-
ing two birds with one stone — that is,
getting publicity for both bride and
groom.
Cupid hasn't given Jack Dempsey up,
even though he has apparently de-
cided to let the films wobble along without
him forevermore. But when Jack was in
pictures, little Dan made the most of his
opportunities. He had the stalwart Jack
engaged to luscious Bebe Daniels, which
rumor brought in its train the usual half-
hearted and coy denials. But Bebe is
still unwed, and Cupid is getting disgusted
with her.
Cupid turned flip-flops of delight, there-
by losing two or three perfectly good
arrows out of his quiver, when he arranged
the match between Winifred Westover
and Bill Hart. And when the affair
terminated so sadly, Cupid didn't give up
hope. He did his darndest to bring the
stubborn Bill back to the hopefully wait-
ing Winifred, but it was all in vain.
Bill was through, and that was all there
was to it. But now the hardest working
press agent in the business is lifting his
drooping wings with delight, for Hart is
exhibiting a poignant interest in Mary
Garden, whom he has known for years.
Bill says fine complimentary things about
the prima donna, and Miss Garden
counters by getting coy on why she
stayed in Los Angeles instead of going
to San Francisco to sing. And Cupid
reports it happily, hoping that his in-
terest in Hart all these years will be
SC1EENLAM)
99
justified. But there is a little matter of
a divorce between Hart and Winifred
Westover to be attended to, and Mrs.
Hart says she won't get a divorce. At
the same time, she desires to return to the
screen, using the name of Mrs. William
S. Hart and Bill has a separation allow-
ance contract with her that prevents just
that. Maybe they'll compromise.
How Cupid Works
Sometimes Cupid gets desperate for
news. There is a cute little ingenue
who can't get a bit of desirable publicity
unless she does get engaged or rumored
to be engaged. She simply acts in pic-
tures, that's all, and sometimes the re-
viewers mention her, and sometimes they
don't. The publicity staff of the company
she works for rather overlooks her. Some-
times they think of her and then they
get her to start a new style in hairdress-
ing or to wear a handkerchief tied around
her ankle, or something equally exciting,
which the papers nearly always refuse
to print. And Cupid gets sorry for the
little thing. He sees her eating in a
studio cafeteria. And he sees a good-
looking screen star of the male persuasion,
take the empty seat at her table. The
screen star doesn't know the little ingenue,
but he doesn't hesitate to ask her to
pass the salt. Cupid chortles with glee.
He rushes out to catch the afternoon
editions with a rumor of their engagement,
tender looks across the table, hands touch-
ing as they make a pretense to pass the
salt, etc., etc. Then follows a vigorous
denial by the male star, who is grateful
for the publicity; a timid, blushing denial
by the little ingenue, who adds that the
reporters must ask Mr. Screen Star if they
really want to know. Their pictures are
printed, their names bandied from paper
to paper across the United States; we.
fans, get our love of romance satisfied.
Cupid is happy, and there is no harm done.
QThe Duke of Hollywood — from page 57.
play. The Man Higher Up, for a six weeks'
engagement between films at the Orpheum.
In San Francisco, his old home town,
his old school-fellows (old men now),
mustered in a body to do him honor.
Men from all walks of life, men whose
fortunes had gone up or down, united only
in the one bond of love for Theodore.
And they applauded wildly, shouting for
their hero. Theodore Roberts lost his
stage presence for the first time that
night. No brilliant epigrams, no dazzling,
kindly humor would come. Theodore's
heart was in his mouth and he was indeed
stunned with happiness.
Another instance of his popularity was
at the Monroe Doctrine Exposition in Los
Angeles when all the stars were mustered
to help fill the great 75,000 seat auditor-
ium. A brilliant, notable gathering. And
as the spotlight fell upon each star present
and they rose to bow, applause greeted
them. But when Roberts' turn came, it
was no mere applause. That great crowd
simply rose and yelled itself hoarse with
boundless enthusiasm for five minutes
without pause. There wasn't a moment's
doubt as to who was the most popular
star there that night.
Talk to any of the little extra girls
on the lot and you will find that they
regard Theodore Roberts as a jolly, old.
benign father. He seems to be able to
hearten people with just a smile and a
quip or two. He never forgets that he
was a poor, struggling, ambitious, young
colt once, himself. Why. this man is even
benevolently fatherly to Cecil de Mille
and Jesse Lasky and Will Hays and
Charlie Chaplin and Jackie Coogan and
all sorts of superior people before whom
the rest of us stand in awe.
And when the news came that Theodore
would recover, that he was to be spared
to them, the air was electric with heart-
felt rejoicings. His precious title bad
been well earned, the Grand Old Man of
the Screen.
A SONG
I made my love into a song
And sang it low to you.
From out my heart it echoed long
The notes were full and true.
I sang it low, you did not hear.
You nor the passing crowd.
I made the music still more clear
And then * * * I sang it loud.
At last you heard and stayed awhile
But soon you turned away,
Yet as you went I saw you smile,
I'll sing again, some day.
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Catarrh, Etc.
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SC1EENLAND
QGeorge Jean Nathan's Reoiew of Dramaland — .
and misadventure that ever trim their
sails to life. The tale, in simple, of the
seduction of an idealistic boy of eighteen
by a married and worldly woman, the play
brings forth, in their persons, a twain
of characters etched to perfection in the
matter of the smallest detail and, further,
an economy of dialogue that spells a score
of shadings and meanings into its every
intervening moment of silence. With the
possible exception of the seduction scene
in the second act of Vildrac's Steamship
Tenacity, I know of no such episode in
modern drama written with more com-
plete finish than the scene in the initial
act of this play. It is as delicately done
as lace-work, and it is as thorough in
form and achievement as a well-aimed
rifle. Vajda is a second-rater among the
Hungarians, but in this comedy he comes
pretty close, at least for the hour, to the
front line.
The scenes which he has written for the
woman on the one hand — spoiled, selfish,
sensual, smiling, pretty, desiring and de-
sirable— and the boy on the other — young,
inexperienced, dreaming and humble be-
fore the palpabilities of life that seem to
him so infinitely complex and mysterious —
these are uncommonly deft orchestrations
of careless irony and heart-breaking
tragedy; the woman laughing behind her
hand in counterpoint to the boy's tears,
yet within that laughter still a touch of
amused comprehension and compassion.
As these scenes are enacted by Miss Emily
Stevens and Morgan Farley in the ex-
cellent Theatre Guild production, they
reach to the heights of smooth comedy.
Every word gets its proper shade of em-
phasis ; every little movement has a mean-
ing all its own. On the whole, for all the
instances of padding periodically apparent
in the manuscript, a comedy of the school
of Lothar Schmidt and Misch and Korfiz
Holm across the border, but a considerably
better one than any of the latter has thus
far written on a related theme.
IV.
The Kaufman-Connelly success, Beggar
on Horseback, is an amusing comedy but,
so far as I am concerned, not one-third
so amusing as the majority of my col-
leagues seem to find it. I suppose that
the trouble with me is that I saw the play
from which it was taken — Paul Apel's
Hans Sonnenstosser's Trip to Hell — done
in Berlin back in 1912 and what seemed
awfully funny to me twelve years ago
doesn't seem quite so awfully funny to
me today. It is true that the Drs. Kauf-
man and Connelly have put some original
and up-to-date humor into their version,
but at bottom their play isn't so much
from page 69.
different from the one I saw and enjoyed
in the days before the war made the
world unsafe for decent beer.
It seems to me that Mr. Kaufman and
Mr. Connelly, both of whom are talented
and diverting fellows and both of whom
are not devoid of originality, are still
suffering from the assiduous backslapping
of their friends and boosters on the New
York newspapers. When I say suffering,
I mean, of course, so far as critical over-
touting goes, for this backslapping cer-
tainly does not cause them any pain finan-
cially. Indeed, it makes a lot of money
for them that they otherwise might con-
ceivably not make. It is the critical
goose-greasing of them that brings about
the proclaiming of their adaptation of the
Apel play as a tremendous artistic feat
when it is actually considerably less than
that. It is a good job, and they deserve
credit for a good job, but they hardly de-
serve the rest of the ecstatic hula-hula
that has been dished out to them. And
since they are both intelligent men, they
doubtless appreciate this as well as I do.
The story of Beggar on Horseback is of
a young composer who thinks of marrying
for money and who dreams a dream show-
ing him what life would be like if he did.
He is cured of his intention and the final
curtain finds him necking a Cinderella.
Roland Young is satisfactory as the hero,
though Kay Johnston is possessed of
somewhat too Teutonic a figure to make
a convincing ingenue for an American au-
dience. At least an American audience
made up of George Jean Nathans.
V.
A dream play is very often the refuge
and artful dodge of a lazy and unimagina-
tive playwright. He knows that in a
dream play he can get away with nine-
tenths of the things he couldn't possibly
get away with in a play that wasn't a
dream play. The very facts that the lead-
ing character is dreaming the body of
the play and that a dream is a wild and
crazy thing, anyhow, let him off with a lot
of wild and crazy things for which other-
wise even a special matinee producer
would boot him prettily in the panties.
He can let construction, form and most
of the other things that comprise dramatic
technique, and that take a deal of time
to learn, shift for themselves, and do
very much as he blamed pleases. A
dream play in the hands of a dramatic
artist very often turns out to be a beau-
tiful thing, but a dream play in the hands
of an inferior craftsman just as often
turns out to be an exceptionally empty
omelet.
It seems strange that two such talented
artists as H. G. Wells and St. John Ervine
have made a mess of their attempt at a
dream play, called The Wonderful Visit.
It is in general so amateurish an affair
that, if I hadn't known who the authors
were, my guess would have been that it
had been confected by a couple of bright
Greenwich Village boys. The story is of
a vicar who dreams that an angel has
come to earth, has tried to elevate the
soul of man and has found the job im-
possible. But, though the theme is valid
enough dramatically, the esteemed au-
thors have merely tickled it and pinched
it, with the result that the evening is not
much more stimulating than a bottle of
pop. Margaret Mower has the role of
the angel. Miss Mower may be the man-
agement's idea of an angel, but she is
hardly mine. And even if she were, her
performance would make me change my
mind all over again.
IV.
The musical comedies that have been
put on view since my last appearance in
this forum contain little to make one
want to sit on my hat in order to see
better. The Chiffon Girl has Eleanor
Painter and her very lovely voice, but
nothing else. Its libretto is the old stuff
about the poor little East Side wop who
turns out in the end to be a great opera
singer, beloved by kings, dukes, earls and
the tenor. Every fifteen minutes or so,
someone makes a Prohibition joke, and
the chorus numbers have been staged by
a gentleman who evidently admires the
way they used to put on chorus numbers
while Charlie Bigelow was still alive.
Sweet Little Devil is similarly the
possessor of a libretto that needs only
Will Rogers, George Ade, Stephen Lea-
cock and a few dozen other humorists to
make it humorous. The generally skillful
George Gershwin, furthermore, has here
fallen down with a thud in the matter of
the score. Constance Binney has the
leading part and does little with it. Of
the Sceurs Binney, I prefer the one named
Faire. I wonder why someone doesn't
put her into a music show. Ziegfeld did,
for a few weeks, in Sally, but that was
some time ago. I'd like to have another
look at her.
Moonlight has an amusing book, but
the trouble with it is that it has already
served time as a straight comedy. Its
edge is thus somewhat dulled. There are
a couple of affable tunes in the show. The
weakness lies in the principals. They are
not particularly interesting. The same is
true of Lollipop.
VII.
Which closes the interesting lecture for
today.
GEORGE JEAN NATHAN— THE YOUNGEST AS WELL AS THE MOST
TALKED OF CRITIC OF THE THEATRE, WRITES EVERY
MONTH FOR SCREENLAND. TO READ HIM IS TO KEEP
ABREAST OF ALL THAT IS BEST ON THE NEW YORK STAGE.
SCEEENLANB
101
QGrauman — from page 64. (^Riesenfeld — from page 65.
the open-air stage beneath them.
It was when Sid was fifteen years old
that the family moved to San Francisco
and opened the first motion picture thea-
ter in the country. The Unique was the
first name of the theater, and young Sid
was the manager. He treasures today
newspaper clippings heralding him as the
"youngest theater manager in the coun-
try." But in spite of his youth, he was
already old in knowledge of showmanship,
and he held down his man-sized job so
hard that the job was soon calling for
help. The house put on a combined
motion picture and vaudeville bill. The
films, brought over from France, were not
rented as films are today, but purchased
outright, in lengths of fifty or sixty feet.
"Come see the watchman jump off the
dock into real water and then jump back
on the dock again," Sid would advertise
in all the San Francisco papers, and the
crowds would flock to gaze in wonder at
the new-fangled pictures that actually
moved.
They played seven shows a day and
fifteen on Sundays at The Unique, and
the management served meals back-stage
between shows. Sid's father used to part
the curtains and, pointing to his actors
busily stuffing themselves at the long
tables, exclaim to his son, "The reason my
shows are better than my competitors' is
because I feed my actors better."
That little old theater on Market Street
saw the beginnings of many a famous
career. Frank Bacon put on a little
sketch that he called Lightning, and
swore that some day he would be on
Broadway with it. Almost a score of
years intervened before his dream came
true. Roscoe Arbuckle sang accompani-
ments to illustrated songs, earning a
princely wage of $17.50 a week. Jesse
Lasky, now co-head of the Famous
Players-Lasky Corporation, trod the
boards at The Unique with his sister,
the team earning a weekly salary of $75,
which was good money in those days.
Al Jolson, too, did a song and dance act,
winning as enthusiastic a hand from the
audiences in the little theater as he later
did on Broadway.
The Unique prospered under the Grau-
man management for ten years. Then
their lease expired. When Sid and his
father applied for a renewal of the lease,
it was refused them. A rival vaudeville
house had bought the building containing
the theater in order to secure the lease
and oust the Graumans. But they never
enjoyed the fruits of their victory. The
last night of their occupancy Grauman
and his father hired a crew of fifty
stalwart longshoremen. Arming the
huskies with axes, they left the playhouse
an empty shell. And when the enraged
new owners tried to rebuild the theatre,
they discovered that a new city ordinance
forbade them to rebuild any part of the
old building. They were forced to wreck
the edifice and build anew, from the
foundation up. And as a last misfortune,
two days before the opening of the new
theatre, the earthquake of 1906 left not
one stone upon the other of the new
building. (Continued on page 102)
bring flowers; I wish they'd leave some-
thing more substantial!"
A peal of laughter greets this. Every-
body is in good humor now and ready
for work. All Europe and America has
heard of Riesenfeld's Classical Jazz. It's
that and then some!
The score begans. "Hey! Don't you
know what legato means?" Riesenfeld
calls a halt to scold a rascal in the back
row. "Smooth! Connected! Smooth!"
The instruments are off again, rounding
out the angles, perfecting themselves for
the audience which has come to take per-
fection for granted.
Glad and gay one moment, moody as a
Spring day the next, this is Riesenfeld.
There was a time he didn't stand up there
in the spotlight, bowing and kow-towing
in his immaculate black and white even-
ing clothes, coming out again and again,
to acknowledge the applause of a house
rocking with delight and clapping itself
red in the face. There was a time when
Riesenfeld was shabby and hungry and
when there were more feet to kick him
out than hands to haul him in.
Dr. Riesenfeld's climb to the altar he
now occupies was not paved with velvet,
by any means. Fired from the Imperial
Opera House in Vienna, because he was
spokesman for a raise of salary, he
arrived in America with as much knowl-
edge of the English language as a
squirrel.
For seven months he headed the list
in the Blue Book of Unemployed: and
when he finally met a friend, who was at
that time leader of the Irving Theater,
and was asked: "Can you play the
organ?" his response was very much to
the point — and in perfect English! "I
can play anything that will buy me a
meal!" he declared, though he had never
played the organ in his life.
And he did. For three days he went
about on crutches since pumping made
his legs lame. But go on with the story
as he tells it himself:
"The first Saturday, that was a divine
Saturday in September, 1907, when I
received the munificent salary of $18.00,
the largest amount of money I had ever
earned. I counted it over and over to
make sure it was 18 and not 8, and 18
it was !
"Hammerstein heard of me then. I
became concert master for him, but the
work was so strenuous that I paralyzed
my arm and was thrown into idleness for
a month.
"Like a girl in love who consults the
daisy petals, and pulling them out, says
to herself : 'He loves me, he loves me
not!' so I went about, not knowing which
way my fortunes would fluctuate next, and
saying to myself : T eat, I do not, I
eat, I do not!'
"The next opportunity that presented
itself was an opening with Klaw &
Erlanger. I wrote The Merry Martyr, a
musical comedy. It wasn't a success.
"Then came the conductorship at the
Century Opera House — but that, too,
went as it ca.mt. (Continued on page 102)
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STATEMENT OP THE OWNERSHIP, MANAGE-
MENT, CIRCULATION, ETC., REQUIRED BY
THE ACT OF CONGRESS OP AUGUST 24, 1912,
of SCREENLAND MAGAZINE, published MONTH-
LY at NEW YORK, N. Y., for APRIL 1 1924.
State of NEW YORK, County of NEW YORK, ss.
Before me, a NOTARY PUBLIC in and for the
State and county aforesaid, personally appeared
PRANK ARMER, who, having been duly sworn
according to law, deposes and says that he is the
BUSINESS MANAGER of the SCREENLAND
MAGAZINE, and that the following is, to the best
of his knowledge and belief, a true statement of the
ownership, management (and if a daily paper, the
circulation), etc., of the aforesaid publication for
the date shown in the above caption, required by
the Act of August 24, 1912, embodied in section
443 Postal Laws and Regulations, printed on the
reverse of this form, to wit: 1. That the names
and addresses of the publisher, editor, managing
editor, and business managers are: Publisher,
THE MYRON ZOBEL PUBLICATIONS, INC., 145
WEST 57TH STREET, NEW YORK ; Editor,
MYRON ZOBEL, 145 WEST 57TH STREET, NEW
YORK; Managing Editor, MYRON ZOBEL, 145
WEST 57TH STREET, NEW YORK ; Business
Manager, FRANK ARMER, 145 WEST 57TH
STREET, NEW YORK. 2. That the owner is :
(If the publication is owned by an individual his
name and address, or if owned by more than one
individual the name and address of each, should
be given below ; if the publication is owned by a
corporation the name of the corporation and the
names and addresses of the stockholders owning or
holding one per cent or more of the total amount
Df stock should be given.) THE MYRON ZOBEL
PUBLICATIONS, INC., 145 WEST 57TH STREET,
NEW YORK, MYRON ZOBEL, 145 WEST 57TH
STREET, NEW YORK, PAUL H. SAMPLINER,
145 WEST 57TH STREET, NEW YORK. 3. That
the known bondholders, mortgagees, and other
security holders owning or holding 1 per cent or
more of total amount of bonds, mortgages, or
other securities are: (If there are none, so state.)
NONE. 4. That the two paragraphs next above,
giving the names of the owners, stockholders, and
security holders, if any, contain not only the list
of stockholders and security holders as they appear
upon the books of the company but also, in cases
where the stockholder or security holder appears
upon the books of the company as trustee or in any
other fiduciary relation, the name of the person or
corporation for whom such trustee is acting, is
given ; also that the said two paragraphs contain
statements embracing affiant's full knowledge and
belief as to the circumstances and conditions under
which stockholders and security holders who do not
appear upon the books of the company as trustees,
hold stock and securities in a capacity other than
that of a bona fide owner; and this affiant has no
reason to believe that any other person, associa-
tion, or corporation has any interest direct or in-
direct in the said stock, bonds, or other securities
than as so stated by him. 5. That the average
number of copies of each issue of this publication
sold or distributed, through the mails or otherwise,
to paid subscribers during the six months preceding
the date shown above is (This information
is required from daily publications only.) FRANK
ARMER. (Signature of Business .Manager.) Sworn
to and subscribed before me this 15th day of
March, 1924. (Seal.) WM. H. BEDELL. (My
commission expires March 30th, 1925.)
(\Grauman — from page 101.
The Graumans, deprived of their
theater, made a virtue of necessity by
erecting a tent show house, and billing it
to the terror-stricken populace as the
ideal theater. "There's nothing to fall
on you," was their slogan during the
quake days. Later a permanent theater
was built upon the site of the tent theater.
By this time Sid Grauman was twenty
years old. He had saved $25,000. He
opened up a little theater in San Jose,
California, which thrived. But his soul
yearned for Broadway's bright lights, and
soon he thoughtfully counted his bank-
roll and boarded the train for New York.
On 125th Street, across from Proctor's,
he leased a theater. He booked a bill
of vaudeville actors and some good films.
And the day before the opening, he got
his first taste of Manhattan's business
methods. A rival house had booked every
one of his acts away from him.
By the grace of God and a friendly
booking agency, Sid booked in another
bill. But no sooner had his heart resumed
its normal beating than ' a city official
entered his office, on the morning of
opening day, and informed him coldly
that the place was closed down.
"But why?" Sid moaned, with elabora-
tions.
"Man, you've violated 350 city ordin-
ances," the official said. It seemed that
the wiring was all wrong, the exits were
marked incorrectly, the seating arrange-
ment was not right, and heaven alone
knew what else was wrong. It was
politics, of course. Two days afterward,
Sid encountered an old friend of his
father's, a power in city politics, and
the word was passed to let the new
theater open up. Sid ran the theater
profitably a while and then sold out to
Sullivan & Considine.
Los Angeles was his next location, and
in promoting the building of Grauman's
Million-Dollar Theater, at Third and
Broadway paved the way to his triumph-
ant career as the West's greatest show-
man. With the Third Street house run-
ning nicely, he started work on the Rialto
on upper Broadway, and followed that
up with the magnificent Grauman's
Metropolitan Theater. He held a half
interest in all of these theaters, the other
half of the stock being retained by Famous
(^Riesenfeld — from page 101
"Last thing of ail things, the Rialto
Theater opened up, at that time under
the direction of Rothapfel, who is now
managing the Capitol. He chose in my
favor, and I thought surely, that here,
now, from this time on, easy sailing was
before me. I've found instead, that my
troubles had just begun!"
He has picked up the baton, there is
a crash of music, and the empty theater
resounds from cellar to ceiling. Melodies
rise and fall, coaxing all the sleepy people
to get up out of their warm beds and rush
back into their seats to listen.
Soon the rehearsal is over. The
musicians bundle up their instruments into
odd shapes which resemble bottles of
port and German sausages and what not.
One by one the men file out through the
Players-Lasky. Recently he sold his
stock in these three houses and con-
centrated his interests in his unique
Egyptian theater in Hollywood. This
theater is one of the most luxurious houses
in the country and is probably the most
unusual. As the name implies, it is
Egyptian in architecture, fronted by a
court with playing fountains. Across the
battlements pace two young Arabs,
muskets on shoulders, silhouetted against
the sky. Only de luxe presentations are
shown here. In the year and a half of
its existence, only three pictures have
been presented at the Egyptian: Robin
Hood, The Covered Wagon, and The
Ten Commandments. Something of the
success of the theater may be surmised
from the fact that Sid Grauman paid
$200,000 in rentals for The Covered
Wagon and a quarter of a million has been
paid already for The Ten Commandments,
with the end of the run not yet in sight.
Grauman is the new type of exhibitor,
who tampers with the films before they
are made, instead of afterwards. It was
Grauman who suggested the story for
Jackie Coogan's My Boy. Hollywood
producers, who are in the closest touch
with Grauman, call him in to ask his
advice, recognizing his almost uncanny
knowledge of the public taste. Many of
his personal experiences in Alaska are
now being incorporated in Charlie
Chaplin's new Alaskan comedy.
Sid Grauman has the greatest faith in
the prologue, and has demonstrated his
faith for years. Those who think the
prologue a comparatively recent thing, per-
haps do not know that Grauman invented
it as atmosphere for his presentation of
The Great Train Robbery, years ago.
Probably the most beautiful prologue
that Sid Grauman or any other exhibitor
has ever staged is the culminating scene
of the tableaux that precede the showing
of The Ten Commandments at the
Egyptian Theater in Hollywood. The
beauty of the tableau of the Last Sup-
per, taken from the famous painting,
draws tears to the eyes of the audiences.
It is such features that bring people
hundreds of miles to view pictures pre-
sented by Grauman and that have won
for him the title of "the Born Showman."
alley, with its hand-painted brick similat-
ing a summer garden. Daly, the doorman
has imagination. On hot days, he loves
to busy himself with the hose, sprinkling
the painted vines and fancying that he
is helping them grow.
A clock strikes one. Riesenfeld has
still to close the gate behind him.
There is a roll of music under his elbow.
Work to take home. He looks up and
down the street, with its yawning stay-
outs scuttling home to their beds, and
its hoarse newsboys crying out some
new murder with happy abandon, and its
pale yellow cabs cruising about on the
lookout for customers.
Overhead the electric signs light up a
pathway as bright as day. Riesenfeld
steps into it and is lost to Broadway.
SCEEENLAN©
103
(\Hollywoods Melting Pot — from page 71.
guff. The producers like it fine; the New
'York exhibitors think it is "hot stuff"' —
for New York, and yet every audience
goes away praising it as a "work apart;"
but damning it as an "audience picture"
in the same breath.
The Warners refuse to be terrified.
They like their "foreign invasion" be-
cause of the immense publicity attached,
and undoubtedly because of their belief
in the artistry of Mr. Lubitsch. and are
again allowing him carte blanche in choos-
ing and making his next picture. He has
decided upon that immortal French
tragedy, "Manon Lescaut." It is safe to
predict that will not be an "audience pic-
ture" either.
Seastrom No Longer "Foreigner"
Victor Seastrom was widely heralded
as one of the chief menaces in the
foreign horde. Eagerly and fearfully the
foreign-shy Hollywoodites awaited his first
film for Goldwyn. It is "Name the Man."
from Sir Hall Caine's "The Master of
Man."
Mr. Seastrom had produced the best
of the Swedish pictures, which had not
made much of a ripple over here, but
which had seriously endangered American
supremacy in the film world of Sweden.
It was cheaper to hire him to make
American pictures than to fight him as a
Swedish director in Sweden.
Possibly there was some deep-laid plot
against Mr. Seastrom 's prosperity in this
land of the free, for the choice of story
was absurd, and the editorial direction of
June Mathis certainly went wide of the
mark. It is neither a sophisticated for-
eign triumph, as Lubitsch might have
made or von Stroheim. nor is it unal-
loyed American-brand hokum. It is a
queer blend of all the things that can
be wrong with pictures, and yet it is not
wholly a flop. There are moments — oh,
most decidedly. You can imagine that
Mr. Seastrom forgot all his American
teaching and his little book of Studio
Don'ts, and soared every once in a while.
But it is not the kind of a "foreign" pic-
ture to frighten Hollywood actors with.
The king-pin of the foreigners — direc-
tors, we mean — was Erich von Stroheim.
When he made "The Devil's Passkey"
and "Blind Husbands," American direc-
tors shook in their boots. Some planned
to spend a year in Austria, learning for-
eign ways.
Then, without supervision, even of the
exchequer, Mr. von Stroheim was turned
loose at Universal to make "Foolish
Wives." Mr. Carl Laemmle is still nerv-
ous at the mere mention of the name, for
it was the most expensive flop in pic-
tures. Mr. Laemmle had visions of the
bread line, with himself at the end of
it, so he made a quick sleight of hand
motion. The result was that some of
value was retained in "The Merry-Go-
Round" beiore he had completely bank-
rupted the company, and then Rupert
Julian was made master of the flying
jenny.
I
Von Stroheim Joins Goldwyns
t was a clever trick, and the industry
chuckled at this signal victory over the
foreign invasion. Then von Stroheim
was hired by Goldwyn. No one knows
all the bloody details yet — that is, out-
side the carefully guarded walls of the
Goldwyn plant, but it is whispered that
Mr. von Stroheim has not forgotten how
to spend money, nor has he developed
an efficiency complex.
He has been working on "Greed," the
picture from Frank Norris' powerful
novel, "McTeague," for more than a
year. A year on a picture is practically
ruinous to any company. And by the
very nature of it, "Greed" cannot be a
popular success. It is a stark, grim
tragedy, if it follows the book — one of
the most unpleasant stories in the Eng-
lish language. And judging by the ad-
vance stills we have seen, the picture is
a remarkably faithful adaptation. For this
von Stroheim is to be congratulated.
If he chose to do this American classic
of greed, lust and murder, it was decent
of him not to turn it into an Austrian
orgy. He does do Austrian orgies so
well, you know.
The print of "Greed" which has finally
reached New York is forty-three reels
long. The longest 'super-special fea-
tures" are not shown at a greater length
than twelve reels. Von Stroheim was
said to treasure as the apple of his eye
every scene in those forty-three reels.
Undoubtedly someone else had to wield
the final pair of shears. Imagine the ex-
pense attached to making a picture, which
when boiled down to the satisfaction of
the director, is forty-three reels long!
The original film must have been some-
where near a hundred reels long — prob-
ably the most extravagant piece of di-
recting the screen world has ever known.
So much for the much-feared directors
The actors are more interesting. Of the
foreign male stars, one of the most
feared a year ago was Charles de
Roche, a Frenchman, who arrived in
Hollywood, heralded as a successor to
Valentino, at a time when Valentino was
in the thick of his trouble with Lasky.
But time has gone on and still de Roche
is not a star. His latest role is that of
Pharaoh in "The Ten Commandments."
not a leading role by any means. It is
safe to say that de Roche will not keep
ambitious young American leading men
awake nights, looking to their laurels.
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Valentino and Negri American Successes
Rodolph Valentino is a foreigner by
birth, it is true. We believe he is an
American citizen. At any rate he has
made his way entirely on this side of
the Atlantic. He began his film career
as an extra in Hollywood. He learned
everything he knows from his odd jobs
in studios, and he is certainly a typical
example of American success. The same
can be said in toto of Ramon Navarro.
It is the invasion of the foreign celebrity
which has so terrified Hollywood.
Pola Negri is a good example of this
sort of invasion. She has done two splen-
did services to American pictures, both
of them indirect. She has proved that
you can't make an American pretty girl
out of a fiery, temperamental Polish
tragedy queen. And she's undoubtedly
been an impetus toward making Gloria
Swanson into what promises to be Amer-
ica's most versatile emotional screen ac-
tress. Rather a mouthful to say about
Gloria, but have you seen her in "Zaza"
and "The Humming Bird"? And do you
realize what it means that she has been
chosen to play "Peter Pan"? The film
world would have laughed at such an
announcement a year ago. Now it is con-
sidered only a just tribute to her acting
ability.
The explanation of both statements
about Pola's service to America is simple.
Lasky brought the Polish star over here
at tremendous expense and at a salary
hitherto undreamed of by the actress of
"Passion" and "Gypsy Blood." As a
celebrated foreigner, the chief reason for
the hysteria over foreign pictures, Pola
was undoubtedly a good publicity bet.
She was uprooted from the soil which
had given her career its birth. But she
was spoiled with sudden prosperity.
Pola Negri was hurtled into a strange,
and to her a fearful, studio life. She
was glutted with fine clothes and maid
service and directors and assistant di-
rectors and unlimited authority.
Then Pola's generous mouth was Bebe-
Danieled. Her hair was oh, so niftily
bobbed and marcelled. Her face was so
beautifully made up, that Pola was afraid
to emote for fear of ruining her com-
plexion.
Thus Pola Negri spent a bewildered,
resentful first year in America. She was
feared as a foreign invader. She had
usurped the throne of Gloria Swanson.
She had annexed the most eligible male
in Hollywood.
But the fears proved groundless.
While Pola Negri is still very popular, a
large part of her popularity is a hang-
over from "Passion" and "Gypsy Blood."
"The Spanish Dancer" has, we have been
told, failed to make the money its pro-
ducers had every right to expect it to
drag in. "Bella Donna" was a financial
disappointment, for it did not come any-
where near reaching the gross mark set
SCMEENLANB
for it. The overhead had been tremend-
ous.
As for her service to the screen
through Gloria Swanson: The rivalry
between Pola and Gloria was, as the chil-
dren say, "something terrible." Gloria
had been Queen Bee at the West Coast
studios. Her word had been law on the
lot. Their highest hopes, next to those
centered on Gloria's pictures.
It was a real blow to Gloria Swanson
when Pola Negri was blaringly press-
agented into her place. It is undoubtedly
due in part to Gloria's resentment of
Pola and their constant antagonism, that
Gloria is now producing at the East Coast
studios, while Pola queens in on the West
coast.
Be that as it may, it was Pola's as-
sumption of superiority that stirred
Gloria to put forward the very best that
was in her. In Hollywood Gloria had
spent quite a lot of time "queening it."
Now Gloria, in New York and very much
in earnest, has settled down to terrifically
hard work and is astounding even her fond
producers by making such pictures as
"Zaza" and "The Humming Bird." In
the latter she proves herself one of the
most versatile character actresses on the
screen.
And now, it is with sincere pleasure
that we note that there is strong hope
for Pola in the ofhng. She has a fellow-
countryman for a director now — Dimitri
Buchowetzky. They are making "Men."
The report from the Coast is that the
unhappy and misunderstood Pola of a
year ago is gone, and in her place is the
old Pola of Berlin days. If the foreign
director helps Pola to find herself in
America, surely his invasion cannot be
seriously resented.
The last of the triumvirate of charges
105
made against Pola Negri was that she
had promptly annexed the most eligible
male in Hollywood — Charlie Chaplin. That
dread result of the foreign invasion has
likewise failed to pass. Charles the cir-
cumspect, the wary, is still unattached,
though there has been no formal break-
ing of the engagement — in public prints
at least. But no one except Samuel Gold-
wyn, who professes in his book, "Behind
the Screen," to believe that they may
marry and that Chaplin is as much in love
with Pola as she is with him, believes
that there will ever be a marriage.
Chaplin was undoubtedly strongly at-
tracted to Pola Negri. She had zest, nov-
elty for him. And she was a celebrity.
Chaplin is not exactly averse to being as-
sociated with famous people. But Chap-
lin has an equally well-known reputation
for being fickle. No one of the long
string of infatuations and reported en-
gagements has materialized, since his
fiasco with Mildred Harris. Chaplin is
certainly bride-shy. Pola's determination
to annex the famous comedian was not
as strong as Chaplin's determination to
keep his freedom.
So it really seems as if America — or
Hollywood — has been able to draw the
snake's fangs. The only other field in
which the dreaded menace may strike
is in the fold of the extras. As long as
we continue to make costume pictures,
just so long will there be a heavy de-
mand for foreign types. But when that
cycle has passed into cinema history, and
the "early American" period has definitely
set in — as it really has with "The Cov-
ered Wagon" and "Abraham Lincoln" —
then the foreign menace will automatic-
ally and painlessly — pass out of the
picture.
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106 gCREENLANE)
PHT^HE scene was Mae Murray's suite in the Plaza Hotel, New York. The time
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Leonard, representing the Pictures; and Delight Evans and the editor of Screenland, repre-
senting the Press. Conversation turned to food, and theatres and weather conditions. In fact
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hats to go with
them, gloves,
furs — you can't
imagine. . ."
And with that
Mr. Leonard
and Ye Editor
terview — so
called — had be-
gun.
FoR those who desire to carry this thing still further, we suggest the purchase
of a copy of the July SCREENLAND. It will contain, in addition to Miss Evans' per-
sonality story of Mae Murray, some dozens of other choice and delectable bits. To wit:
Betty Compson — A study in
character. By Anne Austin.
ALICE JOYCE — Another per-
sonality story. By Delight
Evans.
Anna Q. Nillson — a sketch.
By Sydney Valentine.
Other writers who will con-
tribute to this unusual issue
are :
George Jean Nathan
Eunice Marshall
Jim Tully
E. V. Durling
Katherine Albert
Lillian Day
H. B. K. Willis
There will be the usual
handsome rotogravure gallery
— eight full page pictures of
the stars — the work of one of
Hollywood's foremost camera
artists, Melbourne Spurr.
And, of course — Kliz, Co-
varrubias and Wynn.
In addition to the above, a
half score feature articles and
the usual SCREENLAND news,
reviews and departments.
Altogether a very worth-
while issue.
SCREENLAND for JULY
READY JUNE 1st 25 CENTS
SCEEENLAN©
The Most Darin
Ever Written!
Elinor Glyn, famous author of "Three Weeks," has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
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\K /ILL you marry the man
" " you love, or will you take
the one you can get?
If a husband stops loving his
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman?"
Will you win the girl you want,
or will Fate select your Mate?
Should a bride tell her husband
what happened at seventeen?
Will you be able to hold the
love of the one you cherish — or
will your marriage end in divorce?
Do you know how to make people like you?
Do you know how to re-
tain a man's affection always?
How to attract men? Do you
know the things that most irri-
tateaman? Or disgust a woman?
Can you tell when a man really
loves you — or must you take
his word for it? Do vou know
what you MUST NOT DO un-
less you want to be a "wall
flower" or an "old maid"? Do
you know the little things that
make women like you? Why do
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IF you can answer the above questions —
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What Do YOU Know
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selves beating against a stone wall in affairs
of love? When is it dangerous to disregard
convention? Do you know how to curb a
headstrong man, or are you the victim of
men's whims?
What Every Man and
Woman Should Know
—how to win the man
you love,
—how to win the girl you
want.
-how to hold your hus-
band's love.
-how to make people
admire you.
-why "petting parties"
destroy the capacity
for true love.
—why many marriages
end in despair.
-how to hold a woman's
affection.
-how to keep a husband
home nights.
-things that turn men
against you.
-how to make marriage
a perpetual honey-
moon.
-the "danger year" of
married life.
— how to ignite love —
how to keep it flaming
— how to rekindle it
If burnt out.
— how to cope with the
"hunting instinct" in
■men.
— how to attract people
you like.
— why some men and
women are always lov-
able, regardless of age.
— are there any real
grounds for divorce?
— how to increase your
desirability in a man's
eye.
— how to tell if someone
really loves you.
— things that make a
woman "cheap" or
"common."
ELINOR GLYN
The Oracle of Love
the wife prevent it? Do you know how to
make marriage a perpetual honeymoon?
In "The Philosophy of Love," Elinor
Glyn courageously solves the most vital
problems of love and marriage. She places a
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"The Philosophy of Love" is one of the
most daring books ever written. It had
to be. A book of this type, to be of real
value, could not mince words. Every prob-
lem had to be faced with utter honesty,
deep sincerity, and resolute courage. But
while Madame Glyn calls a spade a spade
— while she deals with strong emotions
and passions in her frank, fearless man-
ner— she nevertheless handles her subject
so tenderly and sacredly that the book
can safely be read by any man or woman.
In fact, anyone over eighteen should be
compelled to read "The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the most danger-
ous sort to be_ ignorant of the problems of
love and marriage. As one mother wrote us:
"I wish I had read this book when I was a
young girl — it would have saved me a lot
of misery and suffering."
Certain shallow-minded persons may
condemn "The Philosophy of Love." Any-
thing of such an unusual character generally
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world wide reputation on this book — the
greatest masterpiece of loveever attempted !
SEND NO MONEY
YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
— and the book will be sent to you on ap-
proval. When the postman delivers the
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your hands — pay him only $1.98, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content — read
it from cover to cover — and if you are not
more than pleased, simply send the book
»l
Q/ie PHILOSOPHY
OF LOVE
i^ELINO:
ELINOR GLYN
Author at c'Three Weeks
WARNINQI
The publishers do not care to send "The Phi^.
losophy of Love" to anyone under eighteen
years of age. So, unless you are over eighteen,
pleasw do not fill out the coupon below.
back in good condition within five days
and your money will be refunded instantly.
Over 75,000,000 people have read Elinor
Glyn's stories or have seen them in the
movies. Her books sell like magic. "The
Philosophy of Love" is the supreme culmi-
nation of her brilliant career. It is destined
to sell in huge quantities. Everybody will
talk about it everywhere. So it will be ex-
ceedingly difficult to keep the book in print.
It is possible that the present edition may
be exhausted, and you may be compelled
to wait for your copy, unless you mail the
coupon below AT ONCE. We do not say
this to hurry you — it is the truth.
Get your pencil — fill out the coupon
NOW. Mail it to The Authors' Press,
Auburn, N. Y., before it is too late. Then
be prepared to read the most daring book
ever written!
I The Authors' Press, Dept. 369 Auburn. N. Y.
I Please send me on anpioval Elinor Glyn's master-
, piece, "The Philosophy of Love." When the post-
I man delivers the book to my door. I will pay him
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' stood, however, that this is not to be considered a
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you agree to refund my money.
I
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ty/ie oJrudd[\(ind2S\t Screen Magazine
JULY, 1924 VOL. IX, NO. 4
ANNE AUSTIN
Associate Editor
Myron Zobel, Editor
EUNICE MARSHALL
Western Editor
(\Noteworthy Features in this Issue:
QThe Riddle of Mae Murray, A personality story
QFAKE MAKE-UP SCHOOLS, Exposing professors of "grease paint smearing
Q Betty of the Hungry Heart, The story of a soul struggle
Q CLASS, A screen short story of distinction
ROLF ARMSTRONG
Catches in colors the fire of Pola
GEORGE JEAN NATHAN
Hails and hailstones the new stage plays
of the month page 60
JIM TULLY
Contributes a few impressions of Ernest
Torrence . . . ■ -. - page 46
TAMAR LANE
A young man who knows, talks of People
and Things page 38
ANNE AUSTIN
Tells the inside story of Charles Ray,
Producer . . . . . page 54
DELIGHT EVANS
Reviews without favor or malice the New
Screenplays page 50
EUNICE MARSHALL
Discusses The Fame Tax . . page 32
MYRON ZOBEL
Talks of a Modern Crusade, Three Years
Grace and Love Week . page 16
ROSE GLEASON
Is a fiction writer who knows
the movies, having worked as
a scenario editor for many
years. We are pleased to an-
nounce a new novel from her
pen, Searchers in the Dark.
It starts in the August
SCREENLAND
On all newstands
July 1st
page 23
page 26
page 30
.... page 43
KATHERINE ALBERT
Shows the stuff that movie stars are
made of page 36
H. B. K. WILLIS
Sings of the Virginia creepers now adorn-
ing the domes of the darlings of the
screen page 56
KLIZ
Reproduces the Home Life of Gloria
Swanson as he sees it . . page 53
GRACE KINGSLEY
Speaks of the pluck of screen stars she
has known page 58
BARRY VANNON
Relates the real life story of Anita
Stewart page 62
HELEN STARR
Describes the troubles of a Location
Man page 68
SCREENLAND'S FAMOUS
DEPARTMENTS
Stars of Today
- page
19
Stars of Tomorrow .
. page
39
Alice in Screenland .
■ page
72
Our Own News Reel
■ page
74
The Listening Post ,
■ page
76
The Movie Clock
■ page
81
-and a dozen other features —
Published monthly by The Myron Zobel Publications Inc., ar 145 West 57th Street, New York, N. Y., U. S. A.
Myron Zobei, Pres.; Frank Aimer. Vice Pres.; Paul H. Sampliner,
freas.: Glenn Johnston, Secty.; Copyright, 1924. Trade Mark
tegistered. Single copies 25c; subscri ption price, United States
and Canada, $2.50 a year: foreign. $3.50. Entered as second-class
matter, November 30. 1923, at the Post Office at New York, N. Y.,
under the Act of March 3, 1879. Permission to reprint material
must be secured from the Screenland Feature Syndicate. 145 West
57th Street, New York. General Executive and Editorial offices at
145 West 57th Street, New York, N. Y. Western advertising
offices at 168 North Michigan Ave., Chicago, 111.; 1004 Coca
Cola Bldg., Kansas City. Mo. Publishers also of Real Life Stories.
Subscription price United States and Canada, $2.50 a year. Single
copies 25 cents each. Club rate for the two magazines, $4.00 a
year; foreign, $6.00. Screenland Magazine out the first of every
month; Real Life Stories the 15th.
SC1REENLANID)
Screenplays Reviewed
In This Issue
ABRAHAM LINCOLN Page
AMERICA Page
THE ANT ■ Page
BEAU BRUMMEL Page
THE BELOVED VAGABOND. Page
BETWEEN FRIENDS Page
BLACK OXEN Page
THE BREAKING POINT Page
THE CONFIDENCE MAN Page
COURTSHIP OF MILES
STANDISH Page
CYTHEREA Page
DAUGHTERS OF TODAY. .. .Page
DAWN OF A TOMORROW... Page
DON'T CALL IT LOVE Page
EXCITEMENT Page
FORTY HORSE HAWKINS. . .Page
GALLOPING FISH Page
GALLOPING GALLAGHER - . .Page
GAMBLING WIVES Page
GIRL OF THE LIMBERLOST .Page
GIRL SHY Page
THE GREAT WHITE WAY . . .Page
THE HALF BACK OF
NOTRE DAME Page
HAPPINESS Page
THE HILL BILLY Page
HIS DARKER SELF Page
THE HOOSIER SCHOOL
MASTER Page
THE HUMMING BIRD Page
ICEBOUND Page
ISLE OF VANISHING MEN.. Page
JULIUS SEES HER....- Page
THE LAW FORBIDS Page
LILIES OF THE FIELD Page
THE MARRIAGE CIRCLE. .. .Page
THE MORAL SINNER Page
MRS. DANE'S CONFESSION. .Page
NAME THE MAN Page
NELLIE THE BEAUTIFUL
CLOAK MODEL Page
THE NEXT CORNER Page
THE NIGHT MESSAGE Page
POISON PARADISE Page
THE PHANTOM HORSEMAN
Page
THE REJECTED WOMAN Page
THE RENDEZVOUS Page
RENO Page
RIDERS UP ..• Page
SHADOWS OF PARIS Page
THE SHOOTING OF DAN
MAGREW Page
THE SILENT STRANGER. . . .Page
SINGER JIM McKEE Page
A SOCIETY SCANDAL- Page
THE SONG OF LOVE Page
STOLEN SECRETS Page
THE STORM DAUGHTER. . . .Page
THE THIEF OF BAGDAD. . . .Page
THROUGH THE DARK Page
THY NAME IS WOMAN Page
TRIUMPH Pa?e
THE UNINVITED GUEST. . . .Page
THE UNKNOWN PURPLE. . .Page
WEST OF THE WATER
TOWER Page
WHEN A MAN'S A MAN.... Page
WHICH SHALL IT BE OR
NOT ONE TO SPARE. . . .Page
WILD ORANGES Page
THE WOLF MAN Page
WOMEN WHO GIVE Page
THE YANKEE CONSUL Page
YANKEE MADNESS Page
YOLANDA ..• •• Page
7
105
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9
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7
7
6
7
7
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51
8
7
TRE^TJUR.
CTQ.fVt PACTS
A Good Compact
Combines Business
With Pleasure!
— For 'tis truly a serious business to
look your best at a moment's notice —
and a sincere pleasure to view that
best once it is achieved.
Dhassi Will Tell You FREE
Do You Know Are You Lucky? Send Birth Date
Under which zodiac
sign you were born?
What significance it
has in shaping your
life?
In Love
Marriage
Friends
Inheritance
Success
I have made Astrology my
life's work and offer the most
interesting astrological inter-
pretations of the Zodiac sign
under which you were born.
Send exact name, address and
exact date of birth in own handwriting and receive your astrological in-
terpretation in plain sealed envelope postpaid. A great surprise awaits
you. Enclose 12c to cover cost of this notice and mailim;. Address me
personally DHASSI.
TARA STUDIO, 1133 B'dway Desk 2-F, New York
The Silent V>rama
GLBrief Reviews of Current Screenplays
OlEvery picture of importance
will be reviewed here, and
the reviews reprinted for
three consecutive months to
enable our readers to use
this guide as a directory in
selecting their month's enter-
tainment.
"THE SILENT STRANGER"
— F. B. 0. Fred Thomson
and his white charger, Silver
King, again — this time in a
western mystery play based on
"mail" and a female. Thomson
is introduced as a deaf mute bronco
buster, shell shocked in the war, but
he turns up in the final reel as a
Secret Service man assigned to round
up a gang of mail bandits. What?
Sure he gets them, and he wins the
gel, too. It's Hazel Keener. Lots of
excitement, some excellent "horse
play" and some of the toughest look-
ing hombres this side of the Rio
Grande. Just a good, old-fashioned
Western.
"EXCITEMENT" — Universal. Story
of a girl with an insatiable capacity
for excitement who suddenly finds
herself with more than she can handle.
An incredible plot and a running fire
of smart aleck sub-titles that fairly
reek of cheap wit make this film just
an hour of boredom. Laura La Plante,
though, is a charming bit of femininity
and tends to relieve some of the
monotony which must be charged to
Robert Hill, the director. An also-
ran that should have been scratched
before it started.
"A GIRL OF THE LIMBERLOST"—
F. B. 0. Gene Stratton-Porter's best
comes out in this extremely interest-
ing drama of a four-cornered puppy
love. She proves that adolescence is
sometimes made of sterner stuff than
nefarious necking and the allied arts.
With Gloria Grey, Gertrude Olmsted,
Raymond McKee and Cullen Landis
in the important roles, this film is
exceptionally well enacted and should
offer you as pleasant a seventy minute
entertainment as you are likely to
find in your town. A picture play
for the family — it's wholesome.
"THE STORM DAUGHTER" — Uni-
versal. Priscilla Dean in a tempestu-
ous thriller of the briny in which
George Archainbaud evinces a peculiar
adaptability as a director of sea
stories. Tense, gripping, thrilling,
teeming with suspense, this attraction
ranks with the best, that have come
from the Universal studios. Thomas
By Martin B. Dickstein
Santschi is magnificent in the role of
a brutal sea captain whose regenera-
tion forms the basis of the story.
Superbly staged. Enough excitement
to last you all summer.
'GAMBLING WIVES" — Arrow. An-
other one' of those screen sermons
with the moral, The Wages of Indif-
ferent Matrimony is Divorce. Naughty
papa forsakes mama and the baby and
gads about with the other woman un-
til friend wife gets the bright idea to
win her husband back by making him
jealous. Recognize the formula, don't
you? Very trite and as dull as it is
stereotyped. Marjorie Daw, Lee
Moran and Betty Francisco in the
cast. Old stuff done in the same old
way.
'THE MORAL SINNER' ' — Paramount.
Don't be misled by the title. No
tinseled cabaret scenes, no naughty
swimming pool shots in silhouette, no
scofflaw's orgies — no nothing, in fact.
Just Mr. Ralph Ince's conception of
Leah Kleschna, with Dorthy Dalton
in the title role. Leah, you know,
is a bobbed haired bandit who gives
up the delicate art of safe cracking
when she loses her heart to a perfect
sheik of a sleuth who is assigned to
run her down. Intolerably slow mov-
ing crook meller about as exciting
as a picturization of Hearts and
Flowers. Something you can pass up.
"FORTY HORSE HAWKINS" — Uni-
versal. Hoot Gibson has a trunkful
of trophies for bronco busting, rop-
ing steers and rodeoing in general,
but here we see him as a jitney driver,
bell hop, hotel clerk, stage hand, ham
actor and in a hundred other capaci-
ties from waiter in a half-way house
to taxi driver in New York. Talk
about versatility. Sedgwick has made
a picture that bristles with action, one
that'll chuck you a chuckle a minute.
A bit far fetched but a good comedy
for all o' that.
"NELLIE, THE BEAUTIFUL CLOAK
MODEL — Goldwyn - Cosmopolitan.
Not a satirical burlesque of the
famous Owen Davis play,
but straight, honest-to-good-
ness mellerdrammer that
makes no pretense of being any-
thing else. Enough hokum to make
East Lynne look like a Theater Guild
pet, but you'll like it because it's
undiluted and uncamouflaged. Every-
body enjoys a good, old-fashioned
melodrama and the producers ought
to give us more of them. Nellie is as
good as a paper covered copy of
Dead Eye Dick in the hayloft. It's
a treat.
"THE WOLF MAN" — Fox. Short but
exciting bit of screening with a per-
fect wow of a fight in which John
Gilbert rocks 'em and socks 'em like
a champion. Lively, pulsating, full
of action, this film has much ado
about a young fellow who couldn't
quaff a snifter without offering to
fight anybody and everybody in sight.
And he quaffs lots of them. Hardly
nice entertainment for the more staid
members of the community, but great
stuff for the young bloods.
"THE BELOVED VAGABOND"—
F. B. 0. A poor interpretation of
William J. Locke's novel, so atroci-
ously miscast and amateurish in its
presentation that it seems hardly
worthy of a serious criticism. Carlyle
Blackwell is sponsor for the film,
supervised its production, stars in a
dual role and generally monopolizes
everything in sight. He looks like a
post graduate student in the school
of the tragedy. A banal bit of film-
ing not worth a walk around the block.
"RIDERS UP" — Universal. An interest-
ing though a bit vulgarly interpreted
story of the race track in which there
are several vivid glimpses of blanket
finishes at the Tia Juana track across
the border. Creighton Hale and
George Cooper are corking as a pair of
nifty touts who are not nearly as bad
as their checked suits would paint
them. There is rather an abrupt end-
ing which leave the spectators dang-
ling on the end of a thread of cir-
cumstances which might have been
terminated to better advantage. Keep
the youngsters away — they'll learn
too much about books and book-
makers.
6
^GREENLAND
Brief JLeviews
REPRINTED FROM JUNE SCREENLAND
DAUGHTERS OF TODAY — Selznick —
Another one of those things mortifying
the American girl. It seeks to show her
going rapidly to the devil, but she has
such a splendid time on the way, that
the moral is rather lost.
THE DAWN OF A TOMORROW —
Paramount — Pollyanna once more bobs
up, this time in the person of a little
London cockney, well played by Jac-
queline Logan. Uncamouflaged melo-
drama, and, as such, quite good fun.
GALLOPING GALLAGHER — F. 0. B.—
A real movie for a real boy. Whole-
some excitement, charming romance,
and diverting story.
THE HALF BACK OF NOTRE DAME
— Mack Sennett — The best thing about
this farce is the title. The picture is
a weird jumble of scenes that look sus-
piciously like left overs.
HAPPINESS — Metro — Laurette Taylor
looking very young and cute, gives
variation number 352 of the Pollyanna
theme.
THE HILL BILLY — United Artists —
Jack Pickford, in the role of a moun-
tain boy, shows that in addition to be-
ing Mary's brother and Marilyn's hus-
band, he can act. A feud story that is
absolutely different.
HIS DARKER SELF — W. W. Hodkin-
son — Lloyd Hamilton in a dismal com-
edy of chocolate colored bootleggers.
This is the picture Al Jolson quit to
go to Europe. We are not surprised.
THE HOOSIER SCHOOLMASTER —
W. W. Hodkmso7i — A terrible com-
bination of poor story, indifferent act-
ing, rotten photography and uninspired
direction.
LILIES OF THE FIELD — First Na-
tional — Corinne Griffith glamorous as
ever in an artificial comedy that strives
desperately, but unsuccessfully for
piquancy.
MRS. DANE'S CONFESSION — Herz
Film Corp. — Released by F. B. 0. —
Served up for those who are curious
enough to yearn for a peek at Count
Salm, who plays the heavy.
Europe and looks like it.
Made in
THE NIGHT MESSAGE— Universal—
A melodramatic romance of a mountain
feud, with hokum laid on thick. It's a
thriller for all that.
THE PHANTOM HORSEMAN — Uni-
versal— Light and easily digestible en-
tertainment of the ride-'em cowboy
type, with a stage coach hold-up and all.
SHADOWS OF PARIS — Paramount —
Pola Negri and her director intent upon
showing that in spite of her magnificent
Du Barry and Carmen, she can over-
act as well as anyone when given a
sufficiently bad photoplay.
THE SHOOTING OF DAN MAGREW—
Metro — Subtitles taken verbatim from
Service's deservedly popular poem,
lend color to a flimsy, but well acted
melodrama of the great Northern spaces.
SINGER JIM McKEE — Paramount —
Wishy-washy sentimental slush, with
Bill Hart weeping buckets full. No
trace of old two-gun Bill.
A SOCIETY SCANDAL — Paramount —
A very expensive caricature of Gloria
Swanson, posed by Allen Dwan against
a background of New York motion pic-
ture high life.
STOLEN SECRETS — Universal — A mys-
tery, crook play that can make The Bat
look like a Sunday School concert.
THE THIEF OF BAGDAD — Fairbanks
The screen:s first real fantasy. An
Arabian fairy tale, colorful, courageous
and captivating. Children of all ages
— and that goes for adults — will love
this latest of Douglas Fairbanks' pro-
ductions.
THE UNKNOWN PURPLE — Truart —
Thrills galore in a truly exciting, melo-
drama, superbly acted by Henry B.
Walthall and a strong cast.
WOMEN WHO GIVE — Metro — Remin-
iscent of Down to the Sea in Ships but
not nearly so good. Fair entertainment
and skilful direction.
YANKEE MADNESS — F. B. 0.— Revo-
lutionary stuff in Central America, much
in the 0. Henry vein. Bloodshed ga-
lore, and a charming romance to cap it.
STRONGFORT '
The Perfect Man
I Question Your Title
to Manhood!
YOU are of the male
Persuasion, yes?
You wear trousers and
the world puts a
"mister" in front of
your name. But just
how good a man arc
you? Just how virile?
. . . just how mas-
culine? . . . just how
fit are you to work, win,
wed and propagate the
race ?
Some Inside Stuff
Are your bowels vigorous? If
not you're not a wholesome
man. Does your heart beat
strong and steady? If not
you're not a safe bet for any
woman to fall in love with.
Are your lungs sound and
ample? If they aren't, be-
lieve me, the home fires of
your body are burnin?
mighty low. Does the flush of
health glow through your skin and do your eyes
flame with the fine fire of mastery?
What No Woman Tells
I wish, my dear man, that you could read the
mind of the woman you love best. I am telling
you now that it would be an awful wallop to your
self-esteem. She respects you, likes you, but
when it comes to the hot flames of passion and
romance . . . then you simply aren't there.
Why? BECAUSE IN THE HISTORY OP THE
WOULD THERE NEVER LIVED A NORMAL
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Physical and Health Specialist for 25 Years
Department 142S Newark, New Jersey
f— — — — CONFIDENTIAL — >— »— i
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SCKEENLANB
FOR. 2,5 CENTS
Many readers dislike tearing or marring their
copies of SCREENLAND and yet they would
like to frame the eight handsome rotogravure
portraits that appear each month. Two un-
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PRINT DEPARTMENT
SCREENLAND MAGAZINE
145 West 57th St. DeP«- "* New York City
Brief Reviews
REPRINTED FROM MAY SCREENLAND
NAME THE MAN — Goldwyn — A stark
and realistic version of Sir Hall Caine's
famous novel, made vital by the direc-
tion of Victor Seastrom, the famous
Swedish producer, who thus makes his
American debut.
AMERICA — D. W. Griffith— A magnifi-
cent piece of direction and as thrilling
and satisfactory a picture as Griffith
has ever made.
THE ANT — Louis Tolhurst — An educa-
tional and intensely interesting micro-
scopic study, which has more entertain-
ment than many a full-fledged drama
or comedy.
BEAU BRUMMEL — W arner Bros —
John Barrymore of the divine profile is
matchless in this stirring romance. Full
of poignant touches that bespeak in-
spired direction.
DADDIES — Warner — Great stuff if you
like your sweetness in large doses. Mae
Marsh does much to redeem the pic-
ture's mushiness, and the children will
love it.
ICEBOUND — Paramount — A Pulitzer
Prize Play turned into screen hokum of
the vintage of 1910. Richard Dix and
Lois Wilson struggle to inject life into
the exhibit.
THE ISLE OF VANISHING MEN—
Herman J. Garfield — A vivid travelogue
of a trip into the jungle fastness of
Dutch Guinea revealing astounding
scenes of life among the head hunters.
Splendid photography and first rate en-
tertainment.
JULIUS SEES HER — F. B. 0.— The first
of H. C. Witwer's "Hello Girl" yarns
done in celluloid. Thoroughly hilarious
and titled in Witwer's inimitable man-
ner.
THE LAW FORBIDS — Universal Jewel
Precocious and adorable Baby Peggy
in a-little-child-shall-lead-them problem
play of the divorce court.
THE MARRIAGE CIRCLE — Warner
Bros. — An altogether charming story,
directed by Ernst Lubitch with Marie
Prevost and Monte Blue sharing stellar
honors.
THE NEXT CORNER — Famous Players
A trite and obvious photoplay which
even the best efforts of so splendid an
actress as Dorothy Mackaill can hard-
ly redeem.
POISONED PARADISE — Preferred Pic-
tures— A little known novel of Robert
W. Service made into a typically hectic
screen melodrama which is undisting-
uished in every particular.
THE SONG OF LOVE — First Nationalr-
Norma Talmadge as a beautiful Ara-
bian dancing girl looks most alluring
and will appeal to all those who like
sheik stuff.
THY NAME IS WOMAN — Metro — Bar-
bara La Marr and Ramon Navarro,
each exuding sex appeal in a lot of
Spanish smuggler stuff.
THE UNINVITED GUEST — Metro —
Some fascinating under water shots
taken in the south sea islands lend in-
terest to an otherwise incredible and
over-acted play.
WHEN A MAN'S A MKN—Principalr-
If you like Harold Bell Wright, and the
great open spaces where men are men,
then this is the sort of thing you will
like.
THE YANKEE COUNSUL— Paramount
A lively farce ,that has already tick-
led the ribs of Broadway as a musical
comedy. Douglas MacLean and Patsy
Ruth Miller add greatly to the gaiety.
YOLANDA — Cosmopolitan — Marion
Davies scores again in a gorgeous cos-
tume spectacle that is packed with the
usual alarums and excursions.
SCREENLANB
Brief Reviews
REPRINTED FROM APRIL SCREENLAND
ABRAHAM LINCOLN— A & R. Rock-
ett — Sincere, compelling, historical
drama. Very worthwhile.
BLACK OXEN — First National — The
gorgeous Corinne Griffith supremely
well cast in the fascinating role of the
grandmother who regains her youth by
surgical means. A competent and en-
tertaining picture.
THE COURTSHIP OF MYLES STAN-
DISH — First National — Showing
Charles Ray in a dull version of Long-
fellow's poem. Not a strong argument
for the costume drama.
DON'T CALL IT LOVE — Paramount —
An adaptation of Julian Street's satirical
novel, Rita Coventry. Will not be a
box office riot but will amuse the more
sophisticated.
THE GREAT WHITE WAY — Cosmo-
politan— Manhattan melodrama, great-
ly enlivened by peeps behind the thea-
trical and newspaper scenes showing
scores of nationally known figures. H.
C. Witwer's slangy titles are excellent.
THE HUMMING BIRD — Paramount —
Gloria Swanson temporarily abandoning
voluptuous clothes to play the role of
a little apache. A hectic tale of Paris
which will entertain if you are not too
exacting.
THE RENDEZVOUS — Goldwyn — A
trick plot with Marshal Neilan as scen-
artist and director. The scenes are laid
in Russia and do not impress by sin-
cerity.
RENO — Goldwyn— Rupert Hughes at his
worst. A hectic tale of the divorce tan-
gle in which the author-director be-
comes even more muddled than his sub-
ject.
THROUGH THE DARK— Cosmopolitan
Another of the' well known Boston
Blackie stories by Jackie Boyle. Col
leen Moore makes up for many discre
pancies in the continuity.
WEST OF THE WATER TOWER —
Paramount — Homer Croy's famous
novel altered almost beyond recogni
tion in its passage through the movie
mill. Glen Hunter works hard to re
deem the picture.
WILD ORAN GE S — Goldwyn — A color
ful interpretation of Hergesheimer's
novel of abnormal psychology. Ex-
tremely well acted and directed.
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QSpace rates are paid for all letters published
here when accompanied by photographs. Lack
of space limits our choice of the many hundreds
of excellent letters received. This is the Read-
ers' Department and SCREENLAND cannot
accept responsibility for sentiments expressed.
Address Editor SCREENLAND, 145 W. 57th
St., New York, N. Y. Send your portrait with
your letter. It is impossible to return letters
or pictures. Please don't ask questions. This
is not an Answer Department.
Dear Editor: —
Acting ability,
plus personality,
denned as the
state of being in-
dividual or per-
sonal, is, in my
opinion, the
factor which
makes any actor
what he is to the
public.
May I presume q Eleanore Barnes
to give a personal
analysis of a few outstanding types?
Just to see a "still" of Mary Pickford
makes me think of dreams, fairy
princesses, and sunlight, and apple blossom
memories. She represents all sunny
girlishness.
Pola Negri symbolizes the primitiveness
and dormant passion of all woman. She
is the poppy, enticing in her pure sug-
gestiveness, a nature so plain that it is
complex. A "gypsy" girl!
Barbara La Marr is the primitive
wolman repressed, dominated by modem
culture and civilization. In her, the fires
of the ages have been banked and she
is today's woman, still with the fire in
her breast, but smouldering.
These three we find combined in Alice
Terry, the "woman finished." She has
just enough of the bouyant girlishness
to offset the calm control of the "woman
of the world," with the added touch of
sweet passion loosed from the primitive.
Once I saw a personality vivisection of
Lillian Gish, which aptly characterized
her as the "clinging vine;" upon that I
cannot improve. Her beauty is of an
ethereal sort, which inspires protection in
a man, making that the way to his heart.
Claire Windsor is a wonderful silken
rose, made of daintiest satin, perfect, in-
expressibly lovely; yet she lacks a per-
sonal quality which would make her more
than an enchanting picture.
Norma Talmadge is the wonderful girl-
woman, a piece of old lace from Valen-
ciennes. She is roses, red and yellow,
soft feathers, curled and plumed, needle
dagger, rich velvets speak the sumptious
Middle Ages through her.
There are scores of others of whom I
would speak, that delectable flapper,
Colleen Moore, the royal, piquant jest-
eress, Mabel Normand, the burning Bebe
Daniels (cooled sofmewhat these last
years) demure Lila Lee, and — oh, I love
them all.
Sincerely,
Eleanore Barnes,
Post Office Box 1308,
' Tulsa, Oklahoma.
Q Joe Mclnerney
Bj/ Our headers
Dear Editor: —
To me, there is
nothing so inter-
esting as a color-
ful personality,
written up in a
way that enables
you to get all the
color with a clear
view of the per-
sonality itself,
and in my opin-
ion the hand
painted wash rag, for the best article in
your last issue goes to Mister Jim Tully.
This is the first time I have read the gen-
tleman but it will not be the last, I can
assure you.
I have read reams and reams about the
tiger-rug novelist, but never such a clear-
cut subtle and amusing yarn as M. Tully
manages to set forth. There is only one
thing, that I would care to see in prefer-
ence to the article, and that is the ex-
pression on Elinor's face when she reads it.
I admire some of your other writers
immensely.
Delight Evans for one. I rather think
that she is at her best as an interviewer.
When she trys the impressionistic she
rather falls short. But she is clever.
George Jean Nathan for some reason
or other seems to have changed. Can
it be possible he is becoming prosaic?
Frankly, I enjoy him most with fireworks.
Suggest an article setting forth his opinion
of the best artists of the screen, and if
he does it, it will be interesting to say
the least.
I think more interviews would be wel-
come, and I regret to say I can't see
Mr. Hecht or Upton Sinclair. Both strike
me as trying their darndest to be sen-
sational, and never making it.
Taken in all there are no features in
your magazine that insults the intelligence,
which cannot be said for some other
periodicals devoted to the silver sheet and
its art.
Sincerely,
Joe McInerney,
211 Bidwell Ave.,
Jersey City, N. J.
Dear Editor: —
My statement
in June Editor's
Letter Box that
the W a m p a s
"took away from
San Francisco
several times the
amount of cash
I they had been ac-
jcustomed to
garnering in Los
Angeles" gives a
decidedly wrong
CI Ralph P. Anderson impression. As a
matter of fact,
the Wampas donated large sums to at
least two San Francisco charities, thus
benefitting the city and returning to it
much of the well-earned money it re-
ceived.
I did not attend the ball myself, and
the criticisms contained in my third para-
graph were second-hand — the comments
of a few disgruntled people who attended
the ball and didn't like it. This does not
mean that the affair was not a success,
because, as you know, there are bound to
be a few people dissatisfied with anything.
As a matter of fact, the ball was so
successful that the mayor, the chief of
police, the board of supervisors, news-
paper managing editors and some of the
leading business men have joined in in-
viting the Wampas to hold its next annual
Frolic in San Francisco.
Sincerely,
Ralph Parker Anderson,
606 San Pablo Avenue,
Berkeley, Cal.
Dear Editor: —
Yeste r d a y I
saw Glorious
Gloria in "A
Society Scandal."
It should have
been "A Woman
Laughs."
But no matter,
Gloria laughs and
the meaning of
that laugh shall
stay with me —
many days.
Lovely, beautiful Gloria! A thousand
years, and she was a sea king's daughter.
Ah, that day we ravished The Frank
How our swords drank
Of the landsman's blood.
And Gloria, Gloria laughed in the red-
dened flood
Gloria, the Norse King's child.'
When will the directors and the stars
learn that it is work like Miss Swanson's
'CI C. R. Dannells
10
SCMEENLANB
that the public wants. A character not
too good, not too pale, but a character
imbued with living life and glorious
action.
In "A Society Scandal" Miss Swanson
projects a character that is the most
human of her many creations. A woman
who is true to her friends, a woman who
strikes at the littleness of modern society,
a woman who is strong in defeat, who
knows how to take her revenge, who can
foregive, can love.
Tn a word, Glorious Gloria !
Yours very truly,
C. R. Dannells.
Dear Editor —
Your inter-
viewer, E. V.
Durling, in his
chat with Rich-
ard Dix, asks him
the following
question: ''To
what do you at-
tribute your suc-
cess?" Quite an
interesting i n -
quiry, but Mr. qMss Teddy Kunkel
Dix is too pleas-
antly humble to speak of himself.
I met Mr. Dix but once and I'd walk
miles and miles to see him again, and as
a staunch Dix fan, may I briefly state to
what I think he attributes his success.
Mr. Richard Dix is a man of a wonder-
ful disposition and charming personality,
which tends so much to make him the
marvel of all who know him. I can
honestly say, that any time he extends
his hand to give you that warm and
hearty "shake-hand," he buys a life-long
friend.
There is none of that unapproachable
air about him. He will not investigate
your social standing, there is no search
after character recommendation, even the
name is immaterial to him. He will
greet you as one of his dearest friends.
Besides his natural charm he has
marvelous acting ability, which is not
that studied, artificial, but real true. He
lives the character he has to portray. His
acting is all his own. It breathes the
Dix style, human and true.
He does not hire press agents to blow
his horn, but he lets his work to speak
for itself, and proudly, Dix's fans can say
— that actors like Richard Dix will find
place in the hearts of public when all
tricks of publicity will fail.
Miss Teddy Kunkel.
Dear Editor: —
— .-_ Ten years ago
the actors and di-
rectors figured
they had a dif-
ficult task to con-
vey their mean-
ing to the audi-
ence by this new
dlent medium ; so
they went to ex-
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he would rise on one elbow, clutch the air,
make goggle eyes, gasp and show his ton-
sils, snort and show his adenoids, and then
after squirming around like a divided
worm, expire: if a gal was to be seduced
the villian would leer fiendishly, make a
lunge, tear her shoulder strap, knock over
two chairs, one table, and a lamp, and fin-
ally capture the panting virgin. Before
he could wreak any havoc the boy hero
would dash in and knock him for a loop,
or lightning would strike him, or he would
hear distant church bells, or he would find
a locket of his long lost sister on the gal's
bosom, or maybe Santa- Claus would come
down the chimney. Any one of these
things would make a respectable villian
quit. I saw one who needed all three.
At any rate these examples are typical of
the methods used throughout at that time
to obtain an effect.
The very greatest number of directors
and actors of this day use the identical
deplorable manners, embellished now with
siiks and jewels, mobs and sleek photog-
raphy. Essentially the methods — the
chest-heaving, eye-rolling, ranting and
raving — are the same bombastic hokum as
of old. Of directors the exception I think
of at the moment is Lubitsch; of actors,
Adolphe Menjou; of actresses, maybe
Dorothy Mackaill.
Don Lurie,
238 Linden Ave., Ithaca, N. Y.
Cornell University.
Dear Editor —
February, 1922,
was a lucky
month for me. It
was then that I
was introduced to
my best maga-
zine friend of the
cinema world,
SCREENLAND. It
was then that I
began to watch
with a keen per-
sonal interest its
phenomenal rise from sixty to over a
hundred pages; its jump from obscurity
to fame; its high class features; its famous
writers and illustrators; its independence;
its fearlessness. I have marvelled at how
any one little magazine which sells for
twenty-five cents could afford to have
for contributors such celebrities as Walt
Mason, H. L. Mencken, Elinor Glyn,
Cosmo Hamilton, Edgar Rice Burroughs,
Charlie Chaplin, Gene Stratton Porter,
Ben Hecht, Upton Sinclair, George Jean
Nathan — and so on indefinitely.
Following are my "gradings" for the
May Screenland:
ILLUSTRATIONS
The Cover— 90%. Screenland's artist,
Rolf Armstrong, usually attains perfection
in his beautiful covers, but this month I
found the coloring distastful.
Covarrubias — 100%. By all means, tell
Delight Evans that Covarrubias beats
any old stereotyped "stills" that she
might otherwise have for her reviews.
Certificates, Scenarios, etc., with "Mail
QLeonore Ovitt
&nb the.
71 ST STREET and BROADWAY
A masterpiece of modern hotel
creation. Most convenient, yet
quiet. A revelation in hospitality
and service, offering many innova-
tions including Servidors, taxis, etc.
Unique Congo Room — Medieval
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New York's
latest hotel achievement >
^LATZ OWNERSHIP— management (Ik
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If .so send a Photograph and $1.00 plus
return postage and have it criticized by a
movie cameraman. He will tell you how
you will screen.
Do not send photos less than 5x7 in size.
Address : MOVIE CAMERAMAN
4640 Prospect Avenue, Hollywood, Calif.
BUNIONS
PEDODYNE, the marvelous new Solvent, banishes
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and say, "I want to try PEDODYNE." Address—
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186 N. La Salle St. Chicago, Illinois
life's Secrets!
Amazing new book,"SafeCounsel,"^
just out. tells you the things you want to ^
know straight from the shoulder. Gfve9 ad-
vice to newly married. Explains anatomy of
reproductive organs, impotence, laws of Sex-
Life, mistakes to avoid, diseases, pregnancy,
etc. Contains 9 startling sections: 1— Science
o- Eugenics, 2-Love, 3-Marrlage. 4-Chiid-
blrth, 5-Family Life. 6-Sexual Science, 7—
Diseases and Disorders, 8-Healtb and
Hygiene. 9-Story of Life. In ail, 104 chap-
ters, 77 Illustrations, 612 cages. Examine
at our risk. Mailed in a plain wrapper
Send No Money
Write for your copy today. Don't send a
cent. Pay postman only $1.98. plus postage,
larrival. Money refunded I f not satisfactory.
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SCREEHLANB
13
Order Movies" — 100%. Great! Genuine
evidence !
Designs with "Alice in Screenland" —
10%. The pictures looked about as much
like Claire Windsor and Mae Busch as
Jackie Coogan does.
"Our Own News Reel" — 95%.
STORIES, ARTICLES, ETC.
The Editor's Letter Box — 40%. The
idea of printing letters froto readers, with
their photographs, is all right — if the
letters are. But they aren't.
The Silent Drama; Brief Reviews of
Current Screen Releases — 40%. Not
complete enough.
Editorials— 100%. "Don't Call Them
Interviews" as great! They are always
pungent and to the point, and are ex-
pressive again of this magazine's fearless
attitude.
"As We Go To Press"— 95%. One of
the most interesting pages.
"Mail Order Movies" and "The Heart-
Break Town" — 100%. No comments
needed.
"The Movie Kiss"— 30%. Cheap.
Doesn't belong in Screenland.
"The Man Who Was Lincoln"— 95%.
Wonderfully told — but how tragic.
"Success and the Movies" — 100%. For
the reader who wants two-in-one — that is,
literature plus screen dope, Screenland
again excels.
New Screenplays — 100%. As a critic
Delight Evans is about the last word — as
well as the last word in several other lines.
She writes in such an easy-going, fresh,
vivfd style.
"Remembered" — 50%. Sounded lovely
and sentimental and everything until I
came to this sentence (page 96) :
"Christmas don't seem like Christmas
this year, without him trimming the tree."
"Another Naldi"— 50%.
"No Jazz for Jetta"— 70%. "Sugar
coated?"
Dramaland — 100%. You got the dean
of dramatic critics when you picked Mr.
Nathan.
"Pups"— 75%.
"The Girls That Men Forget"— 90%.
If this is the "new ..anner," pray don't
give us the old any more. There were
more good jokes in this one "chat" than
in a whole issue of "Life."
"Slaves to Beauty"— 80%.
The Listening Post — 40%. Interest
ing but old. The daily newspapers print
movie news every day immediately upon
acquiring it.
"Alice in Screenland" — 10%. I can
at least say that the title is clever.
The Movie Clock— 100%. Good idea.
Sincerely,
(Miss) Leonore Ovett.
Above is the letter that won the $10
prize for the most satisfactory rating of
Screenland's stories and illustrations.
This prize is awarded every month. Give
reason why you like or dislike stories
and grade from 60 to 100% according to
your preference. Address letter: Editor,
Screenland, 145 West 57th Street, New
York City.
guaSa
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14
SCREENLAND
WHAT is it that out-blooms the Rose and out-gleams the
Lily, too? If there is an exaggerated note in that ques-
tion, it is suggested by a letter received recently by
Madame Rubinstein, in which one of her clients in those very
words writes of the new Valaze Compacts.
HEALTH— ROUGES and HEALTH — POWDERS
These compacts, which are now made on a base of
VALAZE PASTEURIZED FACE CREAM
and contain compressed within them a well-balanced proportion of
that indispensable skin-nutrient, prevent completely the dying of
the skin which has always been such a draw-back in the use of
compacts. The skillful addition of this cream increases enor-
mously the clinging quality of the rouge and powder and keeps
it from floating off the face at the first gust of wind.
The new method of compounding these compacts has made it
possible to introduce new shades which are a revelation in fasci-
nating color-possibilities. Such tints have never before been
produced in the art of cosmetics, and all the sorcery of fruit and
flower colors is reflected in them.
Starting with Iiasberry: The pertness of its twinkling tint
disarms and allures. This rouge is one of the most spellful in
color. Then the vivid red Geranium, the piquant Tangerine and
the subdued Crushed Rose Leaves. Each of them in dainty metal
containers with puff, at one dollar. The powders are supplied
in deep, mysterious rachel ; flesh; in mat, swarthy ochre and
delicate ivory white, also a dollar. These same may be had with
two refills for a dollar fifty.
Also Twin Vanities containing both rouge and powder with
puffs at the low price of a dollar fifty. With these preparations
skillfully and discriminately applied, you need no longer approach
your mirror with misgivings or alarm. It will henceforth cast no
shadows and will reflect only vivacity and freshness.
Finally, the Valaze Lip Luster (Lipstick) : Indelible, in the
brilliant new Lucifer Red, or mat gold container, and in the
dazzling new FLAME SHADE, or in light, medium or dark.
The container, provided with a hinged top, and a threaded bottom
which by a few turns projects the lipstick from the holder, pre-
vents soiling of fingers and gloves. A more daintily refined lip-
stick or one as dainty and refined you will not find for the price
of this: In gold container $1, in flame $1.50.
To be had at leading stores or direct from Madame Rubin-
stein.
Memo : A half-hour spent with one of Madame Rubin-
stein's trained operators, comfortably reclining in one o'f
the cosy rest-courts of her
Salon de Beaute Valaze
listening to golden words of "beauty wisdom," while your
face is being taken through a carefully planned routine of
treatment (afterwards to be followed up in your own home
— and for a nominal fee only I, will add months to your
enjoyment of life.
Literature on application to tlie Secretary.
PARIS
126 Rue du Faubg. St., Honore
BOSTON, MASS.
234 Boylston St.
NEWARK, N. J.
951 Broad St.
New York City
46 West 57th Street
Hollywood, Gal., mo Highland Ave.
Detroit, Mich.
1540Washington Blvd.
LONDON
24 Grafton St., W I
CHICAGO, III.
30 N. Michigan Ave.
SCREENLAND
i Photograph by Xikolas Muray
The Man Who Makes The Covers
Herewith we present to you Rolf Arm-
strong, SCREENLAND'S celebrated cover
artist. Perhaps this unusual study will ex-
plain why the most famous stars of screen-
dom are willing to climb the six flights of
stairs that lead to Armstrong's Greenwich
Village studio in order to have a cover done
by him.
Three Open Letters, A New
Editorials By
E
Dear Mr. DeMille:
AST week I saw your latest picture,
Triumph and it certainly isn't .up to
your best standard. In fact there is
now running on one part of Broad-
way a picture that is helping to make your
reputation {The Ten Commandments) ; and
at another is Triumph which is helping to
mar it.
Cecil, I think what you need is a rest and
a vacation. Not the kind of a rest that one
takes on a million dollar yacht. I mean a
real change. Get away from the servility of
the studios and the false atmosphere of pic-
tures. Forget your "exhibitors' reports."
Get past the exhibitor. Get to the people.
Take off your puttees and your olive green
shirt and put on a pair of hiking pants and
an old frayed shirt that your wife was ready
to throw away. Then strike out alone — and
afoot. And don't tell your press agent that
you're going.
You'll meet factory girls on your journey;
and they won't act like Leatrice Joy does in
your picture. You'll meet millionaires, per-
haps, but they'll be no Rod LaRoques.
You'll see tragedy that is tragedy and
comedy that is comedy; because the people
are so busy living that they haven't time to
act.
And you'll come back with a whole knap-
sack full of ideas for pictures that will have
a something in them that your pictures have
all lacked since you made The Whispering
Chorus.
A Modern Crusade
NE of the noblest projects ever at-
tempted is the proposed trip of
human kindness — a train loaded
with food and clothing for the suf-
fering children of the Near East. American
youngsters in every state in the union are
preparing to donate flour, milk, medical
supplies and clothes which Jackie Coogan is
to take by ship to the destitute children of the
famine lands of Anatolia, Syria, Palestine
and Greece.
The spirit of this modern crusade calls to
mind a crusade that took place some seven
hundred years ago — the Children's Crusade
16
of the year 121 2 — when thirty thousand
children, led by a shepherd lad named
Stephen, set forth in ships for the Holy
Land to battle there for lives instead of con-
quests. .
Such is the mission to which Jackie is to
devote three months of this coming summer.
Plans may change, but these must not be
changed. This trip must be made. The idea
that gave it birth is too great a one to perish.
What greater monument can the screen
achieve than the spectacle of its tiniest hero
leading a caravan across the land, across the
seas, bearing the gifts of little children,
bringing new hope and life to suffering
humanity?
Burlesques
I
V If ^ HOSE people who find "sermons in
stones, books in the running brooks,
and good in everything" may also
find some consolation in the fact that
nearly every pretentious feature picture
nowadays trails in its wake a burlesque or
two. To some of us these are the choicest
bits of all. Mud and Sand, Rob 'Em Good,
The Shriek of Araby and Two Wagons —
both Covered were among the good things
of last year.
Ben Turpin now promises to do a Romeo
that will knock the eye out of Shakespeare
lovers, and to follow that with Two and a
Half Weeks — a burlesque of Madame
Glyn's somewhat longer story. In the abbre-
viated version Ben will, as befits his youth
and beauty, play the part of Paul, the pas-
sionate young lover.
Three Years of Grace
)EEP sighs of relief will now go up
from all those who feared for the
future of the films, for lo! Mr. Will
H. Hays has signified his intention of
renewing for another three years his con-
tract as president of the Motion Picture Pro-
ducers and Distributors of America.
Under the new contract Mr. Hays will
shepherd the flock until March 5, 1928.. And
by that time the movies should be pretty
well out of their infancy.
1
Crusade and Love Week
Myron TLobel
Dear Mr. Brenon:
T
"^HEY tell me that you are casting
about for a star to play the role in
Peter Pan made famous by Maude
Adams. It is getting to be quite a
game suggesting people for the part. I hear
that they have run completely out of girls
and are now submitting male juveniles to
fill the role.
But seriously, Herbert, what about May
McAvoy? There is a girl who looks the
part. If there isn't youth and the hope
of happiness in those starry eyes then I
never saw it anywhere. And she can act.
Remember Sentimental Tommy. Don't you
think it's about time somebody "discovered"
her?
Riding Two Horses
DITING a magazine is like trying to
ride two horses at once. It is so hard
> ^4 to keep them both going at the same
rate of speed. When one of them
slows up the other one is quickly out from
under you.
Now this publication is intended to serve
as a college education to the screen. It is the
film fare of an intelligent fan. It is calcu-
lated to entertain those who have been grad-
uated from the elementals of screendom.
Therefore much that is obvious is left out.
And much is put in that appeals perhaps
only to the few. For it appeals to their
heads.
Yet at the same time there is a vast host
of readers who love the glamorous personali-
ties and the romantic settings of filmdom.
To appeal to these readers is to ensure for a
publication a large and steadily increasing
circulation. But you must appeal to their
hearts and to their imaginations.
So the following course has been adopted.
Every story in this issue and in every other
issue is subjected to this question — Does it
appeal to the heart or does it appeal to the
head? And two stories are chosen that ap-
peal to the heart for every one that appeals
to the head.
Look over this issue and then write in and
help decide — Is this the right proportion?
Love Week
TTT had to come. First there was Raisin
Week, then Home Town Week, then
IL Better Babies Week. And now — Love
Week. Says the press sheet announce-
ment:
The week of May 5 to 12, which hereto-
fore has been known as the peak of the love
season, has been designed as Love Week by
Samuel Goldwyn to celebrate the national
release date of the George Fitzmaurice pro-
duction, Cytherea — the Goddess of Love.
Having pulled through the peak of the
love season with few casualties, the week of
June 1 to 8 (which experts have found to
be the peak of the talking season) is herewith
designated as Tell a Friend Week. During
this week every reader of SCREENLAND will
tell a friend to buy a copy for another friend
thereby increasing the circulation. Now,
there's a week with some sense to it.
Dear Harold Lloyd:
ET me congratulate you on your latest,
Girl Shy. It was a real old-fashioned
laugh-fest. There was a line outside
that wanted exactly that and the
smiles on their faces when they came out
proved that they got what they waited for.
It was anniversary night when I went
(they saved your new film for the gala occa-
sion) and before it was shown the manage-
ment ran off some of the pictures they
bought ten years ago.
I learned something from those films.
They were made before pictures got ambi-
tious. There was nothing fancy in the way
of sets. The appeal was to the heart — direct.
Not via the pocket-book. Those were the
days when Charlie was just funny. When
Mary was just sweet. No trimmings. But
they got you.
Harold, it seems to me that the reason you
are so successful is because you have not lost
that boyishness, that simplicity that has made
you great. Your appeal is sincerity. The
movies are getting a long ways off from life.
They're not real; they're just elaborate.
You've stuck to the simple things and they've
made you. You are Grandma's Boy to the
public, Harold. And don't let Hollywood
make you forget it.
17
As We Go to Press-.
Q D. W. Griffith sues Al Jolson for $571,000 for breach
of contract. Jolson quit after few days work on picture.
(j[ John Bowers announces he has been separated from
his wife three years but denies engagement to Mar-
guerite De La Motte.
Q Bill Hart files reply to wife's suit to set aside separation agreement.
Mrs. Hart charged that her husband tried to bar her acting and de-
preciated her reputation as an aclress. Bill replied that her reputation
was already depreciated and that she had never earned more than
$200 a week and his allowance to her was more than that.
Q Norma Talmadge's $100,000 home on West Adams sold to Mrs. E. L.
Doheny, Sr. Schencks will live in Benedict Canyon, Beverly Hills.
Q Jackie Coogan will make only two pictures yearly, says his father. Present
Metro contract for four pictures was half completed with Boy of Flanders.
0. Harry Langdon, Sennett comedian, falls from horse on location and is pain-
fully bruised. The Prince of Wales cables condolences.
Q. Elinor Glyn chooses Aileen Pringle for lead in her latest timely film His Hour.
It will be the first picture to go into production under Metro-Goldwyn-
Mayer combine at Culver City plant.
Q. Universal picks T. Roy Barnes for role of Cy Dwyer in film version of Kathleen Norris novel,
Butterfly. Others in cast are Kenneth Harlan, Norman Kerry, Laura LaPlant, Ruth Clifford.
Q Will Rogers, May McAvoy, Tony Moreno, Irene Rich, Kathlyn Williams, Patsy Ruth Miller,
Julanne Johnston, and Virginia Valli perform at Bill Topper's Revue for benefit of Children's
Hospital in Los Angeles.
Q Monte Blue has fox trot melody dedicated to him called Those Monte Blue Blues by Cin-
derella Roof Orchestra.
0[ John M. Stahl is to do another domestic drama titled Husbands and Lovers with Lewis Stone, Florence Vidor
and Lew Cody in cast.
Q First National will distribute Abraham Lincoln.
Q For the sixth time in her career, Myrtle Stedman will be screen wife of Hobart Bosworth in Bread from
Charles Norris novel. Others in cast are Mae Buch, Robert Frazer, Wanda Hawley, Pat O'Malley.
Q Florence Vidor to have title role in Ince production Barbara Frietche. Battle between Monitor and Merrimac to be
feature of film.
Q Richard Walton Tully finishes Bird of Paradise script. Will start shooting shortly.
0[ Colleen Moore to star in Edna Ferber's novel So Big.
Q Sam Wood, former F. P. Lasky director, telegraphs: Please correct statement in your recent issue that I was to
produce for Allied Authors. My first production as Free Lance will be The Female for Paramount.
Q Charles de Roche is ill at his home with double pneumonia.
Stars
of
TODAT
The Riddle of
MAE MURRAY
By Y^elight "Evans
MAE MURRAY is the kind of girl that wives
would forget, if they could. Men don't want
to. She means, in the mind's eye of every
good female, that beautiful blonde he took to
lunch. A siren who goes about in a black georgette chemise
and a picture hat. Every chorus girl. On the nights a
Mae Murray picture is holding forth at the Bijou Dream
and he says: "Let's go!" displaying the advertisement which
pictures the star in a seductive smile and a carnival costume,
the wives of the world suddenly recall that Junior has to
go to bed early, or that they promised the Smiths to
listen in on their radio. Apparently the only women who
like Mae; Murray are mothers-in-law.
She is one of the symbols of the screen. Chaplin,- the
spirit of slapstick; Pickford, of childhood; Gish, of purity;
Valentino and Naldi, of passion; and Mae Murray, of
allure. She represents the reason men leave home. She
stands for the Follies, and Broadway after dark. She's the
answer to that eternal question, "What can he see in her?"
You'd be surprised. You think of Mae in terms of two
perfectly grand hosiery advertisements which are, no two
ways about it, Mae's principal means of support. You may
believe she doesn't fill her roles as well as she fills her
stockings. So — we present Mae Murray, in a little home-
made movie entitled, The Misunderstood Woman, or The
Innocent Sinner.
"Would you believe it," said Mae the other day. "Those
censors cut out some of my scenes from The French Doll
because they showed my limbs!"
A heartless amputation of those precious underpinnings.
And if the same censors met Miss Murray off the screen
they would doubtless ask her to meet the wife. For Mae,
herself, embodies all the homely feminine attributes which
some wives are too busy resenting to cultivate.
This demi-tasse wife addresses her six-foot-something
director-husband as Bobby, in a tone which leaves no room
for doubt. "Now, Bobby, please — " she says softly. If
more wives would learn to talk to their husbands as Mae
Murray does, there would be fewer front-page stories about
"Wealthy Clubman Calls Stenographer Oozy-Goozy; Wife
Sues."
The girl who has appeared on the screen in scantier
attire than any other star with the possible exception of
the prize-winning babies in the news-reels is, in what little
private life she has, the most discreet and decorous. She
continues to make her mouth into a tiny moue, to flutter
her hands. But the moue which has moved myriads of
poor males to unreasonable irritation with their help-mates
is actually a harmless pucker. The hair which forms a
sacrilegous halo for her fuzzy close-ups is still a persistent
gold, but orderly. She has no clothes-pose. If you knew
her you would leave your husband with her for an entire
evening without qualms or comment; no more, that is,
than usual. Begging your pardon, Mae,
But when she works, she works hard. Bizarre costumes —
by courtesy — are part of her job. She wears them some-
times even when the camera isn't there. Often she appears
in public in a gown which looks as if it were one of the
Alfred Cheney Johnston
QMae Murray is the kind of girl that wives would for-
get, if they could. Men don't want to. To them, she
is a siren who goes about in a black georgette chemise
and a picture hat.
23
more substantial ones left over from her .atest film. But
you feel that when she gets home she takes it off with a
sigh of relief and slips into something simple.
When she and Robert Leonard lived in New York they
occupied an apartment in the Hotel des Artistes — an early-
Italian apartment but not one of those calculated to make
the casual caller feel like something Leonardo left un-
finished'. There was an open piano which looked as if it
had been touched other than by the maid when dusting; and
even Mae's Russian wolf-hound was, unlike other stellar
Borzoi I have met, unpretentious and friendly. Miss Mur-
ray looked like Little Lord Fauntelroy. She had surprised
her hair by smoothing it and she wore a severe little dress
and low-heeled shoes. She spoke softly, without an accent.
She was, in short, too good to be true. If it hadn't been
for her mouth, which still had the general air of sudden
surprise, I'd never have known her. Well, she couldn't
fool me. I had been sumptuously served at luncheon and
the Borzoi had not resisted my overtures and Mae had not
called me dear. But when I left I was wondering how I
could find the mulatto in the Leonard lumber.
I stalked her in the studio. She had changed her Fauntel-
roy suit to her working clothes — in this case, chiffon over-
alls. But she might just as well have worn fur pajamas.
It didn't help me at all. She was working out a scene with
Bob Leonard and she smiled and kept right on with her
work. WThether it was because I hadn't taken the course
in sleuthing or Mae was being herself I couldn't figure
out.
It didn't matter to me. The only thing I held against her
precise speech and delicate movements were that they made
me feel so uncouth. Invariably I tripped over a rug or
knocked down a vase. She seemed to float. No — that point
was that Mae had friends out there in the great big audience.
She had her public. They wanted to hear about her. And
I suspected that the last thing they wanted to hear about
Mae Murray was that she's a nice, quiet, refined girl who
never made the front-page of a paper and who would be
right at home in any gathering of earnest workers, providing
they didn't get rough.
Mae was in New York and I took up my work where it
had left off when the Leonards moved to California. All
I can say is, she hasn't changed. The wildest thing she
did here was dash to the modiste's every morning at nine
o'clock. She designed her costumes for Circe, the original
story which Vicente Blasco Ibanez wrote for her, and she
was superintending the stitching as well. Everything she
does is concerned with work. When she sees a play, "Will
it make a picture?" Her principal social appearance in
Manhattan was as the only feminine speechmaker at a
film dinner and dance.
In introducing Mae Murray — a little thing all a blaze and
glitter of white and diamonds among the black-and-whites —
the toast-master said: "Miss Murray will say a few words
if she can stay stationery long enough," immediately con-
juring a vision of the Mae of the pastels — fluttering, flutter-
ing; pursing her unbelievable little lips into an unimagin-
ably round "0"; waving her little hands; bobbing her little
head. The hard-boiled diners — all film people no star could
fool — waited, smiling cynically.
Mae rose, smiled, made a short, snappy speech, saying
nothing in particular but saying it well, and sat down. The
next speaker was a Certain Great Director who spoke until
a well-known newspaper critic, filled with self-confidence
and cock-tails, rose and roared, with emphasis, "Sit down!"
She has shown the same good sense all her life. She
has her line and she sticks to it — perhaps that should be
plural. Her career is not so much a triumph of beauty and
talent as of good, hard business brains. She has the keen
shrewdness of the financier, this tiny girl with the very
golden hair and lovely legs. Other girls have been as pretty;
others could dance. But of all the Ziegfeldians of her day,
she is the only one who remains a popular figurante. And
she was in the very first edition of the Ziegfeld entertain-
ments. She won attention as the Nell Brinkley girl. She
impersonated Mary Pickford in a number. At that time
any girl who resembled Mary was considered a good bet.
Mae was signed by Jesse Lasky and sent to the coast to be
a filmster. Her first was To Have and to Hold. Her way
was not easy. She encountered opposition and had to fight.
She was from New York and the Follies; she had to live
that down. She did, but it was a long time before she found
her forte. A series of stupid pictures — and then the birth
of the new Mae Murray. On With the Dance was the first
screen play to establish her as the dancing star of the screen.
It made George Fitzmaurice, too. Since then Mae has
given a good many encores, to the evident satisfaction of
her friends out front.
There is an obvious answer to the riddle of Mae Murray. '
She can dance. And she is the only screen star who really
can dance. We have our stately and even portly emotional
artistes — keep that e, printer — who indulge in sprightly con-
tortions, wearing a Mae Murray girdle and a pained ex-
pression. They are the worthy ladies who took a few danc-
ing lessons in childhood and have since confined their efforts
to ambles around the supper-club dance floor. Mae has
danced all her life. She began as a dancer when she was a
very young girl. She entertained in the Sans Souci, an
almost-forgotten Times Square cafe, in the Follies — and she
kept right on dancing in the films. The one desire of the
dancers who are in pictures to stay seems to be to forget
they ever tripped on a stage — and when I say tripped, you
know what I mean. But Mae is a dancing actress and she
doesn't care who knows it.
The little daughter of the poor who wins fame through her
own honest efforts — that is Mae's own life story. And she is
still re-enacting it. The modern miracle — the rise to riches
of a wistful-eyed blonde — will always make drama; and it
is the theme of the Murray extravaganzas. The audiences
who have made possible a Mae Murray continue to applaud
her, because she humors and hasn't grown up on them.
But she doesn't want to do Peter Pan.
"You, or Mary Pickford, dear," insisted Mr. Leonard.
"Oh, no, dear," replied Mrs. Leonard, smiling sweetly but
decisively. "No one but Jackie Coogan. No one else has
the elfin grace and spiritual quality. Pass the sugar, dear."
She is another star who studies the scales. She can eat
what she pleases, however, because she's under, not over-
weight. Once she had to retire to a milk farm to get plump.
The Leonards will make another picture in California and
then come back east. She is a child of Manhattan, and
droops if she has to remain away long. She belongs there;
she needs the background. I can't imagine her in Holly-
wood. Her husband, from Colorado, yearns for the open
spaces. As I said, they are moving back to New York.
Just as I see her solely as a busy butterfly, I remember a
picture of her sketched for me by one of her best friends.
Again in a simple severe suit, she is dancing for an eager
audience of east-side kids — her particular pets when she
lived in New York. She sent checks down there to the set-
tlement house, but she went down herself, too, and danced
for them.
She was rushing away to the modiste's for a last fitting
before leaving for the west. She looked young and childish
beside her big blonde husband. She gazed up at him — her
eyes widening to their celebrated stare; her mouth pucker-
ing. She looked like one of her own close-ups. I waited
breathlessly. She said:
"Dear, before we go, don't you think you had better
phone down to the desk and check up on that bill? This
hotel overcharges us awfully if we don't keep track of things."
24
Alfred Cheney Johnston
Q.On the nights a Mae Murray picture is holding forth at the Bijou Dream and Hubby says
"Let's go!" displaying the advertisement -which pictures the star in a seductive smile and
a carnival costume, the wives of the world suddenly recall that Junior has to go to bed early,
or that they promised the Smiths to listen in on their radio. Apparently the only women
who like Mae Murray are mothers-in-law.
\
Q The casting department of Screen Service — where 85%
of the extras employed in Hollywood and Culver City
studios are engaged. The files of this organization,
which ivas established in 1917, contain approximately
125,000 names. Of these, 5,000 are "regulars" — ex-
perienced workers known by name arid face to the young
men doing the casting.
IT doesn't -require a sociologist to explain Why Girls
Go to Hollywood.
They want to get into the movies.
Granting that they arrive in Los Angeles and have
enough money to live on for a few weeks, what then?
They can make the rounds of the studio casting offices — ■
Vitagralph, Fine Arts, Fox, Warner, Century, Christie,
Lasky, Universal City, Pickford-Fairbanks, Hollywood,
F. B. O., United, Cosmosart, Sennett, Mayer-Schulberg-,
and (in Culver City) Hal Roach, Ince and Goldwyn. After
being informed by some twenty callous and matter-of-fact
gentlemen that there's nothing doing, and that when they
want extras they call Screen Service, your would-be movie
girl feels like registering despondency.
But she remembers reading in a screen magazine that
she must "smile, no matter what happens — smile." So she
props up the corners of her mouth, feeling very tragic like
Lillian Gish in Broken Blossoms, and goes downtown to
Screen Service's office.
And there she will be told that not only is there nothing
doing, but that they cannot file her photograph nor even
take her name and address. Dave Allen or Harry St. Alwyn
will show her stacks of card indexes listing approximately
125,000 names. Only 10,000 of these are in the "live"
list, and only half of these — or about 5,000 — are "regulars,"
called upon whenever there is work. "Whenever there is
work" — which there isn't at the time this is being written,
April. Since November motion picture production has
been at its lowest ebb in years. A slight increase in produc-
tion is being noticed now, but studio activities must increase
The author of this article was the frsJto con-
duel an investigation and expose the make-up
school methods of film fakers. His research
came to the attention of the State Labor Com-
mission which succeeded in putting several
concerns out of business.
B) Ted
25 per cent before they equal last summer's work — -'and last
summer was a time of lamentation and fasting for many
regular movie players, who considered themselves then the
victims of a slump If that was a slump heaven knows what
•they've called the conditions of recent months! Five thou-
sand extra players were sufficient for studio needs in the
palmiest days of production. Today Dave Allen says the
Screen Service can't find work for one-fifth of the regulars.
Observers at the studios place the number of extra players
getting a living nearer 200 than 1,000.
So much for the possibility of registering with Screen
Service, which serves most of the large studios.
The "Casting Clubs"
There remain the smaller casting agencies, or "dubs," of
which there were ten or twelve prior to March. But the
state labor department's investigation brought about the
closing of nearly every one of these.
There is no doubt, however, that the independent agencies
will open up again. They have been closed before — for
a time. But like gambling houses and other places subject
26
schools:
Many of these concerns, however, still flourish
and this article is an attempt to expose their
methods and to ivarn our readers against a fraud
that is undermining public faith in the integrity
of screendoin.
Taylor
to occasional surveillance, the first time the eye of the law
blinks they are at their old tricks.
When this type of agency is in business it acts merely as
come-on for the make-up and acting schools.
Then ads appear in the classified columns worded some-
thing like this:
MOTION PICTURE exchange wants well-dressed
men, women, all ages. Experience unnecessary.
Register free. PHOTOPLAYERS EXCHANGE.
The address will be an office in downtown Los Angeles.
In the older business section the office will be little more
than a bare box with a counter, desk and chair. Further
downtown in big modern buildings are found luxurious dens
with awe-inspiring waiting rooms, a stenographer busy,
and an inner private office furnished in mahogany, richly
carpeted, and with a framed photograph of a screen celebrity
or two hanging on the wall.
How They Work
■pi DfT the procedure is always the same.
-O '-Are you a stranger in Los Angeles?"
Nineteen times out of twenty, "Yes."
"Have you had any motion picture experience?"
QiJI'hen the studios ivere busy last year,
often as much as $+0,000 a 'week worth
of extra talent pay checks ivere
handled through Screen Service. For
the past four months the average has
been less than $6,000.
"Well, I played the lead in the class play at school. Or:
My friends told me I'd do wonderfully in the movies. Or:
When I was a little girl I used to recite at entertainments
— wait I'll show you some of my newspaper notices.
But it really doesn't matter what the answer is.
"Well, you see," explains the dapper young gentleman
or the kindly woman. "You would have to have some
experience before we could register you for studio work.
You can't get on unless you at least know how to make-up
for the camera. Do you?"
Of course it's No.
"You'd really be admirable for the screen. Sort of a
Lillian Gish type." (Or Louise Fazenda. or Mary Carr, or
Gloria Swanson — according to the age and temperament
of the hopeful applicant.) "Now if you only knew make-
up The phone rings and the "casting director"
seizes the receiver in one hand and a pencil in the other.
He (or she 1 rapidly scribbles on a pad during the conversa-
tion: "Photoplayers' Exchange . . . Hello Mr. Datig
14 men evening dress, yes ... 18 women
evening gowns, yes ... on Stage Four at 8 o'clock
. made-up . . . .all right Mr. Datig, they'll
be there!" And the buzzer is buzzed, the memo torn off
and given to the steno, and the "casting director" swings
benignly about again. "Now there, you see, would be an
opportunity for you — at Universal. If you only knew
make-up!" The regret just wells up in his (or heT) voice.
And the applicant asks querulously: "Well how am I to
learn make-up if I don't get a job?"
27
\h! That's all your casting director needs.
Switch to the desk again, scribble on the pad again — the
same pad that just received that magic message from the
studio, tear off the slip and thrust it in the girl's hand.
"There my dear, just present this at the address I noted.
My name will fix it up for you. They are the best
instructors in town. And when you've completed the course
come back and I'll register you. Then," benign smile,
"you'll be a regular movie actress!"
The Make-Up School
Then our little girl who looks like Lillian Gish or Gloria
Swanson or nobody at all in particular, hastens to the
make-up school with thumping, tumultuous heart. Maybe
it's right next door, or maybe it's across the street. And
the instructor may be the "casting director's" brother, or
wife, or only his partner. Again it doesn't matter. Pro-
cedure is again the same.
The Ad
Or maybe it was the movie-school's own ad the screen
struck girlie answered in the first place. Saying
probably:
SCREEN ARTISTS ASSN. will interview men and
women who wish to make motion pictures a
profession, who realize they must start at the
bottom. Experience not necessary. Assistance
will be given those qualified.
Let's follow behind Marjorie Butler, girl reporter for a
Los Angeles daily, who pretended to be a stenographer in
search of stardom, and see what she expriences:
"Clutching the paper bearing the priceless ad,
I entered through the ground glass door and sat
down on the well-worn bench along the wall of the
empty anteroom.
"Presently a smooth young man with the punch
in his voice advocated by salesmanship schools
popped through an opposite door and declaimed
stentoriously : 'Next!'
"Inside the little office, decorated with photo-
graphs of many famous movie stars, he began
briskly.
" 'Castallo is my name,' he asserted. Casting
director, you know.' He smiled engagingly as he
shook my hand.
" 'So you want to get into the movies.'
"I admitted it.
" 'Any experience?'
"Not on the screen, but — '
" 'That doesn't count. You can t get a movie
job if you don't know something about what to
do.' He snapped out each word assertively, bel-
ligerently, almost.
" 'You've got to know how to put on make-up.'
"Make-up, it appeared, was the most important
part of the education of a coming star.
" You've got the face, and there's nothing to
the acting but doing what the director tells you,
but if you go out there and don't know the first
thing to do— why, you wouldn't stand a chance!
" 'Here's what we'll do. We teach make-up,
takes about three weeks, for $20. Then we send
you out on our jobs, for 7 per cent of your earn-
ings as long as you work for us.
" You can pay $5 down, and start right in
tonight's class — '
" 'But wait a minute,' I gasped. 'Suppose I pay
you .$20, and then don't get a job. You don't
guarantee anything — '
"'Of course we'll get you a job!' the 'casting
director' broke in. 'That's how we make our
bread and butter!
" 'The $20', he waved the trifling sum aside
airily, 'merely pays us the expense we are put to
in teaching you to make-up. Our real money is
from the commissions on your work.'
" 'Then why don't you guarantee it?'
" You'll never get anywhere with an attitude
like that!' He was not so friendly now. 'When
you're working with movie people you have to
take their word for things; they're like that. There's
just one of two things — you are seriously interested
in getting in the movies or you're not. If you
are, you can give me the deposit, and if not — '
He waved his hands in a gesture eloquent of dis-
missal."
One Case Out of Many
THE "stenographer" said she'd "think it over." But
evidently others were willing to take .the "casting
director's" "word for things." The following item appeared
in a Los Angeles paper a week or two after the interview
described :
FILM FAME HOPE GIVEN HARD JOLT
A sadder and wiser Kero Ounjian reported to
police yesterday that his dreams of high salaried
motion-picture positions have vanished and that
$150 he had borrowed from his best friend is
likewise gone.
The blotting out of his dreams of having his
name on a thousand film bill-boards came simul-
taneously with the disappearance of Richard
Castallo and the $150 which he had borrowed,
Ounjian stated.
He had enrolled in a film make-up school. Cas-
tallo was his teacher. Castallo informed him that
he would soon produce a picture and that if he
wanted to have a part in it at $75 a week he
could have his wish by depositing $150 to be
used in advertising and purchase of costumes.
Work on the picture was to have started yester-
day but Ounjian said that when he reported to
Castallo's office he was informed the latter had
packed and was seeking more comfortable climes.
Detective Lieutenant Katzenberger was assigned
to investigate the case.
In seeking more comfortable climes the said Castallo,
"casting director," was acting for his own best interests.
For even then Dr. Louis Bloch, statistician for the California
state labor department,, was in Los Angeles investigating the
activities of make-up schools and actors agencies.
Make-up School Closed
Dr. Bloch caused an uncomfortable two weeks for James
O'Hara, proprietor of Tid Bit Productions, a make-up
school. He caused O'Hara's arrest for violation of the
state labor laws in representing his concern as an em-
ployment agency, and for agreeing to teach make-up and
obtain positions in the movies for a flat fee of $25. LateT
O'Hara was released on his agreement to conduct merely
a trade school and promise nothing in the way of studio
work.
Among other concerns closed by Dr. Bloch were the
Screen Actors' Club agency and the agency conducted by
Ben and Joe Goldstein and Otto Polio, who were accused
of accepting registration fees in advance of employment,
and of operating in collusion with (Continued on page 87)
28
(^Photograph showing actual session of make-up
class. This picture was "kidnapped." T hat-
is, the photographer got his camera focused
and flashlight ponder ready. A newspaper
reporter then kicked the door open. There
was a flash and the picture was taken.
Above is reproduced a photograph of the make-up class con
ducted by Michael J. Lynch, who organized the Screen
Players, Inc. aiter his previous Classic Film Actors'
Agency was put out of business by the Labor Com-
mission. Lynch was later arrested and sentenced to six
months in prison for assaulting a disabled war veteran
who demanded the return of twenty dollars fee. .
At the bottom of the page is a membership card of
"a casting club." Membership dues are SI per month
but after receiving the initiation fee of S10. the
club doesn't worry much whether its members
continue. This fake agencv service will be
exposed in the August SCREENLAND.
At the right is a contract between the Scrip-
ture Films. Inc. and a girl client. This con-
tract is not worth the paper it is printed
on. Frances Engel. president of the Scrip-
ture Films, was arrested on a batten'
charge by a man from whom he was
alleged to have stolen S1500 and who
was thrown out of the office when lie
requested an accounting of his
money. The signature "counter-
signed" R. B. Wilcox, is that of an
instructor in a make-up school.
The contract was void without his
signature and he signed only after
enrolling the investor in a course
of grease paint smearing. Although
Wilcox closed his school and turned
state's evidence at Engel's hearing
he was later arrested on the charge
of an old woman who alleged that
he had taken S600 from her, prom
ising to star her and her two chil-
dren. In the September SCREEN
LAND, the subject of fake producers
will be dealt with.
\\Above is a contract given an ambitious girl by
Scripture Films, Inc. It guarantees "work to
start when Scripture Films, Inc. start active
production." .lit hough advertising literature
stated that 500,000 shares were being sold at
$1 a share, no picture was ever made.
?9
Betty
of the
(\Betty rep-
resents the
p h y steal
at iu a r
with the
spiritual.
Hungry
HEART
Bj/ Anne Austin
I KNOW a face that gleams with the bright radiance
of a thousand candles. A delicate, white glow, as if
all the tender brilliance of consecrated tapers on the
shrine of the Virgin had been imprisoned behind a
little heart-shaped face, to shine through the clear windows
of a clean soul — a pair of unbelievably beautiful gray eyes.
And I know a passionate, twisted, restless mouth whose
crimson quivers are never quite stilled to the hush of the
sacred music that has been imprisoned along with the
votive candles from the Virgin's shrine.
Heaven and hell captured in the same heart-shaped, lovely
girl-face. The frenzied beat of tom-toms breaking the
soothing harmony of hymns. The physical at an eternal
war with the spiritual.
"George
L o a n e
Tucker,
is Betty's
ideal
lover.
SO
GLSays Betty:
°L "1 shall never
marry a man who
could not be a
spiritual inspira-
tion to me as well
as a lover. "
Q It is no mean
triumph for Jim-
mie Cruze
That is at once the charm and the curse that has set
Betty Compson apart from other girls, whether they be
demure little convent things too well sheltered, or bits of
girl flesh being daily offered to the Great God Film.
Physical and spiritual. Soul and sex fighting for mastery.
A Lillian Gish glows steadily like an angel's halo. A Pola
Negri consumes and is consumed with the blood-heat
of a supreme and persistent passion, sex-lure in primi-
tive grandeur.
But Betty Compson! With her eyes shining with
the light of altar candles, she promises a purity and
soul perfection that makes a Rafael madonna seem
oxlike and earthy.
But with her mouth — that upcurled, sensuous, in-
satiable, seeking mouth she {Continued on page 90)
C[ Betty sym-
bolizes sex
lure in all its
p r i m i live
grandeur.
CI When Clara, the shop
girl buys a hat.
01 Saleslady:
from Paris, Miss
only
$15
Just
liss,
00
III
us t rat ions
by
FAME
HOARY tradit ion has it that George Washington
once threw a dollar across the Potomac. If
George were a movie star in this year of grace,
1924, he would have a hard time making a dollar
lo half that far. Expenses are something Hollywood folk
have nothing else but !
A surprisingly large number of motion picture players
land in the bankruptcy court every year. They -find their
debts have piled up hopelessly; perhaps their earning power
has failed or sickness has impoverished them. ZaSu Pitts
and her husband, Tom Gallery, Virginia Pearson and her
husband, Sheldon Lewis, and most recently, Miss Dupont,
the once famous star of Foolish Wives and also Mildred
Harris — :one time spouse of Charlie Chaplin — have all filed
petitions to be helped out of the quagmire of debt.
"Inexcusable extravagance," perhaps you say, mentally
contrasting the fabulous salaries paid to stars with your
own income. Extravagance undoubtedly played its part
in the toppling of the players' finances, for the picture people
are apt to purchase beyond their means, even as you and T,
but with the added excuse that a display of prosperity,
albeit mortgaged, is an economic necessity in a community
where the great god Four-Flush is worshipped. But not ex-
travagance entirely, nor ordinary misfortune has put the
crimp in many film fortunes. It is the fame-tax that
runs up the overhead.
Supposing that you were to stop in at your favorite shop
to purchase a new hat. You choose a hat that is becoming,
and the price is reasonable; say fifteen dollars. "Charge
32
By Vivian
it," you tell the clerk. "The
name is Miss Blank."
"Ah," says the clerk to
herself. "The wealthy and
famous Miss Blank can afford to pay more." And then
she tells you smoothly: "Pardon, madame, but I have made
an error in the price. The hat is thirty dollars."
That would not be so pleasant, would it? But that is
exactly what happens when the stars go a-shopping. They
pay a tax for fame, whether they buy hats, houses or
husbands.
Paying for Starving Pets
There is an animal hospital in Los Angeles which caters
to the film trade. Motion picture celebrities pay as
much again for the care of their pets as the ordinary run
of clients. And often they pay for the act of having their
pets fast.
"Most of the expensive police dogs and chows that come
here are brought by picture people," said the doctor in
charge. "And most of them are suffering from too much
luxury. The pups get indigestion from rich food. We just
starve them for a day or two, and they come around all
right. But of course, we don't tell the 'owners that."
Gloria Swanson has been a consistent sufferer from this
form of brigandage. She relates how she has sent her maid
to price a certain article, time and again, and always the
price has been raised when she herself comes for it. I
Q When Claire, the screen star,
buys the same hat.
01 Saleslady: Just from
Paris, Madame
Addison ¥>urbank
TAX
Virfnir witnessed such an incident
I L> l/\J V myself. It was the Christ-
mas season in a down-town
Los Angeles shop, while
Gloria was still on the coast. I had admired a certain
beaded bag. "Fifty dollars," the saleslady told me. That
being about forty dollars beyond my limit, the bag went
right back in the case again. While I stood waiting for my
change from another purchase, Gloria came in, smart and
trim in an ermine coatee and a little cloche hat draped in
a veil. With her were a friend and an English maid carrying
little Gloria. Miss Swanson stopped at the counter and
pointed out the bag I had admired and priced.
"Very chic, just arrived from Paris," said the saleslady,
taking the bag reverently from its resting place. "And only
seventy-five dollars!"
Gloria did not share the saleslady's enthusiasm about the
smallness of the price, for the bag stayed in the shop. But
if she had taken it, I suppose the clerk would have split
the rake-off of twenty-five dollars with the firm.
Mrs. Logan Shops for Jackie
Jacqueline Logan has had many such instances. She
told me how almost invariably when her mother pur-
chases articles on her daughter's charge account, the prices
rise mysteriously. When she buys in her own name, no such
increase is noted.
It is the small, exclusive shops that are the greatest
offenders in this respect. The large department stores are
not so free to alter prices according to the individual.
Merchandise is marked for all to see, and the red-tape
of price-tags, invoice slips and receipts prevents the juggling
of prices. But the ultra-chic gowns and other articles of
wearing apparel that stars desire are more easily found in
the small, smart shops than in the standardized department
stores. And a clientele of celebrities has lifted the mortgage
from more than one of these exclusive salons of dress.
Better to be a Jones than a Talmadge or Pickford, while
shopping in these emporiums.
Tribute is levied right skilfully in other lines than dress,
however. In apartment rentals, for instance. The sign
"No dogs or movie actors allowed" decorates more than
one apartment house in Los Angeles and its environs. Bel
Air, a new and highly expensive subdivision just opened
beyond Beverly Hills, strictly prohibits picture people from
buying into it. Where the film folk are welcomed, a sur-
tax is tacked neatly on to the rent. Where Mrs. John Jones
can rent a furnished apartment or a bungalow court for,
say, seventy-five dollars a month, it's a clever movie actor
of any prominence who can get the same apartment for
less than one hundred and twenty-five. Of course, there is
something to say in defense of the landlords. Parties are
hard on the furniture, and gin is the very dickens to get
out of the rugs without staining. A bookkeeper isn't so
apt to put on entertainments of a hilarious nature; he
can't afford to.
Who Gets the Publicity?
Protesting that they give away many hundreds of dol-
lars worth of publicity a year to screen stars, the shop-
owners come forward with their grievances.
"We place the photographs of the stars in our shop
windows," said one Los Angeles business man indignantly.
"One ready-to-wear store on Broadway has models made
in the likenesses of stars. (Continued on page Ql)
33
QPola Negri, the stormy petrel of
film do m has been recreated into a
tractable, liard-iuorking actress.
The
New
By E
unice
yiarshall
A MERICA, aided and abetted by Jesse Lasky, has
/_\ created a new Pola Negri.
/ ^ The Pola imported for Bella Donna, the stormy
* petrel of filmdom, the Katherine whom no screen
Petruchio could tame, has voluntarily transformed her-
self to a tractable, hard-working actress. Her art is
benefitting by it, but from the point of view of the chronic-
lei' of screen events, what a loss was there, my countrymen!
The old Pola was such good copy. How the press used
to revel in the stories of the foreign star's tantrums! Even
on the dullest days when not a single sensation could be
found to snap up the front page, Pola could be depended
upon for a column at least.
First there was her delightful feud with Gloria Swanson,
the reigning queen of the Lasky lot. With what gusto the
papers related how Pola rejected the dressing-room pre-
pared for her, because Gloria had a bungalow all to herself,
and how she ousted the poor scenario writers from their
quarters in the bungalow once occupied by Mary Pickford.
Then there were other colorful episodes. Pola banishing
the studio cats and Gloria countermanding the edict; the
never-to-be-forgotten banquet given by Jesse Lasky to cele-
brate Pola's arrival, when Pola's carefully calculated late
entrance was totally ruined by the even later entrance of
Gloria, arrayed like unto the lilies of the field and ushered
into the strains of triumphant music, nefariously hired for
the occasion.
When Gloria, packed up and moved to New York, there
to garner greater dramatic laurels, a new interest was in-
jected into Pola's affairs by the famous Negri-Chaplin
romance. Never was such a thrilling story as this conjunc-
tion of the queen of tragedy and the king of Harlequins!
From the moment of their first meeting, through the temp-
estuous course of their romance to the dramatic breaking-
off of their engagement, the public formed an ecstatic gallery.
For Charlie Chaplin to be rumored engaged to a new
beauty was no novelty. But this rumor seemed to be based
on fact. The radiant Pola and her Chariot were seen every-
where together. They danced at the Cocoanut Grove and
took week-end trips together, chaperoned by Pola's secre-
tary. In fact, it was on one of these jaunts to Del Monte
that the definite announcement of their betrothal was given
out. {Continued on page 93)
Q Gloria Swanson has recovered from the
"clothes-horse" complex and has blossomed
forth with a neiu screen personality.
The
New
oria
By T^elight ~Evans
y)( NjHERE'S no doubt about it. We have a brand-
new star. She has been famous under the same
name before, but her former fame and following
was that of a small-town stock company leading
lady compared to that which she enjoys itoday.
Meet Gloria Swanson — a Gloria rejuvenated, begging her
pardon, rehabilitated, revamped. A made-over star but not
a warmed-over one. A smashing new personality, as differ-
ent from her celluloid presence of the past as your snappy
sports model roadster from a two-wheeled bicycle — ask the
head of the family; he understands.
What has happened to Gloria? She looks almost the
^ame, if you overlook her shingled bob, as if anyone ever
could. She hasn't changed much, except to add poise and
piquancy. No. The actual change took place under Gloria's
smart shingle, in that portion of the physical equipment
which many insist is not included among a screen star's
talents — the brain.
Gloria must have had a mental face-lifting. She is a
brighter star and a smarter girl because of it. Now, who
or what was the skillful surgeon to perform this highly
successful operation? Opinions vary, as opinions will. The
understanding and sympathy which added years and experi-
ence bring to the unafraid? A real romance? A keen
rivalry with Pola Negri which put the American star on her
mettle? It may be one or all of these. And then again,
there's another theory.
Gloria has recovered from an inferiority complex. Not
that Professor Freud ever studied and added her to his
long list of growing girls similiarly afflicted. Freud never
heard of her case and Gloria may never have heard of
Freud's. But someone who knows her has said that this
complex serves as the solution for the new star. Gloria,
renowned in three continents as the screen's silken butter-
fly; the goddess of the Mille marbles; the model for the
world's most bizarre and intricate gowns — Gloria, earning
fame as a clothes-horse, to put it vulgarly, began to believe
it herself.
People said that that was all she could do — wear smart
clothes well. Women went to see her pictures who pro-
nounced her modiste's latest creations as chick. Critics
crowed over her marvellous ability to lend herself to the
most exotic apparel— and over {Continued on page 93)
35
Dick Barthelmess, Ralph Bushman, Rex Ingram, Conrad Nagel, Creighton Hale were college boys.
here do they
H
01 M
AVE
you
ever
wondered a s
you watched
the latest
movie flapper
kick back her
leg in that cute
manner — which
does duty for
ill sorts of emo-
tion— have you
ever wondered,
as I say, whether they were born that
way?
I mean, the movies are still so young,
that nearly all the most favored screen
luminaries must have earned their room
rent in some other manner, before they
became known
1
j.
e 1 Normand
shocked Boston by
modeling bat hi n g
suits.
Q Doraldina
dancer.
to millions via
the celluloid
route.
Well, if you
have ever spent any time on such
random speculation, the little verses
printed above — for which due apol-
ogy is hereby made to the shade of
W. S. Gilbert— will set your mind
at rest.
The movie stars, the glorious,
glamorous, heart palpitating crea-
tures, have been recruited from
every walk of life.
Tinker, tailor, soldier, sailor; That's how the old rhyme
goes; And if you have all of them missed — Salesman or dis
pensing chemist. . . .
But why go into
verse again? There's
more truth than
poetry in this article.
Would you ever
think, fr' instance,
that Jack Mulhall
once was a shoe clerk,
or that Madge Ken-
THE GENTLEMAN:
When I was a lad I went to work
By jerking sodas as a drugstore
clerk —
/ washed the windows and I scrubbed
the floor
And the Sundaes I invented — that
just made that store,
I attracted the girls each day of the
week —
So now, of course, I'm a
movie shiek.
THE LADY:
When I was a girl out of business
school
I adhered most strictly to the golden
rule —
As a typist to a fellow in the movie
game
I learned quite a lot — and I'll never
be the same
For now I'm no longer a stenograph-
er-ex
But I'm starring in the movies at a
thousand per!
nedy was a
newspaper-
woman ? Yet
that's exactly
what they were.
Maybe that's
why Jack isn't
so crazy about
bu r lesq ue
shows. Yester-
day they lived
and worked in
obscurity, with
not a score of
Q Pola Negri is a splen-
did violinist.
Q. Mne Murrav z;-as a cabaret entertainer.
people to care a hoot
whether they were fond of club sand-
wiches or not. Today a million fans
yearn to know their favorite soft drink.
Looking back into the dim and dusty
past we find that before renouncing
everything for
their art — and,
of course for
their dear pub-
lic — screen
comets were many things.
When it comes to women — and
soon or later it always comes to
woman, doesn't it? — it seems that
artists models, shop girls, and man-
nequins have achieved more fame
and fortune in pictures than girls
drawn from any other walk of life,
which, of course, is only natural, for these professions, like
the screen, attract the best looking girls.
The great emotional
actress Norma Tal-
madge, learned the
A B C of emoting in a
shop, for she, like her
sister, the winsome
Connie, spent some
time assuring women
daily that "this hat is
very chic, dearie".
01 Charles Ray was a
doorman at the old
Jos Angeles Burbank
Stock Company.
Lois Wilson, Anna Q. Nilsson, Irene Rich, Mary Thurman, Florence Vidor ivere school inarms.
come from ?
Both girls worked in shops until Norma's
loveliness elevated her to the portion of an
artist's model.
M
Mabel Normand Shocked Boston
abel Normand shocked good old Boston
many years ago, when she was only six-
01 Madge Ke
an artist.
teen, by modeling bathing suits. She was the
first girl to do this. Mr. Freud would tell us
that this was so strongly impressed upon her
subconscious mind that she did not feel com-
fortable in any greater covering than a bathing suit. It was
•surely this that led her to the Sennett studios to display her
charms before millions via the camera rather than to select
few who watched her model. Bathing suits and acting seems
to be very far apart, but bathing suits and fame are closely
allied in the minds of most producers.
Grace Darmond and Hope Hampton were others who,
beginning as department store clerks, later found their res-
pective ways to fame via the Harrison Fisher route.
Gloria Swanson played the role of Nellie, the poor cloak
and suit model before she went into pictures, as did Bar-
bara La Marr and Theda Bara.
But don't think that they were all shop girls. Oh, dear
no! The profound vocations come in for their share.
School teaching is a favorite. Lois Wilson, Irene Rich,
Anna Q. Nilsson, Mary Thurman and Florence Vidor all
"taught to the tune of the hickory stick," in their younger
days and Barbara Bedford taught sewing in a small town
high school. Isn't that a nice thing for an ingenue to have
done? And can't you picture the bigger boys thinking up
deviltry so that they might have to stay late after school?
High School Heroines
ON the other hand, many step right into pictures from
high school. Witness Bessie Love, Carmel Myers,
Mildred Davis, Mildred Harris,
Kathleen Key, Patsy Ruth Mil-
ler, Clara Bow, Mary Philbin,
Marjorie Daw, Louise Fazenda,
Pauline Stark, Colleen Moore
and many others. By the way,
most of these have gone to Los
Angeles and Hollywood High
Schools and on the strength of
01 Jack Mulhall ««u Past evidence, can you wonder
once a shoe clerk. that landladies in the vicinity of
nnedy ivas
those schools charge inflated prices to young
bachelors looking for room and board?
Society is bad training for a picture star.
Real society men and women just can't for-
get that they are society people. They insist
upon acting simply and unostentatiously like
real" society leaders do, and that simply doesn't
register in the pictures.
We refer you to the fact that Craig Bid-
die, Jr., the multimillionaire extra boy, is now
selling California dirt to pay for the midnight
waffle. Talulla Bankhead, the daughter of a
well known Alabama family, has made scant success in pic-
tures. Oh, it is ever so much better to watch society folk
from behind a counter and to learn it that way, than to
have been born into one of the First Families of Virginia.
Many popular leading men are college graduates. Ed-
ward Burns knowing nothing of make-up or camera tech-
nique, stepped right from the graduation exercises before
the camera. Maurice Flinn is a Yale man and Rex Ingram
boasts of a diploma from the same college. Ralph Bushman
is from Princeton; and Creighton Hale, Dick Barthelmess.
and Conrad Nagel, the latter being a musician and orator as
well, are also college men.
Professional Professors
Paradoxical as it may seem, many leading men and
character actors have been professors. Before entering
pictures Elliott Dexter was a professor of entymology. We
wish that Elliot were more of a heart breaker now, so -that
we could say that he still has an eye for the butterflies, but
poor Elliott is nearly always cast as the safe and sane and
loyal family friend; Milton Sills was a professor of philo-
sophy at Boston Tech.; H. B. Warner was an M.D. and
Monte Blue and Cullen Landis were both admitted to the
bar. No — not the bar you mean.
Of course, there is a long list
too numerous to mention of
those who have had their train-
ing on the speaking stage. Many
have been dancers. Viola Dana
and Shirly Mason were vaude-
ville toe dancers. Mae Mur-
ray was a cabaret entertainer,
and Douglas Fairbanks, Elsie
Ferguson, {Continued on page 86)
37
and
T1
nings
Br T
y l amar L^ane
L,
(j[ This is the first of a series of articles by the author of "What's Wrong With
the Movies", a book about the films that startled Hollywood not long ago.
T
n^HERE has been no end of palaver lately to the retire from the screen by paying him a fat salary with
effect that "the screen needs new faces." This
is all tommyrot. The screen now has more good
old faces than it is making proper use of. What
the silent drama is really in need of is not new faces —
but new brains. The gentlemen who now have the destiny
of the silent drama in their hands
are in the mental status "Now that
I've got it, what am I going to do
with it." They are small men. In
the days of one and two reelers they
fitted in nicely and did some credit-
able pioneering. : But they have
served their purpose. Like the old
darkey's mare, "they were all right
in their younger days but they've
done broke down." The motion pic-
ture industry has outgrown these
fellows but they don't seem to
realize it. This old crop of pro-
ducers, directors and distributors
must give way to young blood.
They are a barrier to progress. In
■the average film studio of today
a premium is being placed upon in-
efficiency, stupidity and decadence.
Give the screen new brains and
the new faces will take care of
themselves!
(\Says Tamar Lane:
°l Give the screen new brains and the new
faces will take care of themselves.
Q Charlie Chaplin perhaps is mentally
wishing that he could reach out with his
comedy cane in regular camera fashion
and yank brother Sydney back from the
Kleig lights.
Q Seastrom, judged by his last two efforts
■ — Name the Man and Mortal Clay — is
not entitled to be ranked among even the
first five best directors.
some sort of a camouflage title such as "business manager."
For the past few years Syd has been drawing down this
pay check for doing little or nothing.
Recently, however, his artistic inclinations asserted them-
selves and he announced that he was going to do a little
histrionic work himself, no matter
what effect it might have upon the
Chaplin name and honor. After the
clever work Syd has shown in Her
Temporary Husband, Rendezvous
and other films, theatregoers are
rather tickled that he has made the
step. But Charlie, perhaps, is men-
tally wishing that he could reach out
with his comedy cane in regular
camera fashion and yank brother
Sydney back to his managerial
chair.
Where Ignorance is Bliss
°l The mistake of appointing June Mat his
commander-in-chief of all Goldwyn
activities was in thinking that Neilan,
Vidor and von Stroheim would submit
to the arbitrary power of anyone — much
less a woman and a scenario writer.
Sydney vs. Charlie
CI The Fighting Coward is a significant pro-
duction because it is the first first-rate
satire that has appeared 011 the screen.
It is no doubt with twitching crepe hair mustache and
shuffling feet that Charlie Chaplin is watching the rapid
rise of brother Sydney in the cinema heavens: For, let
it be known, there is a friendly, but keen, rivalry on be-
tween these two freres. The scenario goes something like
this: Several years ago just as Charlie was coming into
prominence, Sydney appeared in a Mack Sennett film called
The Submarine Pirate. His excellent style of humor in
this comic showed that he had the makings of a big-time
comedian. To kill off the possibility of one Chaplin com-
peting with another Charlie persuaded brother Sydney to
They are having a good laugh in
Hollywood film circles at the
expense of the president of one of
nations biggest producing-distribut-
ing organizations, which makes its
producing headquarters at the United
Studios. When the studio officials
of the company learned recently
that Mr. President (we will spare
naming him, but he will know when
he reads this) was on his way to Hollywood to look over
production activities, they did some fast thinking. The
affairs of the studio were not in such good shape, and
neither were some of the lately completed productions.
It was finally decided that the best thing to do would be
to divert Mr. President's attention from studio matters.
So a nice handball court was built on the United lot. They
rigged it all up to a fare-thee-well, and furnished it with
gym suits, handballs and gloves galore. As soon as the
Big Chief arrived in town the local officials started chal-
lenging him to games of handball. (Continued on page 96)
38
m
A
Story of
HOLLYWOOD
Bj Ijllian &ay
Illustrations
By
Klbin Yienning
GlThey met on the observa-
tion platform. "Where are
you bound for?" he asked.
"Hollywood," she answered
proudly. She hoped he
would think she was a
movie actress.
T
IHERE was nothing genuine about Fanette.
Her name had been Fannie until she left high
school at the age of sixteen to go to work. Fannie
Bischel became Fanette Bische/, very much ac-
cented on the el.
Business to Fanette meant one of three things — being
on the wrong side of a counter in a department store,
manicuring, or doing that vague and genteel thing known
in the Help Wanted Female columns as "clerical work."
Fanette chose the latter and answering an ad for "Bright
girl, experience unnecessary" became duly installed in the
offices of Wilcox and Jones, Real Estate and Insurance.
The circuit of her duties comprised a large filing cabinet,
a dusty letter press and an old typewriter on which she
eked out applications for mortgage loans with two fingers.
She had to cut from the newspapers endless notices of liens
and transfers and foreclosures and paste them into large
books with dirty black covers. She never knew just why
she did this, but no one ever asked her, so it didn't matter.
The work she disliked least was sending out circular let-
ters. During the mechanical process of folding, enclosing
and stamping her mind was free to ruminate over social
43
events, to recall the story of last night's
movie and to picture herself in the role
of the heroine. This was particularly
pleasant if the hero happened to be
Richard Chandler. Chandler, in his- impeccable evening
clothes, the high-light on his black pompadour vieing with
those on his patent leather pumps, was to Fanette the para-
gon of class, his fervent love-making the last word in Shiek-
dom. She not only saw every picture in which he appeared,
but read its plot first and its review after. She devoured
al! the publicity concerning him from the diverse and glam-
ourous accounts of his romantic childhood to the brand of
shaving cream he endorsed and his views on the Future of
the Motion Picture Industry. She aspired, some day in
the vague future, to gaze upon what the managers term
"Richard Chandler, Himself." In the meantime, she con-
44
(\The Crystal Palace was the ultimate tented herself with a signed photograph
syllable in ostentation and Fannette which, in a pale blue celluloid oval frame
felt convinced that this was life. adorned her birds-eye maple dressing-
table.
/T^ne of Fanette 's ambitions in life was to get a permanent
wave, the other to get a permanent meal-ticket. At
twenty-two neither prospect seemed bright. Permanents were
ten dollars a curl and the little flat in Harlem had to be
maintained by Mr. Bischel's slim insurance and Fane.tte's
pay envelope. Occasionally Mrs. Bischel augmented the
family exchequer by taking in sewing. Nevertheless Fan-
ette managed to wear the first straw hat in February and
the first velvet one in August. What with her mother's
nimble needle and friends who got her various things whole-
sale, Fanette usually dressed up to the minute and some-
times a little ahead of it.
LZ~r.
Marriage to Fanette meant
changing from the Harlem flat
with its long hall, from which
the bedrooms blossomed one
0[ They danced cheek to cheek on the crowded floor. Chester
could perform more intricate steps on less ground than any-
one with whom she had euer danced. ' ' You 'd make a won-
derful bloodhound, "he complimented, "you folloiv so easily".
by one until the inflorescence reached its head in the square
dining-room with its golden oak furniture and its pictures
of gasping fish, to a three-cluster-room apartment in Wash-
ington Heights with a walnut bedroom "set" and old rose
"drapes," a mahogany gate-leg table in the living-room, and
a floor lamp. It meant staying home from work and cooking
and cleaning; it meant going to the afternoon performances.
That was marriage. Romance wore a faultless full-dress
suit and registered a boyish laugh, righteous anger or su-
preme tenderness as the occasion demanded.
Fanette had plenty of boy friends but they lacked class.
She would not have married any of them if they had asked
her to, which they hadn't. Colorless youths with unformed
features took her to the movies and to occasional dances.
They gave her anaemic good-
night kisses in the vestibule and
she invariably ran upstairs be-
fore they tried to "get fresh."
Passing her mother's bedroom she would call, "Good
night, Ma, wake me at seven." Mrs. Bischel had insisted
on this as she could not sleep until her daughter was safely
at home.
P,
the morning she would call Fanette at seven as per
instructions and Fanette would grumble and turn over
on the other side. She never rose before seven-thirty but in-
sisted on being called at seven. Perhaps it was to enjoy
the sensuous pleasure of not getting up, or perhaps she
formed a resolution each night and never having quite
enough sleep, broke it each morning. She seldom retired
before twelve. The nights she {Continued on page 98)
45
SAYS ERNEST TORRENCE:
(jl. "When I was in Hollywood, broke and
discouraged, I made the rounds of the
Casting Directors and the answers they
gave were always the same. I was
always 'too tall,' I was always 'too
something.' One time I nearly got
a job as the villain; then the casting
director decided I had 'no menace.' "
46
he Man Who Lacked
MENACE
r-^ RNEST TORRENCE is Q The story of Ernest Torrence
a kindly man whom the
hard grind for success
has not made cynical,
has learned life on many
rocky trail; and having
in it because
By Jim Tully
Q Turn to page 83 and
help out the Editor
by telling him which
writers and artists in this
month's issue please you
the most. Thank you.
— M. Z.
He
a
learned it, the epic quality of his
struggle has given him tolerance
and a broad sympathy. This, per-
haps, is the supreme test of a
temperament. One should fashion,
and not be fashioned by life.
When I called on him at the Algonquin in New York
I found a far different personality than the screen presents.
For be it remembered, Torrence is an actor of the first
grade who is permeated by the character he portrays on
the screen. I found a man well over six feet with enormous
shoulders that were slightly stooped. His voice is well
modulated and has a musical quality,
as well might be expected of one
who had studied for three years
under Pruckner, who in turn, was a
pupil of Liszt.
Having mutual frineds in Hollywood,
we were quickly at our ease. It was
a roaring April day. Outside, the wind
shook immense feathers of snow in all
directions. We looked out of the window.
''Not like California" we said in unison.
''Not quite," we answered one another.
' Well, tell me about yourself, Ernest, everybody's in-
terested in you, even the producers."
"Not much to tell," he said, and right away I knew that
there was. Somehow, it is the man with nothing to say who
is always trying to say something. It being a hard job,
they turn malicious. Torrence is a happy person
has lived and suffered greatly without being
of it.
''How long have you been an actor?"
"About four years," was the quick answer. Surprised, I
retorted. "I've been reading about you for fifteen years
or so."
"I wasn't an actor then. I was serving my apprentice-
ship."
"But I've heard many things about you — your study of
music, your winning of a medal at the Royal Academy,
your teaching the piano, your years in musical comedy, and
your eventual success in pictures!"
He looked out of the window at the flurry of snow. The
habitual smile left his face, and the jaw, rather heavy,
set for a second.
"I did have rather a bumpy road, I guess, come to think
of it, but all people do who ever get anywhere, I think.
Winning is only half of the game — to play it with a smile
is the big thing — and to hold your head when you win
is something else again. Some people lose the minute they
win. The quality that makes for success is not always the
quality that knows how to hold success when it gets it."
musical comedy vagabond" who
became the screen's outstanding
character actor. And you can
believe every word you read
it was written
dressed up on stage
who
aware
Such sensible talk jolted me
for a moment, though I had heard
on all sides that Ernest Torrence
was a "bright fellow." I wondered
for a second or two why most
keen people in speaking of actors
often preface their remarks with
the words: "He's a pretty bright
fellow." One does not speak that
way of other professional men.
But then perhaps the reason is
that so many shallow egos
and screen are responsible. From
my own obervation in Hollywood I would say that screen
players rank far above the average intellectually— that is—
the genuine people there. They at least have a sophisticated
outlook and are broad in their views. But Torrence was
speaking: "You know, my struggle is pleasant to look back
on, though it was not so pleasant to live
through at the time, but then I had
wonderful help. You see, I married my
wife when we were almost kids. We
traveled with the same theatrical com-
pany in the provinces of England, and
we were both penniless. I had always had
a strong desire for the stage, while my
father wished me to become a famous
singer and man of music, and he
educated me toward that end. Financial
reverses came to my father when
I was about twenty years old, and I turned at once
to musical comedy. Allowing for my prejudice in the
matter I have always felt that Mrs. Torrence gave up a
sure career to help further my own rather uncertain one.
She had also studied music, and was a soprano who had
attracted some attention in London, but she gave it all
up cheerfully, and stood by me with such loyalty for ten
terrible years of poverty that I can hardly think of it to
this day without tears."
Torrence rose from the chair, a blended wistful de-
termined expression on his face. "Tully," he turned to me,
"I've been through hell and back again, I can feel the
flames yet. But the little woman who is my wife — well,
she kept me from burning up. My career is half hers,
for she gave up all of hers for me, and now (he pointed
a long arm) you cannot drag her into this room to share
in the glory with me. She's not only a brick — she's a
whole ton of them."
Torrence is Scotch, of an old Edinburgh family, and
knowing something of the psychology of nationalities, I did
not wish to say a word that would stop the flow of
repressed emotion in the man; for I wanted some of the
warmth that I knew was in him. So I remained silent
with understanding and sympathy, feeling that the thought-
waves would be carried to him.
"For ten years," Torrence continued, "my wife and I
were musical comedy vagabonds (Continued on page 103)
47
Screen Stars
get together
Bj/ Y^ucille Y^arrimer
Illustrations By Edward Butler
0 glad you could QJLuncheon at Hollywood's Montmartre is in full swing.
take lunch with White-aproned waiters glide, soft-footed, from table to
table, proffering steaming chafing-dishes and trays of
meats. A buzz of small talk rises above the subdued
clink of glasses and the click of fork on plate. From
time to time, new arrivals appear in the entrance arch,
poise for a moment on the dais steps and are ushered
grandiosely to their seats by the statesman disguised as a
head-waiter. As the newcomers pass down the aisle,
heads turn to follow their passage, as a field of young
wheat is swept by a sudden breeze. At a ring-side
table two extra girls, a blonde ingenue and an aspiring
baby x>amp, uiew the passing show.
me today,
dearie," said the
Vamp, beckoning a waiter.
"I'm not a bit hungry. I
don't seem to have any ap-
petite any more, at all, but
you see anybody who is any-
body here. I'll have the
buffet luncheon, waiter, and
I'll start off with some of
that spaghetti Italienne and
perhaps a bit of the ragout.
Oh, yes, and a poached egg,
since they're handy. I'm really not hungry."
"They really should call this place the Tourist's Delight,"
remarked the Ingenue, gazing around at the fine flower of
48
Kansas present, on the qui
vive to observe the ^advent
of the stars.
"I'd call it the Robbers'
Roost,'' grumbled . the
Vamp, frowning at the
menu. "The idea of making
you pay extra for coffee,
and forty cents for ice
cream !"
"Well, you should weep
over the price of ice cream,
dearie," soothed the ingenue.
"It's fattening. I thought
you were dieting."
"Why should I? Nita Naldi doesn't."
"Oh, yes, she is. By request of the management. And
so is Virginia Valli, and so is Phyllis Haver and so is
Jacqueline Logan, though you wouldn't think it necessary to
look at them. Jackie lived on lamb chops and pineapple
for three days, until she got so fed up on lamb that she
was afraid she'd bleat if she ate another chop, she said.
So she's just cutting her meais in half. Her mother is
such a grand cook, though, that it must be a strain on
Jackie to get up from the table hungry."
Eleanor Boardman Wants to Gain Weight
6 <TT S JU5t the other way round with Eleanor Boardman.''
& said the Vamp, helping herself to the Ingenue's but-
ter. "She's just back from a dairy farm where she's been
drinking gallons of milk, to get fat. Fancy anybody having
to try to get fat! She gained five pounds, and now she's
back here in Hollywood playing the lead in a picture, with
eight — count 'em, eight — leading men. And they all have
to kiss her. It's a hard life, yes?"
"It depends on who they are?" countered the Ingenue,
cautiously. "Now if one of 'em happened to be Ben Turpin,
now, or Bull Montana — "
'The Bool's on the stage now, a regular actor, by gosh.
But these eight are eligible: Jimmy Morrison, Niles Welch.
Bobby Agnew, Creighton Hale, Ben Lyon, Buster Collier,
Johnnie Walker and Bill Haines."
''Bill Haines?" asked the Ingenue, placing her hors
d'ocuvres out of reach of the Vamp. "Isn't he the youth
Peggy Hopkins Joyce picked as the best kisser in Holly-
wood?"
"Yes. A little more of that spaghetti, waiter. I'eggy
must like her kisses underdone. Personally, I'd back Lew
Stone's technique against any of these baby shieks. Boy!
but that man has his moments! Not that I speak from
experience," regretfully.
"Oh, so that was why you sat through Why Men Leave
Home three times!" accused the Ingenue.
The Vamp evaded the question by nudging her
friend.
"Look! No, not there, the third table from the door.
Connie Talmadge lunching with Buster Collier. He's cer-
tainly giving her a heavy rush, did you know?"
''Did I know?" asked the Ingenue indignantly. "I have
eyes. Everywhere I go, I see them together. Last night
they were dancing at the Petroushka Club, Buster gazing
into her eyes as if they were alone on a desert island, and
Connie as mischievously indifferent as she always is. And
over at a side table was Irving Thalberg, looking daggers at
Buster," {Continued on page 84)
49
ew
SCREENPLAYS
Bjy delight ItLvans
Illustrations by Qovarrubias
T
Sometimes a
a sex picture,
"nJHE popular conception of a sex picture is six or seven
reels of assorted orgies — modern revels featuring a
long table laden with luscious viands from the prop
room, upon which is placed by solemn gold-laced
servitors a huge floral basket, which suddenly expels six chorus
girls who entertain the merry-makers with coy contortions;
and flash-backs to ancient Rome or
Babylon — it's all the same to
directors — with banquet scenes
presided over by a fat emperor
with a laurel wreath on one ear,
who drinks doubtful nectar from a
sandal belonging to the beautiful
star of Belshazzar's or Nero's Fol-
lies. Of late, the sex appeal has
been furnished by the flapper,
toiling over-time to prove that the
modern girl is no worse than her
great-grandmother, even if she
does have to dance all night to a
roadhouse radio on account of the storm,
single cabaret scene has sufficed to put over
providing enough confetti is thrown and paper caps worn.
It was a very wild winter, as any title writer will tell you.
There were more orgies, banquets, storms, paper caps and
what nots, especially what nots,
in the film year of 1923-24 than
ever before in screen history.
And when the an-
nouncements o f
Cytherea urged
exhibitors to have
a Love Week in
their theaters, it
looked as if the
censors were in
for a grand time.
It was rumored
that Will Hays
had taken aside
Samuel Goldwyn,
"not now con-
nected, unfortun-
ately, with Gold-
w y n Pictures,"
when he heard
that Sam had
purchased the
screen rights to
Joseph Herges-
heimer's story
and, with tears in
his voice, asked
him if he really
meant to film it.
Mr. Goldwyn
might have said, "No, you dear soul, of course not. That's
why I paid out $50,000."' But instead he sobbed too, and
replied politely: "I cannot tell a lie. I
a film version of Cytherea; but, Papa,
will be clean!"
Will Hays was present at the premier.
Perhaps I
am about to make
I promise you it
QBest Screenplays of the Month:
(\Cytherea
(\Girl Shy
(\The Galloping Fish
Only three this time
QLeatrice Joy, one of the
few refreshing women of
the screen, bears the de
Mille brand now.
should say right
now that little children — if
there are still such things — should
not be taken to view Cytherea,
'the Goddess of Love." But why?
Children accustomed to the sort of
sex pictures which include orgies
will be bored and go to sleep;
their parents and others may ap-
preciate a most intelligent screen
play.
Don't let that word intelligent
stop you. Cytherea is a sex pic-
ture. There may be arguments
over the pronunciation, but none at all about the theme. It is
a fair, frank narrative, without a revel or an orgy, sticking as
close to the original story as a plaster, considering that the
scenario writer and the director had to keep an eye on Mr.
Hays, the audience, and the box office when they weren't
worrying about the author's idea. Strangely enough, the
author's idea is actually touched on in the picture.
Cytherea Caused Break Between Fitzmaurice and Bergere
It was Cytherea which signalled the final professional break
of George Fitzmaurice and Ouida Bergere. The Bergere
scenario and many sets were scrapped ; and Frances Marion
was called in to write another continuity. In this case,
everything was really for the best. Only a woman of Miss
Marion's skill and sympathy, and a scenario writer of her
subtlety and experience could have put the Goddess of Love
on the screen without encountering catty opposition ; only a
Fitzmaurice could have told a straightforward tale and still
retained the delicate poetry and imagination which is the
excuse for filming the novel. It is a far cry from the pallid
pageants with which the director has been identified ; always
in good taste, it is an indication of the Fitzmaurice future
if he continues to deal with human beings instead of moving
picture morons.
Three stars named Lewis Stone, Irene Rich, and. Alma
Rubens are supposed to enact Cytherea; but I know very
well that they are really Lee Randon, Fanny Randon, and
Mrs. Savina Grove. They're not actors at all. Well, anyway,
there's nothing I can tell you about Lewis Stone except that
his Lee Randon is by far the most wonderful and wayward
of all the husbands he has played. He is so darn good, I
will make a bet that not one honest woman in the audience
is going to sniff and call Fanny a fool for welcoming him
back home after his adventure in search of an ideal. Irene
Rich completely submerges her own radiance and humor to
SO
become the wife with one eye on the clock and the other on
her husband. If I didn't know her I would vow that Fitz-
maurice had induced the most typical cartoon spouse of his
acquaintance to step on the set. You may not like Fanny
but you will be forced to place Irene Rich on your list of
the girls who have made good in the movies.
Alma Rubens is Savina
By far the hardest job is Alma Rubens'. She never dares
descend from her perch on the mantel-piece; she must
remain the shadowy symbol of the love goddess — the beauti-
ful doll-dream of every man's imagination. She is not given
a single close-up to fall back on, but learned to use her body
and her hands as others stars use their eyes, mouth, and
dimples. She has great beauty, but beauty alone was not
enough to make her Savina an unforgettable portrait. She
felt and thought Savina — and left Alma Rubens, out of it.
By the way, there are splashes of color throughout — the
most intelligent use of colored photography in a long time.
Those trifles which, when you see them masquerading as
drama, make you start and wonder how on earth anybody
else knows your peculiarities, which you fondly believe are
not shared by the Smiths across the street, have hitherto
been labelled Micky Neilan touches. After Cytherea they
will have to be known also as Fitzmaurice touches, although
it may be that Frances Marion had something to do with it.
I
Girl Shy a Good Comedy
will have to retire to the hills to forget after this review
of Harold Lloyd's latest. Girl Shy. Everywhere I go
I will be tracked by a mob of angry Lloyd lovers wanting to
lynch me — or so I would like to believe. All because I
can't crack my knees in a low obeisance before Harold. I
know that he is a perfectly charming man — a clean-cut
chap; a credit to his profession; good to his wife, and de-
voted to his work. I am convinced he is a modest, upstand-
ing fellow, because I once went to a theater with him and
he didn't even notice that nobody recognized him. He makes
clever comedies in which millions find mirth and forgetful-
ness. — I read that somewhere. But I can't, so help me,
call him a great comedian. I've tried; I've seen every one
of his pictures; I've even managed several hollow ha-ha's.
The only time I ever died laughing — cries of "louder!" — was
at Safety Last ; and then not at Harold himself, but at the
marvellous drunken gentleman who got mixed up in the
proceedings. A glimpse of Charlie Chaplin sets me off;
and after a Chaplin picture I usually have to be removed
from the theater by anxious ushers. It is only Lloyd's calm
*in the midst of mad hilarity which amuses me, and not very
much.
However, Girl Shy is a good
comedy. And Harold had a great
time as a young tailor with literary
leanings, even if I didn't He
leans, also, to a young lady of
wealth, and to capture her he
stages the longest and wildest
chase a camera ever caught up
with. It's a fine chase if you like
chases. As a matter of fact, it's
•more of a ride-to-the rescue ; he's
after the girl who's about to be-
come a bride at the home of swell
parents. He utilizes every known
vehicle, from a kiddie-car to a truck. Take the youngsters,
so that when you almost expire from mirth and excitement
you can say you were laughing at them all the time.
Jobyna Ralston is the leading lady, and enchantingly
pretty. But Harold needs a vivid bit of color in his
comedies — color which Bebe Daniels used to lend. I am
not recommending that he sign up Florence Mills, but
Q Harold had a great time
as a young tailor with
literary leanings.
QBest Performances of the Month
(\Lewis Stone in Cytherea
(\Raymond Hatton in Triumph
C[The Trained Seal in The Gallop
ing Fish
rather the little girl
who plays the flapper-
vamp in Girl Shy — a
small roughneck who
would liven up
Harold's polite
amours in no uncer-
tain manner.
De Mille Players Are
Tagged
They say all
Griffith actors
bear the stamp of his
school. I believe the
de Mille players are
tagged, too. They
have a slightly smarty
air, as if to say,
"Look at me; I'm
worth watching; I act
for C. B." Leatrice
Joy, one of the few
refreshing women of
the screen, bears the
de Mille brand now.
In Triumph, de Mil-
le's latest, she plays
her big scenes with conscious cleverness; ner own sense of
humor is gradually being molded into the knowing grimaces
of deliberate comedy. I wish she'd get fired and go back tc
work. Rod La Rocque is almost unbearably boyish but, he
can't be blamed for it because that's what he is paid such a
good salary for. Victor Varconi, the third member of the fea-
tured trio, is too new to de Mille pictures to have acquired a
polish, consequently he gives a splendid account of himself
in a ridiculous role. But the best bit is supplied, as so often
happens, by Raymond Hatton, who sketches with a few
strokes, an admirable portrait of a park bench bum.
The Galloping Fish has been produced on a large scale.
Now that that's over, we can go on. It's glorified slapstick
and great fun. You'll think you have gone by mistake to a
Mack Sennett festival because there are all the ingredients
of the good old comedies — including Louise Fazenda, Syd
Chaplin, Chester Conklin, Ford Sterling, a lion, monkeys,
and a flood. The title role is assumed by an industrious
trained seal. This seal is a great actor. He has emotional
opportunities which would make a less modest trouper lose
his balance. "By Himself" — funny name even for a seal,
isn't it — will probably be starred
next season. La Fazenda dives
through the mad melange and
asserts herself as one of the few
who can be funny without for-
getting her femininity. Chester
Conklin as a taxi-driver is a small
riot; in fact, everybody seems
to be having a good time.
You will, too, unless you're
one of those who consider
Chaplin vulgar and walk out on
a comedy just as the bathing
beauties walk on. Serves you right.
me I would like a picture called
Between Friends, written by Robert W. Chambers,
directed by J. Stuart Blackton, and featuring Lou Tellegen,
I would have laughed gaily and punched him in the nose.
My previous opinions of this trio would not bear repeating
in a family magazine. And now, my dear, guess what? Why,
these three boys have got together and somehow produced a
I
f anybody had told
51
pretty fair screenplay. I don't know how they did it ; whether
by accident or design but here it is; and I am willing to
remove my glasses and take that and that, and
that.
The plot is summed up in a title: "My wife — and my best
friend!"
Here's how, to revive a quaint old phrase. Norman Kerry
runs away with Lou Tellegen's wife, played by Anna Quer-
entia Nilsson. Who would blame him? They go off to
Bermuda — dear, dear, these runaway couples are all over
the screen; Alma Rubens and Lew Stone dashed away to
Cuba — where they are consumed with remorse, and Anna's
conscience compels her to end it all. So far it is splendidly
managed by the Commodore Blackton, whose experience in
the British studios directing Lady Diana Manners apparent-
ly taught him restraint and imagination. After Anna is
heartlessly killed off, half the audience loses interest. How-
ever, her blond beauty is present later in flash-backs and
such, so stay to see it through. Besides, other things hap-
pen. Lou is a cynic now, though he never suspects his best
friend is to blame. Lou wouldn't. Besides, he has his art,
which is sculpture; and his model, who is Alice Calhoun.
Norman falls for Alice. Stuart Holmes, the dog, discloses
all; Lou plans subtle revenge on Norman, but spoils it by
falling for Alice himself. He gets her because he wears a
smock which is open at the neck and Norman wears an
arrow. M. Tellegeri does most of his emotional acting with
the aid of his Adam's apple; but for once he fails to be
funny enough to make you hope Mack Sennett will take an
interest in his art. Alice Calhoun has grown up and behaves
in a charming, inoffensive way in a role which might have
gone to her head, that of a young woman loved by two stal-
wart men. One suitor is about all the average ingenue can
stand.
Matt Moore Satisfactory in Breaking Point
Which Shall It Be is Good, Clean and Very Simple
W
Matt Moore, take off that moustache
Outside of that, your performance
Point is satisfactory. Herbert Brenon
deserves three cheers, a huzza, or a
bravo — whichever he prefers — for bring-
ing his puppets to life, because he was
given the kind of story which must
make good directors moan and cry. And
he stands alone among directors in- one
particular. He is the only one who
ever let a drunkard be himself. You
know how most of those scenes are
done — a very drunken party will sober
up in an instant if anything happens
which requires his histrionic services.
Mr. Brenon permits Matt Moore to
proceed to what must have been an
awful hang-over, even though Matt be-
comes implicated in a nice, juicy murder.
This member of the Moore family is
just about my favorite leading man.
Xo scenario writer, director, or heroine
can make a conventional hero of him.
He remains a Moore. Even when pur-
sued by the relentless Naldi, who has
gained, but not in poise.
I may be wrong about Patsy Ruth
Miller. Every time she appeared there
were murmurs of "How dear!" and
"Clever girl!" I may be wrong, but
I'll be darned if I'll admit it.
We know you.
in The Breaking
hich Shall It Be? or, Not One to Spare.
This was advertised as a photoplay with a soul and
without a single cabaret scene or swimming pool. Proudly
it was pointed out that here, at last, was a great picture —
the picture of the year. It didn't have any of those mobs
or orgies that other pictures have had to depend upon for
success. No, sir. It was just a good, clean, simple thing,
the sort we have all been waiting for.
Simple is right. Told in three reels it might be hailed
as a miniature masterpiece. But the most cheery glad-boy
and girl would crack under this strain of five reels of the
plain, homely, worth-while things. The biggest mother-
heart would rebel at exclaiming every few minutes over the
patter of little feet and the caress of tiny hands. I liked it,
in spots, but when I left I went right over to see Nellie, the
Beautiful Cloak Model, again. It may be I do not appreciate
the finer, cleaner things; it is even within the realm of
possibility that I prefer to be entertained rather than up-
lifted. By this time you'll have decided that nothing
could keep you away from Not One to Spare.
Renaud Hoffman, the director, has for his theme the nur-
sery rhyme :
"Which shall it be, which shall it be?
"I looked at John; and John looked at me."
The parents of seven children are promised prosperity if
they will part with just one of their brood. But — they can't
spare even one. A great director might have made it more
poignant. As it is, there are charming scenes of a quiet
farm; and the children are real, not mincing caricatures.
The baby of the family is the only curly-haired screen child
I have ever watched who did not bring on a violent attack
of mental mal de mer.
Confidence Man Just Another Crook Film
qpHAT Big Brother of the World, Tommy Meighan, benev-
-U- olently made another crook film, The Confidence Man.
He made it because he just couldn't bear to think that his
great public should be obliged to worry
along without one, when they wanted
one so. The great-hearted actor said
himself this is the best crook role he's
had since The Miracle Man. Those
words have a familiar ring. He has
played several crooks since his first great
success and it seemed to me he said the
same thing every time. But I may be
wrong, and who am I to contradict
Tommy?
It's a good crook picture if that's what
you like. If Tommy's close-ups are
more and more frequent; if his beam be-
comes a trifle forced; if his leading lady
is thrust further and further into the
background — you haven't complained,
and that's the point. Virginia Valli is
wasting her time and talents- She has
graduated from innocuous ingenues;
she's a big girl now and can do better
things.
Q This seal is a great aclor.
He has emotional oppor-
tunities which ivould make
a less modest trouper lose
his balance.
Moral Sinner Very Poor
The Moral Sinner is crooked, too.
It explains why Paramount would
rather pay Dorothy Dalton than play
her. It's one of the last of the pictures
which Dorothy (Continued on page 105)
52
Home Life of the Stars
^Methods formerly adopted by Gloria Swanson to protect
the infant Gloria from the pitiless press photographers.
Third of a series of impressions by George H. Clisbee.
53
Q A reproduction of the Charles Ray Studio at Sunset Boulevard,
fimed, wrecking the financial
Eight Dollars
0[ The efficiency expert figured that
of his venture as an independent
fort to create the kind of screen-
Charles Ray of his personal for-
Q The hero of The Girl I Love.
Q Charles Ray, the actor, a
lovable, bashful, country
bumpkin. The boy who
earned a fortune when he
gave the public what they
wanted.
5"
By Anne
PERHAPS you read the simple
announcement recently that
Charles Ray is going back to
Ince, where he started. To the public, that an-
nouncement means little. Charles Ray is just changing from
one studio to another, you say, and go on to another item.
But when I read the announcement, a shock of regret —
and pity — went from my brain to my heart.
For me, that little newspaper item was the sequel of a
conversation I had had with Charles Ray more than a year
ago. Of all the men I have known in the picture world, I
think Charles Ray is closest to my heart. You know his
quality on the screen — a wistful boyishness, shrinking from
the hurts of the world, yet bravely, if timidly, going forth
to meet them.
I had always enjoyed going to the Charles Ray studio — a
great sprawling, green affair, rather dingy in the bright Cali-
fornia sunshine, but glamored over with hopes and romance.
Somehow the atmosphere there was different. Whether it
was The Girl I Loved or The Courtship of Myles Standish
that was being filmed, there was always a sense of high
adventure, of daring-do, of boyish pride and achievement,
and young hopes and fears, and a very strong loyalty.
Those of us who go often to studios hear a lot from the
publicity department about loyalty. We are told that every-
one from the newest prop boy to the director is crazy about
the star. Sometimes it's true, but often it's not. But in
the Charles Ray studios, it was true. Charles Ray moved
from building to building and from set to set, sometimes
in make-up, sometimes in the rather loud clothes he loves
to wear, and as he passed there was a heightening of interest,
loyal quickening of the pulse from every person on every set.
Proud of his Own Studio
I think it was Charles Ray's own honest pride in his studio,
his own sincerity in his work, his relentless driving of
himself, his boyish willingness to listen to suggestions from
MVLESSTANDISH
Hollywood, California, where the Courtship of Myles Standish was
bark of its producer.
a Minute!
out as the cost to Charles Ray
producer. It was this heroic ef-
plays he loved that robbed
tune and nearly broke his heart.
A, ' anyone who really had anything
tiSTlTL worthwhile to say, that made
Ray's passing through his build-
ings a significant event.
He loved the place, sprawly and inadequate and dingy as
it was, for it housed his dreams and his hopes and his fears.
He spoke of his fears to me one day, as we sat in the
projection room on bumpy horsehair chairs, pondering over
the scenes from The Courtship of Myles Standish that had
just been run. The picture was being filmed at tremendous
cost, and Ray was watching the rushes with all the anxiety a
mother shows over a child with the measles.
He had been talking in eager, excited tones about the
storm scene, where the Mayflower rocked and agonized in
cruel waters. He loved that achievement — the successful
filming of such a tremendous scene in minature. The lit-
tle boat which was used in the scene had graced the lunch-
eon table that day as a centerpiece!!! The ocean was a
little tank of water no bigger than a bathtub.
Then Charles Ray drew a deep breath and fear quivered on it.
Everything at Stake
¥ 'm betting every dollar I have in the world and every
dollar I can raise, on The Courtship. If it fails, I am
through. It means — back to Ince, or some other studio
where I will be an employe instead of a boss. It means —
failure."
Think of Charles Ray as he looks in his pictures when the
girl he loves is going to marry the other fellow, and you will
know just how he looked when he said that— somber-eyed,
mouth a-quiver, hands making futile, pathetic gestures. I
admit it — when Charles Ray looks like that, it gets me— hard.
At that time I was still buttonholing perfect strangers on
the street to ask them if they had seen The Girl I Loved,
and to rave about it. I don't think I have ever seen a pic-
ture which affected my emotions so strongly as did
that superb film romance. (Continued on page 97)
Q/? recent photograph of Charles Ray by
Nelse Lennse.
C[ Charles Ray, the producer
— proud, sensitive and
visionary. A man who lost
a fortune when he tried to
be a gentleman producer.
55
Sing a
SIDE
fiords and Lyrics
By
H. B. K. Willis
Sing a song of sideburns,
Periwigs and curls
On dapper darlings of the screen .
To palpitate the girls.
But when the barber does his Stuff
And clips 'em to the part
He just unpeels a bunch of seals
Who've got more hair than
art.
V\{ "NJHOUGH sweltering July is drawing a bead on
brows the flippant and fancy-free filmland-lubbers
are still wearing their mad March hair.
It's enough to make anyone sing a song of
sideburns. Even Hollywood barbers have become quite
Ben Hechtic since the boys who think Babe Ruth is just
another movie kid began to favor felt-work on their jowls.
One cannot much blame them, for the invasion of hair
upon the faces of the filmy famous threatens to make hair
cutting a lost art in Hollywood.
The penchant of producers for ten-reelers in which leading
men can clatter around in tin pants has made it rank
heresy for anyone to make cutting remarks about the
hair-do of heroes. They want their heroes well thatched and
so the sweepers in Hollywood salons du shave aren't getting
much these days.
Of course the polls of the pretty picture playboys are
not allowed to proliferate primitively.
Occasionally they allow the head-barber to screw a
jeweler's eye-glass into his glim and clip about a bit — but
never promiscuously. More than just a clip off about
the coat collar and he might cut the languorous lads out
of six weeks' work.
And lately, since the pirate pictures like The Sea Hawk
were in the making, sideburns have crept so insidiously
56
Song of
"Decorations
By
KHz
into beards that the unwary one. unwise to the
ways of Hollywood, cantering up and down the
Boulevard, thinks that the headquarters of the
House of David have been transported from
Michigan to Southern California.
There seems to be no reason for the camerads' preference
.'or the uncut both in beards and in polls except in the case of
Cecil B. DeMille who. were it not for his sideburns, would
be quite undressed. His poll is as bare as the back of one
of his heroines.
Samson, the Biblical gate-crasher, or Joe Martin. Univer-
sal simian, no doubt gave producers the idea that hair would
strengthen pictures immeasurably. Chesty try-outs met with
dubious success since the masculine wish-bone is not a thing
of beauty.
Uncurbed hair on the head and face then had its inning or
rather its outing although it is not yet out. It has swept
over us like a permanent wave.
I doubt if hair-stuffed pictures have caused exhibitors to
put grease-cups on their cash-registers. The lasses of Aden-
oidia could not thrill to a face like a sea-weed bath-mit.
At the time when the boys were posing for stills with coat
collars turned up. caps pulled down, and lighting cigarettes,
side-burns were fifty per cent of the props of a screen butler.
Xow sideburns are the ham-coefficient of Hollywood — the
more hair the hammier.
The hair-doux of Hollywood hairoes may be classed as
sinful and synthetic, docks and orthodox.
A sinful hair-do is one that deceives. AVigs, toupees, rats,
switches, and transformations are not sinful since they de-
ceive no-one.
Robert Warwick is the most sinful of deceivers in matters
hirsute. When he was out here sometime ago working with
Norma Talmadge his leonine mane was the marvel of the
Montmarte until he stepped in front of a wind-machine.
Then, alas, he was exposed, plenty of him. The blast of the
machine-made breeze revealed that his hair-dress was a
matter of training. Across a broad {Continued on page 102)
57
SMILE when
you
QLila Lee and
her husband,
James K i r k-
w o o d, whom
she nursed
through h i s
illness follow-
ing his injury
when thrown
from his horse.
OlEthel Kay who
was so thin and
ill from lack
of food that
when she
finally was of-
fered a part,
she photo-
graphed so
badly that
she lost her
chance in pic-
tures.
By Grace Ktngsley
0[ This is a series of untold stories
of the stars -- of their heroic sacri-
fices, and their good sportsman-
ship. After you have read this
article, you will know the mean-
ing of the words, l(a good
trouper".
GEORGE RANDOLPH CHESTER said: "The
actors' motto is 'Meet 'em with a smile, leave
'em and smile when you say good-bye'." And
the players live up to it. Many is the actor I've
seen whose heart I knew to be breaking, yet who put up a
gay smile to hide his tragedy.
You hear often of the clown who goes out on the stage
and smiles and smiles when his heart is breaking. But it's
in private life I'm talking about, as well as when the actor
is before the public, that he shows the brave stuff he's
made of.
A certain great feminine star was engaged to another
great star. The engagement was broken, and so, say those
who know, was the lady's heart. But the
world never saw it. She went to cafes and
smiled on other men; she laughed, flirted
and danced, especially one evening when
she saw her former fiance in company with
GIShlrley Mason and her
two sisters, Viola Dana
and Edna Flugrath.
58
say
GOOD-BYE
and apparently devoted to another woman. But her maid
says that she cried all night! And there are those who
say that the great actress will never really love anothei
man!
Bill Desmond Faces Death
When Bill Desmond was injured in making a picture,
and was brought home nearly dead his wife, Mary
Desmond, cared for him all through the night, and greeted
him with a smile when he came to. Of course, the first
thing that Bill Avanted to know when he came to himself
was whether he would be disfigured, whether he would
have to give up acting for good. His physicians were
in grave doubts. It wasn't even certain he would live,
and on this question he insisted on learning, if possible,
the truth.
"Oh, well," said Bill, with a brave smile at his wife.
'I never did like those games that you have to die to win,
but I'm glad now I've got that insurance for you and
the baby!"
Afterward, when it was thought that he might be per-
manently incapacitated for work, and the doctors told
him so, he merely turned his head away for a minute,
then looked up and asked: "Doc, do you think I could
ever learn to knit? And I should just love one of those
high-power roll-chairs!"
So he smiled away his whole career!
Shirley Mason adored her husband, Bernard Durning.
The two were pals inseparable. He passed away, and
it was thought by Shirley's friends that she would lose
her reason. But she was quiet in her grief.
She troubled no one with it. She managed
a brave smile when anybody came near
her. She came home to California to the
bouse that he and {Continued on page 86)
Q.Tane Novak who rescued her
leading man in a recent
picture.
GlITo the very
last Mrs. Wal-
1 a c e R e i d
proudly stood
by Iier husband
and declared
that he was
"improving."
01 f W a I I y
hadn't been
such "a good
s c o u t," he
would be alive
today.
ClBebe Daniels who was
at death's door in a
hospital in New York.
59
PHILLIPS WCWDGLL *
^l) r amal and
N
"^7"0W that the annual Harvard prize has been
bestowed upon Dorothy Heyward's Nancy
Ann, we may daily look for the news that
this year's Pulitzer
prize has been given
to the author of Only A Boy. I
have always wondered by what
processes of mind prizes are
awarded in these various compe-
titions, and with every passing
year the mystery deepens. My
staff of experts, working in double
shifts, has figured out that in
something like three hundred
prize contests held during the
last three years — contests em-
bracing novels, plays and short
stories — nine-tenth of the compo-
sitions decorated with the grand
prix have possessed approximately
as much merit as a tin handker-
chief. The average play, in par-
ticular, that has some sort of
medal pinned on it pretty gen-
erally turns out to be a charm-
ingly sour affair. And Nancy Ann is anything but an excep-
tion to the rule.
In all probability, this Nancy Ann was awarded the blue
ribbon of the first class because it happened to be the best
among an exceptionally poor lot of entries. If this is the
case, the committee of judges should make a statement to
that effect, since otherwise their silence, combined with the
play to which they have given the prize, leads us to believe
that they are, to put it very politely, in need of keepers.
Anyone who would seriously award a prize in the name of
Q.Says Mr. Nathan:
Q. Nancy Ann is machine-made stuff,
naive, lifeless, amateurish.
QAcross The Street is a play of the
Cohan type that lacks the Cohan
touch.
<j[Welded was a poor play by
O'Neill in imitation of Strindberg.
QA11 God's Chillun Got Wings has
aroused a rumpus that is beyond
the comprehension of any one with
more brains than a bath sponge.
one of America's greatest universities to a manuscript like
that of Miss Heyward's surely has something wrong with
him two degrees south of his hat. Nancy Ann is machine-
made stuff, naive, lifeless, ama-
teurish. If this is the kind of
thing Professor George Pierce
Baker is teaching his classes to
write, God help the future of the
American drama! Lend an ear,
if you will, to the plot:
A fashionable debutante, who
is in love with an actor-manager
whom she has never met but has
sent her his picture, sneaks away
from her home on the night of
her coming out party and decides
to take up a stage career. She
goes around to see her idol, the
actor-manager, the next afternoon
and not only gets a good part in
one of his plays — though she has
never had any actual acting ex-
perience— but wins a proposal of
marriage from him, which she
promptly accepts. She gets the
part and the proposal of marriage, incidentally, all in the
space of two hours' time, although, as I have said, she has
never smelled grease-paint and although the actor-manager
has known her for only about one hundred minutes.
Now, it is quite true that plots noticeably worse have
been made into entertaining plays by gifted dramatists, but
La Heyward, unfortunately, in the matter of gifts very much
resembles a poor-house at Yuletide. She elaborates this
plot of hers with no ingenuity, no sound comedy, no imagi-
nation, no decorative skill. And the result is the master-
60
ousww
Bj George Jean Nathan
decorations by Wynn
piece upon which a gold medal has been clasped in the
name of Harvard!
Francine Larrimore is the star of the occasion. She
is still possessed of all the faults
with which she began her acting
career, but they do not stand m
the way of a fetching perform-
ance. An anomaly, this Larri-
more. She does three-quarters of
the things she has to do in the
wrong way, but she is generally
an interesting stage figure none
the less. In her own small way,
she provides a successful refuta-
tion of what certain of my col-
leagues know as the art of acting.
II
Across The Street, by Richard
A. Purdy is also a prize
winner, having been given the
purse of three thousand dollars as
the best Chautauqua play. It has
all the remarkable quality of the
Harvard prize play. In theme
and method, the exhibit harks back to the early days of
George M. Cohan, the days when, following the estimable
Giorgio's lead, half of the playwrights along Broadway were
writing pieces in which two-by-four country stores were
miraculously transformed into emporiums covering three
city blocks in the last act, in which worthless young cigar-
ette-smokers from the big city were converted into success-
ful captains of industry by the pure country air and some
kindly gray-haired old actress' peach jam, and in which the
final curtain descended upon the spectacle of the erstwhile
QSays Mr. Nathan:
QMacbeth, as envisaged by the Rev.
Dr. James K. Hackett, is intelli-
gent, well-poised and effective.
QHelena's Boys is still another
worthless play in which j\lrs.
Fiske seeks to demonstrate her
come die technique.
QSitting Pretty provides very much
better light entertainment than the
usual tune and girl dish.
QParadise Alley is a pretty gloomy
affair.
yokels in full evening swallow-tail full dress suits gathered
in front of a backdrop painted up to represent the new
million dollar city hall. Almost all of the familiar old
materials are in the opus, but
they lack the M. Cohan's touch
to give them life. All that Purdy
has been able to do with them is
to shove them out onto the stage
and let them cast for themselves.
This they do not manage to do.
And what we get, accordingly, is
nothing but a George Cohan play
of the vintage of 1908 written by
a man who does not know how
to write such a play.
The company assembled to re-
cite Across the Street, is headed
by Robert Emmett Keane, imi-
tator of George Cohan No. 7862,
and includes some young ladies
and gentlemen whose talents ap-
parently do not include acting.
Ill
Eugene O'Neill's Welded is already in the storehouse.
Paradoxically enough, it was a poor play. Whenever
the gifted O'Neill delivers himself of a Strindberg imitation,
he runs on the rocks. Welded was such an imitation, as
was The First Man before it.
The trouble with Welded was that it so exaggerated its
theme that it took on a ridiculous ( Continued on page 92)
61
N
Q Her real life story told here for the first time.
Bj/ Barry
IT is very still. The climax of the picture has come —
the big fight scene.
The two girls in the fifth row, center, stop eating
their candy. The kid in the balcony is hushed. The
music's ceased to trouble, and the ushers are at rest.
The hero is in the ring, the light-weight champion. He
has been drugged; and he has lost the girl he loves. The
British challenger is merciless. Again and again he knocks
the Yankee to the canvas floor.
And the hero doesn't care. That is the tragedy of it.
He fights bravely, desperately, against tremendous odds —
but he fights without hope, and without ambition.
The effects of the drug are slowly working out of him
V
annon
But the hurt in his
Ot Anita Stewart, as she appeared in 1915.
62
through the violence of his efforts,
heart — there is no curing that.
But wait — the girl is there by the ringside, watching —
wincing at every blow that strikes her lover, weeping bit-
terly. She rushes to his corner at the end of the round,
shoving trainers and seconds and manager aside. She
whispers in her lover's ear. Nothing matters now except
their love.
Tears have wet the cheeks of the girls in the fifth row
center. A bald headed man down front mops his face and
hopes nobody is noticing him.
"Isn't she wonderful? Don't ya wish you was her,
Harriet?"
"Yeah. Don't you? But if I had her looks you'd never
catch me bawling like that! Pretty soft for her."
Yes, it is nice to be Anita Stewart. It is nice to be
beautiful, and rich and young, and a moving picture actress.
Nothing to do but ride in her own motor
car, live in a beautiful house, or in a suite
at the best hotel in town, buy all the gowns
and hats she likes, and play in the movies
when there's nothing else to do.
How wonderful her life must be!
Do you really think so?
An Unusual Star.
anita Stewart is an unusual star.
II She had no difficulty getting into the
moving pictures. She has gone steadily up-
wards. She has been married, and though
she does not live with her husband, she has
never been divorced.
She has not let success turn her pretty
head. She has money but she does not
squander it. She has never learned to ap-
preciate an off-color story. And she neither
smokes nor drinks.
She has everything that women want, it
seems. But do you think she is happier
than you?
Wait.
Anita was born in Brooklyn and has
made that town more famous than has
the Brooklyn bridge. Of course she had
to leave it first. But then, so did the
bridge.
She finished grammar school — and a com-
prehensive course of the eastern studios at
the same time. Girls will be girls. And
she went a year to Erasmus Hall. That is,
it was a year from the time she started to
the hall until the principal asked her
whether she wanted to make something of
herself or to be a picture star.
STEWART
<\The seventh of Screenland's film biographies.
Anita's sister. Lucille, was the wife of Ralph Ince, and
a moving picture actress. And Anita was always playing
hooky and running to the Vitagraph studio and getting
in the camera's eye.
Those were the days when Edith Storey and Rosemary
Theby and Clara Kimball Young were the big stars, and
Mabel Normand, and Norma Talmadge and many others
were classed as "atmsophere."
There really wasn't much work to do, and Anita
wanted to work. Norma was posing for illustrated
slides. You know, the slides that are thrown on the
screen, pictures illustrating the words of the popular
song the fat tenor is singing.
Anita wanted to get into that business too. It paid
well, better than the movies. She asked Norma.
And Norma was nice about it,
Anita Meets Norma Talmadge.
Qhe loaned Anita a little yellow dress
^ trimmed in swansdown, and told her j
where to go and whom to see. Whether
it was the dress that did the trick or not,
Anita got the job.
Anita and Norma met in Hollywood
recently. Both were dressed in evening
gowns that cost them hundreds of dol-
lars. Both had ermine wraps, and dia-
monds that hurt the naked eye. And
they talked about how happy they were
in that cheap little yellow dress.
Anita was fourteen years old when she made
her first picture. It was called The Wood
Violet.
It was through Ralph Ince and her sister,
Lucille, that she got the part.
Ralph showed the script to Lucille.
"It's the very rottenest story I've ever
read," he said.
"Then why not let Anita play it?" Lucille
asked. "It's a cinch she couldn't spoil it."
Anita left Brooklyn for the first time in her
life, taking boat and train to Saratoga. And,
contrary to everybody's expectations, the pic-
ture was a great success. Anita became a star.
Oh yes, it was easy for Anita. If your
brother-in-law was a director, you too — eh?
Anita was a star of stars before she had
reached the age of seventeen. And she was
making the biggest picture of her career, The
Girl Pliilippa.
It was then she was stricken with typhoid
fever, and for weeks they believed she was
dying. The picture had to be abandoned
while she lay in bed.
It meant the loss of much money to the com-
pany, actors staying idle while their pay went
on, the delaying of other productions, the paying
of added interest as the days went by.
"You are lucky, little girl." the doctors said one day.
"You are going to live. But you must rest for six
months!"
Six months!
She herself might afford to stay out of pictures for half a
year; but the money invested in her picture could not.
'Y:ou must come back," they told her. "The leaves are
falling now. You must come back. Don't you know you
must walk through the falling {Continued on page 88)
Anita Stewart, as she is today.
63
The Man With The
SHEARS
GENTLE reader, shed a tear for the poor film
cutter. There are charitable souls in Hollywood
who can be induced to admit that perhaps
Benedict Arnold was not understood, that the
Kaiser had his good points, that Grover Bergdoll might
have enlisted if he hadn't suffered from flat feet or that
maybe Doheny owed Fall that hundred thousand. But
never yet has been discovered in screenland's capitol one
who has had a kind word for the ' chap who cuts the
pictures.
The cutter is about as popular as an umpire who has just
called a third strike in the last of the ninth with the bases
full and the home team a run behind.
If you would know what chance a cutter — any cutter —
has of winning a popularity contest, ask the star, whose
close-ups have been pared down to endurable length. Ask
the director, whose orgy-scene has been made censor-proof.
Or ask, if you have taken the precaution of stopping your
ears with cotton, the little extra girl who acted and acted
and acted, only to find herself cut entirely out of the
pictuix-. Just ask them!
But though he will probably never be presented with an
elegant stem-winding watch with a hunting scene en-
graved on the case as a testimonial of esteem from his
grateful co-workers of the Artists' Union, the cutter is
responsible for much of the success of pictures that you,
the public, consider good. And many of the bad ones
would have been a whole lot worse if it had not been for
the cutter and his trusty shears.
During the weeks that a picture is being shot, the care-
free cutter flits about the lot with a dolce jar niente air;
he toils not, neither does he spin. But when the last reel
of film is turned over to the cutting department, then does
the cutter emulate the little busy bee and by his industry
maketh the ant to look like unto the sluggard, for he toileth
by day and by night and union hours are as naught. For
many, many of the producer's dollars are tied up in those
rolls of film, and the sooner the picture is released and
begins bringing back a portion of those dollars, the sooner
the producer will lose that haunted look and take an interest
in his meals once more.
61-
Bowed by responsibilities he
leans
Upon his shears and gazes at
the film,
With threats of countless cen-
sors at his back,
He cuts the stars' long kisses to
a flash.
— With apologies to Edward
Markham's famous poem
The Man with the Hoe.
The fans who sit in the orchestra chairs probably know
little about the actual work of preparing the film, after
the action has been shot. The process is much the same
as that which your kodak films undergo; the exposed film
is developed and dried. From this negative a print is
made. The print, or positive, is in turn developed and
dried, and it is this positive with which the cutters work
in the beginning.
How Scenes are Shot
The scenes of any picture, whether it be a dramatic
eight-reel feature or a two-reel comedy, are never shot
in sequence. Perhaps all the interiors are shot first, or all
the scenes in which a certain actor appears, in case that
actor is hired for only a short time. The film, when turned
over to the cutter, is a seemingly incomprehensible mass
of film, without beginning or end, rhyme or reason. There
are several shots of each scene, called "takes." In dramatic
features, each take is numbered, the corresponding numbers
being marked on the script, so that the cutter is aided to
some extent in piecing that apparently unrelated mass of
footage into a coherent story.
But in comedies, often no script is used. A slap-stick
comedy, such as Mack Sennett turns out, is usually a
sequence of "gags." It is the cutter's duty to put these
"gags" together in the smoothest possible fashion, to switch
them around, to cut and prune and perform all manner of
mutilation upon them, so that the maximum of laughs may
be injected into a minimum of space.
There is more to this than meets the eye.
How the Cutter Works
The best of each set of "takes" must be selected. The
scenes must be matched perfectly. If one "take"
shows a gentleman in a morning coat about to receive a
custard pie in the mustache area, it is a breach of profes-
sional etiquette for the next scene to show the gentleman
wearing golf togs, for instance. The least error will smite
the eye as forcibly as a fly in a jug of cream.
When the positive has been pieced together in the form
considered by the cutter to be the most logical one he calls
in the director. After the director has said his piece, when
the film has been pieced and {Continued on page 82)
65
A
Shingled
Star
By
Sydney Valentine
Q Alice Joyce and her two daughters, Peggy and Alice Mary Moore.
IT was just like a scene in a domestic drama.
The set was in the best of taste — it must have been
a Fitzmaurice picture. The sun streamed through the
windows facing Park Avenue, and touched the silver-
framed photograph on the grand piano — the photograph of a
handsome man. There were books about — and a good
etching or two. But the whole had an unsettled air,
strangely foreign to the comfortable, conservative domes-
ticity. Maids were scurrying to and fro, arms filled with
frilly silken things. A French door opened into another
room, which seemed crammed with open trunks. And
wandering around, rather pathetic and alone in this scramble
of servants, was a baby— a three year old, a beautiful little
thing, who looked as if she were about to burst into
tears.
A busy maid thrust a wooly lamb at her. At least she
was not entirely forgotten. Someone cared about her—
thank Heaven! Just another evidence of the decay of the
modern home. This tiny mite left to find her own salva-
tion. Where was her mother? Where?
Ah! The door opens — an exquisite creature rushes in.
She flings off her hat. She snatches up the child. "My baby!"
she cries. She runs a jeweled hand through the mop of
hair. She kisses the rosy mouth. "How I hate to leave
you!"
Of course! I might have known. The trunks— the
maids, packing — the lonely baby — the picture in the silver-
frame! Just another modern mother; just another child left
to the mercy of unsympathetic nurses. But what's that
she's saying?
"And look, Peggy!'' She's shaking her head. "Look-
how do you like mother's hair?"
"Pitty," said the child, nodding approval of the woman's
close-cropped tresses. She was snatched up for an ecstatic
hug. And then her mother turned.
"Why, I didn't know we had an audience!" she laughed.
"I just dashed down to the hair-dresser's for a final shingle
before sailing. I didn't want to leave the children even
for an hour. How I'll miss them — but it's only for a few
weeks, and they will probably get along very well — I have
such a good governess for them. Peggy, make your bow."
The child — how could I have believed her heart was
breaking — curtseyed and rattled off a Gallic greeting. She
sidled to her mother and whispered something.
"I almost forgot!" was the answer. "Here, dear — I did
promise you, didn't I?" Peggy scampered away clutching
in her chubby fists a vanity case, complete with rouge and
lip-stick.
Alice Joyce — for she is Our Heroine, as you have guessed
— turned to me again. "While she had tonsilitis she tired
of all her toys and coaxed me to let her play with my
make-up box. She was so enamored of it I promised to get
her one of her own — bless her heart!"
The telephone rang. It was for her. "Hello, dear," she
answered. "Why, yes, I know without looking it up — just
my rings, and my pearls, and a pin or two — no bracelets.
Yes, dear. Good-bye."
"That was my husband," she said, returning. "He said
they wanted to know what jewels I was taking to Europe
with me. Sounds funny, calling my few little things jewels."
Peggy returned, looking like herself on one side of her
face and like a circus clown on the other. "Now, now,"
she was reproved. "Go to nurse and tell her to wash it right
off. But what could I expect?" she smiled.
66
C[ When Alice Joyce
changed her coiffure she
also changed her mind.
She decided to stage a
come-back to the screen.
For a year after she
made The Green God-
dess withQeorgeArliss
she had a dozen roles,
but she turned them all
down. One of them was
the part which Dorothy
Mackaill took in His
Children's Children.
Do you think she did
right ?
If you think of Alice Joyce as the original of that well-
known song about the lady of the same name who trembled
with fear when he gave her a frown and swooned with de-
light at his smile, or words and music to that effect, change
your mind. She is suave and self-possessed and didn't even
ask her husband's permission before she had her hair cut.
Isn't that proof that this wife lives her own life? James
Regan, Jr., sighed and said: "Oh, Alice, your beautiful hair!"
when he saw what a Frenchman's shears had done to his wife.
But Alice's hair is still bobbed.
When Alice changed her coiffure she also changed her
mind. She decided to stage a cotae-back to the screen. For
a year after she made The Green Goddess with George Arliss
she had a dozen roles, but she turned them all down. One
of them was the part which Dorothy Mackaill took in
His Children's Children. Do you think she did right?
"It is nice to be independent and not act until you feel
just in the mood," she remarked. "But lately I made
up my mind to take what they give me to play — anything,
to get back into pictures again. I didn't like myself much
in the Arliss picture, although I enjoyed working with him.
But I feel I wasn't given good lighting. My face is round
and not easy to photograph; but here I was going back
after a long absence and I didn't want the cameraman to
think I was trying to tell him his business, so I said
nothing."
I reminded her that this would surprise the people who
used to think her temperamental when she was a Vitagraph
star.
"I know it. I have changed a great deal. I used to
have fits of temper — not often, but rather fiery while they
lasted. Now I think twice before I slam a door or bang
Q A new and interesting study of Alice Joyce.
a receiver. I find myself more considerate, and I believe
it's raising a family that's done it for me. A mother can't
give way to temper if she expects her children to be well-
behaved; and I have great hopes for mine — "
"Oh, mother!" It was a bigger girl this time — Alice
Mary Moore, one of the first famous motion picture babies,
whose father is Tom, brother of Matt and Owen. She
has her dad's eyes and smile — an ingratiating feminine
edition.
"Oh, mother!"
"Yes, dear?"
"I'd like to go out with my skates if I may."
"With whom?"
"Oh — with Mary, and Jack — "
"Is Jack the boy I saw yesterday? Well, run along, dear.
But stay around here because I want you later. And
Alice — what do you think? Mrs. Blank was at the hair-
dresser's having her hair cut. How will she look?"
Alice considered gravely. "Well, it won't be as becoming
to her as it is to you, mother. She's too fat."
Alice went along with her mother when the Joyce shingle
was achieved and wanted a shingle for herself so much
she couldn't be consoled for days.
"Where were we? I'm not thrilled a bit about going
abroad for the first time — probably because I'm leaving
my husband and the family. I don't know much about my
part in The Passionate Adventurer except that it calls for
three evening gowns, a street costume and several negligees.
But it will be good to be at work again, because I really
didn't have enough to do."
That's what she said, really. I didn't contradict her
because I didn't know then what her best friend, Anna
Q. Nilsson, told me a few days {Continued on page 105)
67
With the
LOCATION MAN
By Helen Starr
i
"nJHE location man is a professional borrower. He
must combine diplomacy with refined begging and
keep the nerve of a brass monkey in reserve for
an emergency. He has to find exteriors typical
of China, India, England or France on short notice. Now
that we realize California's facility in impersonating every
part of the globe, .we wonder why those nice old gentlemen
who used to sell travel views for our parlor tables thirty
years ago didn't save steamship fare and fake the stuff at
home!
An ambitious scenario writer begins "New York was in
the throws of early spring." Just where would you go to
find a scene representing the throws? Some of the problems
put up to the location man are about as puzzling as that.
He must know where the companies can use a stone quarry
on short notice, a summer cottage, a sandy waste, a coal
mine, a lighthouse, a river or a high stone wall. With his
pockets sometimes bulging with the manuscripts of as many
as ten scenarios at a time, he travels some two hundred
miles a day to find the necessary scenes.
Amateur writers and very great authors have one fault
in common — they spare nothing in the way of expenditure
for sets and let their imaginations run quite utterly wild
when it comes to scenery that is hard to find. Most
studios keep an enormous card file with information about
all sorts of buildings and locations. A photograph of the
location is pasted on each card in the file. They look like this.
Photo of Address
Place Owner
Quickest route to reach place
Cost of rental if any
Details about the place of value to director. . .
There is one file for homes, small and large,
another for stores, another for churches and
so on. A large map of Los Angeles hangs on
the wall of most of these location rooms, as
well as a map of the county and another of
southern California on the adjoining walls. The
maps are covered with thumb tacks which are
numbered and each number refers to one of
the location cards in the file. One of the large
68
western; railroads keeps a room in its Los Angeles office
for the use of location men. In this room, hundreds of
pictures showing scenic points along the route are on
file with information about accommodations for picture com-
panies. The railroads will often stop a limited train, give
the use of a Pullman or observation car for scenes or provide
flat cars when the occasion demands, but if any of their
cars are to be used for a movie railroad wreck, they are
quite insistent about disguising the name of their line.
Directors Love to Travel
All directors and companies love to travel. The mice
- breathe more freely when miles away from the studio
cat. However, choosing a story with settings in Vancouver
or Havana doesn't always insure light wine with meals, for
the production office may decide that the whole thing can
be shot out on the "back lot." Every studio has a back
lot where they keep English or French streets, a small
western town and other ready-built locations typical of
climes far removed. One company even owns some railroad
tracks and stations on their back lot as well as a lake and
sailing craft. The words "stage door" painted on the
entrance to the studio lab. may save many companies a
trip downtown. Other doors about the plant are marked
"post-office," "grocery," etc. The L. M. who saves money
for the boss knows that every time a location about the
studio is used, just so many auto rides and sandwiches are
saved.
The L. M. has lots of dealings with millionaires. This
is interesting up to the point where the L. M. is informed
that certain actors trampled the flower beds and dabbled
in the goldfish pond. Sometimes the company are informed
that this is their last visit to the estate. The
diplomatic L. M. can usually manage to pay for
the damage and keep the millionaire in an ex-
pectant mood for further visits. The clerk of
each acting company keeps a tipping sheet. If
servants about the place have been put to some
trouble, they receive their bit. A tipping sheet
looks like this: (Continued on page 80)
69
QEliott Dexter, one of the courtliest figures that the screen
has ever knoivn.
T
"^HE passing of a romantic figure is always an occa-
sion for regret, for reminiscent recitals of triumphs
that are past, for the figurative laying of bays on
the bier of the departed.
Hollywood is wondering, a bit sadly, if the departure of
Elliott Dexter into vaudeville marks the beginning of the
end of the career of a great screen lover.
Elliott Dexter is not growing younger with the years. He
has lived a full life; the record of his joys and sorrows, his
triumphs and indulgences are etched upon his handsome
face. Though still a gallant and a graceful figure, his hair
is silvered at the temples. A wracking illness left a limp,
as memento of hours of pain and helplessness.
When a screen player, no longer in his first youth,
leaves an old and established film company to enter the
fold of a young independent producing company, the act
is significant in Hollywood. There were lifted eyebrows
when Elliott Dexter finished a long and successful service
with Paramount and signed with a new and obscure com-
pany. There were more lifted eyebrows and some "I told
you so's" when, a few months later, the company ceased
production. Elliott Dexter and several other staxs of famous
names and long — too long — years of service found tims on
their hands. Dexter went to New York, worked up a
little act and took it into vaudeville.
Kjlliott
DEXTER
A Gallant Actor
Quits the Screen
By Nivian Nictor
The critics spoke kindly of the star but de-
precatingly of the skit. "Flimsy," they called it;
"a dull and moony dialog." Dexter's pleasing
dignity and his obvious thorough mastery of his
craft could not save the weak and inadequate
vehicle.
Elliott Dexter somehow fell, early in his screen
career, into secondary male roles. Many a hand-
some, lovable chap like Wally Reid walked off with
the girl, while Elliott Dexter was left to smoke his
pipe and dream of the might-have-been. Somehow
life seems to have treated Dexter much the same
way. The juiciest plums have never come his way,
except that notable instance when Cecil DeMille allowed
him to get Gloria Swanson in Something to Think
About — and Elliott only got her after Monte Blue
had first won her. Dexter has always been the patient,
kindly, big-brother man whom the fires of youth have passed
by. The audience has always loved him, but has never
been excited about him. One is so seldom excited about
good, patient people — the salt of the earth. It. is the
paprika that we remember — and ask for. The salt is always
supplied, as a matter-of-course!
In real life, however, Dexter "got the girl." He is, so far
as the world knows, happily married to Nina Untermeyer,
who was an extremely wealthy widow and society leader at
the time Dexter married her. The ceremony was performed
in the home of Cecil DeMille, one of the trinity of gods
at Famous Players-Lasky. Now Dexter has no contract
with Lasky — only memories of good parts, but few high-
lights.
So far as can be learned, Elliott Dexter has signed no
contracts to return to pictures. Perhaps he does not wish
to return. Perhaps he has learned already the bitter truth
that "The plaudits of the world are as fickle as a woman's
whim." We hope he comes back to the screen. But if he
has left us for good, this be his epitaph: "A fine actor,
a stirring lover, a very kindly gentleman."
70
itttng
Pretty
That's what
Ray Griffith
k doing now
says
Lucille l^arrimer
CHEERING for the villain at the movies
is right in a class with rooting for the
bull at our Spanish cousins' favorite
sport. It isn't done by people who
know. But whenever Raymond Griffith plays
a "heavy" role, I'm always hoping for once in
a way that the gent with the mustache will win
the gal. And occasionally, when a director lets
Griffith be the hero who clasps the heroine to his
manly breast in the sixth reel, why then I get
all set to tear up the seats, along with the
gallery-gods. I'd whistle through my teeth if I
could.
You may gather from this that I approve
of Raymond Griffith as an actor.
If I weren't afraid of making you turn the page
hurriedly to the next story, I'd tell you that
there was a moral in the tale of Ray Griffith's life.
But being well aware that morals, like spinach
and castor oil and other things that are good for
you, are awfully hard to take, I'm not going to
mention it at all. I'll just say artlessly that Ray
Griffith doesn't look like a Pollyanna, does he?
After giving him Boston for his birthplace.
Fate set out to make up for it by smiling upon his QRay
career. The stage claimed him immediately after
his graduation from St. Anselm's College in New Hampshire.
He had a taste of every form of dramatic endeavor, musical
comedy, straight drama, pantomime and even a colorful ex-
perience with Barnum & Bailey's circus. He was a born actor,
with a flair for comedy. His irrepressible humor "got over"
enormously. And then, after smiling upon him for years,
the fickle jade, Fate, played him a low tick. He lost his
voice. He became the whispering actor.
Now an actor minus his voice seemed about as good an
insurance risk as a pianist without arms. The future looked
black. But Griffith had more than one string to his bow.
He packed his troubles in his old kit-bag and caught the
first train for Hollywood, where voices don't mean so much.
Griffith the 'whispering actor of Hollywood <who made
good in the movies vjitliout a voice.
He offered the privilege of his services to those pioneer
companies of screenland, Kalem, Keystone and Triangle.
When he could get a part, he acted. When he couldn't, he
took his trusty typewriter in his lap and wrote scenarios.
Many of Mack Sennett's most hilarious pie-dramas were
from Griffith's ingenious brain. He thought up "gags," too.
But the cry for new faces brought Griffith out.
The public was tiring of Arrow-collar males. A
marcel wave and cupid bow lips were no longer the
sine qua non of dramatic success. Personality was the
watchword, and Griffith simply oozed personality. That
enterprising young director named Marshall Neilan, who
can spot an actor as far as he (Continued on page 91)
71
By Alice Anesely
Sketches By Benito
in
IF in the spring a young man's fancy turns to thoughts of
love, in the summer his fancy will most probably turn
to thoughts of the beauties of the beach. So all
wise maidens knowing this direct their attentions to
les costumes de bain or as we say in American, to swim-
ming suits. There are few better ways to observe and
learn about the possibilities of effective bathing costumes
than to study those chosen by the so-called bathing beauties
of Screenland. P"rom the successful graduates of Mr. Sen-
nett's school for bathing girls one may take excellent ideas
about the way to be both decorative and comfortable when
the mercury hits ninety-three. Phyllis Haver and Marie
Prevost. both so exceptional at pleasing the eye that they
have progressed far beyond the Sennett Comedy ranks,
furnish important fashion forecasts as to what the well
dressed beach beauty will wear. Then there is Annette
Kellerman. Everybody knows what Miss Kellerman stands
for in the way of plain and fancy diving and all around
knock-out form. And for the coming queens of the beach—
those who still prefeT sand piles and shallow pools — Baby
Peggy is my model. All of these stars know the art of
beach dressing. With the possible exception of the one
last mentioned they have had years of practice. Therefore,
let us see just how they do it.
Annette Kellerman, so well recognized as queen
. of all swimmers that bathing suits are named
for her, is Exhibit A. In a new picture just) being re-
leased you may see her wearing the very costume I describe
here. The picture is called Venus of the South Seas. Miss
Kellerman knows that beauty in swimming depends on
grace, and that grace depends upon free and unhampered
movement. Consequently she has always worn the knitted
one piece suit that has at last been adopted by even the
most conservative and proper people. Of course, the origi-
nal one piece suit called by her name was a little severe for
those of us who cannot quite measure up, or rather down,
to Miss Kellerman's standards of perfect form. Then too,
police regulations are sometimes annoying even though
misguided, so the original Kellerman suit had to be modi-
fied by the addition of a short skirt. The one piece suit
that now bears her name meets the demands both for less try-
ing lines and for beach rules. It has a skirt and is called
the Annette Kellerman "two-in-one" bathing suit. Since
72
she is the Queen of all bathing beauties she naturally
chooses this suit in heavy knitted silk. The silk suits
are horribly expensive, of course, but when one is blessed
with a figure like Miss Kellerman's, expense is no
consideration. Even when one hasn't a figure like hers a silk
suit of this kind will go a long way toward making the world
think one has. It is the subtle difference between the silk clad
ankle and the one with a cotton or wool covering. On a
suit of material of this intrinsic beauty no other trimming
than a contrasting band at the hem is necessary.
Graduates of the Sennet t School.
But of course it isn't essential that one be ex-
pensive and opulent in silk to cut an engaging figure
on the beach. Phyllis Haver and Marie Prevost prove
this clearly enough by choosing the wool jersey suits shown
in the illustration. Undoubtedly knowing what to wear to
enhance their charms had a lot to do with their rise to
fortune. It usually has, you know. Miss Haver's choice,
the suit of finely plaided wool jersey is certainly new and
distinctive enough to satisfy the most exacting fashion fan.
It has a belt too — a detail that aside from being very
smart, makes a one piece suit much easier to wear. The
cap that is shown with this suit is a wrap turban — quite
the most ultra thing in beach millinery. The particular
points about the suit that Marie Prevost wears to set off
her charms are its brilliant coloring and novel white button
trim. The necklines of these two models illustrate the
two newest shapes that necklines may take, the modified
square and the V.
The Vagaries of Venus.
The caps and accessories that all these stars wear
are worthy of a complete story of their own. Miss
Kellerman's rubber Bandana speaks for itself. It is one
of the most graceful and popular bathing caps that it is
possible to find. The gypsy-like hoop earrings, besides
being distinctly "in the picture," for wear with the debonair
Bandana, are most amusing because they are made of
rubber. Can't you imagine having quite an entertaining ten
minutes laughing over them with your friends? The
foibles of us women are a lot cleverer than stupid
and superficial people will usually give us credit for.
Life is not all {Continued on page 95)
73
CI New York,
N. Y. Mr.
and Mrs.
Ben Throop,
form erly
Miss Rubye
De Reymer.
0 C h i c ago,
III. Arthur
Ha m m e r-
stein with
his bride,
D o r o t h y
Dalton, <who
iv e r e re-
cently mar-
ried here.
Our Own
News
Reel
Q Cinema News
in Picture Form
Paris, France. — Little Jeanneau Torry,
France's three year old screen ivonder.
He's just one inch shorter than the police
dog.
Q Culver City,
Calif ornia.
Harold Lloyd
practices
to enter the
national ama-
teur handball
tournament at
Los Angeles.
74
\ \
Los Angeles, California.— Alice Lake receiving congratulations by Police
Judge James Hope on her- marriage to Robert Williams, the screen actor.
At the left arc Mr. and Mrs. Harry Whitney ivho acted as best man and
bridesmaid.
Jack
Dempsey
(j[The man who fin-
ished Firpo takes a
flier in the movies
Q Left — The heavy-weight cham-
pion of the world lias a tussle
with a powder puff, lipstick and
an eye brow pencil. He is
shown here making up for the
first of his pictures under the
. new million dollar contract.
CiRight — Here we have Jack, the
tiger man, made up as a bad
man of Mexico. I wonder what
Firpo would have done if he had
caught him in this kind of a rig
out. Now thai Dempsey has
had this rough training he will
be able to meet challengers from
all parts of the world in the
proper costume.
The Listening
«
By Our Star (Contributor
C R E E N LAND
MAGAZINE
staged a little super-
production with a
real all-star cast. The invitations called it a house-warming,
or rather an office-warming; and every eastern star was
invited to be there. I was so pleased with my own invita-
tion, a clever card designed by KHz, one of Screenland's
distinguished staff, that I pasted it in my scrapbook; and
more than one of my brother and sister-stars did the same
thing with theirs. It was a great success — I never saw so
many important and interesting people at one tea before.
Besides motion picture celebrities there were well known
stage stars, writers, artists, and press agents, all having the
time of their lives.
Anna Q. Nilson and Alma Rubens Present
s we came up to the new offices, Myron Zobel and his
• staff were there to welcome us, and to ask us to sign
a guest book. Alma Rubens and her mother signed first —
and under "remarks" Alma wrote, "We film stars should be
seen and not heard," which isn't always true — certainly not
Q Sayings and Doings in Screen-
land from Coast to Coast.
in Alma's case. The deco-
rative Rubens was asked to
pose her brunette beauty —
which was set off by a smart
black gown with a dash of cerise — against the artistic back-
ground of the office reception room — which doesn't look in
the least like an office with its shaded lights, mirrors, and
comfortable chairs — and do a little hand-shaking. She
joined the staff in greeting the guests, but after a while Anna
Nilsson arrived to relieve her, just in time to save Alma's
good right hand which she finds almost indispensable in
autographing her fan pictures — yes, some of us really do it
ourselves! It was Anna Q.'s farewell appearance before
leaving for California, and she was a centre of attraction
in her new tailleur and little hat which almost, but not
quite concealed her boyish bob.
Hope Hampton Arrives
The magazine turned over an entire floor, in holiday dress,
to its guests — fortunately, because everyone had such a
good time and showed no desire to rush away. There was
Hope Hampton and her manager-husband, Jules Brulatour,
Screenland's guests gather on the roof to have their pictures taken. Reading from left to right: Queenie Smith, Hope Hamp-
ton, Isabel Leighton, Anna O. Nilsson, Myron Zobel and Alma Rubens.
76
Post
just back from a trip around the world. Hope was
wearing a French creation of black satin with pink
feather collar, cuffs and buttons — it sounds weird but
it set off Hope's gorgeous red hair and blue eyes to
perfection. I couldn't help being a bit envious as I
stared rudely at her pearls — said to be the largest and
costliest Paris could offer; Irene Castle's is the only
necklace to rival it. Hope started to tell me about the
sheik who demanded that Jules sell her for $50,000,
but a newspaper man swooped down on her and carried
her off for tea.
Richard Dix Idol of Follies
A group of Follies beauties, including Fern Oakley,
whom you'll see also in Monsieur Beaucaire, were
wondering when Richard Dix
was to arrive. Richard has
been rather elusive of late; he
had been working desperately
hard until all hours finishing
Unguarded Women, Alan Cros-
land's production with Bebe
Daniels; and tired of being dis-
turbed in the little time he had
to rest in, moved from his
hotel to Long Island without
divulging his whereabouts, even
Kono/
Herbert Brp/inon-BotpDanre'lii.
Richard Pjst'V'ikf^marGodouirkir^
tr/if/f Totvence «»*•«•«*•* — ~
new officer Qt i45>-Wl
57^ stn>et oa fatui'diay May
ytjit 5<*e/GeK ? j i i^ou are itt-
vited to i>ut'nd a^> «/»
tv ^ P
Myi-on ZoAe'
145 V&tST?
A jolly group of merry-maliers at Screcnland's parly: You may recognize Miss Dagmar Godzvsky, Mr. Myron Zobel, Miss
Alma Rubens, Mrs. Rubens, Kliz, Mr. Herbert Crooker, Miss Regina Cannon, Mr. Ralph Rossifer and Mr. William J.
Delancy.
77
to his company. He emerged from his retirement to sell
tickets one night to The Ten Commandments, in the box
office of the theater on Broadway- where it's playing, just to
oblige his press agent who recalled that Richard would
know how to make change as he used to be a bank cashier.
The sub-debs at Screenland's tea party couldn't be con-
soled with any other stars ; and when Richard's manly figure
in a brand-new fuzzy brown suit, finally appeared, they
mobbed him in no uncertain manner. He is one matinee
idol adulation can't spoil; he has a marvellous sense of
humor and loves to kid himself. Anna Nilsson breathed a
sigh of relief when she saw him. She
had told some friends of hers that he
was coming and hadn't a moment's
peace until Richard made his personal
appearance.
Herbert Brenon There Too
Herbert Brenon was hard at work
finishing up The Mountebank at
the Famous Players Long Island studio,
but he dropped everything to come. He
is quite charming enough to be a matinee
idol himself. A star who worked for
him told me once he was temperamental,
but he never displays it outside the
studio. Besides, a little temperament
sometimes relieves a most monotonous
day on the set! Mr. Brenon is soon to
do Peter Pan, you know ; and can't wait
to get to work. I wanted to ask him
if Samuel Goldwyn was going to play
Peter but thought better of it. One of
the innumerable actresses seriously
spoken of as a possible candidate for
the Barrie role was present, too — Ger-
trude Bryan. She's never done pictures,
but has shone in musical comedy. Miss
Bryan was the star of Little Boy Blue
some years ago when she married a mil-
lionaire and became a smart Long Island
hostess. She came back this season in
Sitting Pretty, in which clever Queenie
Smith is the star. Of course, as a film-
ster I can't help feeling that a screen
actress really should get that coveted
part.
Queenie Smith, by the way, was pres-
ent. She's never done pictures either,
but she's such a young and pretty girl
she'd probably be a hit. She had Isabel
Leighton with her — Isabel is one of the
promising ingenues on the New York
stage and just had her screen tests made.
Dagmar Godowsky was wearing a stun-
ning black-and-white hat and didn't
seem at all annoyed when I asked her
if I might copy it. Dagmar's ex-hus-
band, Frank Mayo, is on his way east
to play opposite Alma Rubens in a new picture
a fashion artist ; popular dancers and a high-browed critic —
they were all at Screenland's party. There was a news-
reel photographer too to make a celluloid record of the affair.
When this story sees print it will be on the screen — released
in all theaters by Screen Snapshots.
Alma and I left together and as we said goodbye we
asked Mr. Zobel why he didn't make his house-warmings a
regular occurrence!
Herbert Brenon was telling of some of the difficulties a
director is always up against. A white poodle plays an im-
portant part in William J. Locke's The Mountebank and Mr.
Brenon requested that the studio staff
have one report to him early one morn-
ing. Mr. Brenon, a fiend for work,
called his company and waited, and
waited. Finally a breathless assistant
rushed up. "Oh, Mr. Brenon," he
puffed, "we've just got hold of a fine
cocker spaniel!"
I
SCREENLAND'S
STAR REPORTER
She sees all. She knows
all. This month a famous
screen star — whose identity
we cannot reveal — has
agreed to write The List-
ening Post for us. Do you
know who she is?
Each month The Listen-
ing Post will be written by
a different screen star.
A Visit to Valentino
had a brief vacation between pic-
tures and, like the motorman on a
holiday, went for a street-car ride.
There were several important picture
openings; a party or two; and interest-
ing things going on at the Paramount
studios. I went out there to have
luncheon with Richard Dix and saw
Douglas Fairbanks calling on Allan
Dwan — just before Doug sailed. They
were inspecting the various sets and
came suddenly upon Rudolph Valentino
doing a scene for Monsieur Beaucaire.
Doug, you know, owned the rights to
the Tarkington play and then decided
not to do it. He looked at Rudie, a
graceful figure in his satin knee-breeches
and laces and wig, and turned to Allan
and said, "Good thing I gave up the
idea — I'd look like the devil in those
clothes!"
Getting Glyn's Goat
Next month Virginia
Valli will be the author.
Whatever she tells you
about filmdom and its peo-
ple you can believe — be-
cause she has heard it from
their own lips.
Watch for
SCREENLAND,
first.
A1
the August
ready July
Meets Staff of Writers and Artists
There were representatives of all the film companies;
and the magazine presented its own stars — Anne Austin,
Delight Evans, George Clisbee, Wynn, Benito, Covarrubias,
the brilliant caricaturist, who was a great surprise to me —
he's really just a nice, shy kid.
Sedate editors chatting with merry ingenues. Beautiful
film stars kidding their press agents. A magnate or two;
lan Crosland was directing Dix
and lunched with us, too. He
reminisced about Elinor Glyn, whose
Three Weeks he transferred to celluloid.
Crosland had his troubles. "Madame
Glyn" was on the set every minute;
making constant suggestions as to just
how a scene should be done. Finally the
director thought of a way to be left
in peace for a while. He was super-
vising at the time the well known dinner
scene when Paul first sees his Lady.
Crosland instructed Conrad Nagel sotto
voice to use thO worst table manners he
could thing of, including massaging his teeth with a match.
Conrad gave a good imitation of a boorish glutton. Madame
watched, her eyes wide with horror. "Mr. Crosland!" she
cried. "You are not going to shoot this scene?" "Why,
certainly," replied the director. With a loud shriek Elinor
rushed from the set, to be seen no more that day!
Did you ever hear what Tony Moreno said to Elinor?
She was admiringly telling the handsome Tony that she
remembered him in a former incarnation — her favorite
"line" — Egyptian, or something. "You must be mistaken,
Madame," said Tony in his delightful accent. "But I have
78
always been Spanish." "Ah, yes, yes," agreed Elinor. "I
remember now — Spain — toreadors — you, in the bull-ring — "
"Throwing the bull," added Tony with a grin.
Bebe Daniels loves to tell one on herself. She met
Emmett Glynn on a west-bound train on one of Bebe's
and her mother's frequent transcontinental commuting ex-
cursions. The talk, strangely enough, drifted to pictures.
"Well," said Bebe, who is a young woman of convictions,
"one of the worst pictures I ever saw was A Fool There Was."
"Yes," replied the young man who directed it, "I tried to
get you for the leading role!" And now they're good friends!
Gloria Swanson's Party
/Oloria Swanson gave a party one evening at which
several executives of her company were present, also
her director, Allan Dwan. As a joke Gloria included among
her guests a wax figure — very faithful to life — which she
sat up in a chair. A certain magnate wanted to meet the
lady and Gloria presented him. Said magnate in a burst
of enthusiasm grabbed the wax lady's unresponsive hand
and gave it a hearty shake. Too hearty — the hand came off.
The next day Allan Dwan met him and told him about it.
The figure cost $300 and it looked as if Miss Swanson
would have to pay the bill. The magnate was of that
opinion, disclaiming any responsibility. The ingenious Mr.
Dwan wrote a scene into the star's picture, Manhandled, in
which the wax figure is apparently a young girl who has
"passed out" at a wild party. Gloria bends over her and
shakes her, then takes her hand — which comes off! The
scene was a good one — and the magnate paid the bill
after all!
I've often wondered what one says when meeting his
ex-wife or ex-husband. Now I know. At the studio the
other day Tom Moore looked up and saw Alice Joyce, the
first Mrs. Moore, walking by with her pal, Anna Nilsson.
Alice happened to be looking that way, too — and everyone
stopped working and waited to see what would happen.
Tom seemed a bit fussed, but nevertheless regained his
composure and bowed to his ex-wife, who returned the
greeting.
Barbara Returns to Single Blessedness
Barbara La Marr is in New York right now, and told
her best friends that she is through with matrimony
for good. I never could keep track of all Barbara's hus-
bands but I know the most recent was Jack Daugherty, the
red-haired leading man; but Barbara assures us it's all
over. "It took me five husbands to learn that single life
is the only real life," remarked Miss La Marr, whom we
all call Bobbie. Some people learn with less.
Sigrid Holmquist thought she needed a rest and booked
passage for Cuba. Then she went out and shopped, spending
over a thousand dollars in less than two hours. She ordered
eighteen pairs of shoes in the same shop! Six pairs are as
many as I ever bought at once. Sigrid, you know, is said
to be Jack Dempsey's favorite screen star.
I've heard lately that Winnie Sheehan, general manager
for Fox, may soon appoint a successor to Kay Laurel,
the first Mrs. Sheehan. Winnie has been seen "around"
often with Florence O'Denishawn, prize dancer of the Music
Box Revue.
How the Hunter-McAvoy Engagement Happened
So many people have asked me if Glenn Hunter is engaged
to May McAvoy that I might as well tell what I know
about this well known romance. This is the story — as I
heard it. It was a dull day at the studio and Mr. Hunter
thought a little publicity would not be amiss. Apparently
Miss McAvoy agreed with him. A newspaper woman hap-
pened to be visiting the set and was told the exciting news
on the condition that she simply must not print it. The
plan worked. The story broke in the morning paper.
Glenn and May were engaged — practically.
Florine Williams, wife of Earle, is the mother of a little
girl, christened Joan Constance. Connie Talmadge is the
child's god-mother. Mrs. Williams and the younger Tal-
madge are inseparable chums and can be seen everywhere
together in Hollywood.
I seldom credit reported engagements, but it does look
as if Connie is ensnared again at last. Buster Collier, son of
William, is the favored swain. He is somewhat younger
than the comedienne — it seems only the other day that he
was a kid actor appearing with his dad in a Triangle picture.
Dalton and Hammer stein Now Mother and Daughter
Speaking of matrimony — Dorothy Dalton is now Elaine
Hammerstein's step-mother, having married Elaine's
father. Arthur. For a long time Miss Dalton was seen
frequently with a well known film executive, and the world
thought it was a real romance — at any rate, that Dorothy's
affections were permanently placed. Then along came
Arthur — and now they're married. Mr. Hammerstein has
had four other wives; Dorothy was once Mrs. Lew Cody.
Mary Hay — who is Mrs. Diak Barthelmess — may be
obliged to retire from the stage. She left the cast of her
musical comedy, Mary Jane McKane, because of illness.
Dick's future plans are still unsettled; but it looks as if
The Enchanted Cottage will be his last for Inspiration.
"They won't like it," said Dickie to me rather dismally,
"because it hasn't got a villain in it. And you must have
a villain."
Laurette Taylor, before leaving for the coast to make
One Night in Rome, gave a supper party at her home in
Riverside Drive. Just like most other film stars, she has a
projection room ; and this evening she showed The Shooting
of Dan McGrew, directed by Clarence Badger, who is to
supervise the latest Taylor-Manners production. Among the
guests were Mae Murray and Robert Leonard, Lady Diana
Manners, Gertrude Lawrence and Beatrice Lillie, the present
musical comedy toasts of the town from the British Chariot's
revue, and Dagmar Godowsky.
When any company has a picture which they consider
somewhat unusual, they immediately plan a coming-out party
for it. The latest production to have a review de luxe
was Associated Exhibitors' The Chechacos, an Alaskan story.
Someone suggests that when they send the prints to ex-
hibitors they should also send interpreters! The Ritz-
Carlton was the scene of the showing; and there was supper
and dancing afterwards: which was very delightful.
Mary Pickford's Dorothy Vernon of H addon Hall was
presented at the Criterion Theater. Not to be outdone by
Doug's presentation of The Thief of Bagdad, Mary had the
exterior of the Criterion dressed up like an English castle.
Before sailing for Europe, the star gave her press agent
a list of five hundred people for first-nights seats. The
Criterion seats only six hundred. Pity the poor press agent!
Cast This One Aside
Here's a good one that they tell on Jimmy Cruze. It
seems that Mabel Coleman, who does bits in pictures here
and there, was working for Cruze in The Enemy Sex, starring
Betty Compson. The picture was due to finish that
day and Mabel didn't have a sign of a job lined up. A
man with a coquettishly cocked pair of eyes appeared on
the set.
"Oh see the cross-eyed man," cried Mabel.
"He isn't cross-eyed," said Cruze. "He just has a cast
in his eye."
"Goody!" said Mabel. "I hope I'm in it!"
70
80
(\With the Location Man— from page 69.
Name of Production Director
Paid Jap gardener for helping assistant
director.
" house servant for service to lead-
ing lady.
" owner for damage.
" — ■ — owner chauffeur for doing errand.
Mr. Millionaire himself can't be tipped
so he usually receives an invitation to visit
the studio and bring visitors from out of
town whenever he wishes. In these days
when all studios have a "No admittance"
sign on the front gate, the invitation is a
rare privilege. The fury of one L.M. for
another knows no bounds if a company has
done damage cn a location which isn't
properly compensated. It simply means
that the owner of the property will in the
future refuse his place to the entire motion
picture industry.
Police Permission Sometimes Handy
In New York City William the Con-
queror and Norman hordes once stormed
the English in Van Cortlandt Fark without
police permission. There was similar
grief. Now diplomacy is the watchword
of the studios. Actors, horses and props
are not scattered in careless confusion be-
fore church steps on Sunday morning
when prominent tax payers are en route
to service. It's far more diplomatic to
take those scenes another day. Diplomatic
friendships with all sorts of officials make
it possible for picture companies to have
standing permission to use university
grounds, aeroplane bases, government
forts, banks and so on.
Diplomacy also pays in dealing with all
private citizens. A certain picture com-
pany wanted to use an iron foundry a .few
months ago. The owner is a grouch and
told the L.M. to get out of his office. Not
many weeks later the heavy limousine of
the iron foundry owner sank in a bed
of mud not far from the studio. He was
hurrying to meet an appointment. The
L.M. looked out of his office window,
chuckled with glee and then an idea came
to him.
"If you will let me use your iron foun-
dry for some scenes in our story," he
offered, "I'll have Dora, our elephant,
brought around to pull your car out of
the mud." The bargain was struck and
the iron foundry owner became a friend
instead of an enemy.
The Sheep Rancher's Objection
The L.M. is asked to find some dif-
ferent locations. One had to provide a
sheep ranch. It was the time of year
preceding Mr. Woollyfur's trip to market.
Not a single rancher would let a camera-
man shoot his sheep.
"If we let you walk our sheep up and
down the ranch for a week they'd lose all
their fat," exclaimed the ranchers, and
so the story had to be shelved until all
the county fairs were over and the blue
ribbons distributed.
It was almost impossible to get carrier
pigeons during the war as they were all in
service. Opium outfits are always hard to
get. When the L.M. goes to Chinatown
searching these, not a single Oriental will
admit that he has one. A certain story
depended upon a race between a woodtick
and a ladybug for its dramatic climax.
The L.M. found that it was out of season
for those insects but he had to procure
them from an eastern experimental lab-
oratory. It took another L.M. four weeks
to locate a rattlesnake. Then there is
the story about an auto which leaps a
thirty foot gap between a raised bridge
and the opposite shore. Engineering ad-
vice must be consulted in order to test
the weight of a dozen bridges and figure
out the speed of different makes of autos
and the momentum necessary to make the
leap.
Tricking Nature
Tricking Nature is part of the L.M.'s
job. It is often necessary to change
summer into winteT and vice versa. One
story demanded a field of blackened
stumps supposed to appear as if a fire had
just swept the forest. The blackened
stumps were found on a mountain loca-
tion but snow covered the ground. It
was necessary to bring a hose from the
studio, attach it to a farm-house faucet,
and melt an acre of snow. And in the
dead of winter, a porch was given June
atmosphere by a location man who strung
paper vines over the trellis and planted
fake rose-bushes near the steps. White
pine sawdust is often used in summer to
resemble snow and glass icicles help the
illusion.
There are many typically English houses
in California but they are surrounded by
palms. These trees are foreign to the
British Isles so the L.M. has to plan his
scenes in stories of England so that the
camera shots may go between palms and
other tropical plants. It takes twice as
long to film such scenes. Catching the
sun's rays at the right angle and excluding
both palms and the shadows of palms is
highly in-trick-it!
A certain team of Alaskan huskies — half
wolf and half Malemute dog — were to be
driven through a gap in the woods in a
beautiful snow scene. It was late in the
day and quite important to catch the
sun before it went down. In order to make
the scene effective, the dogs were to be
turned to the right frcfn the wooded gap.
Each time their Esquimaux master called
"Gee" (meaning right) they made a sharp
angle to the left. The thing was tried
over and over again with the same result.
Everyone was puzzled.
"Feels like dinner time," said a tired
actor. The director had an inspiration.
"Why, I guess the dogs feel the same way
and turn to the left because its toward
camp," he said. So the sled was reversed
this time and the dogs at once made the
desired angle from the gap as it faced their
kennels.
The Indian "Supers"
At one of the big ranches near Los
Angeles there are a band of regular
salaried supers who have been working for
SCREENLANB
the same picture company for two years.
Half of the supers are Indians or Mex-
icans, the others, white men. Professional
supers who play battle all the time as they
do grow very expert in matters military.
Now, the Indians and Mexicans had
played the part of Indians in every film
story, and were always repulsed by the
white men. One day the Indians held a
council and sent a representative to the
manager of the film company.
"We play battle for you long time now,"
he began.
"Yes, and you do it very well," an-
swered the manager, fearing a strike.
"Indians always lose," complained the
other. "We want picture so we beat
once." The manager laughed and looked
over his schedule of plays to come.
"In the next Civil War picture," he
said, "the Indians and Mexican supers can
be Northern soldiers. We don't work
near the camera and your dark faces won't
be noticed. The rest of the supers — the
white men — can be 'Confederates."
The Northerners were supposed to win
the battle of the film story, so the Mex-
icans and Indians pommeled their oppo-
nents in the most realistic and bloodthirs-
ty contest ever filmed.
The "Supers" Mistake
One perfectly lovely location was
marred by an errant "super." A
director who wanted to take advantage of
a bright sun kept his people working
right through the noon hour. The supers
clanked their swords and charged the hills
until about three when they were raven-
ously hungry. Coffee and sandwiches were
served.
In order to finish up the many scenes
that had to be taken on that location, the
heroine and leading man did not stop to
eat but went on with one of the dramatic
close-up scenes of the story. Just as
the camera was buzzing, a soldier super
dashed across the path of the lens and
toward the director.
"My brother don't eat ham and they
won't give him a cheese sandwich," he
whined. Just then the sun dipped behind
the trees and the location was lost for the
day.
It is becoming more and more the cus-
tom to build exteriors in interiors. That
is, the studios have found it cheaper to
erect a replica of some exterior inside on
a studio stage where lights, props, etc. are
near at hand than to attempt to "doll up"
the real exterior itself, located perhaps
some hundreds of miles away. Louis
Gasnier, who directed Daughters of the
Rich had the exterior of a French hotel
built inside the studio. DeMille has long
followed this practice, constructing every
possible one of his lavish exteriors in the
studio beneath the big glass roofs. Al
Christie recently had an entire field of
cotton "planted" in dirt which had been
hauled to an interior studio stage. If
the studios made extensive use of this
practice, the L.M. will be out of a job!
The Movie Clock
(^Recording by iveeks the record
runs in New York Theatres
of screen feature productions
npHIS is the third month that The
Movie Clock has been running. Dur-
ing that time many feature pictures have
run down and stopped, amongst them —
The White Sister, The Hunchback of
Notre Dame, Scaramouche, Yolanda. In
fact it is quite some achievement for a
picture to possess sufficient hardihood to
justify a continuous run in a New York
theatre of twenty weeks or more.
The Ten Commandments has begun to
show promise as a "runner up." Already
in its nineteenth week, it shows a good
likelihood of continuing well into the
summer. It is already nine weeks ahead
of anything else in the field.
The exception, of course, to all rules
is The Covered Wagon, which has circled
the clock and is already a full lap ahead
of the field. This play — which is only
now being withdrawn, May 3rd, 1924,
to give way to Mary Pickford's Dorothy
Vernon of Haddon Hall at the Criterion
Theater — has established a world record
for longevity. It closed after having
completed a continuous run of 59 weeks,
a record which no other motion picture
in history has approached. It played to
over 500,000 people in this one theatre
with receipts which ran pretty close to
$600,000, since its opening on March 16th,
1923. At Grauman's Egyptian Theater
in Hollywood, the receipts for the run
of this picture were more than $700,000,
due to the larger seating capacity of the
Hollywood theater. It is estimated that',
including all cities in which The Covered
Wagon has been "road-showed" — and it
has played in legitimate houses — that this
picture has been seen by at least five
million pebple.
81
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So many readers have written in and
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America's Sweetheart. In Screenland for
August.
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32
SCREENLAND
Q The Man With the Shears— from page 65,
re-pieced, the Big Boss is called in to view
the film. If his okeh is forthcoming, the
negative is cut, using the positive as a
sample. As many prints as are necessary
are made and the picture is ready for
release.
The difficulty of the cutter's work is
intensified by the huge amount of film
shot. The waste is appalling and ac-
counts, perhaps, for the increasing pro-
duction cost of pictures as well as the
high admission prices at the box office
of your favorite, if any, theater. Some
directors, or perhaps I should say, most
directors simply wallow around in foot-
age. They shoot scenes that they must
know will never be used. Eric von Stro-
heim is the prince of film-footers. Grif-
fith, too, shoots an enormous amount of
film. So do many of his disciples who
seem to figure that the greatness of the
picture depends upon the number of thou-
sand feet of film from which the com-
pleted film can be carved.
Shooting Susanna
In Susanna, the Sennett feature starring
Mabel Normand, 350,000 feet of film
was shot. This means a mere trifle of
350 reels. This was cut down to 6,000 feet,
or six reels. Some 344,000 feet of film
was junked. With raw film costing three
cents a foot, and negative film twice as
much, you can figure for yourself the
tidy sum of money paid out for just that
raw film alone, not counting the cost of
developing, or printing, or overhead!
What becomes of the rejected film?
Some few feet, such as "animal stuff,"
is filed away in stock. The rest is sold
for junk, and fetches about ten cents a
thousand feet.
The Extra Girl, another Normand fea-
ture, was cut from 200,000 feet to 6,800
feet, a little over six reels.
Probably only Heaven and Abe Lehr
know how many hundreds of thousand
feet of film were shot by von Stroheim in
his production, Greed. Von Stroheim
himself cut the enormous mass of film to
48 reels, begging and imploring Goldwyn
to run the picture at that length as a
serial. Before she left for Italy, June
Mathis tentatively scaled the film down to
12 reels. If Greed is released at that
length, it will be a stark skeleton of the
marvelous drama etched on the film by
von Stroheim. The heap of rejected film
will be a symbol of the heart-break that
actors and directors of that drama will
suffer.
Eric von Stroheim does not know the
art of brevity. The short story is not his
forte. Were he a novelist, he would be
of that vanished school that brought forth
four-volume novels. But the silver sheet
is not the medium for drama of such
length. Greed will come to the screen an
emasculated remnant of the picture he
created. Dale Fuller's superb and tragic
characterization will probably be cut to
a mere flash. Zasu Pitts and others who
rose to the heights under the fiery inspira-
tion of the Austrian will see, perhaps,
their best work lost.
Kerry Cut to Pieces
IT was that way with Merry -Go -Round.
They say, the wise ones of Hollywood,
that it was the disappointment of seeing
his exalted work as Phoebus cut to the
quick by the relentless shears of the cut-
ter that turned Norman Kerry into a
cynic whose motto henceforth is "A quoi
bon?"
But there is the semi-humorous side to
this matter. There is the story of the
school-girl who ran away from her home in
Sioux City, Iowa, to become a star in
pictures. By the time her anxious father
located her, she had appeared in a pic-
ture with Claire Windsor. Proudly she
told him of her start toward a career, how
the director had said "Good!" as she fin-
ished her little bit, and how surely, sure-
ly she was on the highroad to fame. Her
eloquence induced her father to promise
that she might stay in Hollywood, if her
work in that picture convinced him that
she had talent. The picture was opening
that night at a theater in Los Angeles.
The girl and her father were the first
ones there.
The program went on as programs do.
The prologue seemed never-ending. The
educational film exposing the domestic
habits of the tadpole stretched out its
weary length. The Floozy Sisters, vocal-
ists, warbled and retired reluctantly. And
finally the feature picture was flashed on
the screen. Eagerly the girl searched the
background. Claire Windsor probably
never received so little attention from any
two fans in all her ornamental career. But
the fadeout clinch with the lovely Claire
in the honest embrace of the Arrow Col-
lar hero found our heroine stricken and
her stern parent adamant. That heartless
cutter had cut the girl and her bit en-
tirely out of the picture; she was sunk
without a trace. Our heroine is now study-
ing algebra and spelling in the Sioux City
high school, perhaps dreaming dreams of
what might have been, had a certain cut-
ter been less handy with his scissors.
The Cutter Had It In for Her
Then there is the classic tale of the
extra who spent a day's pay check'
taking all her friends to the theater to
view her triumph in a Negri picture, find-
ing to her chagrin and her friends' amuse-
ment that she was about as prominent as
the potted palm in the lobby scene. Only
the palm was further down-stage. "The
cutter had it in for me," she wailed, and to
this day she is convinced that personal
animus directed that cutter's shears.
But it is not only extras who suffer an-
guish of spirit from the cutter's activi-
ties. James Neill still harbors the hurt
from a slashed part in Joan the Woman,
which Lasky made for Geraldine Farrar
years ago. Neill created a fine character-
ization as a demented old man Who
doubted the voices that the Maid heard.
He put his whole soul into that part, and
used every ounce of dramatic art that his
innate talent and long experience had
given him. It took him months to finish
his work. And when the picture was cut,
because of the vital need to condense the
action into six reels, his characterization
was cut to a few feet.
Sessue Hayakawa used to have fixed
notions on the proper length for his
close-ups. Try to find a star who hasn't.
But Sessue owned stock in the Haworth
Company, which fact gave weight to his
words. When the cutting did not give
his close-ups satisfactory length, he would
come to the cutting room and measure off
the film himself. "Now thees one, seex
feet," he would say. Then, designating a
close-up of his wife, who played opposite
him, he would say, "Three feet, plentee."
Picture Made in the Cutting Room
More than one picture has been liter-
ally made in the cutting room.
Don't Tell Everything, a Paramount pic-
ture featuring Gloria Swanson and Wal-
lace Reid, was supposed to have been
made from the film left over from The
Affairs of Anatol. Recently, a Sennett
comedy was rejected by the distributing
organization. The film was turned over to
the cutter to be resuscitated, if possible.
The cutter, William Hornbeck, rummaged
around in the film library, brought out
some old shots of Marie Provost and
Phyllis Haver, cut out some of the old
gags and switched others to different
positions, jazzed up the tempo and turned
out a good comedy, The Hollywood Kid.
Hornbeck is head-cutter for Mack Sen-
nett and one of the cleverest in the game.
He cut The Extra Girl, as well as scores
of comedies, and is studying the game
from every angle with the ambition of
becoming a director sometime in the fu-
ture. Nineteen-year-old Blanche Sewell,
who cuts all of Marshall Neilan's films, is
another clever wielder of the shears. The
growing importance of cutting, in the
minds of producers, is evidenced by the
hiring of famous free-lances like Frances
Marion to cut special pictures. Miss
Marion is cutting Colleen Moore's new
picture, The Perfect Flapper.
For weary moons, the cutter has been
a prophet without honor in his own coun-
try, but his star seems to be rising. The
scissors and paste pot may yet be mightier
than the megaphone.
Delight Evans and Anna Q. Nilsson got off in a corner at Screenland's party. Nothing of the professional interview
about it. Nothing formal, you know. Just a heart to heart talk. That's the way real personality sketches are written.
The result will be apparent in the August Screenland, ready July first.
SCREENLAND
Please Help
The Poor Editor
WHAT is the first article you turned to
in Screenland? List below in the
order of your preference the stories or de-
partments that pleased you most in this
issue :
1st
2nd
3rd
4th
5th
NOW if you have a little patience
left, will you please give me your
preferences amongst our authors and ar-
tists? Check the author you like best as
No i, second best No. 2, etc., until you
have checked them all. Do the same
thing with the artists. If a letter is writ-
ten accompanying this rating sheet, stat-
ing reasons for your choice, then your
letter will be eligible for the $10 prize
which is paid every month for the best
analysis of Screenland's issue.
Address your letter: Editor Screenland,
145 W. 57th St., New York City.
Writers:
Katherine Albert
Alice Anesley
Anne Austin
Lillian Day
Martin B. Dickstein
Delight Evans
Grace Kingsley
Tamar Lane
Lucille Larnmer
Eunice Marshall
George Jean Nathan
Helen Starr
Jim Tully
Sydney Valentine
Barry Vannon
H. B. K. Willis
Myron Zobel
Artists:
Rolf Armstrong
Benito
Addison Burbank
Edward Butler
Covarrubias
Kliz
Joseph A. Ryan
Wynn
Remarks:
Name .
Address
City .
State .
83
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SCMEENLAND
QWhen Screen Stars Get Together-
Connie Loses Suitor
ell, the Constance Talmadge
Suitor's Association has lost one
member, now that John Charles Thomas
is safely married," pointed out the Vamp.
'•There'll be just that much less com-
petition for Buster and Irving and young
Rhinelander Stewart, the pride of New-
port."
But the Ingenue had ceased to listen.
Her eyes were fixed on the dapper fig-
ure of Lew Cody and her mouth was
curved in an uningenuish grin.
"Did you hear what Lew .told that
bathing girl of Sennett's, when she was
complaining that she had to be vaccinat-
ed, but demanded that it be done where
it wouldn't show? Lew said she had two
choices: she could have it behind her
ear or take it with a spoon."
"Lew is one of my favorite heavies,"
admitted the Vamp. !'I believe I'll have
some of that cold chicken, waiter, and
a bit of tongue — not more than three
pieces. I really wonder why I come
here I have so little appetite these days."
"Look at Eric von Stroheim, sitting off
there all alone. He looks rather low.
Perhaps Goldwyn is going to limit him
to a million dollars on his next pro-
duction."
"Oh. that's not why he's blue," broke
in the Vamp, who has the low-down on
everything. "The court has just refused
to reduce the allowance of $75 a week
that he has to pay his first wife for the
support of his son. And not only that,
but the judge fined him $50 when Von
got peevish with the opposing attorney
and promised to 'paste him in the eye.'
The judge said that anybody who made
over $30,000 a year could afford to pay
$75 a week for the support of his son."
Virginia Pearson Bankruptcy
Virginia Pearson was in court
this week, too," said the Ingenue,
smiling across the room at Lila Lee.
"She and her husband, Sheldon Lewis,
filed bankruptcy proceedings. You know
Virginia was badly hurt in an automo-
bile accident a while ago, and the doc-
tor bills mounted up frightfully, and she
was out of work for a long while. Did
you see Lila over there being inter-
viewed?"
"How do you know she's being in-
terviewed?" asked the Vamp who never
lets the Ingenue get away with anything
if she can help it.
"When you see a movie star having
lunch with a plain-looking girl, who isn't
dressed as grand as a star but is sas-
sier-looking than a secretary, that's an
interviewer," orated the Ingenue sagely.
"Lila Lee isn't dressed grandly."
"Lila is a lady. She doesn't wear dia-
monds down to breakfast, I'm sure. She's
dressed quietly in her blue tailleur, but
you'd know at once to look at her that
-from page 49.
she was somebody. She's so happy with
Jim Kirkwood, and he's so proud of her.
They're delighted about the baby that's
coming."
"The stork is certainly working over-
time in Hollywood this year," said the
Vamp, accepting an order of Russian
salad. "Mr. and Mrs. Earle Williams
are the proudest parents you ever saw.
Their new baby weighed seven pounds,
and they've named it Jean Constance.
Isn't that pretty? And Pat O'Malley has
another girl baby, too. That makes three
in his family. Eileen, the eldest, is six
and Sheila is two. Pat wanted a boy
badly but he's optimistic."
"I hope .Leatrice Joy's baby is a girl,
so that she can look exactly like her
mother." The Ingenue has long cherished
a hopeless crush on Leatrice. "They had
Leatrice slated to play the leading part
in a murder mystery picture, but natur-
ally, Leatrice wouldn't undertake a highly
emotional part just now. So they gave
her Roles instead. And that pretty nearly
broke Jacqueline Logan's heart, because
it was she who had talked up the story
to the Lasky bosses in the beginning. They
would have given it to Agnes Ayres at
first, but Sam Wood, who was to have
directed the picture, couldn't see Agnes
in the role. And, between ourselves, that
was why he left Paramount. Cecil De-
Mille finally ended the battle by saying
that the part suited Leatrice better than
it did Agne_s, and that was that. Jackie
was awfully disappointed. But that's the
way things go."
"Yeh," said the Vamp. "I hear Para-
mount turned down Jackie Coogan for
Peter Pan because he didn't have enough
sex appeal."
Casting Babbitt
ell, I know a picture that's be-
ing cast intelligently, and that's
Babbitt. Willard Louis has the title role
and isn't he perfect for the part? You
know, he was the Prince of Wales in
Beau Brummel.
"Lm not a bit hungry," murmured the
Vamp, "but I believe I'll try some of
the shrimp salad, and just a taste of the
pate." And she cast a long, languishing
look at the waiter.
"For heaven's sake, what are you wast-
ing that mushy look on a fat waiter for?"
asked the Ingenue. "He's probably got
a German frau and ten children."
"I'm practicing the way I'm going to
look at Jimmy Cruze the next time I
see him," responded the Vamp, rolling a
wicked eye. "He's casting for Merton
of the Movies, and I wouldn't value a
bit in that any more than I'd value
my right eye. Glenn Hunter is on his
way out from New York to play Mer-
ton and every actor and near-actor in
the industry is trying to get in on the
cast. Acting in a Jimmy Cruze picture
these days is just as lucky as a rabbit
foot that was caught in a graveyard
at midnight in the full of the moon."
"Your vampish ways won't make any
impression on Jimmy. He has eyes only
for Betty Compson. I wonder when
they're going to be married."
"The date hasn't been set yet. They
can't be married for some months yet,
though, because Jimmy's divorce decree
from his first wife isn't final yet."
Agnes Ayres Marriage.
Speaking of marriages, I wonder
when Agnes Ayres is going to mar-
ry Ricardo Cortez," said the Ingenue.
"The wedding was all set for April third
but it didn't come off. They were post-
poning it for a week, or maybe two, Agnes
said. But so far they are still single,
unless they have slipped off to Tia Juana
to have the deed done. It wouldn't be
the first time such a thing has happened."
"By the way, do you know what Tia
Juana means in Spanish?" asked the
Vamp, proud-like.
"Something to do with hooch, I sup-
pose," said the Ingenue.
"No, ma'am, it means 'Aunt Jane'."
"No!"
"Yes! Isn't that a scream? Our most
exciting den of vice dubbed a prosy name
like that. My dear, will you look!"
"Where?"
"Over there, by the window. Mae
Busch. Isn't that a doggy outfit, though?
I'm mad about platinum fox with heather
green. She looks stunning and she's per-
fectly thrilled at grabbing off the leading
role in Kathleen Norris' Bread that Metro
is filming."
"Metro! I thought Mae was signed up
with Goldwyn."
"She is, but didn't you know that Gold-
wyn and Louis B. Mayer had merged
with Metro? They're all going to pro-
duce out at the Goldwyn studio, under
Metro's supervision, but they're going to
keep their own identity. Don't you read
the papers, woman?"
"Certainly I read the papers," retorted
the Ingenue with spirit. "And I read
some funny things there, too. Only this
morning I read where George O'Brien,
the son of the San Francisco chief of
police, announces his engagement to Doro-
thy Mackaill. I do think it is so quaint
the way men out here do the announcing."
"Well," said the Vamp judiciously, "a
police chief in the family might come
in handy, in these days when people are
so quick to pick on picture people. Doro-
thy wouldn't be subjected to the per-
secution that poor Mabel Normand suf-
fered, if she happened to be present at
a party where somebody was hurt. Why,
down in New Orleans the other day a
girl dropped her hand-bag, a gun fell
out and went off, shooting her in the
leg. The police came with the ambulance
and asked her name. 'Mabel Normand,'
she whimpered. Of course it wasn't
Mabel. The police found her card in
the bag, proving her to be one Hope
W
W
I d
1
SCEEENLAND
Caprice, a goofy name, if you ask me.
I only hope she didn't go down on the
police blotter as Mabel Normand."
Mabel Normand' s Troubles.
Poor Mabel! But the wave of fan-
atical opposition to her pictures is
dying down, thank goodness. Michigan,
which forbade the showing of her pictures
after the Dines shooting, has withdrawn
the ban."
The Vamp suddenly began turning hei
handbag inside out. ''Looking for a let-
ter," she said. "A kid cousin of mine
down in Iowa is dying to come to Holly-
wood and break into pictures. What shall
tell her?"
c:Tell her to stay home, if she likes
to eat regular."
"If such excellent advice were ever
taken, the screen would now be deprived
of the privilege of our association," said
the Vamp grandiloquently. "But what
chance has a green country kid in pic-
tures?"
Where They Were Born.
Some kids have made the grade,"
said the Ingenue. "Lew Cody came
from the metropolis of Waterville, Maine.
Hoot Gibson hails from Tekameh, Neb-
raska. Chester Conklin came from Os-
kaloosa."
"Quit your kidding," said the Vamp.
"People don't really live in towns with
names like that. You just hear about
'em in comedy dramas."
"Claire Windsor comes from Cawker
City, Kansas, and laugh that off," went
on the Ingenue relentlessly. "Helen Fer-
guson is a native daughter of Decatur,
111., and Conrad Nagel comes from Des
Moines, Iowa. Corinne Griffith comes
from Texarkana, Texas, and if you can
find it on the map, you've got good eyes.
Raymond Hatton first saw the light of
day in Red Oak Ioway, and Marguerite
de la Motte comes from Duluth, Minn.
For small town boys and girls, they've
done right smart."
"All right, all right, I give in," grum-
bled the Vamp. I'll tell the kid to check
her appetite and come on. At that, 1
guess I'd rather eat canned soup in Cali-
fornia than pate de foie gras in Kansas.
Waiter, can you bring me a strawberry
parfait. Oh yes, and a demi tasse."
"I went down to the station last night
to see Carmel Myers off," said the In-
genue. She left for New York, on her
way to Rome, to play Iras in Ben Hur.
Kathleen Key, who plays Tirzah, left last
week. I wish some director would write
in a little trip like that for me. Yes,
waiter, you can give us the check now."
'That reminds me, I must rush, said the
Vamp, gathering up her things. "Cecil
de Mille is casting for Feet of Clay, and
I hear he's looking for a vamp with good
looks, personality and sex appeal. So
nice of you to take lunch with me, dear.
I wasn't a bit hungry. Pay the check,
will you darling? Ta, ta! See you in
Sunday School!"
85
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So many readers have written
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86
(\Smile When You Say Goodbye — from page 59.
she had planned together.
"I'm trying to do." she said to me one
day, "just the sort of things that Bur-
ney would like to have me do — just the
same things that I would have done it
he were alive. I haven't gone out at all,
except once. I went to the theater with
some friends. And I understand that peo-
ple are gossiping about it yet! What
am I to do? I know that Burney would
want me to go right along. It is" — she
burst out — "it is almost unbearable in
that house!"
Ethel Kay's Hard Luck
Just the toss of a coin seemingly kept
two girls from gaining fame. They
were Ethel Kay and Lois Lee. Both
were endlessly brave, and took fate's
knocks like majors. Miss Kay had a
very good start in pictures; so did Lois
Lee. But fate intervened. Both girls
perforce had to give up the fight. How-
ever, this isn't as sad as it sounds, for
both girls are to be married to men they
are very much in love with.
Ethel Kay was slated for the girl's
part in Hungry Hearts. She had had a
test, and had been found just suited to
the role. Then before she could start
work, her money gave out, she could
get nothing to do. She took a cheap
little room, and friends found out after-
ward, when it was too late, that she had
gone hungry. When she came on the set
to work, finally, she was so thin and ill
from hunger and photographed so badly
that she lost her great chance in pic-
tures.
"And they couldn't wait for me to get
fat again!" Ethel smiled with a brave
little attempt at mirth, when afterward
her friends got her to tell them about it.
Bosworth Goes to "Die in the Movies"
Hobart Bosworth says he coughed his
way into the movies !
Bosworth left the theater to "die in
the movies," as he puts it. He was suffer-
ing from tuberculosis, and the doctors said
that his one chance was to get out-of-
doors.
Bosworth took the blow like a man,
though his heart was all wrapped up in his
stage work at 'the time.
"Well, I can't sell shoe-strings on the
street," he parried.
Then he got his chance with the movies,
in the old Morosco-Bosworth Pictures, and
he adopted the pictures. He still coughed,
he was far from well. If anybody asked
him how he was, he would grin and say:
"Oh, I'm coughing very well today,
thank you !"
But the outdoor work not only cured
his lungs, but made him far more famous
than the stage could have done.
We all know how Wally Reid and Dor-
othy Reid, his wife, took their blows
standing. To the very last, Mrs. Reid
proudly stood by her husband," and de-
clared that he was "improving." A brave
lie, forgiven, I'm sure, in heaven. Then,
when it as all over, how absolutely with-
out any whining she took up the battle
of life to support herself, her mother and
her two children, one of whom had been
adopted.
And poor, dear old Wally! When he
was simply tottering on the set, he always
had a brave and cheery smile; and if you
asked him how he was, he'd exclaim: "Oh,
fine! How's yourself?"
SCREENLANB
Indeed, I'm firmly of the opinion that
if Wally Reid hadn't been such a "good
scout," he'd be alive today. He thought he
simply must stand the party gaff night
after night; he couldn't hurt a friend's
feelings by refusing.
Perhaps there never was a better sport
in picturedom than little Lila Lee, wife of
James Kirkwood, who nursed him all
through his illness following his injury
when he was thrown from his horse and
picked up for dead.
I saw her one day. She was dishev-
elled and pale and there were dark cir-
cles under her eyes.
"You see," she said, "it has all been an
unusual strain because we simply mustn't
let Jim know how bad off he is. When I
think he is about to wake up, I run in and
put a little rouge on."
Bebe Daniels came very near to dying
in the hospital in New York, following her
peration for appendicitis. One day marked
the turn, and as her mother watched by
her side, Bebe opened her eyes:
"Mother," she exclaimed with a wan
little smile. "I know just how it feels to
die, — and it doesn't hurt a bit!"
Jane Novak has more courage than most
men. During the making of a picture not
long ago, she and her supposed lover had
to swim the rapids. The boy began to
go under from exhaustion. There was no
chance to yell for help and be heard, so
Jane just took the rescue into her own
hands and pulled him out. He was pro-
fuse in his thanks when he came to, and a
little bit shame-faced, too.
"What can I do for you?" he asked.
"Oh, just keep on being a good actor!"
she laughed. "And don't do that drown-
ing stunt again in the retake!"
(\Where Do They Come From—fn
Alice Brady, Lon Chaney and Richard
Dix and many others got their training
behind the footlights. Nita Naldi was a
Follies girl and Carol Dempster and
Theodore Kosloff were dancers.
Stock companies, for obvious reasons,
are the most fertile recruiting grounds.
Although Doraldina's advent into pic-
tures was unsuccessful before, she be-
came a dancer, she handled a mean emery
board in a San Francisco hotel. Many
a member of the I-knew-her-when club
boast of having been manicured by the
famous Hawaiian dancer.
As well as being a newspaper woman,
Madge Kennedy was also an artist. A
poster that she painted during the war
attained international fame. Pola Negri
is a splendid violinist. In fact, in Rus-
sia she was educated by the public fund,
as was Nazimova.
Virginia Faire and Corliss Palmer both
won beauty contests. The rest are a
heterogeneous collection of professions.
Gertrude Olmstead was a little home girl
in crisp gingham house frocks. Years ago
John Bowers sold California real estate.
Even then they were doing it.
m page 3/.
N40MI Childers was a commercial
artist. Alan Hale was a writer, so
I am told. I have never been able to
find out just what he wrote, but it makes
a good story and he looks intelligent
anyhow.
To Lois Weber belongs the distinction
of having discovered Claire Windsor. At
that time Claire was a demure little
housewife but Lois coaxed her away from
the kitchen and plunged her into a
celluloid career.
Warren Kerrigan was an office man.
Imagine those well done nails being
broken on a typewriter. Julia Faye was
an artist's model.
Charles Ray was door man at the Old
Los Angeles Burbank Stock Company
where Bert Lytell got his training, and
the seeds of his histrionic ambition were
doubtless sown when he kept stage door
Johnnies from seeing their favorite
actresses.
But the lately discovered Charles de
Roche has one of the most colorful back-
grounds we have noted for many a day.
He was an entertainer in a Paris cafe.
Yes, sir, one of those wild places where
the well known Latin uarter bunch hang
out. And how did he entertain? Well,
he's a violinist, a singer, and a dancer,
as well as a dilletante sculptor. How
that last accomplishment could help him
entertain in a cabaret I do not know,
unless the habitues liked a little modeling
clay thrown at them during their meals.
But he entertained all right, and even
then the girls were all crazy about him.
So — there you are, you never can tell
when you are watching you favorites act,
what they were or where they came from.
The screen is a great melting pot into
which is poured the product of the home,
the field and the market place. And who
knows but that it is just this extra-
ordinary conglomeration that makes the
pictures of today the active reflection of
such a wide and varied world as that
in which we live. The screen has be-
come a great mirror in whose silver
shimmer we find ourselves portrayed.
And those who show us ourselves as others
see us, know well whereof they speak,
for they, too, have lived their many parts
in other days and do but re-enact the
experiences of parti-colored and infinitely
varied lives.
SCREENLAND
87
C[Fake Make-up Schools— from page 28.
Mrs. Polio's makeup school — across the
street from the agency office.
Another make-up teacher, R. B. Wil-
cox, got entangled with the law over a
60-year-old woman's charge that he ob-
tained $600 from her to finance a com-
pany that was to star her and her son
and daughter.
One result of the recent State drive on
the schools and agencies is apparent in
the classified advertising they now use.
The ads are the same as before with
the exception that some qualifying state-
ment is contained in each:
•'This is not an employment agency.
We have no jobs to sell you, if you want
to buy a job do not waste your time and
ours."
"We are not selling positions in pic-
tures. Not an agency."
"No agency or school. No fees."
Slump No Drawback.
But you may be certain that the prop-
rietors of these schools and "produc-
tion companies" are making no effort to
discourage the screenstruck. In spite of
the "tight'' conditions in the studios; with
about 200 extras making a living, per-
haps 1,000 getting occasional jobs, out
of 5,000 tried and tested "regulars;" and
with the established" agencies accepting no
new registrations, the make-up schools are
going merrily on.
Boys and girls, men and women who
should know better, all ages and all types
are shelling out their $15 or $20 or $25
for a - complete course in makeup."
What They Get.
What do they get for their money?
Let's see.
They get a card to a theatrical photog-
rapher, requesting the courtesy of "pro-
fessional rates." The photographer's
professional rates for movie school stu-
dents are from 50 to 100 percent higher
than charged to professional drop-in trade
from the studios. The increase is split
between the photographer and the make-
up school.
They get a "shopping list" calling for
about $5 worth of make-up. A typical
list is: Nose putty, large stick No. 3
grease paint, No. 9 powder, box of wax,
medium rough dry, lip rouge, whiten-
ing, No. 16 paint, powder puff, mirror,
crepe hair, two towels, comb and make-
up box.
Teaching the Class.
THE motley assemblage of perhaps a
dozen, comprising the "class," crowds
around the little deal tables of the "class
room," with sickly electric lights in their
faces. They remove coats and collars, as
per instructor's orders ; tuck a towel about
the neck.
Then the supercilious instructor, an art-
ist's smock his uniform of authority, seizes
a piece of make-up and smears it vigor-
ously on the face of the nearest pupil.
"See? Now the rest of you do it —
an' get it on smooth, see?"
Then he takes a bit of brown paint on
his hand and softens it, applies it to the
upper eyelid of another novice.
"Everybody do that!" he commands.
Then he takes up a "liner" and runs
it across the eyebrows. The class fol-
lows suit.
Then the powder puff, dusted with pink
powder. The instructor jabs it in the
face of the nearest victim, putting a punch
behind it that he might have learned
in the boxing ring.
"Do that, now," he says.
Everyone does, and the instructor
glances up and down the line of ap-
prentice "actors."
"Awright. Now take it off with the
cold cream."
They do. That's all. That's the les-
son.
The next lesson is the same thing over
again.
And the next, the same.
School Not Needed.
A, ny readers desirous of learning make-
O. up can save $20 by buying the
makeup essentials at the nearest drug
store and practicing on themselves in
front of the bathroom mirror to their
heart's content.
Or if you feel the need of more com-
plete instruction, go down to the pub-
lic library and look over the books on
amateur theatricals. Most of them give
you as complete information, and it costs
nothing — unless you want to buy the book.
When the course is complete, and the
student is a full-fledged make-up artist —
as per movie school standards — she may
have a screen test. It costs $25. For
the additional $25, about 25 feet of film
is received. Its actual value is, maybe,
10 cents a foot. And say $2.50 for five
minutes work of the cameraman, and de-
veloping and printing. Actual cost, $5.
Price to student, $25. Net profit to
school, $20.
But as long as there's movie-mad maid-
ens and screenstruck sheiks, the movie
schools will flourish. It's a profitable
graft. Some of the schools will even
teach you by mail, in case you haven't
railroad fare to Los Angeles.
The pity of it all is its uselessness.
If you actually got a studio job, you'd
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8S
A nita Stewart— from page 63.
leaves in the picture? Six months? Six
days !"
Anita, still weak, still sick, went back
to the making of The Girl Philippa. She
walked through the falling leaves for
days, dressed in light summer clothes.
And it was November, and the days were
bleak and cold.
I
A Wonderful Scene.
t was a wonderful scene, the pinched
little figure stumbling through the
autumn woods, shivering, weeping, sick.
Thousands of women wept. Thousands
of bald headed men wiped their faces,
and hoped that nobody saw.
A wonderful scene. But when it was
finished, Anita crept back to bed. And
though she stayed there until she was well
again, she has never really been well since
then.
Yes, "pretty soft" for her.
The picture made thousands and thou-
sands of dollars — for the producer.
Years later Anita met Mary Piekford,
and learned that all the time she lay in
her room, Mary had been praying for her.
"I didn't know her very well," Anita
says. "It was a beautiful thing for her
to do, wasn't it?"
Anita went back, and made many pic-
tures for Vitagraph. She built herself a
$10,000 home at Bay Shore. She had
the idea that she was wildly in love with
Rankin Drew. But he never knew about
it. And she received a number of offers.
The Louis B. Mayer outfit wanted to
star her in "Anita Stewart Productions,"
at $4,500 a week. Adolph Zukor asked
her to be his star at $6,000 a week. And
the firm that starred Olga Petrova, tried
to get her for $10,000 a week.
Anita wanted to leave Vitagraph. She
felt she was dying by Inces, so to speak.
And she believed that making her own
pictures was the best thing she could pos-
sibly do. She turned down Zukor. She
turned down the Petrova people. She
took the Mayer offer.
However she was under contract to
Vitagraph. She sued in. an attempt to
break that contract on the ground that
she had signed it when she was a minor.
And the first question the company's
lawyer asked her was this : —
"Miss Stewart, is it not true that you
are married to Rudolph Brenhan?"
Anita couldn't say a word.
Anita Marries
She and • Rudolph had been married
secretly at Greenwich, Conn., while
she was a minor. He had been an aviator
during the war. He was also an actor.
His real name was Brennan. But on the
stage he was Rudolph Cameron.
Anita lost the suit; but the company
allowed her to leave and go with Mayer.
And inasmuch as the concern that had
wanted to pay her $10,000 a week went
into bankruptcy, Anita told herself she
had chosen wisely.
Here, she felt, she had a chance to se-
lect her own pictures. "Anita Stewart
Production!" The phrase was like music.
She could be a real actress now, she
thought, and that was worth more to her,
than the money she had lost through re-
jecting the other offers.
But looking back at it all, she realizes
it is a sad mistake.
"I used to despair of ever getting a
decent picture," she says. "Frankly, the
pictures I made for Mayer were terrible.
I worked hard to make them, worked night
and day, worked well and sick. And I
couldn't help crying sometimes when I
saw those pictures on the screen!"
Zukor gave Mary Miles Minter the
place he had first offered to Anita; and
it was years later that he again talked
to her. No, he didn't make her another
offer. He merely looked at her sadly.
"If you had only come to me when
I wanted you," he said. "What I could
have done with you! Ah, you would now
be the greatest actress in the world!"
The time and the effort and the hopes
she had wasted!
Marriage Proves Unhappy
Three years she worked for Mayer.
Three empty years. Her marriage
turned out unhappily. She and her hus-
band separated. They had loved each
other surely.
"He was the only man I ever really
loved," Anita says. "I don't think I can
ever love any one else."
She lets you know how she felt dur-
ing the war, when he was in the aviation
section of the army — expecting a telegram
SCKEENLAND
every hour to say that his plane had
crashed. And every time she read the
papers she expected to see his name in
the headlines.
Efforts wasted; love vanished; father
and mother separated ; Florence and King
Vidor, her dearest friends, living apart
from each other ; her sister Lucille no
longer the wife of Ralph Ince; nothing left
in life but her mother and her brother,
her money, and her ambitions.
And last August her brother George was
injured. You may have read the story in
the papers. Ralph Ince was accused of
beating him. George was then twenty
years old, and he wasn't very strong.
His skull was fractured. His neck was
twisted. He had been punched and kicked
in various places. Anita thought he was
going to die.
"He called me up one morning at 4
o'clock," Anita says. "His voice was so
queer I knew there was something wrong.
But I couldn't get the truth out of him.
"Imagine that poor boy so terribly pun-
ished, only half conscious, and every nerve
shrieking with pain — imagine him phoning
me so I wouldn't worry about him!
"We got him out of the club and into
a hospital. And I got the best doctors
I could for him.
"George means more to me than any-
body else in the world. He has always
been the very apple of my eye. I have
spoiled him all his life. When one of the
doctors told me his skull was fractured
I wanted to scream. And I couldn't. I
went to my car, and sat down and cried.
I thought a fracture of the skull was al-
ways fatal."
Yes, "pretty soft for Anita Stewart.
Life has given her everything."
She has made some good pictures since
she went to Cosmopolitan — The Love
Piker, among others, and The Great
White Way.
But—
"All I want now," she says — and there
is a prayer in her voice — "all I want is a
good story. Not a star part exactly, just
a chance to be an actress.
"Sometimes I think that if I found a
role I really loved, I would play it for
nothing."
That is the story of Anita — the star
who wants so much to be an actress.
"Yeah, pretty soft for her!"
T dinar Lani
13FY FAB 136 COLLECT NL
LOS ANGELES CALIF APR 29 1924
MYRON ZOBEL
SCREENLAND MAGAZINE 145 WEST 57 ST NEW YORK N Y
HERE IS THE DOPE WAS PHOTOPLAY EDITOR BOSTON EVENING RECORD
FOR TWO YEARS ALSO WROTE FOR THE BOSTON JOURNAL BOSTON POST
AND OTHER NEWSPAPERS STOP EDITED THE SCREEN MAGAZINE FOR TWO
YEARS STOP OWNED AND OPERATED TWO MOVIE THEATRES IN NEW
ENGLAND TO GET THE EXHIBITOR AND PUBLIC ANGLE STOP HAVE CON-
TRIBUTED ARTICLES TO MOTION PICTURE AND PICURE PLAY AND ALSO
AUTHOR OF VAUDEVILLE SKETCHES AND SHORT STORIES STOP HAVE
BEEN CONNECTED WITH FILM INDUSTRY FOR OVER FIFTEEN YEARS IN
VARIOUS CAPACITIES AS EDITOR EXHIBITOR CUTTER SCENARIST ACTOR
DIRECTOR PUBLICITY MAN STOP AM MEMBER LAMBS CLUB WRITERS CLUB
AND AUTHORS LEAGUE STOP RECENTLY WROTE SCREENS FIRST CRITICAL
VOLUME WHATS WRONG WITH THE MOVIES AND AM NOW WORKING ON
A NOVEL STOP AM ALSO DEVOTING MUCH TIME TO ORGANIZING A LITTLE
THEATRE MOVEMENT FOR THE SILENT DRAMA
703A APR 30 1924
TAMAR LANE
SCREENLANB
39
The MASK on the FACE
Q This w the first of a series of articles by the
Internationally noted Beauty Expert,
Madame Helena Rubinstein
About the year 1496, in front of the
marvellous Palazzo Vecchio, at Florence,
one night, revealed itself the terrible
spectacle of a mob in frenzy. A wave
of destructive fanaticism swept the city.
A huge pyre had been erected in the
square before the palace. Platforms were
built around the stake. Upon them were
placed for destruction by fire, and duly
destroyed, masterpieces of philosophy,
poetry, science, and art. The works of
Plato, Aristotle, Virgil, Homer, Horace,
Sophocles. Paintings by Leonardo and
Boticelli. Musical instruments and
theatrical costumes. Statues of gods and
heroes of antiquity and . . . aids
to woman's beauty; articles of make-up,
washes, pastes, cosmetics of every kind —
all condemned as "vanities and things
accursed."
The cosmetic art, the desire to be
beautiful, as the desire to own beautiful
things, to create and live amid beautiful
things, has always kept pace with cultural
growth. Where there was no civilization,
there no one sighed for beauty and no
one felt the need of it. And it is this
theory alone that can account for cosmetic
accessories being included in the destruc-
tion of those irreplacable achievements of
a high civilization.
Except that fanaticism burns with a
lesser vehemence in the breasts of people
less given to strong passions, we are not
without similar onslaughts in this country.
Such back-slidings, such "decivilizing"
spectacles, such falling away from the
grace of the innumerable closely inter-
woven things which collectively only, and
not singly, constitute civilization, are of
frequent occurrence. Witness the inter-
ference with the arts, with literature, with
manner of dress, with long established
social amenities, with the ritual of a
woman's dressing table — with whatever
gives innocent pleasure to another and
gives none to us; diminishing always
the fund of felicity, but rarely adding
to it. The length of bathing suits is
made the subject of "verboten" regula-
tion; philosophy, biology and history are
sought to be governed by legislative fiat;
books are publicly consigned to the pyre;
and attempts to prohibit the use of lip-
stick, rouge and powder are being recorded
— and what not!
But my grievance here is not with the
fanatic with whom it is futile to argue.
It would be useless to insist that nothing
■is more helpful in bringing out the in-
herent truly characteristic beauty of the
face than that certain individual accent
placed by a deft, artistic stroke of brush
or pencil, to retrace a blurring curve or
vivify the expression. It is what the
crescent is to the minaret. What the
flash of the jewelled ring is to the hand.
It is art and beauty. Besides, sometimes
we just cannot help looking off color, we
women, and there is no reason why the
world should be witness to our momentary
frailty.
My grievance is against the great army
of users of cosmetics and obviously not
because they use face-coloring, but be-
cause they use it badly, inartistically, un-
scientifically and as such it becomes sheer
distortion. Perhaps the French word
maquillage gives a truer idea of the thing.
It is apparently derived from masque —
false face, and is of theatrical origin, as
is the word make-up. When, then, this
thick facial coloring of the theater, where
it is made necessary by the flat glare of
the footlights, is paraded in the street and
home. When it is as far removed from
the beautiful that it is not even in ques-
tionable taste, but in unquestionable bad
■taste. When girls, often in their teens,
and young women, morbidly allow their
faces to assume a hard, opaque appear-
ance instead of the peculiarly charming
transparency of the youthful skin. When
instead of merely redrawing or emphasiz-
ing a feature, they don a mask which
represents riot themselves at their best,
but something else at its worst. When,
finally, it is understood that extravagance
of painting is a standing detriment to
the skin, it, then, cannot be accepted with
approval.
Remember, please, that I am an in-
defatigable globe trotter. I know women
of all nations as few have known before
me. My claim to your attention is, there-
fore, not without valid title, when I say
that in no other country have I met so
many women of every age, afflicted with
blackheads, coarseness of pores and harsh-
ness of skin, as in America, and that this
is due chiefly to ill-considered face-paint-
ing.
The reason can be made plain in a few
words.
The skin is a wonderful fabric full of
tiny pores, through which it breathes and
eliminates. If you coat it with thick
cosmetics day in and day out, allowing
them to remain on the face for hours, it
dries and coarsens, the pores clog, black-
heads come, and with them loss of color
and lustre. In this manner things go from
bad to worse until a sense of false decency
and pride compels persistent covering up
of the ugly marks of ill usage of the
skin. What is left is only caricature, a
phantom of the former self. How to
restore this former self will be told "in
our next."
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SCMEENLANB
(\Betty of the Hungry Heart — fro
belies the pure splendor of her eyes and
piomises physical delights that a Gautier
never dreamed of.
To George Loane Tucker, the master
who is dead, goes the credit for giving
to the world the only picture of this war-
ring Betty that the public has yet seen.
Tucker was looking for a Rose for The
Miracle Man. A great battle between good
and bad — a woman's beautiful, tender
spirit and a prostitute's unleashed nature —
was to be the outstanding scene in a pic-
ture of spiritual and physical conflict.
The story of how George Loane Tucker
found Betty Compson and knew her for
the only possible Rose has been told many
times. It is screen history. Betty had
been working in comedies," and when told
that Tucker would see her to consider her
for the part, she went to him bedraggled
and utterly woebegone and ghastly tired,
too tired to care whether she won the
part or not. The quivering red curl of a
mouth was drooping; the physical was
almost perfectly tamed by the triumphant
spirit, which shines best when the flesh
is weary.
The altar candles were miraculously
lighted by the fire in Tucker's eyes. Their
bright gleam poured through the clear
gray eyes. The red mouth, avid for life
and pleasure, drooped with sudden child-
ish woe, or quivered with threatened
tears. Tucker had found his Rose as
she would look after her regeneration —
washed clean of sin, shining with a glad
soul, but limp with the fatigue of a great
battle.
Tucker Creates Perfect Role.
IT was not an accident that Tucker's
The Miracle Man brought fame to
Betty Compson. It was the perfect role
for her — the only one she has ever had.
Betty Compson had found her Mas-
ter. Through him to the public she gave
a perfect thing, because it was herself.
In Rose's fight she fought her own hard
fight — and won, temporarily.
Is it to be wondered at that Betty
Compson fell in love with George Loane
Tucker, that she gave him a worshipping
devotion? . So long as he lived Betty
Compson was mistress of her soul, and
conqueror of her body.
But when George Loane Tucker died
and left Betty to battle alone, that tamed
but not vanquished physical dragon reared
its head and blew a fetid breath upon
the thousand candles that burn upon the
altar of her soul.
All of us know the terrors of that
battle within ourselves. But so few of
us are possessed by such strongly dual
natures.
Life for Betty Compson became a quest
for love and for soul food. Too hungry
and too eager, she let her appetitie for
physical love blind her to the absence
of spiritual companionship.
A man who knew Betty Compson rather
well, since he was a press agent in the
studio where she worked, once said to me:
"Betty is always in love, and I have never
seen a man who could remain indifferent
n page 31.
to her. I'm in love with her myself, and
so are all the fellows. But even if she
would look at me, I wouldn't satisfy
her—"
And none of the men to whom Betty
would look did satisfy her. Restless,
hungry, seeking Betty gave a bit of her
sweetness and much of ner shining radi-
ance, only to find that they failed her.
Her luxury-loving body was wrapped
in fine silks. She slept beneath down
quilts and between hand-stitched sheets
of finest linen. She moved gracefully
through a gracious, dignified English
house, furnished with every comfort and
luxury that she could want. She was
surrounded with evidences of love, the
clumsy, adoring man love that contents
most of us. And Betty was starving to
death.
That is the report on Betty's love life
after George Loane Tucker's death and
before her engagement.
Is James Cruze Her Love's Fulfillment?
And the question is — has she found
in James Cruze the fulfillment of
all that her soul and body requires of
man-and-woman love?
Looking back on an evening I spent
with Betty Compson, called in to listen
to her almost frenzied discussion of her
problem, I rather believe she has.
The man she had fancied herself in
love with for some two years or so would
be coming in later. He always did. She
had to sandwich our talk in between din-
ner and his visit. He was to come after
a show.
I had known Betty for some time then,
and believe I had looked as far into the
heart and soul of her as it has been
given any woman to look. And having
looked into the inner shrine when the veil
had been lifted in a moment of soul need,
I fell aworshipping, even as George Loane
Tucker had. For those candles glow with
a lovely light!
And it had touched me that Betty had
turned to me in her trouble. I was
afraid to lay the weight of a word be-
tween us as she talked, with her slim
white fingers twisting in the soft folds
of her brown chiffon dress, and her pas-
sionate, red mouth quivering upward at
one corner and downward at the other —
the most fascinating mouth I have ever
seen.
"I feel as if I will die unless I win my
freedom," she cried. "It is always here,
this struggle between the physical and
the spiritual. I must have love, physical
love. I feel as if passion is a living
flame within me, burning me, licking right
up into my soul. But there is another
hunger, just as strong — oh, stronger! The
insatiable hunger of my soul. This man
— he'll come soon and you'll hear me talk
to him — then I am just an ordinary girl,
talking of ordinary things, thinking or-
dinary thoughts, smothering the real me.
And the great pity is that while I am
with him I like it! He never dreams
of the other Betty! He laughs at my
belief in spiritualism, makes me want to
hide my soul from him. And yet — I'm
crazy about him, physically. What can
I do? I must be free! And yet I know
that he will not listen if I try to tell
him these things. He will laugh at me
and — hold me!"
Betty Believes in Spirit World.
Betty had told me a great deal be-
fore about her adventures into the
world of the spirits. I give her the tri-
bute of believing absolutely in her sin-
cerity. She believes that she has com-
municated with George Loane Tucker,
since his death, and has reported long
conversations she has had with him
through the medium of the ouija board.
Whether Betty's messages from the Be-
yond are the outcroppings of the sub-
conscious, or whether the one man who
understood her and gave her the perfect
blend of physical and spiritual love was.
really getting messages through to her by
the only means at his command, I will
not attempt to say. But I know that
her belief in George Loane Tucker's lov-
ing watchfulness over her kept her seeking
for another earthly fulfilment of her love
ideal.
I do not know how Betty broke with
the man she was fearing and loving as
she sat twisting her hands in spiritual
agony that night. But somehow she did
it. It was, to me, a beautiful gesture of
freedom and of faith. It takes courage
to kill a thing that has become so much
a part of one as had the love of that
man for Betty Compson. For he un-
doubtedly did love her to the utmost of
his understanding and power. That he
failed to reflect the radiance of those
eyes upon an altar of his own was not
so much his fault as his* misfortune.
I asked her at last what she wanted
of a man.
"I want spiritual companionship as
well as physical love. Oh, I must have
love! I can no more change my nature
than I can deny the hunger of my soul.
It may be that I am paying 'in this in-
carnation a debt incurred in a previous.
I may have sinned a great sin against
spiritual love. But I can't give up the
quest. If I am doomed to a half-love —
just a physical love — all my life, I hope
I shall not find it out. In seeking there
is some joy. Maybe, like Sir Launfal
and the Holy Grail, I shall find it at
last at my own gate!"
Betty and Cruze Work Together.
And that after all is where Betty did
find it — if she has found it. Jim-
mie Cruze is a Famous Players-Lasky
director, and Betty met him and learned
to love him as they worked on the same
lot together.
I can't help remembering what Betty
said to me that night, when I asked her if
the rumor was true that she had been
married secretly to the man who was
coming later that night, the man whom
Betty wanted to be free:
"I shall never marry a man who could
SCEEENLAHB
not be a spiritual inspiration to me as
well as a lover." .
It is no mean triumph for Jimmie
Cruze.
Maybe the end of the quest will mean
a new Betty for the screen. Or rather,
a new and more permanent vision of the
Betty whom George Loane Tucker dis-
covered. The spiritual Betty held down
to earth by the demands of a beautiful
and healthy body.
The «public is patient. And contrary
to the producers' opinions, it does not
forget. In Rose, Betty Compson brought
a new character to the screen. The pub-
lic, hungry for things of the spirit, cher-
ished the image of Rose in its heart.
It was not her beauty or her charm
that made Rose of The Miracle Man an
unforgettable figure, a dear thing to hold
fast to along with one's belief in God
and the essential fairness of the Great
Scheme of Things.
No, the public did not forget Rose.
It has been going patiently to see every
picture that Betty has starred in, look-
ing vainly for a sign that Rose still lives,
that the starry eyes are still bright on
the altar. Their glow comes timidly forth
upon occasion, and when it does a medi-
ocre or bad picture is saved from utter
damnation by the vaguely disappointed
but hopeful audience.
Can Cruze Create Another Rose?
The public does not know what has
happened to Betty Compson. It only
knows that a promise of something in-
definitely fine and good has been broken.
The physical beauty of Betty Compson
QSitting Pretty — from page 71.
can see one, "discovered-' Griffith. He
was a real type. So Mickey put him to
work. Griffith was the eccentric Crime
Deflector in Neilan's Red Lights, that eery
drama of chills and gooseflesh. He was
the thief with the light fingers and the
superb audacity in Poisoned Paradise. .1
never could understand why little Clara
Bow should have preferred the heavily
virtuous Kenneth Harlan to the intriguing
scoundrel; as so often happens, censors
to the contrary notwithstanding, vice in
this instance was so much more attractive
than virtue. And Griffith was the taxi
cab driver in Nellie, the Beautiful Cloak
Model. Not so good, in this last, "but he
really had little to do, other than yank
Mae Busch around corners and chew
gum. But what was given him to do, he
did with all his might.
He's not worrying about stardom. He
Q\Fame Tax— from page 33.
including Coleen Moore and Claire Wind-
sor, to display clothes on in the windows.
Isn't that excellent publicity for them?"
Why, yes. But the picture people cofne
right back, justly enough, with the flat
statement that it's just as good publicity
for the stores, or the stores wouldn't be
doing it.
There is a restaurant in New York
where no price-card is ever shown. The
diners ar» charged according to their
91
is great; no one could assert it more
vehemently than I, who know that she
is far more beautiful off the screen than
on. But it is not her beauty which a
spiritually starved public cries out to her
to supply. There are other beauties, doz-
ens of them. Yet none of them has so
touched the heart and imagination of the
public as has Betty Compson — in her one
great role.
Jimmie Cruze has done the screen pub-
lic one great service already. His Cov-
ered Wagon is greater probably than he
dreamed while he was filming it.
And therein lies my faith in Cruze as
the end of the quest for Betty Compson.
Cruze was able, in The Covered Wagon,
to photograph the most elusive thing
in the world — the epic spirit of a new
nation. Not a scene in the picture is
great in itself, yet the picture is great,
great because somewhere in its thousands
of feet of film is imprisoned the spirit
of America. These things are not ac-
cidental. Cruze was undoubtedly worthy
'to be the medium through which that
indomitable spirit should be captured and
exhibited to a rather weary and cynical
nation.
I am hoping he can liberate Betty from
the bonds of flesh, that the spiritual qual-
ity which enshrined her in the imagina-
tion of the public can once again be en-
snared in celluloid. We need it.
Let us hope that Betty has found in
James Cruze "the key to all that has
hurt and puzzled her" — the key which will
release to the world the beautiful spirit-
uality which George Loane Tucker, the
master who is dead, discovered and per-
petuated in Rose.
knows too well that the title of Star is
like those little signs you see on the rear
of trucks: "Sound your horn and this
truck will move over," they're pretty, but
they don*t mean anything. Give him a
good part in a good story, with a fight-
ing chance to run off with the picture,
and the rest of the cast can send out for
a hammer and spikes to nail down their
jobs. They'll need to.
So, you see, Fate's low trick was not
fatal after all. Though he still speaks in a
whisper,, the boy is sitting pretty. He can
pick and choose his jobs, and they speak
very respectfully to him at the bank
where he deposits his checks. And the
moral of it all seems to be that the bitter
draft that Fate puts to your lips may
not be hemlock after all; perhaps it's
just a bracer.
Now wasn't that a nice moral, children?
visible state of prosperity; the manage-
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92
SCREENLANB
QDramaland by George Jean Nathan — from page 6r
air. This theme had to do with the
hatred that is part and parcel of every
great passion, with the inevitable and
irresistible pull of a great love despite
its traces of revulsion and disgust. But
O'Neill so piled on the agony and shoe
off so many cannon that what resulted
was perilously close to burlesque. This
impression of burlesque was heightened
by the playing of Ben-Ami in the role of
the husband. Ben-Ami, never more subtle
than a keg of dynamite, on this occasion
figuratively took off his coat, rolled up
his sleeves, rumpled his hair and waded
into the script like a bouncer at the old
Haymarket. When he got through with
it there was little left but the ushers.
He raved and ranted, stamped and
growled, yammered and grunted until the
play, completely worn out, lay down on
the floor at his feet and passed quietly
away. Doris Keane was much better as
the wife whose body the husband loved
in proportion as he hated her amorous
ethics.
IV
hile on the subject of O'Neill, let
us have a brief word on All God's Chillun
Got Wings, the play, that has stirred up
more excitement in the community than
anything that has come this way since
the Cardiff Giant and Morris Gest. Al-
though the play has not been produced
as I write, it is scheduled for the public
view before these words are embalmed in
print. The rumpus thus far has been con-
fined to the published play, but there are
plenty of indications that the idiots who
are responsible for it will not desist from
making further fools of themselves when
the curtain goes up at the Provincetown
Theatre. The cause of the rumpus, you
doubtless know. O'Neill has written a
play that exhibits a Negro and a white
woman in the relation of husband and
wife. It is this that has been responsible
for all the hell. The South has got up
on its hind legs en masse and has mewed
itself hoarse. The Ku Klux has removed
the diaper frpm its face long enough to
let out a howl that has sounded from
New Orleans all the way north to Balti-
more. Various organizations the country
over have held special meetings to call
down the wrath of God upon O'Neill.
Editorial writers have protested that it
is a disgrace to Nordic civilization even
to think of producing such a play. And
Public Welfare societies have argued that
if a real Negro is cast for the leading
role, as the Provincetown directorate has
announced, the police will have to guard
the theatre against infuriated Anglo-
Saxon mobs. Meanwhile, O'Neill has
prepared to open new accounts at four
New York banks.
As I have observed, the indignation
that the play has aroused is but another
proof of the apparently incurable mush-
headedness of the average citizen of the
Republic. Aside from the intrinsic merits
or demerits of the play, which do not
enter into the particular question, the
hoopdedoodle that the theme has given
birth to is beyond the comprehension of
anyone with more brains than a bath
sponge. Othello has a similar theme,
and so have several of the most popular
operas shown annually at the Metropoli-
tan. If, on the other hand, the objection
is to the casting of a real colored man
in the leading male role, the racket is
equaly senseless. No one complained
when Peter Jackson, the Negro prize-
fighter, played Uncle Tom and fondled
a white Little Eva, and no one ever com-
plained at Bert Williams' presence on the
same stage with fifty or sixty half-naked
white women. Miscegenation, true
enough, is not a pleasant subject, but
then neither is syphilis, yet there has been
no dudgeon lately over Ibsen's Ghosts or
Brieux's Damaged Goods or Echegaray's
Son of Don Juan. As the comedian in a
recent musical show sagely observed:
"There's a fool born every minute, and
sometimes he's twins, but not one of 'em
dies every hundred years!"
V
J^k-FTER having been proclaimed by the
French newspaper critics a great Mac-
beth, James K. Hackett came back to
New York and astonished everyone by
being a good Macbeth. Privy to such
foreign encomiums for the last four or
five years — encomiums that have less to
do with any American's authentic merit
than with the foreigners' desire to warm
up the entente cordiale and maybe pave
the way, through good, brotherly feeling,
for another nice little American loan —
the local intelligencia has moved en bloc
to the state that Anheuser-Busch made
famous, and has demanded to be shown.
Thus, when the Rev. Dr. Hackett, whose
Macbeth when last seen here was an ex-
cellent Malvolio, got off the ship at Ho-
boken with eighty or ninety scr'apbooks
ful of notices from the Paris scribes an-
nouncing that he was the most remarkable
Macbeth seen one the stage since 1610 A.
D., there was a considerable insertion
of monocles and much audible sniffling.
Came the night, then, when the Rev. Dr.
made his re-appearance in the role in the
Forty-eighth Street Theatre. And came,
coincidentally, the huge surprise of every-
one at beholding, if not the unparalleled
Macbeth of the French goose-grease, at
least a Macbeth that was a very consid-
erable improvement over that of Hackett's
original American revelation and a Mac-
beth, to boot, that was intelligent, thor-
oughly well-poised and generally effective
in the necessary theatrical sense.
The Shakespearian revival, indeed, was
in the main a praiseworthy one save in
the instance of Lady Macbeth. As per-
formed by Miss Clare Eames. she who no
more than a short year back was prob-
claimed by all the reviewers who hang
out at the Algonquin Hotel to be the
greatest actress who hung out at the
Algonquin Hotel, this Lady Macbeth was
a queer creation. Certainly Shakespeare
would have been somewhat flabbergasted
to view her. There was, indeed, a rumor
current in the lobby at the end of the
performance that Miss Eames had, in
the excitement due to the quick prepara-
tion of the play, been handed the wrong
part and had learned, instead of the role
of Lady Macbeth, that of Oliyia in
Twelfth Night.
VI
JHHelena's Boys, by Ida Erlich, is still
another in the long series of worthless
plays which Mrs. Fiske annually elects to
set up against the back wall of a stage
and knock down with her comedic tech-
nique. The business is getting to be ex-
cessively tiresome. It is all very much
like the fifteen year old boy of the neigh-
borhood who associates only with the five
or six year old kids that his leadership of
the gang may be secure. It would seem
that Mrs. Fiske is afraid to risk her repu-
tation wath any play that might demand
of her a considerable sense of character
and some difficulty in the projection
thereof. . All that she has been doing in
the last dozen seasons is, histrionically
speaking, to take candy from babies.
The present opus is Version No. 206 of
the Younger Generation fable. There is
nothing in it to interest any half-way in-
telligent person, or, for that matter, any
unintelligent person merely out for a di-
verting evening in the theatre.
VI and VII
T
JL wo more musical shows. Sitting
Pretty, by the estimable Bolton - Wode-
house - Kern combination, provides very
much better light entertainment than the
usual tune and girl dish. Wodehouse's
lyrics and Gertrude Bryan's agreeable
presence, including a pair of sightly legs,
constitute the leading features of the oc-
casion. The exhibit is staged in excellent
taste. I can't go into raptures, however,
over Miss Queenie Smith, who occupies
the chief spotlight. She is a capable little
hoofer, but of a vaudeville flavor. There
is nothing charming or picturesque about
her.
Paradise Alley, the second of the new-
comers, is a pretty gloomy affair. Aside
from a poor libretto, hackneyed lyrics,
stale melodies and a very ordinary pro-
duction, there is no one in the company
to uncork the interest. Helen Shipman,
the star, has 'little allure, and Ida May
Chadwick, who is the runner-up, is too
much the longshoreman in her work to
exercise any appeal. George Bickel, a
very good comique, is lost in the shuffle.
His lines drown him. Which, considering
the quality of the lines, must be a very
painful death.
W
SCIREENLAMB
(\The New Pola — from page 34
Then came squalls. Pola dancing con-
stantly with Charles de Roche at George
Fitzmaurice's party, with Charlie biting
his nails and murmuring venomously at
the six-foot Frenchman, "I hate his size!";
Charlie endeavoring to keep from com-
mitting himself by stating to a persistent
reporter that he was "too poor to marry";
Pola, furious, countering by writing out a
statement that "since Mr. Chaplin was
too poor to marry, she could not afford to
support a husband"; her tactful publicity
man softening the statement to a mere
formal denial of the engagement; Charlie
in tears, pleading with his enraged goddess
and damning the press for its interest in
his private affairs.
Then came by the underground radio
that no publicity department can censor,
stories of Pola's temperamental difficul-
ties with her directors. How her arro-
gance drove George Fitzmaurice to resign
from Paramount; how she blithely failed
to turn up at a dinner given in her honor
by a group of newspaper men, leaving
the impecunious scribes to mourn the
cost of pheasant and champagne sans the
filip of Pola's presence; how Pola ac-
quired a rich black eye from a Spanish
boot hurled accidentally from the hand
of Herbert Brenon, her director; how in
a fit of temperamental fury, Pola sat her-
self down in a large pool of grease, leav-
ing her expensive costume a hopeless ruin.
Ah, what reading it all made, and how
the dear public lapped it up like cream!
Pola Is Changed
)ut today all is changed. Pola h no
longer the termagent, but a silent, re-
served actress, obedient to direction and
intent on wiping out the unfavorable
opinion fostered by her first American
pictures. The fires of her volcanic spirit
are still there, but they are smouldering,
kept under rigid control and breaking out
only on rare occasions.
What changed her? Jealousy of her
lost prestige, the burning desire to prove
that the failure of her American produc-
tions was not her fault, but the fault of
those who tried to mould a Continental
woman of the world into censor-proof
roles.
Bella Donna was unfortunate. The
Cheat was worse. The Spanish Dancer,
while appreciably better, was still not the
sort of vehicle to restore her to her ped-
estal as the greatest artiste in pictures.
The unfavorable publicity which was the
direct result of her arrogance toward tha
press and her intolerance of direction was
severely damaging her prestige. She was
a stranger in a strange land and she met
only coldness and hostility on every side.
True, she had done little to win affection,
but still the lack of friendliness hurt. So,
being a woman of intelligence, she about-
faced.
"I did not understand," she said. "The
next time, when I go on ze set, I will
embrace ze electricians and say, 'Oh, what
nice lights you make'."
(Continued on page 94)
QThe New Gloria — from page 33
her abilities as an actress. Reading of
herself, if she ever did, and what star
doesn't? — as the screen's greatest manne-
quin, why shouldn't Gloria begin to think
that was all there was to her, there wasn't
any more?
That, at any rate, says the authority, is
what she finally concluded. She developed
a perfectly grand inferiority complex. She
believed she was limited as a box-office
attraction. She did nothing at all about
it because it never occurred to her to
change her metier. Perhaps she was con-
tent. The average woman would be. She
had everything in the world to stifle any
artistic yearnings which may have come
to her from time to time. It must be
awfully hard to want to be a celluloid
Bernhardt in the luxury of a Beverly
Hills home or a bungalow dressing room.
She was an acknowledged queen of the
Lasky studio; as a financial proposition
her pictures were wows, as they aver on
the film rialto. Apparently there was
nothing in the world for Gloria Swanson
to worry about— if Gloria Swanson were
the average woman.
But her worst enemy could never
accuse Glojia of mediocrity. Her career
is the best proof of her individuality,
both as an actress and as a personality.
She looks like nobody else on earth, ex-
cept during the brief reign of "Madame"
Glyn at the Lasky studio, when she
dressed a la Glyn, narrowed her eyes a
la Elinor and otherwise did her Best to
smother the Swanson eccentricities and
charm. But she recovered from the Glyn
complex and emerged more Gloria than
ever.
Then came the foreign invasion. Pos-
sibly more conflicting stories have been
told of the so-called Swanson-Negri feud
than even about the Chaplin love affairs.
But the fact remains, despite denials and
despite everything else, that when an em-
press of the European studios encounters
a czarina of the celluloid on her native
ground something is bound to happen,
possibly unpleasant. Suppose you were
to hear that Pola Negri swept into the
Lasky Hollywood studios one day to be
received and kissed on both cheeks by
Gloria Swanson, who therewith escorted
Pola to her own bungalow where the two
immediately became fast friends — a
friendship which exists to this day — -would
you believe it? Of course not. And it
didn't happen. Whether Gloria and Pola
actually ever got to the "acute" stage is
a matter of conjecture, if you go in for
things like that. But if Gloria ever was
inclined to look upon Pola as a scourge
and a menace she should change her
mind. Because Pola was the unconscious
instrument of Gloria's greatest succcesses.
Gloria An Eastern Star
L,
/A Negri may have influenced Gloria's
decision to move her screen activities
eastward? — how absurd! But the fact
remains that not long after Pola's ar-
rival in Hollywood she was installed in
a dressing room as spacious and stellar
(Continued on page 94)
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QThe New Pola— from page 93.
Irony, yes. But the sentiment was
sound and Pola Negri has acted upon it.
She staged one final, magnificent scene in
protest against the policy of her produc-
ers in trying to make her over into a
brunette Pollyanna, and succeeded in
gaining roles and a director to her liking
in Dimitri Buchowetzky, the Polish artist
who directed her years ago in Mad Love.
Buchowetzky is no Pollyanna, nor does he
wish Pola to be one. Her point gained,
her attitude toward her fellow workers
changed. She no longer treated them like
something that slipped in when the door
was left open. She is gracious when
graciousness is needed, and gives praise
where it is deserved. True, it can scarcely
be said that she has thawed to the extent
that extras borrow her lip stick. Not in
several degrees. But if she is reserved
and silent on the set, it is because she
is immersed in her part, putting herself
in atmosphere for the scene which she
will presently play.
A,
A Sample of the New Pola
n incident that . occurred on her set
during the filming of Shadows of Paris
illustrates the change in Pola.
A young French actress who plays
"bits" was instructed by Herbert Brenon
to seat herself on a table in an apache
den scene and and embrace one of the
denizens of the place. Before she was
fairly seated, Brenon called out impa-
tiently, "No, no, you cannot do it. Let
some one else try."
Chagrined to the point of tears, the
girl slipped from her place to hear Pola
say:
"She can do it, Let her try."
The girl went through the action to
Brenon's satisfaction, and Pola said,
"Marvelous!"
That young actress will treasure that
bit of praise and encouragement through
the years, and Pola has won a friend fox
ever.
Her tractability under Buchowetzky in
Men is perhaps due as much to her per-
fect confidence in him as to her change
of heart. He is thoroughly Continental
in thought and he understands Pola Negri
to the depths of her tempestuous being.
He is a director of subtlety and depth,
soft of speech, volatile of emotion. He
wrings his hands, laughs and weeps with
his actors. A big scene leaves him as
emotionally spent as it does his star. Ajjd
in Men, his own story, that opens with
Pola as a waitress in a French wineshop
and ends with her queening it over Paris
as an idol of the footlights, he is bringing
back to us the old Pola once more — not
the artificial, inhibited Pola of Bella
Donna, but the glorious, unrestrained
Pola of Du Barry. He hopes by means
of this picture and the two pictures to
come to place Pola Negri once more upon
her throne as a rightful queen of drama.
After his pictures are finished, Ernest
Lubits'ch will take up the work.
(Continued on page 95)
SCMEENLAHD
Q The New Gloria — from page 93
as Miss Swanson's own, it was decided
that the American girl should make her
screen plays in New York. Pola re-
mained in the west, even though, accord-
ing to her own avowal, she would far,
far rather work in the East, where she
could be assured of operatic entertain-
ment and the culture which sustains her.
The upshot of the matter was, and still
is, that Gloria Swanson became an "east-
ern star." And she still belongs to the
lodge.
It is in New York, that she has done
her greatest work to date. It is away from
Hollywood that she has contributed to
the screen her most vivid and human
characterizations, Zaza and The Humming
Bird. It was in the studios near Manhat-
tan that the new Gloria was born, under
the kliegs and cooper-hewitts, with the
click of the cameras as a lullaby and di-
rector Dwan as principal physician. (That
about the lullaby isn't actually correct!
she has an orchestra playing on the set
all the time.)
But there you are. You applauded the
new Gloria Swanson more fervently than
you ever did her polished and "perfumed
twin. You have by now added Gloria
Swanson to your list of the real actresses
of the screen — that list which includes
Pickford and Talmadge and Gish.
A Screen Personage
n her tempestuous scenes as Zaza she
revealed herself as an emotional whirl-
wind. Her best scenes in The Humming
Bird were played in a boy's suit and a
cap which covered her hair — once tricked
up into the fearful and wonderful Swan-
son coiffure. That old coiffure — the head-
dresses, the weird wigs — transformed" the
Gloria of Triangle days into a screen per-
sonage. But didn't they submerge the
model? Now she has discarded them,
and makes her third debut to you — the
elfin appeal of the leading woman of her
first screen plays; the poise and pictur-
esqueness of the de Mille discovery — and
today, the sparkling, pantherish, whojly
seductive star — all these are the Gloria
Swanson you will fare forth to watch to-
night or tomorrow in her new film. Man-
handled.
It's this way. In New York, she has
found other interests outside motion pic-
tures. No — never quite outside, for most
of her friends are in and out of the films
— but her associations with the broader
world. Her associations with important
people who write and paint and sing, offer
her a new vision. They have stimulated
her imagination. They have opened for
her new and bright roads. And Gloria,
personally, has made a metamorphosis in
step with the Gloria of the shadows.
Where, before, she was aloof and some-
what haughty, now she is charming and
cordial. The Glyn complex is a thing of
the past. So, too, is the inferiority com-
plex which bound her to boudoirs and
bathroom scenes, spangles and ospreys.
She has stepped right out. The other
(Continued on page 95)
SCEEENLAMJ
QT&e New Pola— from page 94
The Chaplin Romance
W ith love, Pola has nothing to do
now. She is resting in quiet waters after
breasting the whirlpool of her turbulent
romance with Chaplin. Whether she
really loved him with a deep and lasting
love, who can say? She found him a
celebrity and therefore to be cultivated,
yes. She found him a mental stimulus,
a kind friend in a strange land. Desired
by many women, it was her triumph to
captivate him. He was experienced
enough with women and wary enough to
intrigue her Continental heart. But love?
We wonder.
Chaplin's passion was probably equally
calculated. Charlie Chaplin is an adept
at letting his head control his heart. Ex-
tremely susceptible to beauty, yet he
never gives his emotions full sway. With-
out a doubt he was infatuated with Negri,
yet even in the depths of his infatuation,
that still small voice which keeps a check
on his emotions may have warned him of
shoals ahead.
Vanity on both sides, a warm glow of
pleasure at being desired by a celebrity
like the other; physical attraction and
mental stimulus; hardly love of the sort
that suffereth long and is kind.
The report has gone abroad that Venus
has ensnared the hearts of Pola Negri and
— most unlikely of swains — Bill Hart.
The affair, if affair it could be called, was
of brief duration. It was more of friend-
ship than anything else, at least on Pola's
side. Hart undoubtedly admired Pola.
But William S. Hart, mellowed by the
winds of some three score winters, was
scarcely romantic fuel for the fiery heart
of Pola Negri.
Today we have a new Pola — mellowed
in the crucible of democracy — her fiery
genius still unbridled; but guided by ex-
perience and a sympathetic understanding.
95
(\The New Gloria from page 94
day on the set at the Astoria studio of
Famous Players she stood cnatnng with
her maid while she was awaiting director
Dwan's call to the set. She came on,
nodded smilingly while he explained the
scene to her, and then laughed her appre-
ciation at an electrician's comment. Be-
tween shots she talked with Pete Props,
or one of his assistants! And there was
about her none of the manner of "Great
star condescending to pause in heavenly
ascent for word with servitors", either.
Gloria's Children
3 he talks about her children — freely
and enthusiastically — to interviewers. Her
children are Gloria, her little girl, and an
adopted boy of a year, Georgie. They're
with her all the time — and she was heard
to say that she'd like to have a big house
with a special wing for a nursery, said
nursery to include her two bairns and
many more. And then, there's her book.
Oh, yes, Gloria has written a book. It
is the most commonplace thing the girl
has ever done. But she is said to have
really written it herself, with no assist-
ance; and Harper Brothers is to bring it
out. It is as yet a child without a name.
The contents include little thoughts in
free verse, about love, and flowered gar-
dens, and things like that. Which leads
us to believe that Gloria is not, despite
her two unhappy marriages, the slightly
cynical woman some writers should have
us believe.
Naturally, there are those who scoff at
the new Gloria Swanson — who prefer to
believe that her fresh outlook, her friend-
liness, her book, constitute another pose.
At a familiar dinner-dance she was abso-
lutely the last celebrity to arrive; and
she hasn't sold her motors or dismissed
her servants. But you can't get away
from the new Swanson of the screen no
matter how hard you try. She's here and
evidently she's here to stay. And after
all it's the celluloid record of her new
personality that counts.
Q. Alice in Screenland—from page 73.
as real and earnest as some dread-
ful persons would have us believe.
If earrings are unbecoming, there are rub-
ber circles that w ill serve the same con-
versational purpose. It is a wise girl who
gives her friends something silly to tease
her about.
Caprice for Cupid.
And for the dear little toddlers
- (or the terrible little nuisances
whichever you think them) who must
have their bathing hour the same as
mother, no better model than Baby Peg-
gy could possibly be found. Her cun-
ning little cap has a pair of turtle doves
billing and cooing daintily in silhouette.
Her suit is of the kind that Cupid him-
self would probably wear if he ever has
the grace to wear one. Baby Peggy's
wings are less ethereal than Cupid's but
they keep the dear child from drowning.
The smart and practical thing to wear
to and from the beach is a sweater and
skirt. A sweater never sticks — even though
one hasn't taken as much time as one
ought in drying. The one I am show-
ing is quite ultra. There is the V neck
with cricket striping to enliven it and
the slip-over form to place it in a class
with the first sweater families of the
year. The knitted scarf that the lady
.dangles in her hand so that her smart
neckline can be seen is of gay Roman
stripes. Anyone who isn't blind and has
seen the papers for the last few months
knows how good Roman stripes are —
and scarfs; my eye, we'll be wearing
them on our nighties next.
Note: — Any of the articles mentioned
in this story will be purchased for you
quite without cost, if you will write Miss
Alice Anesley. care of Screenland. — M. Z.
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Q.People and Things — from page 38.
During his visit he received so many
challenges that he was kept busy slap-
ping the ball around the lot and rather
overlooked production affairs except at
odd moments.
As his studio comrades, with smiles
on their faces, saw him off on the train,
the film Mogul no doubt congratulated
himself on having such a bunch of good
fellows in the organization. The hand-
ball court and its paraphernalia are of
course getting a little dusty from non-
use since he departed, but it still offers
pleasant moments of diversion to some
of the property men and electricians on
the lot who have a little spare time on
their hands.
How Great Is*Seastrom?
after viewing Name the Man! I
A wish to take issue with Charlie Chap-
lin when he says that Victor Seastrom
is the screen's greatest director, and also
state that I will gladly fight a ukelele duel
with anyone who has the affrontry to class-
ify this film version of Hall Caine's gum-
drop as a fine screen play.
As for Name the Man — the very fact
that Seastrom would elect himself to direct
such an absurd lollipop of a story is a
count against him. If ever there were
far-fetched situations, unhuman characters
and mock heroics on the silversheet we
have them all in this production. Sea-
strom may do better work in the future,
but on his last two efforts he is not en-
titled to be ranked among even the first
five best directors.
Another Good Plan Gone Wrong
When the plan of making June Ma-
this commander-in-chief of all
Goldwyn activities was first announced, it
was felt by many that the idea would
never produce the expected results. Look-
ing back over the year's output from the
Goldwyn studio it must be admitted that,
while the idea of having a brilliant sce-
nario writer as supreme boss over all
production may sound well, it does not
pan out when put into execution. The
failure of the Mathis regime to come up
to expectations is by no means a reflection
upon the abilities of June herself, how-
ever, but upon the theory underlying the
proposition.
The mistake of the executive who ap-
pointed Miss Mathis to the task was in
thinking for a moment that such direct-
ors as Neilan, Vidor, Von Stroheim, etc.,
would submit to the arbitrary power of
anyone, much less a woman and a sce-
nario writer. It was a forgone conclusion
that there would be friction from the '
tap of the gong between these big directors
and the young woman who had been given
powers over their head. For instance, in
discussing plans for a production, would
Mickey or Eric or King journey to June's
office, or would June have to submit to
making the trip to their offices. In just
such a minor question as even that there
would be a mental battle between the
two forces for a moral victory.
If the Goldwyn executives had en-
gaged a staff of young and unestablished
directors instead of such self-confident
men as Neilan, Vidor, von Stroheim, etc.,
the former would have been glad to listen
to June's ideas and follow her continui-
ties out to the letter. With such an ar-
rangement the Mathis regime might have
met with success.
What's The Use?
While James Cruze's The Fight-
ing Coward is being commended
throughout the country as an "entertain-
ing picture," it is by no means getting
the praise it merits. The Fighting Cow-
ard is not only a good picture — it is an
exceptional picture. The real bigness of
the film, however, seems to be going over
the heads of the* majority of spectators.
The Fighting Coward is a significant pro-
duction in the history of the silent drama
because it is the first first-rate satire that
has appeared on the screen to date.
Satire is one form of screen literature
that has had virtually no development. It
offers a virgin field for producers, but the
draw-back is that satire is the most dif-
ficult of all subject matter to picturize.
It demands not only originality and wit —
but brilliance.
What, then does it profit Jimmy Cruze
to give the silversheet such a delicious
satire, and then have it pass unrecog-
nized. Most of the reviewers termed it
a "comedy-drama." One critic called it
a "far fetched melodrama filled with im-
plausabilities." That fellow probably
thought that Name the Man! was a logical
work of art. Talk about wasting fragrance
on the desert air!
Why Some Authors Go Crazy
You have heard of the producer who
pays $25,000 for a story because
it has been widely advertised, and then
changes the title on releasing the film
version, — thereby losing the very benefits
he paid for; and you have heard of the
producer who buys a novel or play because
he likes the plot, and then so alters the
plot that it loses all merit. Here, how-
ever, is a new tale revealing from another
angle the farcical aspects of the craze for
buying published works at high prices.
Three or four years ago the Select com-
pany bought the screen rights to W. E.
Lancaster's novel The Law BHngers. It
was assigned to Ralph Ince for produc-
tion, but after the novel had been pulled
apart and made into a film it was dis-
covered that none of the original story
was left. So the name of the production
was changed to Out of the Snows. This
left an unfilmed novel on the hands of
the company, and when Reginald Barker
was casting about for a story a few months
ago The Law Bringers was submitted to
him.
Barker read it, thought it would make
SCMEENLANB
a good picture, and the Mayer company
purchased it for him. But when Barker
and the scenario writers got through tear-
ing the novel down and re-building it to
suit their purposes it was again discovered
that W. E. Lancaster's story was still
intact and the title of the picture was
accordingly changed to The Eternal Strug-
gle. So The Law Bringers is on the mar-
97
ket again if any producer would like to
film it.
The moral is: conceding that Ince and
Barker both turned out finer films than
if they had followed the original story,
then what was the use of wasting money
on an expensive published work when with
the aid of their scenario writers they were
able to write a better original story?
QEight Dollars a Minute—from page 55.
We spoke of The Girl I Loved, Ray's
eyes filling with quick tears as I praised it
in unqualified terms.
"I love it, too," he said huskily. "But
God only knows if the public will. I'm
not one to condemn the public when it
doesn't like my pictures. I think there
must be something wrong with the pic-
tures, and not the public. But I know
The Girl I Loved is good. So the public
must like it. I put everything I have
learned in the picture business into it,
every ounce of personality and acting abil-
ity I possess. And I did not compromise
with my ideals, by making it end happily.
"That's the reason I have always
wanted to be able to make such pictures
as The Girl I Loved. But the struggle
has been terribly uphill. Certain big in-
terests have made it hard for me to dis-
tribute my pictures to the best advantage.
One national screen magazine has taken
every occasion to knock me and my
work, through a personal grudge. I started
producing on my own on a shoestring, and
costs have mounted beyond belief.
Eight Dollars a Minute
t &
Why, I
vv When
crazy
expert
nearly went
an efficiency
figured that our expenses here amounted
to eight dollars every minute of the
working day! That almost ruined my
acting, for awhile. I dreaded retakes —
precious minutes at eight dollars each
flying to eternity. Waits drove me
frantic. I bullied and hectored until I
almost drove my most loyal people away
from me. Then I woke up, and deter-
mined to forget the nightmare. I would
make pictures as efficiently as I could,
and let it go at that."
I had an uneasy sense of eight-dollar
minutes flying past us as we sat in the
projection room, and Ray, sensitive as a
girl himself, smiled understandingly and
reassured me.
"They are making some scenes I don't
appear in," he said. "Besides, if I were
needed, I'd want to talk this thing out
with someone who lends a kindly ear.
I'm up against it, really. If the public
can't see The Courtship of Myles Standish
I'm .through. Unless it succeeds big it
will be impossible for me to meet my
notes. The same thing almost happened
on The Tailor-Made Man. I paid far too
much for the story and it cost too much
to produce. But fortunately it made
quite a lot of money.
& 6
No More Country Boys
Wf
hen I made The Girl I Loved,
said, and I meant it, 'No more
country boys'. To that picture I had
given the best that was in me; that was
my supreme country boy role. I wanted
to get away from them. If the public
likes The Courtship, I will have won my
freedom, my chance to act something be-
sides the bashful, barefoot boy. If they
don't like it — well," he made another of
those futile, heart -wrenching gestures
with his long hands. "It means back
to someone else's lot for me — it means
chains again — someone else picking my
stories and guiding my picture ethics — "
Fine phrases, but Charles Ray meant
them.
And now the worst has come to pass.
The public did not take very kindly to
The Courtship of Myles Standish. For
Charlie's sake, I am very sorry. But I
can't wholly blame the public. In his
effort to make a great picture, he made
a long and heavy one. He and his staff
had done so much research work that it
overpowered their picture sense — they
wanted to get everything in it that they
had learned about Mayflower days.
But whatever the reason, the result is
the same. Charles Ray is beaten as a
producer of his own pictures — tempo-
rarily at least.
The public has been unusually insistent
in Charles Ray's case. He has wanted
to abandon country boy roles. The public
has insisted that he stick to them. And,
begging Charlie's pardon, I think the pub-
lic is right. Ray is the type of boy he
portrays so well. He is bashful, naive,
simple, kindly, boyish, inclined to be a
little inflated with ego when he has done
a big thing, and too prone to deep despair
when he has failed — and that is the kind
of role the public adores for Charles Ray.
Thomas H. Ince discovered and de-
veloped Charles Ray. I do not say he
made him. No man can make another.
But, outside of my personal fondness for
Ray and my regret that he had to be
hurt, I am glad he is going back to Ince.
We will get again the pictures that en-
deared Ray to his friends, and maybe as
Ray and my regret that he had to be
the hearts of the public again, a little of
the sting will be removed from his own
sore heart.
NEXT MONTH: Another wonderful story by Anne Austin — about "Our Mary.'
Don't miss it. In August Sckeenland, ready July first.
Attention! 2nd Edition
Revised and Augmented
"The little book is a gem."
LIFE OF WORLD'S MOST BELOVED STAR
Wallace Re id
BY HIS MOTHER
Bertha Westbrook Reid
Heart - Gripping
Story
Trials and
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Smiles and
Tears
Talents, Attain-
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and Martyrdom
of this
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and
Great Genius
ILLUSTRATED
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QfZlass — A Story of Hollywood—from page 45.
NEXT MONTH
another article by
Tamar Lane
Ready July first
Arising at seven-thirty, Fanette would
rush through her toilet except for the
strata of facial pigment, the application
of which consumed fifteen minutes. She
would not have been bad looking if any-
one had seen her original face. Hair
which nature had made soft brown to go
with an olive complexion was not only
henna-rinsed and cut off within an inch of
its life, but what remained of it was
frizzed into kinks no white person ever
came by honestly.
Mrs. Bischel would wait on her daughter
at breakfast and urge her to have an
egg. Fanette would murmur "no time"
between mouthfulls of cold cereal and
her mother would say, "If you got up
when I called you. . . " which Fanette
would intercept with "Hurry up with the
coffee Ma, I'm late." This constituted
the daily dozen words between them.
They were fond of each other but like
many people of their type were inarticu-
late. Demonstrative maternal and filial
love had its place and that was in the
movies.
On the way to the subway she would
buy a newspaper that made reading easy,
telling its stories in pictures. She would
peruse it from first page to last, kept
from swaying as the train lurched by an
equal pressure of humanity on all sides.
She reached the office just in time to
look settled when old Wilcox or Jones
came in. She lunched on a tuna fish
sandwich and a chocolate nut sundae, ex-
cept the days when it was a pimento
sandwich and a banana split. If the
minutes she spent in the dressing-room
retrieving a cupid's bow that had lost it-
self in luncheon, and patting imaginary
stray hairs into place could be stretched
end to end, it would take several weeks
a year from her service to Messrs. Wil-
cox and Jones.
The evening subway ride differed from
the morning one in that Fanette's atten-
tion was centered in a serial story of
married life and advice on problems of
the heart.
Dinner at the Bischel home was a
simple meal with plenty of food and
little service. Sometimes Fanette helped
her mother dry the dishes, more often
not. She was an only child and "spoiled"
her mother would say, proudly.
All days were more or less alike.
And then a wonderful thing happened.
Fanette bid adieu to dusty files, to the
subway crush, to the drab flat. One
Saturday afternoon she waved a light fare-
well to her mother and a few friends
from the observation platform of the
Twentieth Century, Ltd.
The philosopher who said truth was
stranger than fiction uttered a folio-full.
Some washerwomen win derby sweep-
stakes and retire to palaces; the entire
course of a coolie's life is often deflected
by the lottery, and the fluctuations of
Wall Street have performed more mira-
cles than Merlin.
Fanette had gambled and won. She
had capitalized the one thing in which
she excelled, her knowledge of the movies.
HpHE daily paper which had been supply-
JL ingjier with the news of the world had
been running a contest on its last page.
Each day an unfamiliar photograph of a
film star would appear and the contest-
ants were to guess who it was, the re-
ward for the highest number of correct
answers being a thirty-day trip to the
American Mecca, Hollywood, all expenses
paid. Each day for months Fanette had
mailed in a picture with the name of an
actor or actress neatly written on the first
dotted line and her own name and address
on the other two. Some weeks after the
publication of the last picture Fanette
received notice to come to the newspaper
office with some of her photographs. She
was congratulated, interviewed and duly
presented with yards of railroad ticket
and a letter of credit.
II
as the departing train slowly drew her
x\ back from the platform and the
figures merged into a waving mass, Fanette
smiled.
"Remember me to Mary and Doug,"
"Be sure and get all the dope," "Be care-
ful about signing a contract" — parting
phrases of her facetious friends rang in
her ears.
"Ain't it just like a book!" she mused,
visualizing herself as the frontispiece.
She was conscious of the chic of her little
brown toque, though she would have pro-
nounced it to rhyme with wick, and she
knew that her tan crepe de chine dress
didn't look home-made and that her stock-
ings were nuder than skin itself.
It was difficult for .Fanette, as for most
people unused to dining cars, to avoid
staring into the mouth of the person
across the table. She looked out of the
window, down at her plate, across the
aisle and out of the window again; every-
where but at the lady opposite. On one
of her occular excursions she encount-
ered a pair of merry blue eyes looking at
her.
"I wonder if that fresh guy thinks I
owe him something," thought she.
The "fresh guy" sat alone across the
aisle at one of the smaller tables and his
eyes rested on Fanette, perhaps because
she was the most eye-resting object within
the radius of his vision which comprised
two school teachers on a holiday, the
back of a bald head and some negro
waiters.
Fanette returned his stare with a look
of challenge. Romance didn't wear a
moustache and a soft collar, none too
clean.
They finished dinner at the same time
and as they walked back through the
train he held the doors of the cars open
for her — Lawanda, Turlbut, Braxton.
Such silly names for cars was her thought.
"Don't they give the cars ridiculous
names?" he said.
"That's just what I was thinking."
"I'm psychic."
"I'm in Braxton," she replied and
wondered why he laughed. His teeth were
rather nice, under the mustache, reminded
SCMEENLAN©
her of someone she knew, couldn't just
place it.
The next day they met on the obser-
vation platform.
"Where are you bound for?" he asked.
"Hollywood," she answered proudly.
She hoped he would think she was a
movie actress.
"From New York?"
"I'll tell the world and Brooklyn."
She was very proud of her home city as
people are likely to be who have never
seen any other.
"Where are you from?" She thought
a return inquiry no more than polite.
"I'm a Cosmopolite," he replied.
"Really? You have no accent."
"You're quite a wit," he retorted laugh-
ing, and because he seemed to expect it,
she laughed too.
They discovered that they both had a
stop-over of a day in Chicago.
"There is a very fine Art Museum
there, one of the best in the country.
Do you want to go with me?"
"No thank you," she replied, "I want
to go to Marshall Fields. My girl friend
has a cousin from Chicago and she says
I must be sure and see Marshall Fields."
"I wouldn't bother about that. You've
seen department stores in New York."
"Well, I seen the Museum in New
York, too."
arrangements had been made for
J\ Fanette at the Blackstone. The
luxurious appointments overwhelmed her
She thought the previous occupant of the
room must have forgotten the little sew-
ing kit that hung on the bureau. She
opened the closet door several times to
see the automatic light go on and off.
She spent the early part of the evening
sending picture postal cards. She wrote
Mae: "There's a John that's rushTng me
to death. Wish he'd lay off." On all the
other cards she wrote: "So this is Chi.
Am having a wonderful trip. Wish you
were with me."
When she had written to all her rela-
tives, friends, acquaintances and business
associates she wandered out and went to
a movie. While she sat in the darkness
watching the play unfold she kept re-
minding herself that she was in Chicago,
actually in Chicago. She gave herself the
proverbial pinch to see if she were awake.
That night she felt rather frightened
and alone in the big white bed and got
up to make sure that the door was locked.
Early the next morning after break-
fasting at Childs on griddle cakes and
coffee, she set out for Marshall Fields and
spent the morning wandering around the
various departments. She bought a string
of red beads "to remember Chicagto by."
After her customary sweet luncheonette
at a counter, Fanette walked along Michi-
gan Boulevard looking longingly into the
shop windows and then dropped into a
movie until train time.
Ill
She was not particularly pleased to find
that the man with the moustache had
the berth next to hers on the Santa Fe
train. She felt he would be rather a nui-
sance. She wanted to mingle with the right
people. She had nicknamed him "Percy" to
herself with that peculiar brand of humor
which identifies correct English pronun-
ciation with affectation and links affecta-
tion with certain names, notably "Algy"
and "Percy." Fanette didn't pronounce
it "Poky" as New Yorkers are errone-
ously supposed to, but a pronunciation
curiously between — "Peucy" best de-
scribes it. Percy certainly had no
class.
From Chicago west the atmosphere of
a train changes perceptibly. The mis-
trust of the stranger so characteristic of
the East gives way to a feeling of good
fellowship. Everyone speaks to his
neighbor.
Carried on this wave of friendliness
Fanette asked a dapper youth opposite
her at dinner to pass the sugar. That is
always a propitious opening.
"Sweets to the sweet," he said as he
handed her the silver bowl.
Soon they were chatting amicably.
He might have stepped straight out of the
page of a catalogue of Men's Apparel.
"I suppose you're in the pictures?"
ventured Fanette after he had referred
to California as "the Coast" and Los
Angeles as "L. A." with an ease that be-
spoke familiarity.
"Yes," he admitted. "Had to take a
run to Chi on biz."
"What sort of parts do you play?"
"Ah, all sorts. Done mostly atmos-
pheric work so far."
Fanette was greatly impressed.
"Do you think I'd have a chance to
get in?"
"Sure thing. I'll introduce you to a
personal friend of mine. He'd do any-
thing for me. He'll fix it."
"I'm afraid I'm not good looking
enough."
"Say, kid, how do you get that way?
Not good looking! I think you're; the
caterpillar's garters."
Fannette giggled.
"And you've got brains, too. That's
what counts in the Silent Drammer."
Fanette admitted that.
"Do you know Richard Chandler?" she
asked.
"Know him! I supported him."
"Supported him?"
"Yes, that is played in several of his
pictures."
"Oh, I see."
They spent the hour's stop at Albu-
querque writing postal cards. He
bought her a souvenir, a leather napkin
ring with an Indian's head burned in, and
bought himself a burnt-wood necktie rack.
Percy, whom Fanette had quite forgotten
in her interest in Chester, spent the time
talking to an old squaw and playing with
the solemn Indian babies.
At El Tovar they lost Percy who stayed
over a few days to see the canyon.
Chester was going right through and
Fanette, impatient to get to her destina-
tion accompanied him despite Percy's
protestations that she was missing the
sight of a lifetime.
The approach to Los Angeles affected
jss^ a M
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In August Screen land
America's Sweetheart
by Anne Austin
Fanette pretty much as the lilac bush
did the city girl who exclaimed: "It
smells exactly like Vidaud's Toilet
Water!" The fragrant orange groves, the
palms springing up straight out of nastur-
tium beds, the profusion of flamboyant
semi-tropical splendor brought forth from
our heroine "it's just like the pictures!"
"Remember that house?" cried Fanette
in excitement as they jitneyed down
Wilshire Boulevard. "Where have I seen
it?"
"In 'Hearts Apart'," supplied her com-
panion.
"That's right,'" said Fanette. "I re-
member."
"Just you wait till you get to Holly-
wood. Remember the desert scene in
'Adrift'?"
"Yeh."
"I'll show it to you. And Ocean Park,
and Santa Monica and Venice. Just you
wait."
"Is that where they took 'The Merch-
ant of Venice'?"
"Sure thing."
Fanette congratulated herself on having
chosen Chester instead of Percy. Here
was someone that spoke her language.
"Percy was a dead one," she wrote
Mae. "Always raving about the scenery.
I canned him. Chester is a live wire.
He's going to introduce me to a big man-
ager, personal friend of his. He says
my name is Fanette because I am a fan."
IV.
AS she followed the jaunty bellboy
- through the lobby of the Holly-
wood Hotel, Fanette made a rapid inven-
tory .of everything in sight. Perhaps she
had expected to see Douglas Fairbanks
leap from behind the piano to greet a
smiling, hatless Mary, vampires with
cigarettes drooping from the corners of
their mouths slinking around, Harold
Lloyd lighting a firecracker under some-
one. At any rate she was a little disap-
pointed at the quiet well-dressed crowd,
very much like the people of any first
class hotel in New York.
Fanette wondered all the way up in the
elevator how much to tip the bellboy and
worried a long time after he had closed
the door whether she had given him too
much. She didn't want to appear green.
After she had hung up her dresses to
get the wrinkles out and spread her cel-
luloid toilet articles on the dresser she
was startled by the ring of the telephone.
"Hello, are you there?" purred a suave
masculine voice. "Mr. Longacre speak-
ing."
"Oh hello," said Fanette, all smiles.
"How're you?"
"I manage to sit up and take liquid
nourishment when I can get it. How's
things?"
"Alright. What's new?"
"Nothing. What's new with you?"
"Nothing."
"How about having dinner with me this
evening?"
"Thanks. I'm game."
"Would you rather go to Levy's or the
Crystal Palace?" asked Chester.
Levy's suggested her tailor to Fanette.
The Crystal Palace sounded more like
class.
"The Crystal Palace, if it's all the same
to you."
"You're the doctoress. I'll call for
you at your palatial domicile at six-
thirty by the wrist watch. Olive Oil."
"Ain't he the clip!" commented Fanette
as she hung up the receiver.
She fingered her dresses one by one,
trying to decide the problem which
confronts feminity at every juncture. The
blue taffeta looked best without a hat.
She would keep that for some little home
affair. The red velvet was too warm,
Chester had seen the tan crepe de chine,
so by the process of elimination she chose
the black canton crepe sleeveless dress.
The sequin gown, of course, was to be kept
for a state occasion, a Moving Picture
Ball or big dinner.
The Crystal Palace was the ultimate
syllable in ostentation and Fanette felt
that This was Life. It was named for its
sparkling chandeliers with their clinking
glass prisms and the mural mirrors that
tripled the effect of the brilliant as-
semblage. The band was advertised with
the name of America's leading jazz con-
ductor in large letters. Only on second
glance one noticed above, in smaller
lettering, "Vincent Arundel, late with."
Chester demonstrated his savoir faire
by calling the head waiter "Charlie" and
demanding a table near the dance floor.
But he read the menu from right to left.
Fanette ordered Chicken a la King and
Spumoni. Chester breathed more easily
when she declined a cocktail.
"See that girl over there with the brown
dress?"
Fanette was all attention.
"That's Marie Tuttle," pronounced
Chester.
Fanette had no idea who Marie Tuttle
was.
"You don't say so!" she exclaimed.
"Who's the girl with the red feather?"
"That's Paula Blake. She doubles for
Pearl White."
They danced cheek to cheek on the
crowded floor assuming the particular
vacuous facial expression which is sup-
posed to register terpsichorean joy.
Chester could perform more intricate steps
on less ground than anyone with whom
she had ever danced.
"You'd make a wonderful blood-hound,"
he complimented her. "You follow so
easily."
Fanette considered the evening a great
success. How was she to know that most
of the pretty girls were sight-seers like
herself or aspirants who hadn't quite made
the grade for extra work and had become
models or saleswomen in the department
stores? It was as well that she did not
know that even as she viewed Pearl
White's double, the single herself was
dining at Levy's, as were dozens whose
names would have made her gasp. As far
as Fanette was concerned, the evening
left nothing to be desired and the climax
was reached when, as they stood before
the door of the restaurant, Chester
grabbed her arm crying, "Look, look.
SCIEENLANB
See that Cadillac going around the corner?
That was Charlie Chaplin and Mabel
Normand and Alice Joyce. Did you see
them?"
Fanette said she saw them. In fact,
she thought she saw them and it gave
her a thrill.
She and Chester went to the Orpheum
where he pointed out more celebreties.
At the door of her hotel she thanked him
profusely. She felt that due to him she-
had rubbed elbows with the great.
Sunday they made a trip to the beaches.
She was surprised to find the Pacific
looking pretty much like the Atlantic.
They had a shore dinner while Chester
pointed out whole constellations.
Chester never seemed to know until
noon whether or not he was to work
that day. If he was free he phoned her
to meet him after luncheon. When he was
busy she amused herself in the shops or
at a movie. One day, on the hotel clerk's
recommendation, she went to see the
Mission Play at San Gabriel, but she
found it very tiresome and left before it
was over. She preferred the two-dimen-
tional drama.
The thing she enjoyed most was visiting
the studios. She saw something of the
making of A Wife's Way. She marveled
at the houses represented by thin paste-
board facades supported by sticks. The
fantastic make-up amazed her. She made
it her business to learn technical phrases
such as "set," "out on location," "con-
tinuity." She watched them shoot, fas-
cinated. It was so different from what
she had expected despite the fact that she
was steeped in the lore of the little
sister of the arts. She could not grasp
why an apparently unimportant scene
was taken over and over again, some-
times running on for days. She was con-
fused by the lack of sequence, the taking
of scenes in order of place instead of
time. She felt disappointed that the
principals were not alone during the love
scenes, that their privacy was intruded
on by photographers, directors, and other
actors. But through it all she had a sense
of being at the crux of the universe. She
never admitted to herself that she hoped
that some director passing through would
spy her and say "Who is that girl? Bring
her to me."
Chester's friend the manager proved to
be out of town and nobody seemed to
know the whereabouts of Richard
Chandler.
V.
When the day came for Fanette's de-
parture her regret was tempered
with the anticipation of being the center
of an admiring circle at home. She
fancied herself referring casually to "when
I was on the coast." Even while she had
visited the places of interest with Chester,
her mind had always been half occupied
formulating descriptions, with Mae as the
tentative audience.
Chester took her to the train. They
bid each other a verbose farewell, promis-
ing over and over again to write.
"I was very pleased to have met you,"
were his parting words.
101
"Likewise," replied Fanette.
On the train her mind was taken up
with Chester and the perusal of the
Hollywood Gazette to such an extent that
she forgot that she hadn't worn the sequin
dress at all.
Fanette was welcomed home royally.
She was quite the lion of the neighbor-
hood. Parties were given in her honor
and she was consulted on matters of style
and etiquette.
Mae confided that she had a "steady
gentleman friend" and that he had a
friend who was crazy to meet Fanette,
having heard so much about her.
Fanette told Mae of Chester in glowing
terms, adding to his attractions with each
account.
"He's a regular Othello!" was her cul-
minating encomium.
However, she was not averse to meeting
Mae's friend's friend.
The New York presentation of A Wife's
Way was a great event. The boys
took Fanette and Mae to the opening. It
was at one of the larger houses where the
feature picture is merely the nucleous of
many trappings. They talked impatiently
through the overture until they were
hushed by a testy termagant in front who
seemed to want to hear the music.
When the big picture began, accom-
panied by the solemn chords of the organ,
Fanette's blood pressure ran high.
"That's Wilshire Boulevard," "see the
pepper trees," "I know that house" came
thick and fast. Mae and the boys felt
imbued with Fanette's importance and
failed to notice that the huffy lady had
changed her seat. Fanette told them the
plot of the story in advance, and read
the titles aloud.
The feature picture was followed by a
news weekly. After the christening of a
boat, and two athletes shaking hands and
smiling into the camera, came the title:
GRAND CANYON OF THE
COLORADO, ARIZ.
"I suppose you saw that," said
Fanette's escort.
"No, I didn't. If I'd have known it
was going to be in the movies I would
have stopped off."
The audience was taken slowly around
the rim of the canyon aboard the camera,
to an organ accompaniment. As Fanette
viewed the vast hollow, peopled with
natural rock formations that might have
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AugUSt SCREENLAND
Q.Sing a Song of Sideburns — from page 57.
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expanse of shining pate he had draped
tresses originating near the opposite
temple. Until he got out of the range of
the wind-machine he looked like an electric
fan full of serpentines.
Since I like film heroes cut to the bone,
I cannot see why synthetic hairum-scarum
is not allowed even in the making of
those costume things. Realism has been
the oft-missed aim in them and not
missed by a hair, either. Surely Nor-
man Kerry in The Hunchback of Notre
Dame was a rare morsel of marcels,
though he did not always carry them
around on his own block when off the set.
And Joseph Schildkraut, filmdom's
Bronx edition of an Arabian knight, stuck
on fuzzy, semi-lunar beauty patches to
augment his own temporal decorations in
that sheik thing he made last Fall, with
as much eclat as Valentino used his own
in becoming America's leading boudoir
Bedouin.
Milton Sills in A Lady of Quality must
have received no mean support from the
wig-maker, for it is inconceivable that he
could sprout such a set of Pickfordian
pretties from his own scalp.
Ramon Novarro in Scaramouche and
Antonio Moreno in The Spanish Dancer,
relied on borrowed bangs, for I saw them
both while those classics were being
canned and neither one exhibited curlers
off-stage.
The fact that these celebrities success-
fully put their trust in hair of anony-
mous origin seems tn prove that side-
burns and long hair are no more essential
to the art of the slinger of lovelooks
than a Windsor tie, smock and tam are
to that of the slinger of pigments. But
the addicts to the one are as numerous
as the addicts to the other
I call the hairy ones "docks," to dis-
tinguish them from the rear from the
feminine "bobs", though since shingles
have become something different from
the ones I knew as a boy, differentiation
is difficult and well-nigh impossible on
the bathing beach.
"To dock" means "to cut off roughly,
crudely," and if that does not describe
the Virginia creepers now adorning the
domes of the darlings of the screen I
hope to be fried in hair-goo.
Much research has revealed that Theo-
dore Kosloff and not Rodolph Valentino
was the first Hollywooden to become care-
less about his hair-cuts. He has an over-
cover cost of
me personally
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hang of hair second only to Maxim Gor-
ky's. •
Then Douglas Fairbanks began to grow
his costume for The Thief of Bagdad and
barber bills began to decrease. All Hol-
lywood took Doug's indifference to ton-
sorial artists seriously with a consequent
rise in the price of shampoos.
About this time Rod La Roque, Rich-
ard Dix, Charles de Roche and Eugene
O'Brien tore up all their fan pictures
and began to let nature take her course.
La Rocque and O'Brien got the best re-
sults. Bus-boys the country over will
become olive-drab with envy when they
lamp the truffles the latter grew for
Secrets.
Jack Hoxie wears sideburns, too, but
they sort of go with chaps.
Alan Hale will probably explain his
mossy banks by saying they go well with
the dirty work at the crossroads which
he is forever doing in the films.
Heaven knows what excuse David Tor-
rence, Joseph Swickard and Charles, or
is it Claude Gillingwater, will advance
for their tonsorial turpitude. They will
probably blame it on their age.
Of the throbbers whose stars are just
beginning to glimmer, Robert Frazer, Cul-
ien Landis and Edward Burns sport the
best developed pair of incipient Lord
Dundrearies.
But for general all 'round development
Alan Forrest, Mary Pickford's brother-
in-law, by reason of his being cast in
Dorothy Vernon of Haddon Hall, has the
snakiest locks since the Medusa. They
are long and black and they shimmer.
From behind his head looks like the east
end of a Mallard duck going west.
All of which brings us down to the
consideration of the orthodox as to hair
in Cameradia whose continuing popularity
does not seem to be predicted on untamed
tresses. Tommy Meighan, Herbert Raw-
linson, Reginald Denny, Kenneth Harlan
and Norman Kerry, which sans the period
finishes the folks at the Universal joint
are always foisting upon him, deserve cita-
tions for their devotion to the duty of
being well-groomed. Bill Hart's cow-lick
is also quite recherche. George Walsh
sacrificed his mop to play Ben-Hur.
Many are the lads with salve on their
hair who are yelling for Georgie's head
on a salver but they better be careful
for "the barbers'll get 'em if they don't
watch out."
Raw, Raw, Raw — a story about movie vam-
pires. Rather an intriguing subject to turn
H. B. K. Willis loose on. The sparks are sure
to fly when Willis and Kliz collaborate and
vampires are the subject. Don't miss this one.
In Screenland for August, ready July first.
SCMEENLANB
Q.The Man Who Lacked Menace—from page /fj
on the roads of Europe. We may not
have missed any meals between engage-
ments, though we did postpone a few. I
remember once," and his voice stopped,
"but that has nothing to do with it. A
lot of people miss meals. . . . Anyhow,
my wife said to me at the end of the ten
years, 'You know Ernest, our little son
and myself thing you are a great actor
and singer and everything, and that you
are not appreciated in Europe, so I sug-
gest that you borrow fifty pounds (two
hundred and fifty dollars) and go to
America and take a chance in New York.
Sonny and I will wait here with twenty
pounds of the money, and join you later.
I followed her suggestion and borrowed
the money, and came to New York. With-
in four weeks I landed an engagement with
Al Woods in a musical comedy. Every-
thing went lovely for three weeks, and I
cabled the wife and boy to join me. In
four days they were on the boat. And
on the day they sailed — the show closed."
Torrence stopped, and smiled, then re-
sumed. "George Marion, who got me the
job with Al Woods, immediately got in
touch with another theatrical producer,
and I worked the rest of the season for
twenty dollars a week. The wife joined
me, made light of the bad luck with the
Woods show, became enthusiastic about
New York and my future, laughed at me
when I got blue, and made our little two
room place a haven of rest for all three
of us. And we lived on that twenty a
week and managed to go to a nickel show
now and then. Sometimes when we were
short of money just one of us would go
but we always managed somehow to take
the boy to one or two pictures a week. It
was the watching of these pictures that
gave me the urge to try the screen, but
Hollywood was many miles away. Finally
I went on tour with a musical comedy that
stranded in Los Angeles, and I looked
about the motion picture colony, while
waiting for money to get me back to New
York. I worked two days as an extra man,
and every casting director I interviewed
about a job told me I was "too tall" or
something. I was always "too some-
thing." When I returned to New York
I was given an engagement as a Scotch
comedian with The Only Girl. I made
good in that, and then I had the devil's
own time convincing anybody that I could
play anything else but a Scotch comedian.
But I was convinced that I could make
good in pictures, and so was my wife.
"One day I saw a casting director and
he told me that I had 'no menace.' After
I solve the riddle of life I'll probably get
around to understanding what that chap
meant. But anyhow, I pestered all my
friends at the Lambs Club with my idea
of being a motion picture actor, and they
all told me not to attempt it. Figuring
closely, Mrs. Torrence and I managed to
get enough money together to take the
three of us to Hollywood. One unfortun-
ate thing developed. We had always been
proud of our son's size until the Cali-
fornia trip. Then to our horror we dis-
covered that he was 'very large for his
age' but hoping that conductors in general
103
would take our word we started out on
the perilous journey. I talked fast about
the boy at times, and really having the
truth on my side, we got the boy to the
coast on a half fare ticket. After being
in Hollywood for six months with no luck
at all save now and then taking part as
an extra in a mob scene, I got word from
New York that Eddie Small wanted a
"very tall man" for a part in To'la'ble
David. So I left the wife and boy in
Flollywood and returned east. With four
days in which to think of the perils of
acting I looked back upon my life with
clear perspective. I thought of the time
I sang for illustrated songs on Eighth
Avenue, in New York, and when I was
the 'spieler' for Paul Rainey's African
Animal Picture shows. Somehow, all the
varied experiences had not dimmed my
faith, though to be fair, it was my wife's
faith that kept the Torrence ship afloat.
"I reached New York and was told
that as I had been on Eddie Small's 'ex-
tra book' for some time as a 'very tall
man' he had finally decided to give me a
real part. My next part was as Mahaffey
in The Prodigal Judge. I thought my
career was finished, for after that, I did
not get a part for six months, and with
the wife on the coast and me in New York,
the sledding was not easy.
"Then my brother, David Torrence, sug-
gested that I go to Hollywood and sink
or swim. I did. I bucked the extra list
day after day and week after week. Then
one small part led to another until I
found real economic shelter under The
Covered Wagon."
"Did you sign a contract right away?"
I asked.
"No, after all, I'm Scotch, I thought I
was doing something pretty good, so I re-
fused all offers and waited until the pic-
ture was released. Since then, of course,
everything has been easier. The wife is
happy, so am I, and I am now playing
what I think will be the biggest part of
my career . . . the lead in Wm. J.
Locke's The Mountebank."
"Who do you think is the biggest man
on the screen?"
The quick answer — "Chaplin ... he
stands alone."
"Who is the greatest actor developed
recently?"
"Percy Marmont — I think he is a really
great actor — his work in // Winter Comes
is beyond question masterful to the small-
est detail."
"Who follows?"
"Adolphe Menjou keeps pace. His
work in A Woman of Paris was very high
class."
"You have mentioned three men who re-
ceived their early training abroad. Why?"
"They deserve it— that's all. Some-
times I feel that the European player gets
a more thorough training than the player
over here, though I know many American
players who are high class."
"The directors?" I asked. The answer.
"Cruze for delicious and humorous satire,
Chaplin for subtlety, Rupert Hughes and
Neilan for American middle class drama,
DeMille for society drama, and Joe De-
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Grasse for real pathos; his The, Girl I
Loved was a masterpiece of genuine
humor and pathos."
"How do you compare screen acting
with acting on the stage?"
"As far as I am concerned, screen act-
ing is a great deal harder, I really study
the scenario of a picture in which I am
to appear, I try to get the different shades
and nuances of the character, and I make
an effort to submerge myself in the role,
to make the screen public forget the player
called Torrence and think of me as the
character in the story. I am not the same
man in The Covered Wagon that I was in
West of the Water Tower. In the former
I was the carefree drinking scout of pion-
eer American days, in the latter I was- the
religious fanatic to whom all life is a
sorry dream. Of course, I also think that
musical comedy is the greatest training
school on earth for an actor. There is so
much to remember, so much to do, so
many exits and entrances. I really be-
lieve that at bottom if I have the versa-
tility the critics are kind enough to say
I have, that I laid the foundation for it in
musical comedy."
The April snow had ceased falling and
the sun shone for a few minutes during
which time I left Ernest Torrence. I
have thought much about him since then.
If I were asked to give his greatest qual-
ity I would answer "Sincerity." More
than that, no real artist would ask. And
Torrence is a real artist.
Q Miguel Covarrubias.
Meet Covarrubias — the boy wonder
of caricature. Readers who have fol-
lowed his brilliant sketches in past
issues will be astonished at his youth.
After a heated debate amongst the
readers of Screenland, Mr. Covarru-
bias seems to have won out over the
antiquated "stills." Perhaps the Edi-
tor's choice had something to do with
the matter, but anyway the department
of New Screenplays will continue to
be enlivened by his extremely clever
drawings. Watch for them in the
August Screenland. Ready July
first.— M. 2.
in
SCREENLAND
105
{][ New Screenplays — from page $2
made; she has been drawing her five
thousand a week without working. This
is an indecent attempt to revive Leah
Kleschna, who has certainly earned a rest
if any girl ever has. James Rennie acts
in an embarrassed manner all the way
through, and no wonder — as a criminolog-
ist who falls in love with the innocent
lady crook he has a lot to bear.
Rejected Woman is Trite
I'll give you the list of leading charac-
ters in The Rejected Woman and you
can re-write the story and sell it to a
film company. I thought they had
stopped using stories like this but ap-
parently not; so you and I might as well
make the most of it. Diane DuPrez,
Alma Rubens; John Leslie, Conrad Nagel;
James Dunbar — sssss! Wynham Stand-
ing; Samuel DuPrez, her father ....
George MacQuarrie; Jean Gagnon, her
father's choice, Bela Lugosi.
Now that you know what it is all about
you can write your own review, too, be-
cause you know better than I do if
beautiful young French-Canadians who
fall in love with wealthy young New
Yorkers appeal to you. There is a twist,
however, which you might miss if I didn't
tell you. Instead of becoming a famous
prima donna, when Dunbar sends her
abroad to study, Diane is told she'll never
make a singer. This is a highly original
touch.
Alma Rubens struggles so valiantly
you'd think her vehicle was a 1924 His-
pana-Suiza instead of a White Steamer.
As in Cytherea she does not depend upon
her optics and other delectable graces for
effect. She works hard to give a sem-
blance of reality to the flimsy fiction.
The Rubens beauty deserves a better back-
ground. She isn't supported in the man-
ner to which she became accustomed when
Cosmopolitan surrounded her with lumin-
aries; but her charm is a cameo even in
the highest-salaried company.
Virtuous Liars Impossible
If I said Girl Shy and The Galloping Fish
were the month's funniest I take it
back. Virtuous Liars is much more amus-
ing. Whitman Bennett wrote and directed
it and strengthens my conviction that
he is just the gag man Harold Lloyd is
looking for. Edith Allen is the lead but
don't ask me why. Dagmar Godowsky
and David Powell are in it and they
should be ashamed of themselves.
C[ A Shingled St a?-— from page 6 J
later. Alice Joyce never stopped working
when she retired from pictures. She just
began to work. She mapped out a
schedule for herself, and followed it.
Like Mary Pickf ord and other young old-
timers, she missed her school-days and
determined to make them up. She en-
rolled at Columbia for several special
courses — journalism for one; she engaged
a French teacher; she had her voice
trained; she practiced at the piano two
hours every morning.
"I don't know how she has the
patience!" said the frankly frivolous Anna.
"But I admire such ambition — it's
wonderful."
Alice Joyce wants to go on the stage
next year. If she doesn't entertain operatic
ambitions it's the only form of artistic
endeavor she hasn't planned. And all
this without neglecting husband and
children.
"There's no reason why I should," she
declared. "No reason at all. Of course
a lot depends upon the husband. If I'd
had mine made to order I wouldn't have
had him any different. I hope he feels
the same way about me ! "
It must be true because they have
been married four or five years now and
you still see them at premiers and sup-
per-clubs together. Alice Joyce never
did retire as far as social Manhattan
was concerned. She is one of the most
interesting and colorful figures at first
nights. Her varied activities would make
the average over-worked housewife
ashamed of herself.
It's typical of her that she was won-
dering less about her work in London
than about meeting W. Somerset Maugh-
am. A mutual friend had the English-
man autograph several books and send
them to Alice, and he wrote her a let-
ter, too. She was as thrilled over it
as her most worshipful flapper fan would
be at receiving a letter indited in the
lady-like Joyce handwriting.
She used to be afraid of interview-
ers. She would make appointments with
them, lose her nerve, and fail to show
up. They would go away and recall in
print her early days as a telephone operat-
or. Her shyness and reserve are natur-
ally mistaken for temperament; and for
a long time she was as unpopular off
the screen as she was popular on it. But
she doesn't run away and hide any more.
She may long to, but she stays instead
and faces the music. She managed to
induce Anna Nilsson to drop in on her
during her interviews but Anna saw
through her feeble subterfuge and refused
to help her out any more.
The pale portraits of her entitled "The
Madonna of the Movies." make her laugh.
She doesn't deserve such sticky sentiment.
Neysa McMein named her one of the
twelve most beautiful women in America;
but Alice, while appreciative of the com-
pliment, still managed to wear her tight-
est turban without contracting a head-
ache.
"I saw Julian Johnson in the Famous
Players studio the other day," she said,
"and he told me I looked younger than
I did five years ago. I told him it was
a new kind of rouge I was using."
That's Alice.
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A H/7/ In Hollywood
IF YOU live in California, you won't be surprised at anything
the climate can do. If you live anywhere else, you may be
startled to hear that there is a hill in Hollywood known as
"Magnetic Hill." Screen stars drive there daily to see their cars
coast up the hill and then having reached the top, turn on their
motors in order to drive down under power.
We do not
claim to have
solved the secret
of this myster-
ious hill but in
next month's is-
sue of Screen-
land, we will
tell vou some
more about it.
We will relate
experiences the
stars have had
with this scien-
tific phenome-
non. We will
show you pictures of the hill and tell you
facts concerning it.
This is only one of the
interesting articles we can
promise you in the August
issue of SCREENLAND, ready
July i st. Other features of
this issue will be a story
about Blanche Sweet by
Jim Tully, an expose of
Fake Casting Agencies by
Ted Taylor, a personality
sketch of Anna 0. Nilsson
by Delight Evans, an
article on Movie Struck
Babies by Eunice Mar-
shall, a handsome rotogra-
vure gallery by
Alfred Chenej
Johnston, a re
view of New
York's stage b}
George Jean
Nath
an,
R
aw
Raw, Raw, a
story of screer
vampires by H
B. K. Willis, in
additon to man}
other excellent
features by
Anne Austin
Sydney Valen-
tine, Alma Whitaker and Myron Zobel.
Also a new novel of the films, Searchers
in the Dark, by Rose Glea
son starts in this issue.
And, naturally, Kliz,
Ryan, Covarrubias, Wynn
and Benito.
In addition to the above
a half score feature articles
and the usual SCREENLAND
news, reviews and depart-
ments.
Altogether a really un-
usual issue.
SCREENLAND for AUGUST
READY JULY 1st
25 CENTS
HE had served his time — three years in prison — and he had come back to his wife, Ellen.
As Ellen said to David, George's patient, kind brother, "I love the man I married"
but the George who returned was not the man she had married. Slack-mouthed, sneer-
ing-lipped, cold-eyed, furtive, he was like a blurred portrait of the man he had been.
But Ellen would have tried to love him, to reclaim him, if he had not made his own baby
his accomplice in crime! Mother-love, outraged — who can tell to what lengths it will go?
Read ACCOMPLICE, by Perceval Gibbon, one of England's
most distinguished authors, in July REAL LIFE, an amazing crime
story, a remarkable study in character, a startling finish. Illustrations
are by Dudley Gloyne Summers.
And eleven other distinguished short stories, by famous authors:
DEi
trated
DEAD LOSS, by M. L. C. PICKTHALL, illus-
trated by Courtney Allen. A sea story that twill
grip your heart.
HANDLE 'EM WITH GLOVES, by CARL
CLAUSEN, illustrated by Walter Jack Duncan.
Two "pugs" on a cannibal island.
SKY HIGH, by F. BRITTEN
AUSTIN, illustrated by Wil-
liam McNulty. An airplane
romance, which becomes in-
volved with a mysterious
treasure hunt.
HELL'S BELLS, by WIN
HORNE, illustrated by Orison
MacPherson. A priceless racing
yarn, laid in colorful Cuba.
THE PLUGGER, by ROY
GRIFFITH, illustrated by Ed-
ward Butler. A romance of
"Tin Pan Alley."
"F. O. B." by ROY De S.
HORN, illustrated by Franklin
Edgar Wittmack. A "nigger"
yarn, mainly concerned with a
"used" car.
AND TWO SERIALS:
THE MONEY MALADY, by PETER
ANNE AUSTIN, illustrated by
A. W. Sperry. A novel of mystery,
romance and adventure.
A FOOL,
HUGH HERBERT, illustrated by
Edward Butler. Peter makes the su-
preme sacrifice for the child he loves.
A WILD RUMOR, by
WINIFRED CUN-
NINGHAM, illustrated
by Harold Denison.
In which an A merican
newspaper woman tells
of the classic battle be-
tween "The Morning
Pest and the Evening
Snooze," Havan a's
American newspapers.
THE SOUL OF A DOG, by
Howard Crane, illustrated by
Ralph Nelson. A thrilling tale
of a shipwreck and a dog's de-
votion.
THE LOVE EXPERT, by
KAY INGHAM BRUSH, illus-
trated by E. Lawrence Camp-
bell. A newly-wed comedy.
"SCOOPY," by PAUL EVER-
MAN, illustrated by Vera Clere.
One wild night with the circus,
as told by a runaway boy.
THE PRIDE OF KINGS, by
MARIA MORAVSKY, illus-
trated by C. Clyde Squires. A
peculiar story of a theft of jewels.
by
AND SIX IMPOR-
TANT FEATURES, in-
cluding an illustrated poem,
JUNE GARDENS, by
Margaret E. Sangster; a
rotogravure gallery of beau-
tiful women; two articles —
ClNDERELLAS OF BROADWAY,
by Rae McRae, and SPIRIT
Control, by Eileen O'Rell,
reviews of the latest plays
and pictures, and our new
department, My Slant on
Life, to which you are invited
to become a paid contributor.
The July REAL LIFE is
a splendid book, from cover
to cover. We offer it proud-
ly, knowing that its stories
are unsurpassed by any other
magazine, and that its dress
is so artistic as to make it one
of the most attractive books
you ever read.
REAL LIFE for JULY
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SC1EEHLANB
Only Elinor Qlyn Would Dare
to write a Book Like This !
Elinor Glyn, author of "Three Weeks," has written a sensa-
tional novel: called "The Price of Things." This book will
amaze all America ! Thousands of people will say it is not fit
to be read. Small-minded critics will claim that Elinor Glyn
should not have dared touch such a breath-taking subject —
that she has handled a delicate topic with too much frankness.
But we want you to read the book before passing an opinion.
This you can do at our risk — without advancing a penny!
"The Price of Things" is
one of the most daring
books ever written — !
"The Price of Things" is
one of the most sensational
books ever written — !
"The Price of Things" will
be one of the most fiercely
criticized books ever writ-
ten— !
BUT — we don't ask you to
take our word for all this.
Simply send us your name and we'll send
you the book. Go over it to your heart's
content — read it from cover to cover — let
it thrill you as you have never been thrilled
before — then, if you don't say it is every-
thing we claim — and a lot more! — simply
mail it back and it won't cost you a penny.
Isn't that fair?
YOU'VE heard of Elinor Glyn— every-
one has. She is unquestionably the
most audacious author in the world. Her
last great success, "The Philosophy of
Love," was said to be the most daring
book ever written. Her sensational novel,
"Three Weeks," shocked the whole world
a few years ago. But "The Price of Things"
is far more daring than "The Philosophy
of Love" and much more sensational than
"Three Weeks." Need more be said?
After you have read "The Price of Things"
you will understand why Elinor Glyn is
called the most daring writer in the world.
You will see that she is the only great living
author who dares reveal the naked truth
about love and passion — in defiance of silly
convention and false hypocrisy. Madame
Glyn never minces words — she always calls
a spade a spade — she doesn't care a snap
of her fingers what hypocritical people
think. And it is just this admirable quality
in her writing — this fearless frankness,
utter candor, and resolute daring — which
makes her the most popular writer of today !
An Uncensored Story
of Love and Passion
THE books of most French and English
novelists are "toned down" when pub-
lished in America. Not so with "The Price
of Things." This book comes to you ex-
actly in the form in which Elinor Glyn first
wrote it — nothing has been taken out — the
book has not been censored — everything
is there!
Here is a book that will open your eyes!
Each succeeding chapter grows more
daring. From the Magic Pen of Elinor
Glyn flows a throbbing tale of audacious
characters, startling incidents, sensational
Warning !
"The Price of Things"
is not a bed-time story
for children. And the
publishers positively do
not care to have the book
read by anyone under
eighteen years of age. So
unless you are over eight-
een, please do not fill
out the coupon below.
situations, daring scenes, thrill
after thrill! Oh! what an amaz-
ing story it is — the like of
which you never dreamed of!
So realistic is the charm,
the fire, and the passion of
this fiercely-sweet romance,
that the hot breath of the hero
seems to fan your face. Your
blood races madly at the un-
conditional surrender of the
delicious heroine. You feel her
soft arms about your neck.
You kiss her madly and seem to draw her
very soul through her lips!
And then comes the big scene! Midnight
. has struck — and the heroine, sleeping peace-
fully, dreams of her husband The
door squeaks ! . . . Breathless silence ! . . .
Then " Sweetheart," a voice whispers in
the darkness. . . . "Oh, dearest," she mur-
murs, as but half awakened, she feels her-
self being drawn into a pair of strong
arms. . . . "Oh, — you know I — ."
But we must not tell you any more — it
will spoil the story.
This Book Will Shock
Some People!
NARROW-MINDED people will be
shocked at "The Price of Things!"
They will say it ought to be suppressed—
that it is not fit to be read. But this is
not true. It is true that Madame Glyn
handles a delicate topic with amazing
frankness, and allows herself almost un-
limited freedom in writing this burning
story of love and passion. Still the story
is so skillfully written that it can safely be
read by any grown-up man or woman who
is not afraid of the truth. Furthermore,
Madame Glyn does not care what small-
minded people say. And she doesn't write
to please men and women with childish
ideas and prudish sentiments. She always
calls things by their right names — what-
ever phase of life she writes of, she reveals
the naked truth. And in "The Price of
Things" she writes with amazing candor
and frank daring of the things she knows
best — the greatest things in life — Love
and Passion!
JustPuW&ed/
nr
uu
mm.
few pennies postage, and the book is yours.
Go over it to your heart's content —
read it from cover to cover — and if you
are not more than pleased, simply mail
the book back in good condition within
five days and your $1.97 will be refunded
gladly.
Elinor Glyn's books sell like magic — by the
million! "The Price of Things," being the
most sensational book she has ever written
— and that's saying a lot!— will be In
greater demand than all others. Every-
body will talk about it — everybody will
buy it. So it will be exceedingly difficult to
keep the book in print. We know this
from experience. It is possible that the
present edition may be exhausted, and yob
may be compelled to wait for your copy,
unless you mail the coupon below AT_
ONCE. We do not say this to hurry you"
— it is the truth.
Get your pencil — fill out the coupon NOW. !
Mail it to The Authors' Press, Auburn,
N. Y., before it is too late. Then be pre-j
pared to read the most sensational novel]
ever written!
I The Authors' Press, Dept. 507 Auburn, N. Y.
I Send me on approval Elinor Glyn' s sensational novel,
I "The Price of Things." When the postman delivers
I the book to my door, I wilt pay him only Si. 97. plus
a few pennies postage. If the book is not satisfactory,
I may return it any time within five days after it is
I received, and you agree to refund my money.
Dc Luxe Leather Edition— We have prepared a Limited Edi-
tion, handsomely hound in Royal Purple Genuine Leather and
lettered in Gold, with Gold Tops and Purple Silk Markers. No
expense spared — makes a gorgeous grift. If you prefer this
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the postman only $2.97 plus postage.
□
SEND NO MONEY
YOU need not advance a single penny
for "The Price of Things." Simply fill
out the coupon below — or write a letter—
and the book will be sent to you on ap-
proval. When the postman delivers the
book to your door — when it is actually in
your hands — pay him only $1.97, plus a
Address .
City and State
IMPORTANT— If it is possible that yoa may not be at home
when the postman calls, send cash in advance. Also If you re-
side outside tne U. S. A., payment must be made In advance.
Regular Edition, $2.11, Leather Edition. $3.11, Cash with
coupon.
./
OCT 18 '24
Cl B*28597
^Ae SJrudoJ[\(und(iJr\t Screen Magazine
SEPTEMBER, 1924 ^ VOL. IX, NO. 6
=J<3&»
Eliot Keen, Editor
CAN YOU USE $500.00 ?
SEE PAGE
,28
CONTENTS FOR SEPTEMBER
COVER— Nita Naldi. By Rolfe Armstrong
The Silent Drama. By Martin B. Dicks tein . . . . , . . .4
Editor's Letter Box. By Our Readers .8
$10.00 For A Letter of Criticism . . . 11
Alberta Vaughn — And a veil . . . . . . . . . .13
BlLLIE DOVE— A portrait . . 14
As We Go to Press ... . 15
Editorials. By Myron Zobel . . . 16
Our Family. By The Editor . . . . . . .. . . . . 18
May Allison — A portrait . . . . . ... 19
Betty Blythe — A portrait . . . . . . . . . .20
The Lion and the Mouse. By Grace Kingsley . 21
House of Broken Dreams. By Jim Tully 24
FEMININITY PLUS — Corinne as she really is. By Anne Austin 26
$500.00 for a Slogan . 28
The Good Little Bad Girl — Carmel of the simple soul. By Delight Evans . 30
THE BEAUTY-MAKER — Be nice to the camera man. By W. R. Benson . . . 32
LASKA WINTER — We predict a meteoric rise to fame 33
PetTER'S PARADISE — The movies a haven fair. By Rupert Allen . . . .36
THIS WAY OUT — The truth about Sigrid Holmquist. By H. B. K. Willis . . 38
Movie Struck Babies.. By Eunice Marshall 40
ALICE IN SCREENLAND — "Our Own Fashion Review." By May M. Hallett . 42
Wanda Hawley and Viola Dana By Vivian Victor . . . . .44
Our Own News Reel 46
When Screen Stars Get Together. By Lucille Larrimer 48
New Screen Plays. By Delight Evans .-50
Mary Carr 55
MONSIEUR BEAUCAIRE — A rhymed review. By Dorothy C. A. Isenbeck . . .57
The Pathos of Walthall . . . .58
Alma Bennett — A portrait ,:> . .59
HELENE CHADWICK — A portrait 60
Shirley Mason — A portrait 61
Jaqueline Logan — A portrait . . .62
That Boyish Figger 63
Searchers in the Dark — Part II. By Rose Gleason 64
DRAMALAND. By Myron Zobel 68
EAST COAST, WEST COAST — Both sides of the listening post 72
<Ma — zygy*
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In the October Issue
Screenland
Hamilton Thompson contrioutes
Nothing Today, a two-part fascinating
story dealing with the life of an "extra
girl'' in the studios and boarding house of
New York.
You will be pleased with Peggy and
her two gold fishes. Peggy and her room-
mate had named the fish Ghoulish and
Foolish.
Peggy crossed to the fish bowl, Sid,
watching her with adoring eyes. 'You
poor little fish, we haven't fed you since
the Lord knows when, and you never let
a peep out of you."
So, to make the fish feel better about
it and in honor of the doctor who was
calling on Gloria, they named them Ada-
noid and Thyroid.
You will enjoy going with Peggy on lo-
cation, her adventures, temptations, disap-
pointments and love affairs.
contributes
THE LATEST FAD
The Cross- Word Puzzle craze has
reached the moving picture lots, and the
stars offer you some puzzles of their own.
A NEW DEPARTMENT
"A difference in opinion makes horse
races." A Pessimists' Column and an Op-
timists' Column. Reviews of the same
films, one by John W. Knocker and the
other by Miss Pollyanna herself.
FEATURES
With interesting articles by Anne Austin
and Delight Evans and Eunice Marshall,
the October Screenland is sure to continue
its friend-making characteristics. Myron
Zobel, from Paris, will give us an editor's
reaction to the French brand of drama and
his usual colorful editorials.
The heart interest story concerning all
those connected with the screen which has
become identified with Screenland will be
very much in evidence with the October
issue.
The House of Hope, a story of the hos-
pital which has besn erected to the memory
of Wally Reid, is a story which will ap-
peal to the sympathy and emotions of the
millions of fans who so dearly loved
Wally.
A special interest in the October issue
is a personality story with a real hero.
Charles DeRoche is a screen star with lau-
rels too well deserved and abundant to
need introduction to our readers, but the
life that has been led by his remarkable
Frenchman will be a revelation to the fans.
Let them who believe that the male motion
picture stars are cuff-shooters and lounge-
lizards, read the story of Charles DeRoche.
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Brief Reviews of Current Screenplays
CLEvery picture of importance
will be reviewed here, and
the reviews reprinted for
three consecutive months to.
enable our readers to use
this guide as a directory in
selecting their month's enter-
tainment.
THE SPITFIRE — -Murray
Garrson — This is a movie
with more plot than there
were extra people in Robin Hood.
Also more screen high lights for
a picture of its size and impor-
tance than there were custard pies
in a 1915 Chaplin special. There are
(count 'em as you go) Betty Blythe
in the leading feminine role; Elliott
Dexter, more adorable than ever he
was before; Pauline Garon in all her
ingenue winsomeness ; Burr Mcintosh,
the man who made a reputation sell-
ing Liberty Bonds during the war —
and then talked himself into a job in
Hollywood; Lowell Sherman, who
managed to put in a little time be-
tween curtain calls in Broadway stage
productions; and Robert Warwick,
one of the grandest grand old men of
the cinema. There you are — a sex-
tette of artists to do any director BROADWAY
By Martin B. Dickstein
Gas House district because it ds so
morally clean, inspiring and so darn
full of hokum that it'd make the
tough-test yegg toss his brass knuckles
away and beat, it for the Y. M. C.
A. and a Gideon Bible. Dorothy
Yost wrote the story which is, for
the most part a lot of sentimental
garbage mixed with some very in-
credible political situations. The
hero (Robert Frazer) has the role of a
clean young political reformer with a
halo over his well shaped head and
he sets out to "get" the graft ring hell
bent for matrimony. You know the
rest. He gets both. This is just
another what in the long list of what's
wrong with the movies.
story itself is trite and ex-
tremely dull. The character-
izations are excellent, though,
and altogether, Wandering Husbands
ranks well up among the better pro-
gram pictures of the season.
OR BUST — Universal.
proud. Bill Cabanne, the man who
wielded the megaphone, couldn't help
making a Grade — A fillum. And The
Spitfire is all of that. Mark it down
as one of the things you can't afford
to pass up.
RIDGEWAY OF MONTANA — Uni-
versal. Here we have jumpin' Jack
Hoxie in what would have been a tale
of the open spaces if they hadn't been
so economical with the spaces.
Hoxie, of course, is the whole show.
Probabiy Cliff Smith, the director,
thought Jack'd be a lot more inter-
esting to the fans than a lot of Mon-
tana landscape anyhow. Well he is,
but not any more so than the little
flapper who comes into the picture
ritzing everybody from the cattle king
himself down to the Chinese cook.
The flapper person isn't given screen
credit but from what this reviewer
saw of her work, she should have
been co-starred. The plot is pleas-
antly different from the usual run of
"westerns," there being something or
other about a girl remaining all night
in a ranch house and even in Mon-
tana that is considered sufficient to
compromise a lady. This is a pic-
ture for the please-easies. Hard
boiled fans are urged to stay away
for the management's sake.
TRAFFIC IN HEARTS— C. B. C.
They'll like this film down in the
This is one of those rodeo-come-to-
town atrocities in which the longhorn
wrasslers come into a bit of money
and put on the dog. Radium is dis-
covered on Hoot Gibson's tumble-
down ranch and he draws down a
cool million for his share. Of course
the city slicker real estate guy comes THE
THE SIXTH COMMANDMENT—
Associated Exhibitors. Another fillum
with a moral. You can't go to a
movie these days without being
thoroughly sermonized, moralized and
spiritually sterilized. William Faver-
sham is the outstanding personality
in this production, though John
Bohn tops him in (the number of
scenes in which he appears. Will-
iam Christy Cabanne, the director,
has shot a lot of excess footage in
the preaching of this cinematic ser-
mon which gives the picture a tend-
ency to drag. Where the sermonizing
• is thickest the film becomes irksome
to distraction, Kathleen Martyn, an
ex-Follies girl, plays the femine lead.
She screens poorly and is camera
conscious. Altogether, The Sixth
Commandment is much too morbid to
be entertaining.
RECKLESS AGE— Universal.
on from the East in a yellow duster
and a satchel full of greenbacks and
pays him in cash.. Don't blame Hoot
for not wanting to 'take a movie
actor's check for that amount though.
Thus the nouveau riche from the cow
country rides his bronco hell bent for
election into Noo York and proceeds
to paint the Gay White Way a deep
dyed scarlet. If you haven't seen too
much of this sort of thing before, you
might like it. But you probably
won't.
WANDERING HUSBANDS — Hod-
kinson. Lila Lee and her equally cele-
brated husband, Jim Kirkwood, seem
to have been very, very jealous about
this very, very inconsequential photo-
play. They held the cast down to
three, the party of the third part
being Marguerite Livingston in the
vampingest role ever we did see.
Give you eighteen guesses to (tell
what the vamp was put there for.
Right. She vamps poor Jim Kirk-
wood so hard that it's a safe bet Lila
won't ever tolerate her again in the
same cast with friend husband. The
This obivous follow-up on Sporting
Youth is a marvel of incredibility but
Reginald Denny, the star, does abso-
lutely right by his producers and does
much to lift his audience up to a
more or less receptive mood. Reggie
appears to be quite at home in this
sort of Wally Reid role. He has cap-
tured much of the late Paramount
star's wistful appeal and with Ruth
Dwyer in the opposite role they make
an attractive team. The story itself
is too thin and wobbles dangerously
in the biggest moments. But, still,
it's The Dangerous Age, you know.
However, the hot weather isn't over
yet and it's a pleasure to be able to
walk out on a picture and know you're
not going to miss much. No?
IN FAST COMPANY — Tfuart.
Richard Talmadge in a zippy rah-rah
yarn that ought to go big at Ann
Arbor and in every town boasting
a branch of the I. C. S. Some brand
new ideas on how to stage a fast
steppin' collegiate hi-j'inks without
bringing down the wrath of the
prexy. Dicky Talmadge will make
4
SCEEENLAHB
a lot of new friends with this picture.
He reminds one a lot of the Doug
Fairbanks of half a dozen years ago
before Robin Hood gave him the
million-dollar-picture habit. Mildred
Harris and Sheldon Lewis are in the
cast and they're happy choices — 'both
of them. This picture is one of the
good-old-days variety and who can
say that they're not, "art"?
LOVE OF WOMEN — Sehnick.. Maybe
V\'hitman Bennett doesn't make the
worst pictures in the world, but we
don't know who else deserves the
palm if he doesn't. Love Of
Women is sufficient cause for Helene
. . Ckadwick to sue for damages to her
reputation as an intelligent actress.
It's another of those marriage tri-
angles, where the little che-ild gets
sick and brings the erring couple
together again. Montagu Love is the
"heavy", Lawford Davidson, a good-
looking young chap, is the husband
and poor Helene is the unhappy wife.
Mary Thurman has the role of vamp
— in a blond wig bobbed King Tut
style]
THE TELEPHONE GIRL — F. B. 0.
As a means of putting Alberta
Vaughn before the public, this series
of 12 two reels comedies is good stuff.
The one I saw — Love and Learn, was
crammed with action and carried a
few good laughs. Alberta as an ex-
ponent of the jazzy working girl is
all to the good, and her figger is even
more so. A good trailer to the fea-
ture picture, when a Mack Sennett
comedv isn't available.
V>rief Reviews
REPRINTED FROM AUGUST SCREENLAND
THE DANGEROUS BLONDE — Uni-
versal. If Carl Laemmle doesn't
know it already, he ought to be told
that just that sort of cheap comedy
which is Director Robert F. Hill's
idea of comic relief in The Dangerous
Blonde in one of the worst in what's
wrong with the movies. At best, it
is -just chuckle food for the morons.
The title of this film is a rank mis-
nomer so don't be misled. Laura
La Plante, Universal's last word in
screen starlets, is a feast for these
poor, tired, cinema strained eyes, but
we do wish she wouldn't overact her
parts so. Yes, she's the blonde, but
not so very dangerous.
DOROTHY VERNON OF HADDON
HALL — United Artists. Mary Pick-
ford fans are pleased, but it is not
Mary's greatest picture. Just an-
other luxurious and expensive costume
picture, with Allan Forrest as the
leading man. Clare Eames as Queen
Elizabeth walks away with first hon-
ors. A good picture, but not what
Mary could have done.
THE GOLDFISH — First National. The
best thing Constance Talmadge has
ever done, and one of the spright-
liest comedies of the year. You'll
not be bored a second with this
frankly frivolous flimization of
Majorie Rambeau's stage vehicle. It
is lightweight and without a mission
or a moral. Jack Mulhall keeps up
with Connie, and Jean Hersholt is
a constant comic cyclone as the
heroine's second huband who gets the
goldfish — meaning the gate.
JUST OFF BROADWAY — Fox. Scenes
range from underworld dives in the
Montmartre to more familiar stamp-
ing grounds in the Roaring Forties,
N. Y. Then that most common cine-
matic affliction, aphasia, (it's fast be-
coming an epidemic) gets in its dirty
work and the w.k. plot begins to
thicken. John Gilbert and Mary
Nixon have the leading roles. This
is an exciting and amusing picture
Dlay that's sure to please.
MADEMOISELLE MIDNIGHT—
Metro-Mayer.. It's a Murray para-
dise. The Murray moue is a bit
overworked, but the Murray halo is
discarded for the time being; Mae
wears a brunette wig- most of the
time. I thought at first it was go-
ing to be a good picture, for it begins
with a flashback to the French court
of Eugenie, introducing Maxmilian,
ill-fated emperor of Mexico. But
after that it is just Mae Murray.
Monte Blue is the cause of her re-
formation.
THE MASKED DANCER, I am
told, was made in eight days, and
not one of the players, who include
Lowell Sherman, Helene Chadwick,
and Joe King, knew what it was all
about. I can believe it.
MEN — Paramount. Another Pola
Negri picture that fails to ring the
bell. They decided to let Pola be
herself, and rushed Dimitri Buch-
owetski over her and told him to let
Pola be herself. The result is pretty
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El" HIS MOTHER
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awful. It begins with a bang —
lovely little waitress lured into noble-
man's palace, finds herself penniless
on the streets. Next we see her as
"Geo, the idol of Paris", making at
least ten idols that Paris has had
this seaon. Men is an attempt to be
awfully continental. It succeeds in
being awfully Hollywood.
MIAMI — Hodkinson. Unworthy of
Betty Compson. Why should one of
our most promising stars assume a
ro'le which requires merely shapely
underpinnings when any Sennette
belle could play it just as well?
Another of those plots which could be
cleared up in the third reel if the
members of the cast used their minds
instead of losing them. Seven reels
of Florida and Compson scenery.
NAPOLEON AND JOSEPHINE — F. B.
0. — With a stubby little fellow by the
name of Gwylym Evans playing Nap
and a bosom-heaving trouper of the
old school in the role of Jo, F. B. O.'s
film version of one of the greatest
romances in history is certainly one
great big whopper of a comic opera.
We'd like to sentence Director Alex-
ander Butler to sixty days on St.
Helena for the way he muffed all the
wonderful chances he had to make
Napoleon and Josephine a really
beautiful love story.
THE SHERIFF OF POWDER CREEK
— Universal. All about the sheriff-
hero's sensational capture of One
Eyed Jake, wanted in the East for a
bank busting and killing. So the hand-
some sheriff takes the 500 simoleons
reward and buys himself a love nest
for him and his gal. Yeah, they're
still making them that way but there's
no law that says you gotta go see
'em. This is a free country.
SHERLOCK, JR. — Metro. As a dick,
even one of those champion, soft shoe,
shadow guys from one of our leading
correspondence schools Buster Keaton
is an awful flop. He gets his man,
but the scenarist has made the process
too ridiculous to be even funny. Sher-
lock, Jr. is a cinematic mess of fish
with a side order of surprise dressing
in the form of a hodge podge of trick
photography. Enough to make a tired
brain turn somersaults and flip-flops.
Altogether too hectic to be amusing;
and too much Buster Keaton, you
know, is like a dose of ipecac.
THE SIGNAL TOWER — Universal.
Just the kind of picture the title im-
plies— railroad thriller in which the
hero saves the Limited (ye gods, are
there never any other trains on the
SCREENLANB
road?) from a horrible disaster.
Wally Btery is corking in the heavy
role as a city slicker who comes to
do the switchman's wife dirt in the
dead of night. Virginia Valli is the
star. This picture accomplishes what
it sets out to do — thrill — and save
for one or two rank melodramic se-
quences, it's good stuff:
SOULS THAT PASS IN THE NIGHT
— Universal — This is one of those
eerie mellers in which a soothsayer
mumbles strange words over a crys-
tal ball and departed spirits come
again to walk this earth and haunt
the seven-and-a-half-a-day actors into
purgatory. Lucille Ricksen is the
most prominent in a mediocre cast.
The play proceeds steadily from bad
to worse, or rather worse to worst, and
in the closing sequence we see two
seemingly grown-up people riding off
to school, books slung over shoulder,
as they pedal their merry way on their
bicycles. Collegians, they are too.
Won't that hand the undergrads a
laugh ! Like the title, this film should
pass in a night — one night.
SPIRIT OF THE U. S. A. — F. B. O.
Emory Johnson, bless his heart, has
just heard that there was a war. And
he, thought it would be just great to
make a picture about it. The snappy
result of this timely decision is The
Spirit of the U. S. A. Johnny Walker
is the little busy bee around the
farm, and his brother is just horrid.
The war, that great leveler of men's
souls, brings them together again.
Mary Carr is again turned out of her
home, and is again saved from the
poorhouse by Johnny Walker, Gloria
Grey is the girl.
WANDERER OF THE WASTELAND
— Para?nount. The best full-length
feature ever done in colors. A pic-
ture that makes film history. The
Zane Grey story, in black and white,
would have been just another movie;
in colors it is a screen triumph.
Billie Dove is exquisite as the hero-
ine; Jack Holt does good work as
the Wanderer and Noah Beery
slouches away with the honors of the
picture as the desert rat, Dismukes.
See it by all means.
WHY MEN LEAVE HOME — John
M. Staid. A charming domestic
comedy; don't be misled or kept away
by the title, which is an insult to
the picture — intelligent comedy that
it is. Lewis Stone is the husband
who strays temporarily and Helene
Chndwick is the wife who learns how
SCIREEHLAND
to keep a husband. Miss Chadwick
has played almost as many wives as
Mr. Stone has husbands ; they make a
good team. You'll like the picture.
WOMAN ON THE JURY— Sylvia
Breamer find herself on thie jury
which is to decide the fate of poor
little Bessie Love, who killed Lew
Cody. Because Lew was an old and
ungrateful flame of hers, Sylvia saves
Bessie by telling her own story to
the other members of the jury. The
suspense may be terrific -but it was
all wasted on me. Bessie Love was
particularly poignant — what a great
little trouper she is!
THE LONE WOLF — Associated Ex-
hibitors. The combination of the
title and the name of Louis Joseph
Vance, the author, should make this
screening one of the best box-office
bets of the season. Lots of hokum,
of course, but it's the popular kind
from which people will come away
saying "ain't that a grand movie?"
Dorothy Dalton and Jack Holt play
the leading roles. Plenty of excite-
ment and the suspense is effectively
maintained until the end.
THE LOVE MASTER — First National.
Another Larry Trimble-Strongfheart
co-starring combination, and one of
the best so far. Strongheart is one
of my screen favorites, along with
the Fox comedy monkeys, Teddy,
Charlie Chaplin and Jackie Coogan.
It will soon become necessary, how-
ever, for Mr. Trimble to bury another
brand of dog biscuit, or to install a
reducing machine in his kennels. For
Strongheart is taking on a little too
much weight for one who is so much
in the limelight. Lady Julie, Strong-
heart's wife, is the leading lady.
BETWEEN FRIENDS — Vitagraph.
Between Friends is a story of a man
man who had a wife and couldn't
keep her and who cooks up a fitting
revenge for the fellow who stole her
away. Lou Tellegen again plays the
part of the much abused husband, a
role for which he seems to be partic-
ularly well suited. There is a period
of agonizing suspense toward the end
of the picture but nothing comes of
it. Altogether an inane and aimless
bit of screening that would have been
better left undone.
BROADWAY AFTER DARK— Again
Again Adolphe Menjou is called upon
to be a suave, sophisticated man of
the world — for the steenth time since
Woman of Paris. Monta Bell, the
director, has really done wonders with
an old Owen Davis melodrama. The
persecuted heroine is played by
Norma Sherer, to which she brings
sincerity and something more than
beauty.
THE CHECHAHCOS— A picture of
Alaska, that, as a movie, is a
splendid scenic. Best Alaskan scenes
yet. It is too bad the plot couldn't
keep up with the atmosphere. They
put every gag known to northwest
melodrama into it, and it failed to
jell. The queen of the fiance hall
turns out to be the mother of the
little heroine. Except for Alaska,
not even an average program picture.
Good hot weather scenic stuff.
REPRINTED FROM JULY SCREENLAND
THE BELOVED VAGABOND —
F. B. 0. A poor interpretation of
William J. Locke's novel, so atroci-
ously miscast and amateurish in its
presentation that it seems hardly
worthy of a serious criticism. Carlyle
Blackwell is sponsor for the film,
supervised its production, stars in a
dual role and generally monopolizes
everything in sight.
BETWEEN FRIENDS — Vitagraph—
J. Stuart Blackton, Lou Tellegen and
Robert W. Chambers — director, star
and author — get together and fool the
critics, by turning out a good picture,
which can be summed up in a sub-
title, "My wife — and my best friend!"
the wife being Anna Q. Nilsson, who
gets run away with by Norman Kerry,
Tellegen being left to mourn her un-
timely departure and her subsequent
death. Alice Calhoun consoles him.
THE BREAKING POINT — Para-
mount— Herbert Brenon intelligently
directs Matt Moore, Nita Naldi and
Patsy Ruth Miller in a rather foolish
story. Matt is allowed to be perfect-
ly natural in a drunken scene; there's
a frenzied murder complication and
Naldi relentlessly stalking our hero.
THE CONFIDENCE MAN — Para-
mount — Thomas Meighan gives his
pleading public another crook melo-
drama, and says it is his greatest since
The Miracle Man. Some may not
agree with Tommy. Virginia Valli is
crowded into the background; she is
wasting her time. If you like crook
pictures, you'll be vastly entertained,
and Tommy is always Tommy.
CYTHEREA — A Samuel Goldwyn pro-
duction— An intelligent sex play minus
an orgy and yet not censorable. It
actually retains some of the author's
idea. Lewis Stone, Alma Rubens and
Irene Rich do splendid work. Not
for children.
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QSpace rates are paid for all letters published
here when accompanied by photographs. Lack
of space limits our choice of the many hundreds
of excellent letters received. This is the Read-
ers' Department and SCREENLAND cannot
accept responsibility for sentiments expressed.
Address Editor SCREENLAND, 145 W. 57th
St., New York, N. Y. Send your portrait with
your letter. It is impossible to return letters
or pictures. Please don't ask questions. This
is not an Answer Department.
Q To Francis T. Howard, 320 Washington Street, goes the award of $10 for his letter "rating"
the July issue. We are grateful to Mr. Howard and to the hundreds of other helpful readers
who conscientiously graded every story in S GREEN LAN D . We are sorry that every person
who made out a report card for the editor could not get a prize. The following letters are
chosen for their varied appeals, to fill the small space allotted to this department:
11
Blanche Mehafiey
representing per-
haps ivhat IV. J.
II. had in mind.
{Read his letter.)
Dear Editor of Screenland:
We have had
all the remote and
costumed days put
into the films and
they are quite
■wonderful too, but
it seems to me
that there is a
period that has
become unpopular
that as a matter of
fact still deserves
the attention of
the producers. Or
perhaps I should
not call it a per-
iod, but a locality.
I refer to the good
old Desert Island
film.
I have never
passed one by yet,
and I would be glad to see many more.
It is true that I would welcome a new
twist to the plots, and the clever scen-
ario writers could think of new situations
I am sure. And, what fun these films
are to watch. I suppose the sea islands
that so. intrigue me, are within hail of
Hollywood, but what of it. These films
^ave imagination and picturesqueness and
if perhaps the beautiful heroine wears
fewer clothes than the Due d'Orleans or
Lady Silks-and-Satins sport about with,
that is really no disadvantage.
"Where the Pavement Ends'' was fine,
and the "Shooting of Dan McGrew" was
cleverly set. I liked "The Marriage
Cheat" too. Oh well, I suppose I like
them all, and I don't suppose I can
claim that the Desert Island is really ne-
glected, but let me tell the world of pro-
ducers that these films ring the bell with
a whole lot of people.
Perhaps it is the simplicity of the cloth-
ing that gives me a kick, (T hope that I
am not revealing a low mind.) But I
8
By Our Readers
think the hero also has a more or less
of a popular role. We like to see re-
sourcefulness.
Speaking of ladies with very little to
their wardrobes except curves, did you
notice when you saw Doug's "Thief" that
the point of the dagger against Anna May
Wong's little body marked the very peak
of interest in that gorgeous film?
If you print this, I'll bet you will find
that other people will write in to tell you
that—
I've said something.
Yours truly,
W. J. H.
Dear Editor of Screenland:
After a study of your July Screenland
and careful comparison of it to the others
of its class, I have come to the con-
clusion that its grand total batting aver-
age is 400! It is so clean, so American
in its fair play, does not have a Police
Gazette atmosphere, information — not
misinformation — is ladled out in healthy
chunks an dis a safe, sane and sound
magazine. According to my humble and
not highly developed mind, the gradings
for the July edition are as follows:
Illustrations
The Cover— 100%. Rolf Armstrong
has suceeded admirably in imparting "at-
mosphere" to his portraiture of our be-
loved sheikess, Pola. Does it not radiate
much of her warmth, lure and witchery?
Covarrubias — 99%. Always charmed as
I am with "Covey's" snappy caricatures,
I deduct one per cent from his otherwise
perfect score as I* fail to see all of Lea-
trice Joy's individuality in his cartoon of
her.
Addison Burbank — 50%. His pen
drawing is first class but he falls down
on originality.
Edward Butler — 75%. Would hesitate
to give even this batting average for his
"Screen Stars" cartoon but for his clever
' Charley Chaplin" sans his dinky little
mustache, sans battered derby, sans bag-
gy trousers and sans seagoing shoes.
Kliz and Wynn — 90%. In their usual
good form but are writing extra in humor
this time.
Benito — 80%. Too many Albert Vau-
ghns and Slim Summervilles in his beach
scene. Give us a few curves.
Photogravures — 99%. One per cent, i:
lost because one "Babby" is seen eating
the lovely banana when it should be a
cluster of cherries.
Stories, Articles, Etc.
The Editors' Letter Box — 50%. A worth
while institution. Let us go on agreeing
and disagreeing but "Remember — No
Shooting!" as Jack Pickford says dn his
"Hill Billy."
The Silent Drama— 75%. Martin Dick-
stein loses the other twenty-five per
through no fault of his. In handling
his line, he is the hippo's tonsils but
somebody is stingy with him and doesn't
give him enough space. Make him earn
his salary with an extra page or two,
preferably two-
Editorials(?) I
could place my
valuation on
friend Myron's
library calisthen-
tics ;but 'hardly
dare to. If I
should say "100
%," would he be
liable to go and
raise the price of
SCREENLAND
Mum is the word.
As We Go to
Press. 99%—
Newsy, breezy
and gossipy
enough. Just a literary box score.
The Riddle of Mae Murray— 100%.
More power to Evans Delight for her
splendid characterization of Mae Mur-
ray. I am delighted to find Delight on
my side of the controversy, concerning
Maes' right to her place in the sun.
Fake Make-up Schools— 99%. Good but
h
Francis Howard
9
its treatment is a bit faulty, its con-
tinuity being somewhat hard to follow.
However it has its value.
The Fame Tax. 50% — Nothing ' extra.
People and Things — .95'%. Nothing
spectacular about friend Lamar but he
sure talks sense.
Class — 50%. Something of a piffle.
Does not belong here.
The Man Who Lacked Menace 100%
Jim dandy reading — If you want to
know how great and versatile an actor
Ernest Torrence is, Jim Tully giivets
you all the dope here.
When Screen Stars get together — 80%.
Just gossip junk that doesn't add much
to the gayeties of the nations.
Eight Dollars A Minute. 100%—
Great sob story. Poor Ray! Better
Luck next time.
Side Burns— 10% Bunk.
Dramaland — 100%. George Jean
Nathan. You know 'the rest.
New Screenplays — 100%. As an
analyst and reporter of new plays,
Delight Evans has yet to give me a
headache.
The New Gloria— 100%. I have had
a healthy prejudice for Gloria, influenced
no doubt by her preference for such
roles as Zaza and The Humming Bird.
On the screen she is so realistic that I
got the conviction that in real life she is
a veritable tornado. D. E. persuades me
that she isn't such a wild woman as all
that.
The New Pola— 100%. Great stuff. Now
we know the insides of Pola's past failures
from this graphic story by our little
Eunice. Be yourself, Pola.
Anita Stewart — 95%. Good reading.
5% is lost only because much of it is old
stuff.
Alice In Screenland — 0%. Being a mere
man, I am no competent judge.
Smile When you say Good ' Bye
A Shingled Star i
Elliott Dexter
Sitting Pretty -
With the Location Man
The Listening Post — 100% more or
less.
Dear Editor: of Screenland, May I
from my couch, (I really am much better
now, and will be all right again very soon
— thank you for asking) — may I inquire —
Why don't the common people get a
chance in the movies?
I am sure that the people that I know
are not freaks, in fact I am certain that
they are just regular people, but I never,
or hardly ever, see in the films the same
kind of people that live in my world. The
obvious answer is, that my friends are not
interesting, but although that is more or
less true, there are ordinary people who
are very interesting indeed when the
dramatic moment arrives. Why I know a
man who, just works around and doesn't
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10
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amount to much who rose mightly to the
occasion once that he now has a medal
from Congress which was voted to him.
I read a book by Dicken's the other day — ■
I am ashamed that I never read it before-
but every character in it was peculiar in
some way, and I couldn't help thinking
that the movie people are so anxious to
make each character really individual that
they develop the characters infc
caricature.
Milton Sill is of course wonderful in
everything and perhaps one of the
reasons that he is so wonderful is that he
is a regular person and makes the man
that he is supposed to be a real living
breathing human being,
Yours,
May O'D.
Dear Editor of Scrzenland — I believe it
was in 1.909, when I was about six years
of age, that I was first introduced to the
moving picture. From that time to 1920,
I saw one picture. I don't believe I
missed a great deal for I have since the
BIRTH OF A NATION which was thi
outstanding production of that period.
Then after taking an interest in the
cinema I followed a 'hit-and miss fashion
of selecting my entertainment for a year
on two until I finally came to recognize
Wallace Reid as my personal favorite. I
now have lots of favorites,, but no one
individual whom I personally prefer.
Where two years ago, I used little o
no selection of pictures, I now have a
very definite system which however, may
seem huge and peculiar to some. Here it
is:
I generally see the pictures made by thes
stars provided they are not too rotten
Charlie Chaplin, Mary Pickford, Harold
Lloyd, Douglas Fairbanks, Rudolph Valen-
tino, Norma and Constance Talmadge,
Gloria Swanson, Poli Negri, John Barry-
more, Gladys Walton, Richard Barthel-
mess. Thomas Meighan, Charles Ray and
Ramon Novarro. A few of these are
actors, a few artistes, and a few just
stars, but they all have something definite
to offer which appeals to me. I may be
credited with versatility of taste.
Betty of the Hungry Heart— 100%.
Smile When you say Good Bye, A Shin-
gled Star, Eliott Dexter, Sitting Pretty,
With the Location Man — Good enough.
The Listening Post— 100%.
Francis T. Howard,
320 Washington St.,
Providence, R. I.
The September number of Real Life
Stories begins a new policy for this enter-
taining monthly. The magazine is fiction
and fiction only. The stories, virile, REAL
and exciting appeal to story lovers and
each is complete in this issue.
SCMEENLANB
$10.00 For a Letter From You
Send in your thoughts on the movies and the Editor will pay $10.00 for the
best letter he receives. Every other letter printed will be paid {or at space rates.
"Constructive Criticism"
The Editor invites the readers of Screenland to send in letters of criticism.
Tell us exactly what you think about the films.
It does not matter whether you discuss the latest film to be released or whether
you discuss films of an older vintage. If the point that you make is a good one,
the other movie fans will be interested.
But—
How easy it is to wield the hammer. There are few individuals indeed( who
do not enjoy themselves in criticism concerning somebody else. This criticism is
very valuable, even to the party criticized. But it can be more valuable, if, instead
of tearing down with the hammer of criticism, that some construction work be
done. Constructive criticism is the most helpful variety of fault-finding.
Let us hear what you can say regarding the faults of the films with, perhaps,
some suggestions for their improvement. For example, probably some time ago,
someone wrote to Charlie Ray and told him just what they thought of him, but
they sweetened it by saying that in a country boy part he is one of the greatest
actors on the screen. The result is that we are to have Charlie Ray in some more
country boy parts. This is constructive criticism.
There is only one type of critic who can knock the films and get away with it
and that is the skillful satirist whose jabbing pen is dipped in the ingratiating ink
of wit and burlesque.
Well, perhaps you are one of these.
Address your letters to The Editor's Letter Box, Screenlaxd, 145 W. 57th St.,
New York City.
11
New York Police Commissioner Richard E. Enright, and Edna Murphy talk over
"Into the Net" which was written by the commissioner.
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12
SCREEN jLAN©
..Jo*
know- it as uutli cu> a umrrmri Ukt
nvc urriooc Lifawrk hiiA Irttn dtiich/mg
otfier uLxrmxri ?
One of the worst enemies of true beauty
is the woman who uses the utmost mis-
diredted thoughtfulness about "keeping
herself beautiful at any cost" . . . who
lives merely to plan coslumes for herself
. . and who still is so much
what in her heart of hearts
she does not like to be . . .
And just because there is
occasionally a woman like
that is the reason . that so
many husbands sneer before
their wives about "some
women'' . . 7
But, poor child! . . . she
is only to be sympathized . . .
She knows nothing of life . . she spends all
her time on herself .--and -always on the,
wrong track.
But you ! . . . . you have a hundred
interests outside yourself . I . things you
are planning to do ! . . people you are .
making happy !
Val a z e
Beautifying
Skinfood
^KINFOOD
It is for .you that I have made my
beautiful Valaze Skinfood . . that take
no hours over a dressing table . . that is,
in ay I say. "fool proof . . . Why, it
would not take you two minutes tonight,
to put it on . . and, while
you are, asleep, it is creating
that beauty of skin whic
beams from your mirror in
the morning.
Why not let those hours of
sleep do something wonder-
ful for you besides resting
you? . ■. Let them be making
your . skin fairer, finer and
firmer,
| . Or, you can. instead, use it at any
convenient time d.uring the day, — for
the 'clarity of your skin and the fine
quality of its texture .... Texture
texture ... the true secret of skin beauty,
and Valaze Beautifying Skinfood is its
creator! . . . '
A dollar, two-fifty or four-fifty accojxli?ig to size of jar, and
to be had at hading stores or direct. — Nor should you be with-
out my booklet, " 'Beauty for Everywomanf! which my Sec-
?~etary will be glad to send you.
Boston, Mass.
234 Boylston St.
CHICAGO, III.
30 N. Michigan Ave.
NEWARK, N. J.
951 Broad St.
NEW YORK CITY
46 West 57th Eireet
DETROIT, MICH.
1540Washington Blvd.
PARIS
126 Rue du Faubg. St., Honore
LONDON
24 Grafton St., W 1
Hollywood, Cal, 1780 Highland Avenue
Alberta Vaughn
Little Alberta of the "Go-Getters" has
wrapped herself up in this veil because
Edwin Bower Hesser says that she has "The
most beautiful body in Hollywood" and such
praise as this makes Alberta a little self-
conscious, you know how you'd feel.
BiOie Dove
Photo by Alfred Cheney Johriston
As We Go to Press-.
0[ John Golden, sponsor of Lightnm, one of America's
greatest producers, signs with Fox Film Corporation
for the filming of his famous dramatic successes.
(][ Lon Chaney as "He Who Gets Slapped" for Seastrom who is direct-
ing the film version of Andreyer's story is creating a sensation.
0[ Hail to Theodore Roberts. He's back in grease paint and overalls
after an illness of six months. Mr. Roberts will assume one of the
feature roles in Lord Chumley.
Q Rudolph Valentino to cross the pond again on a six months vacation, after finishing
his work in "The Sainted Devil."
G[ Richard Talmadge has the sympathy of all of us. His injuries sustained while filming
"Stepping Lively" are serious.
d Barbara LaMarr and Ben Lyon, the former working and the latter vacationing in New
York, are rumored to be engaged. It will be Barbara's sixth wedding, if it materializes,
although the court rules that not all of her marriages have been legal.
G[ Prominent screen folk, including the Sidney Chaplins, are brought in the limelight in
Ann Luther's suit against Jack White, Los Angeles millionaire and promoter, who re-
neged on a starring contract, so Ann says.
0[ Brilliant opening of Janice Meredith, Marion Davies' latest and best picture, draws im-
mense crowd of stage and screen celebrities, including Gloria Swanson, May Allison,
Dagmar Godowsky, Nita Naldi, Richard Dix, Jacqueline Logan, Anita Stewart, mem-
bers of the brilliant cast, excepting Miss Davis, who is resting in Los Angeles; as well
as prominent society folk.
0[ Imogene Wilson, who had signed with Mar}7 Pickford to play in pictures in Holly-
wood, admits publicly that her suit against Frank Tinney, whom she still loves, has
killed her stage and screen career, that her contract with Miss Pickford is cancelled.
O Lois Wilson returns from London, denying her engagement to the society scion, Ber-
nard Baruch.
(j[ Hope Hampton signs as lead in Mme. Pompadour, a musical comedy to open on
Broadway early this fall.
CI Miss Billie Dove turns down Ziegfeld offer to be featured in the Follies as "the most beautiful
woman in the world."
G|_ Will Rogers is again the hit of Ziegfeld Follies, and hasn't a swelled head, although he received
one vote for presidential nominee at the National Democratic convention.
Q, Police seek thieves who robbed Marilyn Miller in Los Angeles of thousands of dollars worth of
jewels, hunt centering in Philadelphia.
Q Bert Lyte.'l mourns in New York the abrupt departure of Claire Windsor for the coast. Rumors
of an an engagement have turned into condolences for Bert.
The Meanest Man, Grit and
Dear Connie and Norma:
LAST night I saw The Goldfish in a
little theatre on Long Island. It was
one of those exclusive little towns to
which the tired business men of New
York return after the hard days golf is done.
And,- Connie, you won that audience over,
body and soul. You had them laughing
from start to finish. The fine folk in the
boxes way back laughed at the rough stuff
you pull in the opening of the picture be-
cause it was new to them and because you
made them love it. The serving maids and
chauffeurs in the seats up front enjoyed the
"society stuff" at the end of the picture be-
cause you got away with it as a comedy
queen should and still flattered them because
you played to them and made your radiant
smile include them in your circle of friends.
Connie, you are the last of a not so very
long line of screen comediennes. You are
still fascinating. Your reputation is un-
sullied. Screen fans pin their faith on you
to keep alive a line of high class comedy
drama. They need it.
And as for you, Norma. Who that saw
Secrets can hesitate a moment to agree that
genius is hereditary. It runs in your
family. All that you and Connie need now
is to adopt Eugene O'Brien as a brother and
you can produce pictures with Ingenue,
Mother Role, Hero and Heavy without
hiring a single person except blood relations.
Brother Buster and Natalie will play the
comic relief. Eugene will play the dashing
lover in the first reel and the tough heavy in
the second. Norma will play both bride
and mother-in-law. Buster Keaton, Jr. will
play the che-ild with due sanction of the
censors, Ma Talmadge will write the script
and Papa Schenck will produce it. If that
isn't a talented family there never was one.
Grit:
kURING the making of The River
Road, not yet released, an extra was
struck on the head by the revolving
propellor of an airplane. His head
was cut open and his brains exposed. They
took him to the hospital and patched up that
broken skull with clever trepanning. When
the boy who had escaped death bv a miracle
16
D'
I
Editorials By
regained consciousness after two weeks of
utter darkness, he asked first:
"Will I be all right in time to finish the
picture?1'
And when he was told of those disastrous
two weeks during which the picture had
been finished without him, he asked the pro-
ducer who had visited him at the hospital:
"And will you save me a bit in your next
picture?"
You simply can't discourage an extra!
The Meanest Man?
If )t ^\ HERE is a chap in Hollywood, so
the story goes, who makes the most
of his stardom. His daily mail is
weighted down with twenty-five
cent pieces, enclosed in payment for auto-
graphed portraits of the star. "They say"
that he abstracts the quarters and lets the
mail pile up indefinitely; that he has not yet
mailed out any photos. He says a secretary
would cost him more than the thirty dollar a
week he averages in this merry little game
of pillage, and that he personally can't take
the time to autograph and mail out all
those pictures.
A star who thinks as little of his duty to
his public as this man must is our candidate
for "the meanest man in pictures."
Betting on Babies:
1 1 ^\HE gossip grapevine brings us the
rumor that producers who have
JJL baby stars on their hands are wishing
that their mothers had the little
fairies in their home, rather than in the
studio. For some unaccountable reason
the child star picture does not seem to be
drawing as well as the powers thought it
would. Two or three producers are won-
dering what to do with some glittering long-
term contracts which they sighed in moments
of rare enthusiasm.
One sad bettor on babies is said to be sing-
ing this ditty in impassioned, pleading tones.
"If you know any producers who want any
babies,
Just send them around to me."
Mothers with rivals for Jackie Coogan
and Baby Peggy would do well to train their
offspring to split rails and knit, rather than
to act cute before the camera.
Troubles of an Usherette/^
Myron T^obel
Uncle Sam, Producer:
UNCLE SAM has joined the lists of
thrill producers, with an exciting
screen play called When a Man's a
Miner. The Bureau of Mines is the
specific producer, and copies of the film are
now available for exhibition purposes by
educational, civic, and commercial institu-
tions, and may be obtained from the De-
partment of the Interior, Bureau of Mines,
Pittsburgh, Pa.
It's all about "Lucky," a miner who
didn't believe in safety first methods, but
who was taught to respect them in a fright-
ful mine disaster. Uncle Sam claims, as do
all producers, that this is one of the finest
pictures ever made. And there's a romance
too — "Lucky" wins the girl and gets a
medal!
Pretty progressive government we have, in
spite of Tea Pot Dome scandals and what
the disgruntled immigrants say about us.
The next step should be the filming of all
histories used in public schools, and the in-
stallation of federal projection machines,
along with the free distribution of all educa-
tional movies.
Salt:
LAST month this page carried an edi-
torial headed "Cream Puffs." It
was a request — and I believe it
voiced the wishes of the average
American — for fewer costume pictures and
more films which picture real life as we
know it — not as Rafael Sabatini and Charles
Major and other romanticists picture the
life of a bygone day.
And I have already had my request an-
swered. At least three pictures released this
last month are strictly American. They are
not great pictures, perhaps , unless The
Signal Tower is worthy of that adjective.
But at least they are honest pictures, com-
pounded of honest American ingredients,
and leavened with the salt of realism.
I speak of Bread, Babbitt and The Signal
Tower. Bread is full of faults, because it
was built on a book that is far from great,
but there are splendid bits in it — little pages
of real life, with the sturdiness and earthi-
ness of everyday American life spread upon
them. Now don't say I said Bread was a
great picture — but it might have been.
Babbitt is almost painfully real, just as
the seamy side of a theater's curtain is real.
But Babbitt builds a flesh and blood body —
and leaves out the soul. Life as the Babbitts
live it has something more in it than Sinclair
Lewis or the director of Babbitt was able to
grasp and picture. If Babbitt had caught,
even for a moment, the soul of a Babbitt,
along with his ridiculousness and pettiness
and pomp and emptiness and heart hunger,
it would have been a great picture. But
even as it is, it has something to get your
teeth into.
The Signal Tower is a record of ordinary
people — the kind of people who are known
as "the salt of the earth." There is scarcely
a movie situation in the whole picture. Real
life is the director behind the play, and we
have the illusion when the last reel is
finished, that those same people will go right
on, living their ordinary lives, paying for a
home, raising their children, and rising to
heroism when the occasion demands it.
Why not more pictures directed by Real
Life?
And when I ask that question I know it
it will be answered by a flood of cheap imita-
tions of The Signal Tower, every one lacking
the only thing that made The Signal Tower
great.
Troubles of an Usherette:
THIS craze for dressing the girl ushers
in the movie theaters to carry out the
spirit of the picture sometimes goes a
little too far, according to an usher-
ette who took me into her confidence as I
waited for a seat in a crowded Broadway
motion picture palace.
One of those bewigged and hoopskirted
costume picture was being shown, and my
usherette - was disgustedly adjusting her
numerous hoops and skirts, which, she said,
had an annoying habit of tripping her up as
she hurried down the aisles. And her wig
was devilishly hot, she confided.
"Gosh! I wish this was a Palm Beach pic-
ture or something, so they'd let us ushers
wear bathing suits."
17
Our Family
By The Editor
\ ^ VERYONE knows the people of the films. Not only do we
know the stars, but also many of the actors and actressej who
Jy do not receive any great amount of advertising. And the
reason for this is not because their names may have been in some few
paid ads, some interviews and some of the gossip columns, but it is
because the screen itself — the photograph in motion — has the mys-
terious power to bring these players to us intimately and to show
us their very souls. Then we love them and they are friends of ours.
What a wonderful phrase. "He's a friend of mine!"
I have 'never met Charlie Ray but I .feel toward him a warm,
understanding friendliness.
We do not forget our friends. Time may go by, even years, but
it's: "Hello, you old son-of-a-gun," when a friend does show up.
The wonderful family which the movie fans make up is a new
thing in the world. Money spent in advertising or in stunts could
make a man's name known around the world but all the advertising
on earth would not gain a man a friendly place in a million hearts.
And that's what the screen has done for those who give their lives
to pictures.
To realize what this means, imagine, Theodore Roberts without
any baggage without a cent or a hat — imagine that he appeared upon
your doorstep and that famous smile looked in at you — eyes a-twinkle
and he said to you :
"Have I got a friend living here?"
What would you say to Mr. Roberts?
I know what you'd say: —
You couldn't get the door open quickly enough. You would put
a chair up to the table and the 'missus would be all smiles and she'd
dash out for a jar of her special preserve and you'd try to keep the
baby from climbing into his lap while you sent sonny to the store
for some cigars.
You know darn well you would! And why? — Because you feel
him to be a friend of yours.
The people who go into the movies give everything, their
privacy, their strength and their brains, but the screen pays them
back ten times over with the friendship of Our Family.
Betty Blythe
Photo by Alfred Cheney Johnston
(Tlhe Lion
and the MOUSC
By Grace Kingsley
XX Translating Aesop to Hollywood, does
the Lion remember the Mouse which
helped it when help was sorely needed?
The answer, according to Miss Kingsley,
who knows everyone in pictures, is that
some lions do and some lions don't — but
more do than don't!
YERYBODY remembers the famous story by Mr.
Aesop about the lion and how the mouse gave
first aid to the lion when the latter found himself
QRamon Navarro's
mouse auas Jiis own
younger brother.
in a tight box.
Some! of our very best little picture stars would now
be struggling geniuses imprisoned in the net of circumstance,
bound down to earth, if it hadn't been for some humble,
mouselike individual, who came forward at the right moment
to help out. Sometimes, to be sure, the helping hand was
that of some important person, but often as not it was
some humble soul, some unpretentious and unselfish person,
who gave the needed assistance at the right moment to aid
aspiring genius in its moment of despondency.
Sometimes this help has been remembered and returned,
— usually, to the credit of the picture stars' be it said,
it has been — but sometimes the star has been selfish, careless
and forgetful.
It was a kindly doorman, maybe, who let a little extra
girl slip by when nobody was looking; or one extra helped
another; or the woman who did the girl's washing or the
cafe keeper who fed her, trusted her and loaned her money.
A good many of the beneficiaries were men, and these, truth
to tell, seem more prone to forgetfulness than the women.
But Charlie Chaplin is one of those who remembers.
He has never forgotten the little boy, a member of the
Lancashire Lads, who helped him get his first real engage-
ment on the stage. Charlie spoke of him recently with the
deepest affection and gratitude, and likewise of the whole
Lancashire family, father and several children, who meant
po much to the comedian in his start in life. I don't think
he ever hears from the family now, but he did keep in
touch with them for some time.
Never has beautiful Betty Blythe forgotten the Three
Arts Club in Chicago nor the kindly old white haired
matron, who aided her when she was hobbling about on
crutches as the result of an accident, and bedridden for
days at a time. The Three Arts Club took Betty in and
kept her, without money and without price, for several
months, until the young actress could get about again and
go to work.
Betty has grown famous since then, but never does the
Club ask her efforts that she' does not respond. She has
appeared at innumerable benefits on behalf of the organiza-
tion, and has been instrumental in turning in hundreds of
dollars to the Club.
"I'll never forget how sweet those people were to me,"
said Betty. "I wouldn't send home to Los Angeles for
money. I was too proud. Besides my family didn't approve
of my stage career, and I didn't want them to help me
against their principles. When I got able to go about,
however, I went to my uncle, Samuel G. Blythe, the well
known political writer, and borrowed $75 from him to get to
New York. Once in New York I soon went to work for
Vitagraph, and it was my husband, Paul Scardon, who first
decided that I had acting ability, and gave me a chance. My
gratitude to all these will never cease."
A
Claire and the Mouse.
gorgeously beautiful girl with blue eyes, golden
hair, a complexion like a rose-leaf, came onto Allan
Dawn's^set one day, at Union Studios in Hollywood. That
is, ordinarily her complexion was like a rose-leaf. But the
day I speak of it looked jaundiced and awful. She was
playing extra. Another girl came over and spoke to her.
<:Say, kid, you look like something the cat dragged in!"
said the second extra tp the first. "Come with me, and I'll
fix you up. Mr. Dawn won't need us for half an hour."
Claire Windsor was the girl with the bum make-up. The
other girl took Claire into the dressing room where the
extras made up, wiped her face with cold cream, put on a
white make-up which experience taught her a blond should
21
CI Mary Pickford took Lillian
Gish to D. W. Griffith, and
insisted tliat the great man
/jive the shy little girl a
chance to act. Mary was then
the lion and Lillian the
mouse; novo both are lions
and neither has forgotten.
01 Charles Ray has not forgotten
the unnamed friend ivho lent
him money so that he ivoitld
not have to ivalk long dis-
tances between studios to look
for work.
wear instead of the awful yellow, and when Claire returned
to the set, Allan Dawn himself noted her beauty, and came
over and spoke to her. .
Charlie Ray's' Story
IT was a hot day, and a weary boy who had walked fifteen
miles that morning dropped down in the shade of one
of these houses without any insides which adorned the
Thomas H. Ince western street on the old Ince ranch near
Santa Monica on the Pacific.
The boy mopped his hot, red face, rested a moment, got
up and went for a drink of water at a faucet. He was a very
handsome, attractive young man, and he had an air of good
breeding for all that his clothes weren't of the newest or
latest " ut, and now were coated with dust.
As the boy lifted his head from taking a drink of water, an
older man accosted him.
"Hello, Charlie Ray!" said the man.
"Hello, Sam!" said Charlie.
22
GL Carol Dempster is still fast friends with the
little, crippled girl who helped her in the old
days by believing in her and making Carol's
elaborate dancing costumes, even though she
was chained to a wheel chair.
We shall call him Sam, at any rate.
"How is the walking today, Charlie?" inquired Sam.
"Rotten," said Charlie.
It was after this that the actor we shall call Sam loaned
Charlie Ray money so that he need not walk to the studio
for lack of carfare.
. That's how brave Charlie Ray was. He was so determined
to succeed in pictures that not even a walk of fifteen miles
when he was out of funds could deter him once he had
started. Things are reversed between him and Sam now;
but Charlie does not forget.
Duane Thompson, a pretty little girl fast climbing the
ladder of fame via the Christie Comedies, says that it was
through a wardrobe woman that she got into pictures.
"My mother was working in a costume establishment
down town," said Duane, "when the wardrobe woman from
Christie's came and wanted some costumes one day. I was
with mother, and she asked me if I wouldn't come out and
pose with some of the clothes. I went out, and the first
think I knew I had a job. I've been playing leads ever
since."
Carol Dempster's Little Mouse
TDeautiful Carol Dempster, star of D. W. Griffith pic-
^ tures, admits that she owes a large part of her inspira-
tion and aid to another beautiful little girl. But alas, this
other girl as lovely as Carol herself, is lame. Her lower
limbs are paralyzed, and while she remains as beautiful as
ever, she cannot walk.
But she can inspire others to do (Continued on page 77)
QZazu Pitts was a star and Tom Gallery was
an extra when Zasu "took him up." Now they
are happily married.
Q Betty Blythe has never forgotten
the Three Arts Club in Chicago
which aided her when she was
crippled from an accident. The
Club took her in and cared for
her without charge for several
months, until the young actress
could get back to work.
23
mam
from
Q In Hollywood there is a house which has
behind it a beautiful ideal of Charity. It
succors those girls who are struggling to
gain' a foothold on the ladder of movie
fame. It saves those who are unable to get
work from starvation — or worse — for a
time.
HE girls who wish to "make the movies" are housed
in an old colonial building that squats dejectedly in the
center of a tree-dotted acre in Hollywood. Everything
about it has gone to seed. The stairs leading up to the
entrance are warped and sun-blistered. The balconies,
which cinema Juliets look down upon embryo Romeos
with rejected scenarios in their pockets, are worn and twisted
looking — like beaten dreamers when the sun goes down. The
wooden swings under the trees are dilapidated — having served
their purpose ever and ever so long. Could the inanimate
objects of life yield up their secrets, what tales those swings
could tell. Here came the shallow pates from far places to
rattle in pates even more shallow than their own — the whisper-
ings of ego and the cosmic urge.
And the girls, for the most part, must have listened coyly,
for they are young — but old — and wearily wise. Some of them
may be chickens, but they know chaff from
grain. A brilliant novelist once said to me,
"Do not marry for money, Jim, that would
be/ terrible — go where money is and fall in
love."
I write with no rancour — I love pretty
girls — they represent dreams to me — and the
glory1 and the wonder and the wild lure of
living. If they are false— who would desire
honesty — have they not heard from their
mothers — an ancient slogan — "Better to
lie a little than suffer much."
Honest people are never invited to
parties — unless they are terribly
domineering and brilliant — and
then, if they are, as a rule, they
are too easily bored. Boredom is
the price all great talent must pay
to survive. The person of talent
doles out the price
in hearts' blood,
and broken chunks
of soul.
If many-e-f-the
girls have worked
in goldless mines
By Jim Tully
DREAMS
(\But those who live within its walls sometimes refer to it as The
House of Broken Dreams, The House of Hope Deferred. Jim
Tully knows this House and its history. He makes it heartbreak-
ingly clear to us — the tragedy of those who "fail by inches/'
with broken picks, they should also be pitied — for beauty
must pay its prices as we'll as talent.
Having lived on the crumbs of charity for many of my
early years and knowing the system under which the Studio
Club is run, I feel that it is a demoralizer instead of a
builder of character as are institutions of its kind all the
weary world around.
If it had not been for the Studio Club, girls who had not
the slightest chance to get into pictures would not have
prolonged the dull agony of hope deferred for months at
a time. All charity is for failures, unless it be the charity
meted out to children. To fail in this materialistic age is
no crime, for it has no doubt crushed some of the rarest
natures in the world. But to fail by inches is a torture,
that no age should inflict. And many of the Studio Club
girls fail by inches.
Failing by Inches
T. here is one girl, of splendid memory, name unmen-
tioned, who walked to the different studios for a year
and a half. In that time she worked three months — with
a pittance as a wage. She was possibly the cleverest girl
the Club has known. Of the old south, she was permeated
with its charm. Witty, and with poise acquired through
four generations of culture — she knew what everything was
about — except that it was foolish to make the rounds of the
studios.
Casting directors, with the mock chivalry of the Babbitt
breed, had not the courage to tell her that she would never
make the long steep grade. Beautiful, she did not photo-
graph as many of her more homely and stupid sisters. She
failed to register that evanescent thing called soul. It is
not to be wondered at — those who spread their souls on the
screen are rare — two people lead all the rest — Charlie
Chaplin and Mae Busch — the others are lost in the fog.
But the girl knew no more about pictures than the casting
directors.
Had she started in the early days when stage failures
turned to the screen — had she only met the MAN who
would have 'put her over' — had she — but it is all futile.
The one proper "had she" is this — the club gave her a
haven — she paid a small amount for board — ■
and ate her heart out month after month.
Without the Studio Club she would have
come to her senses sooner.
It is all very well for the "none such"
people of the screen who reached success
through a freak of destiny to chatter success
to these girls — the bare fact remains that none
of them have succeeded. Some of the stars
do condescend to sell their old clothes to the
girls — and the girls — knowing the art of dress
— look well in them — but after failure they
leave the Club with their morale gone. Insti-
tutions crush individuality.
Another Little Tragedy *
Another girl — almost made it. She was
Irish — and had a code of morals. She
was so near stardom she could touch the sparks. Then a
bald-headed director sent for her. On her way to the in.-
terview an Irish assistant director said to her ,"AI1 I ca&
tell ye, little girl, is remember what you've been taught."
The door closed and she was alone with the pseudo-artist
in his private office. The world-old questions — but not
the world-old answers — this girl was a member of a battling
guard that died but did not surrender. . . . She said. . . .
"Mr. I may give some day with a heart full of love — -
but I have nothing to sell— not even for the whole damn
studio."
The door closed. The director dined that night with his
wife and a party of friends. And that ended that — for the
girl. •
There was another girl who held the position of Club.
Secretary for years. She once had a good start in pic-
tures. She worked with Nazimova in many pictures. She
took a three-months vacation and went to her home in the
east where her friends congratulated her upon such great
success — for distance lends enchantment to success in Holly-
wood. Upon her return she found that her place had been
taken by others. Not being strong enough to win back the
position she had lost, she gave it all up and devoted several
years to Cheering other girls {Continued on page 79)
25
CI Male scribes^ sit up
nights trying to
think up new adjec-
tives to describe the
fragile, orchid-like
loveliness of Corinne.
01 Corinne Griffith is what all the novelists of
all times have meant when they described
impossibly beautiful and poised and
charming heroines. She is almost insolently
beautiful.
26
By Anne Austin
(\Deep.-in his' heart every man cherishes an ideal of',
utter femininity, and in spite of her boyish bob and
easy aping of masculinity, every flapper would love
to be a Corinne Griffith.
PERT-EYED, sleek-bobbed, hoydenish little flap-
per who sometimes . shares . my movie pass with
me and annoys me with her cheerful chirpings
about the picture, grew thoughtful and quiet — -
blessedly quiet — -as we looked at a not very good film,
Lilies of the Field, My own admiration for Corinne Grif-
fith was registering one hundred per" cent, but my picture
sense was crying out against the tinsel absurdities of the
plot. But this is not a review.
"Do you know," the barber shop's best customer said as
we left the theater, "I'm thinking what darned fools we
all are, not to try to look like Corinne Griffith, instead of
shaving our hips and our hair to look like boys? Most of
the time I'm pretty much sold on me myself. I warble,
'I love me' and I admit there's usually a line forming on
the right, to bid for my spare time. I've got an engage-"
ment book dated up two or three weeks solid; even break-
fasts. But — I'm always dead sure when I look at Corinne
Griffith on the screen that she's got- it all over the best of
us flappers when it comes right down to drawing power.
She's Lady Beautiful and Princess Patricia and all that
stuff, while we— well, I have to dance a little closer and
drink a little more boisterously than the rest of my crowd to
keep that engagement book pre-dated — "
Adjectives have been sprained by better pens than mine
in a futile attempt to describe the charm and beauty of
Corinne Griffith. Male writers for movie magazines wax
lyric and forget to pose as hard-boiled, blase birds, -when
they report on Corinne. Fragile orchid, Golden calla lily.
Purple iris against black velvet. Somehow only delicate,
exotic flowers suggest themselves as dazzled scribes rummage
a vocabulary practically unexercised since college days.
The hoydenish little flapper whose lips are too crimson
and whose eyes are too wise explained it further:
"Corinne works the femininity gag, and I guess she knows
what she's doing. I never take my sweetie to see one of
her pictures. He'd want to start right in and reform me,
or he'd pull that moral Frank (Continued on page 80)
QMr. and Mrs. Walter
Morocco. It <was a sud-
den marriage — Corinne
admits it, but that
makes it all the nicer,
she says.
Let Your Brains
Write a Slogan for Mae Murray 's Yilm
(\Brevity is the soul of successful advertising.
Can you write a slogan for Mae Murray's forthcoming production, .which will briefly
and attractively advertise this film?
THIS slogan must . have as few words as possible ; an intriguing, catchy
quality and must advertise the production or the star.
When you think of the great businesses of America, you will find inden-
tifiecV with each, a catchy slogan which remains in the mind of the reader
when all the big full-page spreads and bill board flashes have faded into a
vague memory.
The captivating, teasing slogan is so importanit that this $500.00 Will
all be awarded for one slogan. There will be no second prize, there will be
no honorable mentions. The contestant who sends in the best slogan will
receive a check for $500.00 in a few days. This is an opportunity for all.
In the land of Motion Pictures, every day a fresh opportunity is granted
to some one. The Goddess of Fame prepares a laurel wreath to place upon
the brow of some hitherto unknown. Perhaps, you will write the winning
slogan and thereby start on the way to movie fame and fortune.,
Read carefully the synopsis so that your slogan will really say something.
Consider well the characteristics of Mae Murray. Do not repeat the title as
this slogan is to be used as a sub-title. The name of the picture is "Circe,
The Enchantress."
Write your answer on a post card, one answer on a card, and mail to
this office, address given below.
. A contestant may send in as many answers as he wishes. The number
of words is not limited, but of course, there are practical limits.
In the event of two or more persons submitting the winning slogan, the
full amount of the prize offered will be awarded to each.
The contest will 'close on the 15th of September, 1924.
The prize will be awarded to the slogan which, in the opinion of the
Judges, is best.
Address: Mae Murray Slogan Contest, Screenland, 145 West 57th Street,
New York City.
Cecilie ex-
ercises a
spell over
all men.
James
K i r k -
wood as
Richard
Van Dyke,
Mae Mur-
ray's 'vic-
tim.
Cecil ie,
heart-
broken, in
a frenzy
of despair
gives a
mad parly
in her ef-
f o r t to
forget.
23
Go Into The Movies
$500.00 Will be V aid for a SLOGAN for u Circe, The Enchantress"
Written especially for Mae Murray
by Vicente Blasco Ibanez
The theme follows the myth of
Circe, daughter of the Sun, who
turned infatuated sailors into swine
until checked by Ulysses.
Cecilie. who exercises a Circe-like
spell over men. gives countless par-
ties at her home on the north shore
of Long Island. Discovering a new
type of victim in her next door neigh-
bor, Dr. Richard Van Dyke, the cele-
brated New Vork surgeon, Cecilie
invites him to one of her jazz par-
ties. But he does not participate
in the drunken revels and spurns
her advances.
Desperately in love with him, Ce-
cilie calls at his New York office
as a patient. Here she learns that
he is engaged to a haughty beautiful
girl of his own set, and that he
wishes to have nothing to do with
her (Cecelie). Heartbroken, she de-
termines to forget everything in a
wild carousal.
Consequently, that night, her home
is the scene of mad gaiety and reck-
lessness. She gambles away her
money and home and finally loses
her precious jewels. In a frenzy of
despair, she fractures the wine glass
in her hand, cutting an artery. Called
to the scene, Dr. Van Dyke dresses
her wound, prevents a mortal com-
bat between two of her admirers,
and leaves her after denouncing
her as a modern Circe who lures men to their destruction.
Still hopelessly in love with the doctor, Cecilie flies after
him .in a condition bordering on collapse. Realizing her
danger, the doctor attempts to calm her. She succeeds in
restoring her self-control, and Cecilie, for the first time in
her petted life, perceives her waywardness. A change comes
over her, She casts one fond last glance on the doctor,
throws her arms about his neck, kisses him, and departs for
the convent in which she had passed her girlhood, to be-
come a lay sister.
But Dr. Van Dyke has finally succumbed to Cecilie's
great charm. By means of a slender clue, he traces her to
the convent, but the sisters tell him no such person is there.
As he leaves, Cecilie is brought in by another door, un-
conscious and inert, as the result of having risked her life
to save a child from being run over. The local doctor tells
the sisters that only Dr. Van Dyke's^skill can save her.
Reluctantly, Dr. Van Dyke goes to the convent to tend
the injured woman. He is startled to recognize Cecilie/as
his patient. Aware that the life of the woman he loves is
at stake, he sets to work over her with his cool skill. The
operation is successful and Cecilie has promised to be-
come his wife.
Mae Murray, the screen's
best dancer, as "Circe, The
Enchantress.'' Directed by
Robert Z. Leonard.
29
he Good Little,
BAD GIRL
Q Carmel Myers as she looks when fully clothed and in her
right mind — that is, Carmel off the screen.
CARMEL MYERS is a vampire who doesn't
know it.
Carmel cavorts capriciously upon the screen,
luring handsome .heroes to her boudoirs, lighting
perfumed cigarettes for them, trailing around in soft negli-
gees, smoothing their hair, and otherwise behaving as no
perfect lady should. Ask her how she does it — her tech-
nique, her method of allure — and she'll answer, "I haven't
the slightest idea."
She has vamped John Barrymore — but wait a minute.
"Don't," begged Carmel, her gray-green eyes almost glis-
tening with unshed dew-drops, "don't whatever you do,
call me a vamp." But as Carmel didn't volunteer any good
substitute for that tried-and-true tag, I shall keep right on
calling her one. John, as Beau Brummel, coldly thrust her
from him, at the director's orders. But John, I am reliably
informed, actually fell, with a thud which resounded around
the studios, for Carmel's crafty machinations with her
ukelele.
Carmel, on the screen — a sometimes subtle lady with
Q Carmel Myers is a vamp who hates
the name, and who believes that she
wants to play "regular girls" on the
screen. And when Carmel gets to
taking her "art" too seriously, her
sense of humor — full-grown — comes
to her rescue. Yes, in " private life"
she's a "good girl."
Bj/ T>elight 'Evans
insinuating clothes and coiffure; a heartless hussy who
reposes on a tiger's skin for no good purpose; and Carmel,
a girl with an ingratiating giggle which is induced when
Mrs. Myers anxiously asks that her child in private life
be not confused with the woman of the celluloid amours.
Mrs. Myers needn't worry, for Carmel is as unconscious of
her many screen pasts as if she'd never lived them. It's
all in the day's work for her.
But Carmel, with the perversity of which only a young
and pretty girl is capable, was not thrilled when a New
York newspaper, usually devoted to the goings-on of beauti-
ful bandits and villainous financiers, went out of its way to
herald Miss Myers's arrival, snapping her in her temporary
domicile before she dashed off for Europe.
"They say," objected Carmel, "that I was the good
little vamp who never took a drink, never smoked a cigar-
ette, and went to bed every night at ten o'clock. Making
me out," mourned Carmel, "an awful ga-ga."
The Pink of Propriety
"But you are," I reminded her, "the pink of propriety
and sobriety."
"I know it. But they needn't rub it in." Then she atoned:
"Not that I believe an actress has to live the life she lives
on the screen. If I were a real vamp I'd like to be a good
one; and in the pictures I have made, I'm never a real riot,
John Barrymore sneered at me — it was a gorgeous scene,
but still a sneer.. In Broadway After Dark, Adolphe Menjou
thought I was a knock-out — for a while. He even kissed
me on the shoulder — I hope they don't cut out that bit.
But then I committed the unpardonable error of kidding
my husband over the telephone — which no one except a total
dumb-bell would really do. And Adolphe walked, as the
saying goes, out on me.. No — if I were living my screen
parts, I'd pray to be a bigger, {Continued on page 84)
30
(j Bareback posing is one of the best things Carmel does. Carmel lays she wants to be a
"good girl" on the screen, that she hates to be known as a vamp. And yet her favorite
photographs are those which bears no resemblance to the real Carmel, but show her all
dressed up or rather all undressed in clinging gauze, jewels and a dizzy head dress.
31
9£ BEAUTY
An example of backlighing the hair so that the coveted
aureole of light will appear. Mae Murray's face also is best
ivith strong front lighting.
E all cherish illusions. We like to be fooled.
The little girl who looks in lily cups for
fairie (not the papa ones, silly) is the same
little girl grown up who looks for goddesses
of beauty upon the screen, — and finds them.
"Is she1 really as beautiful as that off the screen?" is
the first question any fan asks any person who has seen
any famous picture star "in person." And the answer,
oh, so disillusioning to the grown up little girl who still
believes in fairies, is always, "We-ell, I was disappointed in
her. Her skin is not any better than mine, and her hair
is bleached to make it look that way on the screen." So
another fan has lost a precious idol, and the screen is
just that much worse off.
I believe "personal appearances" have done more harm
to the industry than anything else, more even than radio.
For the radio merely keeps a good many picture-goers at
home, while the personal appearance of a hitherto wor-
shipped idol often shatters illusions and weakens the allegi-
ance of the entire audience toward all stars.
If I were a producer, I'd write a clause into every con-
tract, forbidding my star to be seen in public without a
thick veil, and then only by blase tradespeople who are
accustomed to shocks. I'd use that old Fox trick that
succeeded so well with Theda Bara — I'd make my stars
ladies of mystery — a mystery that could never be solved.
For it is a sad fact that "screen faces" are seldom
beautiful in the way that Follies girls are beautiful. The
average chorus girl on Broadway is far more beautiful
than the Venuses of the silver sheet. The stage girl's
beauty must be perfect in coloring and line. Her sole aids
to beauty are grease paint and footlights. But the screen
beauty has at her command all the tricks of an expert
cameraman, plus grease paints and spotlights.
George S. Barnes, cameraman for Marion Davies, and a
veteran of seven years experience in the game, despite his
youthful appearance, has helped make so many beauties
that he is a consoisseur of screen faces.
"Screen beauty is largely a matter of lighting," says Mr.
Barnes, "and the harder a face is to light the less chance
its owner has of success in pictures. I've spent an entire
day experimenting with ' overhead lights, and spots and
back lights, trying to make beauty blossom where there is
no beauty, And all the time the relentless studio over-
head is going on. A director is seriously hampered if he
has to remember all his star's bad points while trying to
get emotional work out of her."
It was George Barnes who photographed Laurette Taylor
in Peg 0' My Heart. When it occurred to me that the
cameraman is probably the god to whom screen beauties
pray and whose favors they curry with all their wiles, I
asked who had been responsible for the almost miraculous
rejuvenation of Miss Taylor as she appeared in the screen
version of her famous stage comedy. And when they told
me that it was George Barnes, I went to him.
"No, it wasn't easy to photograph Miss Taylor. She's
George S. Barnes, expert cameraman, responsible for the
caught in the act of commemorating the blonde beauty of
32
MAKER—
By W. R. Benson
(\The cameraman is really the god to whom
all good little girls in pictures should
pray, for in his hands lies their fate. He
can make them beautiful, or by tricks of
the camera, he can rob them of the beauty
with which Nature endowed them.
George S. Barnes, cameraman for Marion
Davies, lets us in on secrets of the trade.
not so young as she once was, and yet she had to appear
:o be about sixteen. She had great deep circles under her
eyes, and lines from her nose to her chin. Most women have
those lines, and they are the bane of a Cameraman's existence.
I had to photograph Miss Taylor full face, flooding her
features with light. Light flattens the face, ironing out the
beautiful photography in Yolanda and Janice Meredith,
the star. Miss Davies is the most easily photographed blonde.
Madge Bellamy's beauty is purely a camera product. In real
life she is not noticeably pretty, but she should worry.
lines, and the circles under the eyes. For the close-ups
she was photographed through gauze. All cameramen use
gauze for the misty, ethereal close-ups. Alice Terry owes
her beauty to gauze. Off screen, she is rather coarse-fea-
tured and entirely lacking in that delicate, elusive quality
which the fans have come to associate with her. I have
never seen anything more beautiful than her close-ups in
The Four Horscmeir — gauze did it, and scientific light-
ing."
Blondes are much better camera subjects than brunettes.
Golden hair can be back-lighted to glorious effect, while
a brunette must depend entirely upon beauty of features
to get her over, says Mr. Barnes. Mae Murray is a splen-
did example of the perennial screen beauty of a blonde.
Every cameraman revels in his chance to make haloes of
her hair. But at the same time the Murray features must
be flooded with light to flatten out the lines, for Miss
Murray is long past the flapper age.
So that the flood of light used on a blonde's face will
not make her eyes too pale, skilful make-up is required to
intensify their brilliance and their long lashes. Marion
Davies' eyes are the only feature which ever gives trouble
to the cameraman. In fact, Mr. Barnes vows that Marion
is the most easily photographed person he has worked
with.
. "She can stand moods in lighting, as we call it. That is,
part of her face can be thrown in shadow' and the rest
highlighted. Only a really youthful beauty can stand
that sort of photography. And fortunately she can be
photographed from every angle. Many stars have to be
photographed entirely from their 'good side'. For instance,
Anita Stewart must be photographed from the left side.
I study a star's points thoroughly before a scene in the
picture has been shot. Many feet of film are consumed in
tests, before I am satisfied that I know the best angles
from which to photograph the subject. Various types of
33
/
Laurette Taylor, photographed
so successfully by Mr. Barnes
in Peg O' My Heart, requires
a flood of light on her face.
ible angle is experimented with
before the director takes charge.
Even then, the director defers con-
stantly to the cameraman, whose
final 0. K. of a scene must be
secured before it is shot. Some
directors think they know more
about his business than the man
at the camera, and much film is
wasted. Sometimes I pretend to
concur with the director's opinion,
and then do it my own way.
They usually don't know the
difference, and the results justify
the mild insubordination."
Of all the stars George Barnes
has ever photographed, and
their name is legion, he picks
May MacAvoy as the most beautiful brunette.
"Miss MacAvoy has an almost flawless beauty. She is
the cameraman's delight, for it is almost impossible to
photograph her badly. She is susceptible to all the moods
in lighting, and offers no problems in make-up. Anita
Stewart, for instance, must be made up in a certain way for
the best effects. Miss McAvoy's features are delicate, dainty
and yet decided. She has no 'bad side', no incipient double
chin to be erased with skilful red grease paint and careful
lighting. Her hair has a peculiar live quality, which makes it
respond beautifully to backlighting. Her skin will stand
close-ups without gauze."
camera seeks and finds hidden beauties; it transforms her
rather nondescript coloring to gleaming brunette radiance.
It would be folly for Miss Bellamy to make personal ap-
pearances; she would disillusion thousands who now- acclaim
her as one of the most beautiful stars of the screen and
rightly so.
Colleen Moore is another who becomes a beauty when
the Kleig lights focus upon her. Off screen she too is
nondescript, lacking in verve and brilliance. The same
transformation which turns Madge Bellamy into a beauty
makes Colleen an optical- delight, seen through the lying
eyes of the camera.
Mary Pickford gains immeasurably by camera kindness,
as indeed does almost every star in the business, except a
few who are so unfortunate as to lose through
photography. There are no lines in her face. Back-lighting
brings out the beauty of her nat-
urally golden hair. She is particu-
larly skillful and conservative in
make-up, never using the accen-
tuated cupid's bow or the exag-
gerated eye-lash. She is one of
the few stars who are not disap-
pointing off the screen.
Mr. Barnes, after seeing Billie
Dove in Wanderer of the Waste-
A beautiful study of Mary
Pickford, showing to what
advantage the photographer
can employ moods in lighting.
Her face does not require the
strong front-lighting that a
less beautiful or older face de-
mands.— Photo bv Hoover Art
Co.
May McAvoy is the _ most
beautiful dark-haired girl in
pictures, according to Camera-
man Barnes. He believes she
is ideal actress for Peter Pan.
The tricky Camera
The camera plays strange tricks upon faces. Many a
homely girl walks the streets of Hollywood unnoticed,
unrecognized, while at the theaters thousands of fans wor-
ship at the shrine of her beauty. Madge Bellamy, says
Mr. Barnes, is one of these queer contradictions. Off the
screen is she not even pretty. . She merely happens to have
that most priceless possession — a perfect screen face. The
land, almost wavered in his allegiance to May MacAvoy
as the most beautiful dark-haired, -star he had ever seen.
He is enthusiastic over the use of color photography for
certain stars, such as Billie Dove and- Betty Compson,
stars whose natural coloring is one of their chief assets of
the screen.
Mr. Barnes calls Billie Dove a "perfect beauty," so
far as features and coloring are concerned. He be-
lieves she lacks the spiritual (Continued on page 84)
34
fx *"
inter
QThe Marriage Cheat stands out of the month's pictures
for the sole reason that it brings Laska Winter into the
limelight. No one seems to knoiv who she is or zvhy,
nr where she lias been all these years when the screen
needed just such fire and beauty as hers. But this is a
prophecy — other publications please copy! — that Laska
Winter will some day reach stardom. The portrait
above shows her "as is;" the insert on the right is Laska
as the half-caste girl in The Marriage Cheat.
35
In a 'very extensive tour of motion picture
theaters the writer has observed couples
holding hands whose average age varied
from seven to seventy.
Petters
LAMING it on the movies is one
of the favorite pastimes of pro-
fessional reformers. No matter
what sin, crime or vice is under
By ILupert Allen
investigation, the odds are always in favor
of a resolution being passed to tht effect
that the pernicious influence of the mov-
ies is' at fault. ~ -
Reporters also seem to have an un-
canny faculty of smelling out the most
remote connection which any notorious
person has had with some phase of the
motion picture industry. If Mamie
Snooks, having been turned down by her
sweetie, gets peeved and tries to stab him in the back, you
may be sure that they will have found out that in 1916 she
worked for two days as an extra over at Fort Lee, and the
news story will be duly captioned "JILTED MOVIE
ACTRESS STABS LOVER." This, of course, gives the
paper a wonderful opportunity to hunt through the files and
reprint spicy resumes of all the more recent Hollywood
scandals.
Not so very long ago an incautious gentleman was in-
dicted on a charge of bigamy in
the state of Illinois. He hap-
pened to be a very wealthy
wholesale coal merchant, but
because he owned several
thousand shares of stock in
a well known motion picture
producing company he was
described in the majority of
newspapers as a movie mag-
nate. Intelligent people are
divided between amusement
and disgust at these repeated
attempts to make the mov-
ies indirectly responsible for,
36
^.Investigation has shown that
when Harry . takes Harriet to
the movies he is frequently far
more anxious to hold her hand
in the convenient gloom of the
theater than to watch the pic-
ture. This, according to re-
formers, is a perfectly terrible
state of affairs.
As reformers would
like to see us watching
the movies.
College co-eds make far more work for the ushers than
sweeties in little manufacturing towns.
or connected
with every
sinful lust
of the flesh,
but one can
hardly blame
the papers.
They work
in the per-
fectly cor-
rect theory
that movie
m a g n a t es
and actress-
es are more interesting to. the general public than wholesale
coal merchants or filing clerks.
Harry and Harriet at the Movies
TO ecently there has been much agitation among the self
•U-V appointed guardians of the public morals, because in-
vestigation has shown that when Harry takes Harriet to the
movies he is frequently far
more anxious to hold her hand
in the convenient gloom of
the theatre than to watch the
photoplay on exhibit. This,
according to the reformers, is
a perfectly terrible state of af-
fairs, and is taken as but one
more sign that the Messrs.
Loew, Zukor, Laemmle et. al.
are rapidly leading this nation
to a moral Gahenna.
Let us review some of the
evidence upon which these
charges are based. Firstly, is
Paradise
Illustrations
By
Edward Butler
If the young folk in a city can't
court in a movie theater, where is
the next generation coming from?
it true that the
movie theatres, as
alleged, are little
better than petting
parlors, and second-
ly, if this be true, is
any great harm be-
ing done?
Well — these's no
use beating about
the bush — it is a
fact that quite a
number of people who go to the movies hold hands while
they are there. A great many go even further. Some utter-
ly depraved men actually place an arm on the back of the
chair occupied by their girl! Could anything be more dis-
gusting?
The writer has discussed the prevalence of these customs
with exhibitors from all over the country, and learned some
very interesting facts. The smaller the town, for instance,
the more petting goes on, as a general rule'. Further, the
wealthier the patronage, the greater the extent of the
"spooning." In college towns, for instance, where students
and co-eds make up the bulk
of the audience, there is. far
more work for the ushers than
in little manufacturing towns.
In New York City, the
larger motion picture houses
claim to be almost entirely
free from this furtive philan-
dering. At the Capitol, Rivoli
and Rialto theatres the ushers
have very strict instructions to
nip any tendency towards
amorous instincts very early in
the bud. At the Stanley Thea- There are many zealoU w
tre, Seventh Ave. and 41st St., our hands tied behind our
Sentiment in the
compliments the film.
house
the manager claims that
husband and wife are not
even permitted to hold
hands ! Ushers patrol
the aisles constantly, and
where two bold spirits,
carried away by their
mutual affection are seen
to be clasping hands, the
manager is hastily in-
formed, and they are re-
spectfully requested to
behave themselves!
On the other hand certain theatres west of Seventh
Avenue, and East of Madison are not quite so rigid in their
enforcement of propriety. Quite fervent embraces are tol-
erated, and in the course of his investigation into this ab-
sorbing question the writer became acquainted with a little
theatre not a hundred miles from Union Square, where cer-
tain of the arms dividing the seats are conveniently remov-
able, to permit of greater comfort to the pet'ters.
In a large Eastern city a very novel and enlightemng test
was recently made to deter-
mine the prevalence of petting
fgggCpv jjj /^JjI} in movie theatres. A house
with a capacity of over fifteen
hundred had acquired the repu-
tation of being one of the fav-
orite haunts of the 'necker1
owing to the fact that the
lights were kept so dim as to
be practically negligible, while
the ushers, it was said, had in-
structions to ush with their
eyes closed. Accordingly a
band of reformers obtained
ho would compel us to have ,
backs before <we enter. per- {Continued on page 54)
37
/, WAY OUT!
By H. B. K. mllii
T
^HERE are two roads , to
success in Hollywood. One
turns to the right to star-
dom. The other goes
on through. It was this
highway which knew the
straight
straight
tiny feet of Sigrid Holmquist, scin-
tillant Scandinavian, who would
have become a star if she had not
turned out to be a movie meteor.
Movie meteors are dazzling ob-
jects appearing in the cinema hea-
vens for a space which land elsewhere with a dull, sickening
thud with the dimmers on.
Such a phenomenon was Sigrid. Without warning or fan-
fare of publicity trumpets she burst upon Hollywood, a blon-
dine and blinding claimant for the highest celluloid honors. A
queen she was and the homage of a queen she craved, nay
demanded.
G[Sun-kissed hair
and eyes of baby
blue —
say S
would
graph,
Q. W h y did dazzling Sigrid
Holmquist, yclept "the Swedish
Mary Pickford/' bump against
the "This Way Out" sign on her
arrival in Hollywood? H. B. K.
Willis thinks he knows —
Out of the East she came and,
after a few brief month, to the East
she returned. Bef ore, during and af-
ter her Hollywood sojourn, Para-
mount, though she was on the pay-
roll, failed to emit any official huz-
zahs. Can it be her queenliness cost
her the adulation of the yes-men and
condemned her to a paucity of pro-
gram pictures, furnishing the basis
for the claim that Sigrid would not
and oould not photograph?
Her inability to appear pleasing in the camera's eye was
given as the reason for the classification of movie meteor
affixed to Sigrid by those who ought to know.
Perhaps you have seen her, a frightened, childlike wisp
of a girl, playing opposite Jack Holt in one or two calcium
bromides, a timorous Juliet to his grim Romeo.
But now she has gone, departed, left, and those who
knew her best thus indite her
screendom epitaph:
"Sigrid Holmquist, the Swe-
dish Cytherea who could not
seethe."
In the black book of an ac-
tress, whose acquaintance she
made here, Sigrid is classified
as "one of those things which
are interesting but without ap-
peal— a wart on the nose of an
otherwise beautiful woman, for
example."
"But Sigrid did not have
even a wart," the entry con-
cludes. The notation is signi-
ficant although it slights many
photoplaying assets Sigrid had.
Sigrid "lithps"
The ' had a "lithping," dis-
tracting prattle. Her can-
ary-colored hair was the me-
dium introducing Parisian bobs
to Hollywood. Bulging bond-
holders grew protective after
one long look into her pale,
blue, infantile eyes.
Hence her squires were legion.
The wardrobe which she had
culled for her adolescent figure
was as complete as a book on
etiquette — something for every
occasion without arousing the
comment, "What's wrong with
this picture?"
Early Sigrid let her critics
know that to her the, word,
"convention" meant something
political in nature.
(\She got the laurel, wreath in Sweden but here she got the gate.
Sigrid made a great impression on me.
For a long time I regarded her as ' a
sacrificial lamb on the altar where the
Kleigs are ever alight, tended by fastal
(correct) virgins. But that was an error.. Sigrid could not
and would not be a sacrifice.
Well I remember that day in dread September when first
I met her.
She was standing at the curb in front of the Lasky lot at
dusk, looking wistfully, yet meaningly at the taxicab then
waiting for me but not for her.
It was very obvious the lady desired a lift..
QCaw it be that such blonde loveliness
as this failed to register? No, look
deeper for the reason ivhy Sit/rid is
called a movie meteor.
One big, blue eye peered out from
the white felt helmet crowned
down askew upon her bob. A crimson
blouse was visible save where a soft-
leather, sleeveless jerkin of black, trimmed with steel beads,
intervened. Her skirt, a billowing thing of pleats, shrieked
attention to her slender ankle and the tiny foot, tap-tap-
tapping in feigned impatience and displeasure.
Adventure lurks in Hollywood and, though I have two
good reasons for not being venturesome — one of them is
as old as myself and the other, nine — I felt an urge like
unto that which must have impelled Sir Walter Raleigh to
bridge the mud-puddle for good {Continued on page 88)
/
39
/
G[-4 babv shoiv ivas put on in
Hollywood to recruit babies ,
for What Shall I Do? The
droves of mothers with babies
ivho turned out in ansiver to
the call prove definitely that
there is no race _ suicide in
Southern California.
Movie Struck
TRANGE sounds emanated from the Fred Niblo set.
A barking of dogs mingled with queer duckings as
of delirious ducks.
"I thought The Red Lily was a French picture," I
mused. "Sounds more like an animal picture." I wan-
dered over.
There were no animals. There was only
a baby, a sad looking baby, a rattle clutched
in his fat fist. Before him capered Fred
Niblo, barking hoarsely. He
danced; he put his (thumbs to
his head and wagged them
comically : he tickled that baby
amidships.
Enid Bennett tiptoed over
and whispered in my ear, "We
want the baby to laugh. The
scene hinges on it."
Fred Niblo kicked his heels.
The baby looked bored. He
whistled merrily. The baby
yawned. "Coochie, coochie,"
he gurgled ingratiatingly and
chucked the baby under his fat
chin. The baby looked as if
he had never smiled in his life.
Niblo wiped the perspira-
tion from his brow. "All
right, you win!" he said to the
infant, and then to the ex-
hausted company, "We might
as well call it a day. We can't
shoot that scene without a
laughing baby, and that kid
hasn't a laugh in his system."
And as the delighted actors
went away from there rapidly,
before Niblo could change his
mind, the baby took his thumb from his mouth and laughed
By Eunice
w
child.
C) "Catch 'em when they're young,"
says Police Judge Pope, one of the
judges in the baby contest.
Putting baby in the movies is probably the favorite in-
door sport of Los Angeles mothers. It is certainly the
least popular with directors. Meaning no offense to the
little darlings, directing youngsters is right in a class with
directing animals, as far a difficulty goes, and there are
plenty of directors in the business who would rather
take a chance on the animals.
"Every baby is a new and
unsolved problem," Niblo de-
clares. "Some youngsters you
must coax. Others you must impress with sternness. Others
react best to indifference, to pique their desire to im-
press you with their merit."
One thing Fred Niblo knows: he will never, never
bribe his child actors with candy. He has had his lesson.
His picture, The Red Lily, deals
with a bourgois family of the French
provinces, a veritable family of dis-
cord. The mother and father, dirty,
slovenly, ambitionless, fight eternally.
The small son and daugh-
ter quarrel. Even the fam-
ily cat and dog keep up a
constant warfare. For the
children, Niblo found two
apparently perfect types.
The little girl was an angel
She took direction perfectly
and Niblo beamed upon her. But
the little brother ! He was what the
French call an enfant terrible, in
plain English a "holy terror." He
motivated, not by just boyish naughti-
ness, but by outright ugliness. His bul-
let head and underslung little jaw sug-
gested too plainly a potential criminal.
But he was perfect just "as is" for the
part of the quarrelsome child.
All morning, he gave director and cam-
era man incessant trouble. He wouldn't
stay on the set for the few shots in
which he was needed. Finally, in des-
peration, Niblo said, "Now if you are a
good boy and don't go off the set, I'll-
candy when I come back from lunch."
He was as good as his word. Afternoon came and they
proceeded to shoot the family battle, where everybody
fights And lo and behold! the young hellion who had
sworn at the director and kicked his mother an hour be-
fore was now transformed into a pious child who followed
Niblo about with a holy smile on his sticky young face.
They did everything but pinch the kid to change him back
bring you some
40
BABIES
brought a baby to the
contest knew that her
child could make Jackie
Coogan look like thirty
cents, if fhe infant only
had a chnace! And the
mothers were there to
see that _ the fudges
played fair.
Marshall
to his normal self, but to no
avail. He wouldn't get mad,
and at last Niblo had to get
another boy to do the part!
A lollypop had gummed the works.
Little Eugenia O'Rourke is a born actress, Niblo
declares. She is about nine years old. Two min-
utes of instruction, and she goes on the set and
performs her duties perfectly, like a regular little
trouper. But well-trained little actresses
like Eugenia are not so often found.
The babies that were presented for
the picture, What Shall I Do? would
have delighted any Better Babies
committee. The story, which
featured Dorothy Mackail, re-
quired babies. A baby show-
was put on, with Police Judge
James Pope of Los Angeles as
one of the judges. The three
best babies got parts, with close-
ups and everything. And the
droves of mothers with babies
who turned out in. answer to the call
proved definitely that there is no race
suicide, in Southern California. And
every mother there knew positively that
her baby could make Jackie Coogan
look like thirty cents, if the child could
only have a chance.
Directing babies is difficult enough,
but managing the mothers is something
else again. No sooner would the direc-
tor get the babies the way he wanted
them, than an anxious mama would rush
on the set to straighten the bow on her
darling's bonnet or fluff out the little skirts. But though
it is a lot of work, the results are worth it. An endearing
baby has put over many a scene, and the producers know it.
Almost every drama of married life requires two or three
children, and almost invariably the new-born babe
lying in its weak, white-faced mother's arms. What would
drama be without the little che-ild to lead the straying
papa back to mama? When a new-born babe is needed
for an out. out into the snow sequence, or a "little child
shall bring them together again" scene, the casting director
Sheriff Traeger
judging babies
the babies!
proves of little or no use. Prospective mothers don't register
their unborn babes, although that is about the only phase
of registration neglected by the enterprising Hollywood
sisterhood.
But a call goes out in frantic haste, stating that
a three days or three wreeks old child is needed,
i Hollywood's most amiable obstetrical physicians are
^ called upon to supply names and addresses where the
stork has made recent calls, and diplomatically the
proud parents are approached. You might think that
the mama would hate to see her brand-
new darling torn from her arms for even
a moment, or that she would be jealous
of the fake mama in whose arms her off-
spring would nestle before the camera.
But not so. She sees in the embar-
rassed casting director's appeal the
hand of fate. Fame has sent out a
clarion call for her darling. If the
babe is old enough, she gets out of
her bed and takes it to the studio in
person, and hovers like a weak
guardian angel while the fierce white
lights beat upon its tiny red face.
And for ever after she has an un-
failing topic of conversation. Little
Imogene or Lester has appeared in
the movies. His astrological chart
forecasts his fame in the screen
world. The family has won dis-
tinction. Another baby is destined
to be forever storming the citadel
of Hollywood fame — and in nine
hundred and ninety-nine times out
of a thousand — unavailingly. Un-
avaalingly — who shall say! Cer-
tainly the present batch of movie makers, having arrived
at perfection and prosperity, will soon retire. Who, then,
will carry on the banner and carry out the fade-out?
Perhaps the very kid who did not laugh at Niblo. Cer-
tainly his early record shows control and all he will have
to do is to develop speed and there you are, the perfect
director.
If the mother heart of Hollywood yearned in vain for a
screen career, what more logical course could she pursue
than to rear some careers, in order to at least feel the thrill
of the most fascinating profession i. t. w.
41
takes this job of
•cry seriously — so do
in
Silver embroidery on
doeskin velvet makes
this closely fitted
bodice, and silver
cloth models the
foundation skirt over
which are hung
flounces of sheerest
lace intones of
brown. The cap is
of the same exquisite
lace, the turban of
tulle. Costume from
Gilber-Clark, Inc.,
posed by Jane Win-
ton, featured in
Paramount pictures.
All pictures es-
pecially posed
for Screenland
by Famous-Players
Lasky stars.
F
(\When I decided it was about time for
other poor working girls, I called in as
I know.
(\May M. Hallett, assistant costume di-
my aid nobly, with the following
Paramount stars posed especially for
article should be properly dressed up.
(\Maybe you'll like Miss Hallett' s story
I never come back from that vacation/
are the fabrics for the coming season, and following are a
few of the names of these lovely materials:
New Materials for Fall
DAM AS BAGDAD is a metal brocade on silk in double-
face quality, featured in rich colorings.
Miss Helen
D'Algy, <w h o
plays opposite
Valentino in The
Sainted Devil, is
seen here in a
new dance frock,
of taffeta and
chiffon. — Lucile
Staff, Inc.
"^ALL fashions, as they are flashed upon the silver
screen before the critical eye of the public, show
an interesting contrast to the styles of the season
just past. The severe line of the tubular gown
which has dominated the summer mode is losing cast, and
the princess silhouette, with a decided flare to the lower
part of the skirts, takes its place.
Ruffles, flounces, and godet gores are greatly in evi-
dence, giving an air of Mid-Victorian times; while the
long slender bodices moulding the figure to below the hips,
with very full skirts, remind one of the modes of the
Renaissance period. The influence of that same time,
when all art was undergoing a great change, is felt in the
sumptuousness of the fabrics and the profuse use of furs
on costumes both for street and house -wear.
Brilliant, lustrous, satin-finished materials, both in silks
and wool, are in vogue. Laces of sheer quality and mix-
tures of silk and metal take precedence.
In fact the keynote of the Fall and Winter mode is sim-
plicity of line and richness of fabric.
Marvelous brocades with novel ideas in designs and color
combinations in parchment-like patterns of Hindu and
Arab inspiration, shimmering metallic cloths and chiffon
velvets, and panne velvets in lustrous finish and in com-
binations with artificial and pure silk, satin-finished cloths,
such as ribbed velours, broadcloth, arid kasha novelties,
42
i
CREENLAND
little Alice to take a vacation, along with
my substitute the cleverest fashion expert
rector of Famous Players-Lasky , came to
brilliant analysis of fall fashions. And
SCREENLAND, so that Miss Halletfs
so well you will suggest to the editor that
If so, goodbye.— ALICE ANESELY .
ls an ar-tiftcut
CREPE MAURESQUE FACONNE
crepe in Moorish design.
SATIN MOUFLON is a combination of satin and
duvetyn in two-color effects carried out on a satin ground
in contrasting color.
Turquoise velvet of
a deep, rich tone
makes this evening
•wrap from H. H.
Hornfeck & Son,
Inc. The scarf col-
lar and long, crystal
tassels are Oriental
n inspiration. Worn,
y Miss D'Algy.
Miss Winton
shows the becom-
ingness of her
new cover of soft
pile, fabric of
bottle-green. The
embroidery in
grey, green and
blue, adds a
touch of indivi-
duality as does
the monkey fur.
Designed by
l.uc lie Staff, Inc.
INDIEN is a printed crepe overcast with metal brocade,
also Georgines. These are similar to the Roman crepe.
SATIN WINDSOR and SATIN IMPERATER are of
the old-fashioned, pure silk satin of heavy quality.
RUISSELANTE is a new satin marocain of great
suppleness.
Chiffon velvets known as SALOME, TANAGRA and
MANDARIN, continue in vogue, as does the metal moire
called SOUVERAINE.
Plain metal fabrics, known as REFLIT D'OR and
COTTE.de MAILLE are in demand.
Oriental Influence
In designs there is a decided Oriental influence, while
the colors are subdued rather than brilliant. Soft shades
of rose, coral, copper, red, White and yellow dominate
for evening wear, and the warm chestnut browns and
spicy shades and caramel tones are good for day cloths.
Green is also favored in soft olive, and also the rich
tones of claret.
Jewelry for the winter wardrobe vies with the fabrics
in brilliance and richness. Pearls which are extensively
worn, are strung with large cabochon emeralds, or with
coral, jade, quartz or cornelians. Earrings are extremely
long and ornate, of the Italian Renaissance inspiration.
Necklaces of large jade beads or coral are worn twisted
several times around the neck.
43
CI Wanda as she would like to be forgotten — all curled up and
playing a leading role under Penrhyn- Stanlaivs' direction.
Just too cute for any king!
Wanda
Grow
Bj/ Nivian
01 With Revelation Viola Dana bids a
long farewell to cutie-cnte roles, and
also to- Metro , who wanted her to con-
tinue in program pictures. But her re-
ward is the leading role opposite Glenn
Hunter in Merton of the Movies.
f-^ you wish for a thing long enough, and hard enough,
you're practically bound to get it in the end. It's a good
theory, and I can prove it. I've been wishing on
seven stars for seven nights that Viola Dana would
drop her cutie-cutie roles and give us a glimpse of the real
acting ability that she keeps hidden away in that saucy
bobbed head of hers. And now she's done it.
They wanted her to keep on doing program pictures, over
there at Metro's. She was so good at it, you see. "Sure-fire
box," the exhibitors called her, than which there is no higher
praise in the minds of the trade. If she had been a little
less cute in those daring-daughter-of-the-rich country club
tabloids, she would probably have been given her chance to
step out into real dramatics sooner. But as one flapperette
film succeeded another, Viola grew rebellious. She knew
she could act, and she looked about for a story that was
worthy of the passion of expression that was bubbling up
in her heart.
She must have a story that required real acting, real emo-
tion. Metro still owned the rights to A Rose of a Thou-
sand Years, which Nazimova played so superbly as Revela-
tion. And Viola demanded that story. Metro officials were
aghast. It was really rather like Pollyanna yearning to be
Lady Macbeth. Viola stood pat. She would do Revela-
tion or nothing. The fact that her interpretation of the
part would inevitably be compared to Nazimova's version,
merely lent an added fillip to the game. Revelation would
be at once a challenge and a vindication. And it is only
fair to Viola to add that audiences in New York are crazy
over Revelation, which at this writing is being shown at
the Capitol theatre.
Viola was given Revelation, but it cost her a new con-
tract with Metro. But as the new contract would have
meant just another series of program pictures, Viola didn't
worry. She just went over to Lasky's, and landed one of
the plums of the season, the part of the hard-boiled extra
girl in Merton of the Movies, playing opposite Glenn
Hunter. Hardly had she removed her make-up after finish-
ing the last scene in that picture
than she was signed up for Paul
a' Wanda nvith the curls Bern's picture, Open All Night,
subdued and flaying a a clever French farce. Viola
serious role in Bread, wjjj foe featUred along with
Adolphe Menjou, Raymond Grif-
as the little sister of
Jeanette, Mae Busch.
44
and
Up
Viola
Yictor
Oi Wanda Hawley had to go to Europe
to live do<wn her past as a curly-headed
blonde ingenue. She's come back to the
screen, minus her curls and her cuddly
ways, in Bread, a very serious affair.
fith and Jetta Goudal. A new and briilianc career seem?
to be opening up for Viola. In her case, virtue was not its
only rew,ard.
Viola a Real Actress
Those sceptics who refuse to believe that Viola Dana is
a real actress have either never seen her in any but the
flapper roles of the past three or four years, or have forgot-
ten her early pictures. Viola is a born actress. She was
trouping with the best of them when many of the presen:
film producers were selling ready-to-wears. When she was
only eleven, she made a hit in the stage production of Rip
Van Winkle, The Littlest Rebel and The Poor Little Rich
Girl. She was an engaging little thing, about as big as_ a
pint of cider, with mischievous eyes and curly hair.
Whether the curls were natural or acquired by the familiar
method of rag curlers, I cannot say, but Viola had 'em. and
they were very becoming.
She was hardly more than a little girl when she appeared
in the old Edison picture, The Stoning, and in that picture
she proved her claim to being an actress, for all time. She
played the' part of a girl betrayed by love, left to bear
alone her shame. An old, familiar, melodramatic role, but
she gave to it such pathos, such sincerity that no one who
saw it could forget it.
Then came Blue Jeansj in which she scored a great popu-
lar hit. It was a Metro picture, and marked the beginning
of her five years with that company. She had worth-while
stories at first: A Weaver of Dreams; The Willow Tree, in
which she played the part of a Japanese maiden; Diana
Ardway, Jeanne of the Gutter ; False Evidence. Then came
the deluge of cutie parts: The Off -Shore Pirate; A Noise in
Newborough, and many more on the same model. Oh, many
more. Cute, you know, but tiring after a while. Sugar
as a steady diet becomes mighty monotonous.
Viola Dana is a wise little girl, and her long farewell to
flapper roles is prima facie evidence of that wisdom. Viola
has outgrown those roles, both in mind and in years. Not
that she is old; she is only twenty-five. But a woman of
twenty-five is not a flapper, even if she is only four feet
eleven in height and coquettish by nature. Any person who
reaches the quarter-century mark without some character-
lines on her face is a nit-wit. The (Continued on page oi
1
Q. An unusual portrait of Viola Dana, showing the spirituality
and wistfulness which sometimes subdues the hoyden in her
'volatile nature.
CI Viola as the tempest-
uous model in Revela-
tion, in which the erst-
while program picture
star makes a bid for
Nazimova's laurels.
OUR OWN
01 Celebrating the 250th
performance of The
Ten "Commandments at
the Hollywood-Egyptian
Theater. Present are
Noah Beery, Julia Faye,
Malcolm McGregor,
Jeanie Macpherson,
Jack Holt and Cecil
DeMille.
01 James Rennie hast-
ens to] the boat to
meet his wife, Dor-
othy Gish and sister-
in-law Lillian, , on
their return from
Europe, where they
made , R o m o 1 a.
Lillian denies all en-
gagements to be
married. — Interna-
tional News Reel.
Q Amelita G all i
Curci, Italian
songbird, loves
brawn as much
as any flapper.
She had a good
time on her visit
to Jack Dempsey's
training quarters
at Universal City.
01 The Mark Strand
Theater sent its
ballet corps,
along with Jean
Tolley, picture
star, to entertain
crippled and sick
children at Jtelle-
vue Hospital.
01 Baby Peggy is the busiest person in
New York, what with helping _ to
put Governor Smith in nomination,
radioing bed-time stories, giving
luncheons, and taking dancing
lessons, to say. nothing of opening
her picture, Captain January, at the
Strand on Broadway.
01 Berlin turned out en masse to welcome Doug and Mary. Their
automobile had difficulty in navigating the dense crowds which
closed in about the stars. — International News Reel.
01 Jackie is collecting the
million dollars worth of
milk he will talte with
him to relieve the starv-
ing orphans of the Near
East. The dog is a
great help. — Interna-
tional News Reel.
01 Three guesses as to who the fat lady is!
No! Mary Miles Minter! As she looked
when she appeared for depositions in
the damage suit instituted against her
by Iter maid. Mary is said to weigh
close to two hundred, pounds — and isn't
worried. — International News Reel.
01 Ben Turpin gets
a nice permanent
wave! He suf-
fered this torture
in the interest of
art, for a new
M a c k Sennett
comedy calls for
wavy hair, as
well as crossed
eyes.
Q The Parisian painter
and sculptor, Spat,
models Valentino in
his principal roles.
The statutes were
ordered by Valentino
during his stay in
Paris, Fr. — Artistic
Press Syndicate.
47
Wh
en
Screen Stars
THE daily noon-time struggle for tables at the
Armstrong-Carleton on the Boulevard is being
fiercely waged. With the exception of a few tables
decorated with a "Reserved" sign, all the tables
are occupied, while in the little ante-room another group
shoves and squirms for place and endeavors by hook or
crook to catch the eye of the plump little man in the
brown suit who deals out tables as a faro-dealer deals cards.
The round table in the center of the room is as usual
filled with extra girls and men, there on business. Their
business is to be noticed by interested directors. Along
the wall, with their backs to the violent azure plaster, sit
celebrities and near-celebs. The tourists are there in
force; they come early and see the whole show. Every
curly-headed blonde there is pointed out as Mary Pickford.
The Baby Vamp and the Ingenue catch Mr. Carleton's eye.
"Two on the aisle," chirps the Baby Vamp, and it is even so.
The Vamp was talking. She had been engaged in that
01 Silver King, Fred Thorn
s o n's temperamental
horse, is said to be a
camera hog, fighting any
rival horse off the set.
By hue/ lie
act ever since they had left the studio, and now she con-
tinued her monologue without even shifting gears.
". . . . Absolutely. I got it straight. A girl who lives
in our 1 court heard it from the wife of a man Whose sister
works out at Goldwyn's. Ramon Navarro is going to do
Ben Hur in place of George Walsh, and is already on the
bounding wave. Brabin is out, too. Fred Niblo is going
tc direct the film instead. And they say that June Mat'his
will come home soon, bringing her script with her."
"I don't believe it!" said the Ingenue, flatly. "Why you
know yourself that June Mathis is the big noise out at
Goldwyn's."
"I know she was," said the Vamp, dryly. "But you knew
that there had been a merger out there, didn't you? And
that there are two more
companies
than
were, don't you?
there
And
you know what always
happens when anybody
gets elected general man-
ager or something, don't
you? Sure you do. He
cleans house and throws
out everybody who was
hired by the old boss and
puts in his own people.
Well, that's What has
happened now, when
Mayer and 'Metro came
in with Goldwyn. At
least, that's what I heard,
and the news came
straight."
"Of course, Niblo is
Mayer's man," said the
Ingenue thoughtfully,
taking out her lip stick.
"And I never did see
why they gave the im-
portant job of directing
Ben Hur to such a com-
Q Virginia Lee Corbin, in
knee dresses last year, but
grofivn up this, sent out
ivord that she was to play
Peter Pan, but Mr. Barrie
hasn't said so.
<\At left: Carmel Myers,
Kathleen Key and Ger-
trude Olmsted* ivon , fal
parts in Ben Hur, partly
because they have lone/
hair!
43
Over the luncheon table in Hollywood the Ingenue, the Vamp and the Baby Vamp ex-
change choice bits of gossip, scandal, prophesy and rumor — all of which can be taken
with a grain of salt.
Get Together
01 Nineteen year old Dorothy Wood,
whose type of beauty is causing
flappers to wonder if the demure
stuff isn't surer after all. She
has an important part in Merton
of the Movies.
L^f rimer
01 George Walsh,
the deposed Ben
Hur, and June
Mathis, the sce-
nario writer
whose script may
be replaced by
that of Bess
Meredith, are
said to be en-
gaged.
paratively unknown director as Brabin. And I always did
think George Walsh was the world's worst choice for Ben.
Ramon, now! There's a Ben for you!''
"Boy!"' breathed the Vamp in concurrence.
"But I happen to have heard the choicest bit of all.
What do you know about June being engaged. Isn't love
wonderful !"'
01 Raymond McKee's orchestra, known as the "Hollywood Irregulars,"
composed of Gil Pratt, director; Earl Metcalfe, John Miljan, Raymond
McK.ee, Creighton Hale, and Conway Tearle (absent on location.)
01// these reports from
Rome are true, then,
apparently, there is'
nothing to prevent
George and June
from gelling mar-
ried, settling down
and carrying on the
race. (No, not the
chariot race, don't
be silly.)
49
SCREENPLAYS
By Delight E
vans
T
J/- w NjHE SEA . HAWK should have made me feel just
like a kiddie again. It should have taken me
back, back to those dear old days when I held
a book about pirates before my bulging eyes and
had bad dreams later on. It should have.
It made the most critical "film man" of my limited
acquaintance feel that way. "Why," he shouted in ringing
tones which could have been heard all over the Algonquin
if anyone had been listening, "Why, I tell you, my dear
girl, that picture has given me a new lease on life. It's
made me a boy again. It's made me feel that there is
still some poetry and romance in this sordid world of
that all that men have done/ for this infant art and — "
modestly — "even the little that I have done, has not been
in vain."
It was all very beautiful. The film man almost believed
it himself. Unfortunately, it failed to register with me.
I remembered that he was remotely, oh, very remotely,
connected with a certain film company not a thousand
miles away from the estimable organization which made
the motion drama in question — and preserved my first-
night impression of The Sea Hawk.
It is "The love story of a mighty pirate chieftain of
the seas," by Sabatini, with Milton Sills, Enid Bennett,
Wallace Beery, Lloyd Hughes, and thousands of people—
.the pretty programs said so. They built the carpenters,
not the cast — four sixteenth-century ships, each with fifty
cannons, one hundred to four hundred and fifty sailors,
fighting men and galley slaves, at a cost of $275,000.
There were 3,310 performers, including cameliers, nubians
and harem women. The cameliers were especially striking.
In fact, so far as I am concerned, the only thing The Sea
Hawk lacks is — well, we'll call it life.
In their praiseworthy effort to be just awfully red-
blooded, virile and piratical, a group of Hollywood's best
people got together, narrowed .their eyes, clenched their
fists, and pitched right in among all the cameliers, nubians
and harem women. Everybody present succeeded in re-
maining a perfect little 'lady or gentleman. Frank Lloyd
is one of the more intelligent and painstaking directors.
The Sea Hawk simply yelled for a gay and reckless guide.
One feels that Mr. Lloyd looked the facts squarely in
the face and muttered, "This must be red-blooded — and
then rushed out and hired Milton Sills and Enid Bennett
for the leads. Now, I ask you!
Mr. Sills is an excellent actor who used to be a college
professor. . Neither qualification is particuarly apropos.
He works hard; he looks grand; he just isn't my idea of
a pirate, that's all.
I never read The Sea Hawk, so I. don't know if the
heroine, on paper, was such a sap as the scenario makes
her out to be. As she appears on the screen, Rosamund
Godolphin is the original clinging vine — one of those wide-
eyed ones who is always saying, "Don't dare touch me,"
whenever things are beginning to show signs of life. Enid
Bennett makes her more so, if you trail me. For this
prize heroine who doesn't know her own mind, if any,
Milton Sills becomes the terror of the Spanish Main,
donning a variety of peculiar helmets and Algerian kimonos.
The costumers must have been cleaned out for this picture.
All this sort of thing ought to be hot stuff; and while
Lloyd and his aides doubtless did all they could, and
turned out a costly and impressive picture, they might
have made a great one. Even Wallace Beery, the silent
drama's premier rough-neck, acts a bit, embarrassed and
refined. His responsibilities as the life of a polite party
<\Bcily Compson and Percy Marmont in The Enemy Sex.
C[Enid Bennett and Milton Sills in The Sea Hawk.
-50
I . 1 1'! 1 "
GBest Screenplays of the Month: -
QThe Enemy Sex
C The Turmoil
COniy two this time
weighed heavily upon his broad, bare shoulders. At that,
he's the best part of the proceedings. Next, Kathleen
Key's flash as a lovely slave; and the swarthy gentleman
who played the Sea Hawk's fellow galley-slave.
I'm just sorry that the screen has not yet really re-
corded the romance of that everlasting frontier, the sea.
What poetry and adventure, untouched by the camera
chroniclers. Imagine Conrad's Nigger of the Narcissus!
Sabatini's best seller had
glamor, at any rate; but in
celluloid — well, it was just
as if the Girls' Club had
banded together to present
Mile, de Maupin.
The Enemy Sex Is Great
Stuff
But here, children, here
is a picture! It won't
make you feel like a little
boy or girl again. It will
make you glad you are
grown-up enough to appreci-
ate deft and sophisticated
drama.
I am still almost as ex-
cited about the Cruze-Comp-
son combination in The
Enemy Sex as I was in the
theater. There, I writhed
in pure joy. "Here, at last,:
of surrounding spectators who seemed to want to watch
the picture, "is adult entertainment, designed for the
full-sized bean and well-developed sense of humor. Here
is comedy and here is drama, shrewder and finer than
^Theodore <von Eltz, Eleanor Boardman and Emineit Corrigan
in The Turmoil.
I said, to the vast annoyance
CI Best Perfcrmnace of the Month:
<\Betty Compscn in The Enemy Sex
Q[Wallace Beery in The Sea Hawk
C[George Hackathcrne in The Turmoil
QMore good performnaces than good
.ooovies.
many things we've seen on the stage in seasons — yet
always remaining motion picture entertainment. Here — "
I said some more, when a rather burly man turned around
in his seat and inquired in a rather warm tone why in
I didn't hire Madison Square Garden. Tarrying only
long enough to reply that the convention prevented, I
hastened out. Oh, well, I'd stayed through The Enemy
Sex twice, anyway.
The trouble is, this won't
be hailed as the great pic-
true it is because it isn't,
as the casting directors say,
the type. Its comedy is
of characterization. Its dra-
ma is psychological. Some-
time, its situations are so
swift and skilful that you
are roused from the usual
cinematic slumber and have
to race to keep up with
James Cruze. He is the
most versatile of all our
directors. There seems to
be nothing he can't do, and
just a little better than any-
one. Satire is his strong
point; and here he revels
in it. More than any other
director, always excepting
the immortal Chariot, he
knows his genre. His touch
is as light and sure as a surgeon's. A master of delicacy;
an artist in puttees, a cap, and a dilapidated mackinaw!
Cruze has a worthy co-star in Betty. I consider Dodo
her very best work. The gold-digger of The Enemy Sex
is more complex than the Rose of The Miracle Man.
Q Bessie Love, Blanche Sweet and Warner Baxter in Those
Who Dance.
Q.J naughty scene from The White Moth, showing Barbara
LaMarr in her most intricate costume.
51
(\Richard Dix and Bebe Daniels in Unguarded Women.
Like a fine violin, Betty needs expert handling. She has
done some of the worst, and some of the fmestj acting
a camera ever caught. It looks as if Cruze is able
to bring out the .best of her talents, even surpassing
the late maestro Tucker as her director. The Compson
close-ups are the most poignant and bewitching I have
seen since Griffith's of Lillian Gish. For the most part,
Betty is brea'thtakingly beautiful, and constantly reminded
np.e of Anne Austin's character-study of "Betty of the
Hungry Heart" — "Betty of the passionate, twisted, restless
mouth; and Betty of the eyes that shine with the light
of a thousand altar candles." Betty Compson is Dodo.
And then there is Percy Marmont, hitherto the gentleman
of the gelatines, having the time of his staid career as
the drunkard whom Dodo mothers. Marmont is one of
'he very few film actors who deserves a little portrait in
■the gallery of the great. If you have seen his Mark Sabre
in // Winter Comes; and now see his glorious souse, I
think you'll agree with me. As usual in a Cruze festival,
all the players are featured. Betty gets no more than
her share. Among the others, all corking, are Huntley
Gordon, Sheldon Lewis and Pauline Bush (the former
Mrs. Allan Dwan) both of whose returns should be heartily
hurrahed; DeWitt Jennings and Dot Farley.
I said last month that Betty should be spanked. Betty,
(\Etlicl Wales and Charles Oale in The Bedroom Window.
I take back my slapstick and hand you a wreath with
"Success" embroidered on it instead. And, Betty, let James
Cruze wear his old mackinaw if he wants to. After all,
it's just a little thing; and he did give you some perfectly
grand close-ups.
The Arab Disappoints
Trj) eople were all keyed up about the newest Rex Ingram
opus. This young director has come to be as much
of a tradition as David Wark Griffith himself. His pictures
are awaited with the same eagerness and hailed with the
same acclaim. And he is such a consistent director — con-
sidering he's also an Irishman — that people, and critics, just
hate to tear loose and burn up their columns with anything
except the highest praise.
Which The Arab does not deserve. If it had been the
f:rst "sheik" picture, instead of the one hundred and sixty-
first, it might have more appeal. As it is, any picture-goer
who has followed the fortunes of the handsome young des-
ert dog who falls in love with the beautiful Christian and
turns out to be the youngest son of a youngest son with a
scar on his shoulder, or something — will naturally feel
somewhat bored with the adventures of Mr. Ingram's par-
ticular sheik.
Gi.ignes Ayres and Edivard Bums in The Guilty One.
Q.Antonio Moreno and Estclle Taylor in Tiger Love.
C[Lcatrice Joy and ZaSu Pitts in Changing Husbands,
GlColleen Moore and admirers in The Perfect Flapper.
The sad part about these pictures for which a director
and his staff and company travel all the way to the east
to make, is that the California desert looks almost as con-
vincing as the real thing in celluloid; and old Roman ruins
seem to add no especial glamor to the romance at hand.
Ingram has chosen some excellent types, including the
girls of the Oulad Nail persuasion; he has developed his
story with his usual rapt attention to detail. He picked
Ramon Navarro of the flawless profile for the title role.
Navarro leaves me cold. He never seems to forget for an
instant that Mr. Ingram pronounced him as a better actor
— I don't know much about acting — I just know what I
like; and Navarro, for all his profile and poise, isn't it.
Alice Terry in her very own hair is not the Alice Terry of
previous -pictures. In doffing her blonde wig she must also
have left behind her spiritual grace, which was the justifica-
tion for Mrs. Ingram's featured position. If you feel I
am wrong about Ingram go to see The Arab and tell me if
you honestly consider it a worthy partner to Scaramouche or
The Conquering Power. Don't blame me. because I'm as
disappointed about it all as you are.
The Turmoil Excellent Picture
Every so often, Universal redeems itself for its many
program pictures. This time, The Turmoil is offered
Q_Ramon Navarro and Alice Terry in The Arab.
in extenuation. And I feel inclined to accept it as a pretty
good apology. If you're one of those detail hounds who
watches a picture for the slightest deviation from the origi-
nal plot, you may be disappointed. But Hobart Henley
has translated Booth Tarkington's tale in a manner which
leaves small room for doubt as to the author's intentions.
It's the story of a family in the grip of the money god,
and the efforts of the youngest son to break away and be
himself. He has a poet's soul, which shrivels in his mer-
cenary father's factory. His two brothers are sacrificed
to the god; his little sister runs off with a dancing man
— and the girl he loves misunderstands and is misunder-
stood. All of these complications make young Bibbs
Sheridan a more than usually interesting motion picture
juvenile. And as he is sketched by George Hackathorne,
he's the nicest boy we've had on the screen since Tol'able
David.
Hackathorne is one of those wistful young men who
makes a girl yearn to put her arms around his shoulders and
say, "There, there — it can't be as bad as all that." He's
the foremost juvenile precisely because he can look pathetic.
He's a very good actor, too, of course, which may help
some to hold his jobs. Eleanor Boardman is the sweet
girl on whom his affections (Continued on page 93)
Q_F!ora LcBrcton and Pedro de Cordoba in Swords and the
Woman.
54
SCMEENLAN®
(j[ The Fetters Paradise — from pai
mission from the management to conduct
a surprise test. A score of "spotters"
were scattered through the auditorium,
and at a given moment, in the middle of
a picture, the lights were turned on fully,
without a second's warning. In all, the
spotters were able to record less than
thirty couples who were behaving in a
manner unbecoming to a lady or a gen-
tleman, and it is amusing to note that,
of these, two were ministers of the Gos-
pel, who, no doubt, denounced such things
most eloquently from their pulpits every
Sunday. The result of this great moral
test was never published, and the writer
is indebted for his facts to a newspaper
colleague who was selected as one of the
spotters.
Dr. Hugo Riesenfeld, to whom the
question, have morals deteriorated with
dark movie theatres? was put, smilingly
shook his 'head, and gave a very illumi-
nating answer.
"You want to. know if I think dark
movie theatres have affected American
morals?" he asked. "Why pick on movie
theatres? They always have some light,
while the legitimate theatres are in abso-
lute darkness! Why don't the reformers
insist that every auditorium be brightly
illuminated throughout the performance?"
Dr. Riesenfeld, who, as everybody
knows, controls the destinies of the
Rivoli and Rialto theatres, believes that
ninety-nine per cent of the people who
visit his theatres do so in order to hear
his music and see his photoplays, and not
for any ulterior amatory purpose. But
if a young couple elect to hold hands dis-
creetly, he is far too tolerant to cast them
out upon the sidewalk.
"Long before the movies were dreamed
of," says Dr. Riesenfeld," the sun used
to set and there was darkness. . . Ever
since time began, lovers have sought the
darkness . . . and who can blame them?
Before the movies came, the same young
people who now hold hands in the gloom
of the theatres, were probably out in a
shady lane, holding hands under the sha-
dow of a tree . . . It's the most natural
thing in the world!"
So there you have one man at least,
who ought to know something about it,
ridiculing the idea that American morals
have deteriorated as a direct result of the
dark movie theatre.
A point ito be constantly remembered
in connection with this question is that
movie theatres are only relatively dark.
The illumination of the auditorium is
compulsory to a certain extent, and in-
spectors are always on the watch to see
that these regulations are enforced. It is
only upon entering, therefore, that an im-
pression of darkness prevails. Coming
into a movie theatre from the bright day-
light, one gropes for one's seat, and for
e 37.
several minutes is unable to see anything
but the screen. Soon, however, the eyes
become accustomed to the dimmed lights,
and there are very few theatres where it
would not be possible to recognize a
friend sitting twenty feet away. In many
of the larger theatres, in fact, the light
is always sufficiently strong to enable one
to read very small print on the pro-
grammes. Under such conditions of il-
lumination, therefore, one is 'hardly justi-
fied in speaking of the darkness that is
supposed to cover so much iniquity.
But let us grant for a moment that
conditions are very much worse than they
have actually proven to be. Let us as-
sume that, the practise of "petting" or
"necking" is universal in the movie thea-
tre. What would this indicate?
To the writer it seems that such a con-
dition would reflect upon the discretion,
and possibly the innate modesty of the
participants, but hardly upon their mor-
als. If Harry loves Harriet to the ex-
tent where he cannot be happy unless #he
strains her to his manly breast, he will
not be thwarted of his desire even if
every movie theatre in these United
States be closed tomorrow by federal
enactment. In other words if a couple
have determined to "pet" they will find
some convenient spot where they may do
so. As Dr. Riesenfeld so shrewdly points
out — there has always been twilight and
the wood. And in the woods there are no
ushers, and there is no other entertain-
ment when the glamor of petting begins
to pall. In the movie theatres, at least,'
young people may combine philandering
with interesting glimpses of the unveiling
of the statue to commemorate the his-
toric meeting between Hart, Schaffner &
Marx, or other stirring news events, to
■cay nothing of the education to be derived
from watching The Sins of Paris unfold
their lurid length!
The movie theatre, is, 'to a large extent,
the meeting place of the masses. Young
people, 'who, for instance, do not live at
home, and therefore have no room at
their disposal where they can entertain
friends, have the alternative of going to.
the movies or to a dance hall if they de-
sire each other's company and a little en-
tertainment. Of course if they live in
the country they can sit on a stile and
swing their legs, while if they are for-
tunate enough to live in a big city, they
can go back and forth in the subway,
for a nickel. Where then, if they are to
court each other — and unless they do that,
where is the next generation coming
from? — where then, as we have already
said, can they meet under more congenial
atmospheric and other conditions than in
the movie theatre? They must make love
to each other somewhere. They can't do
it in business hours. Landladies frown
upon the use of the parlor too frequent-
ly. Park benches are damp and draughty.
The movies are their last resort.
One couhd_ wish, of course,' that they
showed a little more discretion and mo-
desty in their affection. It is frequently
embarassing to be seated next to a bliss-
ful young couple in a theatre, for there
is such an amazing unconcern about their
embraces. Perfectly respectable young
people, who would probably refrain from
taking each other's arm when walking
along the street, seem to think that in
the movie theatre it is perfectly all right
to hug each other with considerable vim
and ardor. The fact that they can be
closely observed by everyone in their
vicinity does not worry them in the least.
They gaze raptly into each other's eyes,
crooning mushiness to each other, and are
perfectly happy. The majority however
do not make themselves so conspicuous.
They are content to hold hands, and few
will be so mean as to grudge them Ithis
modest expression of affection. There is,
in fact, something very charming and
naive about the whole process. In the
writer's own observation the holding of
hands is by no means confined to young
people. In a very extensive tour of mo-
tion picture theatres he has observed
couples holding hands whose average age
varied from seven to seventy. In the
"test" already quoted, the average age
of the miscreants was estimated at over
thirty-five.
Broadminded ministers everywhere are
recognizing that the movie theatres are
by no means the incentives to iniquity
• that they are represented to be by the
fanatic reformers.
A survey recently completed by a trade
paper circulating among exhibitors re-
vealed the fact that the conditions, never
at any time really serious, are today
very much better than in previous years.
This, of course, is largely due to improved
conditions of projection and illumination.
It is now possible to project in a room
that is comparatively well lighted, where
five years ago the image was indistinct
unless an almost Stygian gloom prevailed.
One progressive clergyman has even
gone so far as to throw open specially
reserved pews in his church for the sole
use of lovers who wish to conduct their
courting there. They are assured that
they will not be disturbed, and are mere-
ly requested to comport themselves in as
decorous a manner as if they were in a
motion picture theatre With efficient and
watchful ushers.
Another point which will be of special
interest to 100 per cent Americans, is
the fact that in Europe and particularly
in Englard,. the same agitation prevails
with infinitely greater success.
ary Carr
(^Mother, Actress, Philosopher and Lover of Life —
By Madeleine ^uthven
T
f ] [ ^ HE curtain had just gone down on an amateur
performance of "The Charity Ball" in Philadelphia
more .han twenty-five years ago. But the audience
was not satisfied. Their applause had thundered
continuously while the happy cast bowed before the curtain,
but it was the leading lady they called for now, stamping,
clapping, shouting in their enthusiasm:
"Mary — Mary — Mary — we want Mary!"
The curtains parted and a girl of nineteen, her slender
figure haloed in a blue chiffon gown, her arms full of deli-
cate pink roses, her blue eyes shining beneath the shadow
of her bright hair, stepped out to receive the homage of
her friends and admirers. In the sudden silence that fell
upon the hall they heard her voice, girlish and tremulous:
"How can I ever thank you!"
Oh beautiful and radiant, flushed with
triumph, the young Mary Carr!
In the audience that .night there was a man
whom Mary had not yet met, who was to
Q_Mary Carr and all
the little Carrs — •
Cars enough to make
a train.
change the whole course of her life. William Carr
was already a veteran of the stage, but thirteen years
of acting had not made him so blase that he could
not be touched by the fresh eagerness and enthusiasm
of youth, especially when to youth was added talent
and beauty. The next day Can; met the manager of
the Girard Avenue Theatre in Philadelphia and spoke to
him of the young girl who had made such a sensation in
"The Charity Ball". So it happened that Mary left the
normal school where she was learning to be a teacher, and
entered the manager's stock company.
What rosy dreams of fame and happiness the young
actress had. And William Carr was part of them. His
swift wooing won the girl's first love. How could she not
love this tall distinguished man who had brought her
her first chance, who carried the very glamour
of the theatre with hirn, and who asked
her to be his wife. She saw herself as his wife
embarked on a career {Continued on page 71)
55
01 Doris Kenyan
a n J Rudolpli
Valentino.
onsieur beaucaire
A Rhymed Review
By
"Dorothy C. A. Isenbeck
HE glimmer of steel in the moonlight,
The glint of a lady's hair;
A perfumed rose with the stain of blood
Trampled to death in the- forest mud —
And crushed like a rose beyond repair
Is the sickened heart of Monsieur Beauc
1 re.
HE glimmer of silks in the lamplight,
The glint of a lady's hair;
A brilliant throng at the royal ball;
A promise kept though the heavens fall,
Yet crushed, — like the rose, — beyond repair
Is the cavalier heart of Monsieur Beaucaire.
^jP.-HE glimmer of love in the lamplight,
The glint of a lady's hair;
A precious tear on a perfumed rose,
A lover's kiss as the moonlight glows ;
Revived forever. Romance is there
In the tender heart of Monsieur Beaucaire.
®-"A lover's kiss
as the/ moon-
light t/loius."
Pathos
Gl'Is the long night of ob-
scurity for "The Little
Corporal" about to pale
into a rjlorious dawn?
Walthall
Q. There
and y
58
is a poignant quality to his acting of pathos that none of our handsomer
ounger stars seem to capture, unless it is BarthelmesSi .
IT was at the old Griffith, studio on Sun-
set Boulevard, some ten years ago, and
a large and expensive company had ga-
thered on the set.: It was eleven o'clock
on a Monday morning, and though the call
had been for nine o'clock sharp, not a camera
had turned. The star had not turned up.
The director bit his nails and swore. The
cameraman leaned up against his camera and
chewed gum. He could do this for hours at
a time. The actors" and actresses perched
themselves comfortably ' on : camp chairs and
carpenters' tool-boxes and gossiped or lapsed
into lethargy. They were paid whether they
worked or not; if the star never showed up,
they should worry. At ten minutes after
eleven a slow and deliberate step sounded on
the wooden run-way. The company stopped
talking and prepared to listen. The camera-
man shifted his gum. The director took out
his watch.
Henry B. -Walthall, for it was none other,
gentle readers, crossed the set and sat down
on the camp chair with his name painted on
the back. He looked low in his mind and re-
garded the toe of his shoe gloomily. He was
not made up. It was Monday morning, as I
have said.
The director looked at him uncertainly,
opened his mouth to speak and shut it again.
Henry B. Walthall was a power in pictures,
and directors addressed him discreetly. But
two hours had been wasted and the set was
running into money. And the star was not
made up and seemed to have no intention of
ever being made up. The director looked at
his watch significantly, and spoke.
"Mr. Walthall," he said, "it is eleven
o'clock."
Mr. Walthall sighed and turned his shoe
ever so slightly so that he could get a good
view of the side.
Encouraged, the director continued, more
firmly this time. He was a short and pursy
man.
"Mr. Walthall, you are not made up, and
the call was distinctly for nine o'clock."
Mr. Walthall slouched in his chair. The
company opened its (Continued on page 93)
.SO
Helene Chadwick
Photo by Clarence S. Bull
Shirley Mason
Photo by Melbourne Spurr
Jacqueline Logan
Photo by Alfred Cheney Johnston
r
That Boyish
This is honu
Clara Bona, got
off with suck
a fine start.
Colleen Moore
is so slender
that she
doesn't have -
to worry about
poundage, but
she finds gar-
den work
good for the
digestion. And
besides over-
alls are so
ecoming! —
I n ternational
News Reel.
Kathleen
Clifford, play-
ing one of her
famous "boy"
roles in
Gran dpa's
Girl, has to
do several
times the daily
dozen in the
Christie gym
to make the
c h a racteri-
zation con-
vincing.
GER
63
Searchers
Q A strange tale of
motion picture
people; a story of
cross purposes
and hidden mo-
tives, of startling
coincidence and a
watchful Fate
which sets at
naught the kindly
scheming of a di-
rector and a wri-
ter in behalf of a
popular male idol
of the screen. An
unguessable rid-
dle told with
sparkle and color.
Bj/ Rose G leas on
PART II
WHAT HAS HAPPENED;
Jim Hoffman, popular idol of screen jam, is content with
clean, wholesome stories, and refuses to play a strongly
dramatic story in which a fallen woman redeems herself
through kindness to the chief male character. The writer,
Greaves, and his director, Kregg, scheme to convince him
that there is truth behind the story, which Hoffman doubts.
They get Hoffman to agree to live incognito in New York's
underworld for a week between pictures, Hoffman agreeing
to take up with the first woman who accosts him on a
certain designated street corner. If the woman proves to
have any admirable traits of character, Hoffman is to do
Greaves' story; if not, he will stick to the stories he has
been successful with.
Greaves and Kregg, anxious to see Hoffman make Greaves'
picture, conspire to "plant" a movie character actress on
the street corner. Rita, the girl chosen to play the queer
role, determines to double-cross Kregg and to feather her
nest through a breach of promise suit against Hoffman
after the episode is over. Hoffman, ignorant of the machina-
tions of his friends, prepares in good faith to keep his
appointment with the unknown. THE AUTHOR CON-
TINUES; , ' ..
IF there had been any lingering fear in Kregg's mind
that Rita would recognize Hoffman through bill-poster
ads or by other means of publicity, it disappeared, when
at eleven-thirty that night he surveyed the actor, for
by then only the bodily outline remained of the handsome,
successful young star, and in his stead stood a man pre-
maturely old, not in years, so much as spiritually. Hoffman's
black hair was unbrushed, and due to some process to which
he had submitted it, it appeared dry, unkempt — almost
matted. His face remained unshaven and his mouth, due
to some eccentricity of make-up, looked drawn, sullen —
slightly loose, despite the fact that it still retained some of
his natural fastidiousness. A done-for droop to his
shoulders clung to their usually level line malignantly, and
there was certainly something about him morally off-shade.
Obstinate, too, he looked, and more than a trifle insolent,
fn his deep-set eyes, that reminded one of fires that had
been banked, indifference gleamed out menacingly, and
since his color was sallow instead of his usual bronze-brown.
he*d not impress one as enjoying particularly good health.
His clothing comprised a shabby coat, and trousers that
64
IN THE DARK
were equally shabby. His shoes were cracked and unbrushed.
In short, instead of the former immaculate actor, stood a
badly-groomed young man in whom an almost burnt-out
power smouldered feebly. A man who appeared worthless;
not at all sinister — yet, withal — weary. .
In Other Words— a Derelict
Greaves, sitting back and eyeing him banefully, made
the most of the occasion.
"A guy who poisons pups could be twin brother to you,
Hon," he said complainingly, '"but to just the average
man in the street, you'll look like the fiend who robs kids
of pennies!"
Hoffman's voice stiil contained an "111 prove to you" note,
but his grin came across less menacingly. The experiment
had begun to assume the aspects of a lark.
Q." Halloa, there/" said
the girl, annexing her-
self to Hoffman as
some small creature an-
nexes itself to Tieu'ly
acquired prey.
" Then you think me fatal
beauty isn"t liable to knock
anyone cold — eh, Bill?''
Kregg stood enduring the
combined sensations of the
manager of an unexpected
hit, and those of a con-
science-stricken perjurer of
his best friend. Or, to state
his frame of mind more
graphically, the actor's plan
and his own method of re-
tracting it, had him all
mixed up in his emotions.
' Quit your kidding," he
said unanimatedly, "and
don't forget, Jim —
O'Reilly's at headquarters — and
— er — er "
Sentiment came uneasily to
John Kregg.
" 1 guess you know that
should you need me, I wouldn't
stop this side of Hell for
you ! "
Hoffman reached for an old
hat that matched the appear-
ance of his trousers.
"Listen to him!" he jeered,
eyeing himself professionally, ''pulling1 the sob-stuff when
all that I ask is a taxi! Cheerful kind of cuss — eh? We'll,
come on — you-. started this funeral!"
Seething, sinister and full of queer sounds faint as the
whisper of dead and dry leaves, is Sixth Avenue once
night takes it for its own. Noisy and riotous as it is during
the day, when midnight, at last, claims the long street,
Shadows come tip-toeing softly. Sometimes the Shadow is
slit-faced and sensuous-lipped — sometimes it's a faded-
before-her-time young child-woman, tired-faced and heavily
toughed.
Sixth Avenue, who wears its working blouse by day —
and who puts on its soiled, tinsel gown in the dark hours
Sixth Avenue, "whose sex is woman."
Always, when at regular intervals, a lighted elevated
train rushes by, the Shadows draw back and crawl away,
only to re-appear when the train has gone. Always, too, at
certain intervals, blue-coated officers pace their beat, but
about midnight they. too. fade. It is then that as though a
lamp has been extinguished, the Shadows come out and
slink in between spaces of light. Lurk there. Ill-omens.
65
Tonight, the breath of a hot summer breeze fell like a
mist on the corner where Rita waited.
"Just what Kregg's idea is, I can't exactly figure," she
was saying to herself, "he's such a hardboiled nut to be
turnin' philanthropist! Well, come on, kid, step into it!
You booked this show for eleven-thirty!"
Her bold glance swept the street, but at sight of an
approaching cab, a tremor raced funnily across her throat.
"Guess that's them," she whispered, gathering up all her
forces.
Rita's eyes took on a shining glow as the taxi turned and
pulled up at the same corner. Three men stepped out.
The cab waited. The actress heard one of the men laugh
and saw how, with a devil-may-care salute, he turned and
started down the avenue. She recognized Kregg as one
of the two who stood looking after him .
Tipping her hat to an exaggerated slope, and glancing
down her tall length to note if everything was equally
rakish, Rita stepped forth. »
Tales have been elsewhere told of plans changed within
the flick of a lash, but in this case, it took the full half
minute that Rita devoted to that final survey, for a lurking
form to dart forward.
Alert as was Rita, and quick moving, too, even more so
was the other girl.
"Halloa, there!" said the latter, annexing herself to Hoff-
man as some small creature annexes itself to newly
acquired prey.
The actor glimpsed a young face, and, smiling, laid a
pacific hand upon her arm.
"Hallo yourself, kid!" he answered in the vernacular.
A minute added itself to the annals of time, during which
Kregg and Greaves continued to stare. Continued to
realize that much had been lost according to the terms
of the bet! In that minute a girl ran up and clutched at
them.
"She beat me to it! Honest to Gawd, Kreggie!" Rita
exclaimed, informing them of something they already knew.
"She beat me to it! — and I couldn't help myself! Honest
to Gawd, Kreggie an' it wasn't half a minute !"
Kregg continued to start ahead. It was Greaves who
finally burst forth:
"Well, what you know about that!" he said, laying
emphasis on every word.
The girl clinging to Hoffman's arm, was slight and thin
and of an early age. Perfume, presumably thought to be
seductive, but which badly deodorized the ordinarily pure
air, dung about her suffocatingly An ornate ring gleam-
ing on one hand peered up at Hoffman watchfully, and a
transparent waist revealed a cheaply trimmed underslip.
Some half dozen inexpensive bracelets, strove to enhance
her arms, and from her ears dangled long black rings.
As for her face, if Life, that great masseuse, had taken
away any of its beauty, the girl seemed to have endeavored
to make up for deficiencies by wearing a hat to which was
transfixed a white plume, which in turn adorned fair-col-
ored hair frizzed to the nth degree. A thick layer of rouge
carried out an effect of strong coloring.
Round-toed, high-heeled pumps were attached to her
lower extremities and her bright-colored dress was mostly
of silk, trimmed with a glistening material that was orna-
mental and served to emphasize its gaudiness.
"D'yuh see that dame?" she inquired with a backward
jerk of the head that indicated that to which she alluded,
"thought you belonged to her, didn't she! Well, believe me,
to get ahead of little Sadie, you gotta be there before the
first curtain!"
"Sadie?" queried Hoffman, endeavoring with a side-long
glance, to sum up her tiny measurements.
"My name," she said, suddenly tightening her grip as a
Shadow stole by with speculative stare.
66
The actor laughed good-naturedly, and looked around to
see if there was a place they could converse.
A crescent-shaped moon hanging low over the Astor
Library, revealed an unoccupied bench in Bryant Park. A
few minutes later they were occupying it.
From where they sat they could see a Fifth Avenue
traffic tower. 'Forty-second street happened to be quiet
for the time being. From a distance came the rumble of
an 'L' train.
"Sort of reminds one of an empty theatre when the
sounds are heavy and roll back," Hoffman said assuming a
fagged air.
Sadie remove dher hat.
"Gee! nothin' about this berg ever struck me as be-
longin' back stage!" she said, moving herself up close to
him. "What with Hylan turnin' the spot on the old
dumps, an' ! Say?" she asked, breaking a thought,
"s'matter with you? Sick or somethin'?"
For verily the actor looked tired and almost ill. For
• all of three minutes he had been trying to get over such
an effect. Her question came in the form of a suggestion.
"Weak heart," he said with a cough, not knowing that a
cough doesn't necessarily accompany a weak heart, "and
tlue at having to go away. Glad as the deuce, though,
little girl, of your company!"
Sadie leaned over and under the rays of a Forty-second
street arc, and a low-hanging crescent-shaped moon, in-
spected his features introspectively.
"Once before," she said, lapsing into pessimism, "I picked
up a guy like you, and blamed if he didn't croak'before I
could get rid of him!"
She saw the curl of Hoffman's fingers whiten his knuckles
as he twisted them. •
"This town gets one!" he said as though he were suffer-
ing mentally, "having to leave it is like losing something
vital!"
The lateness and the hour settled. The girl stared, and
then she laughed. And her laugh was not short nor was
it shrill. Instead, it was low and it had a blunt edge.
"You've gotta beat it, then?" she questioned in a low
tone.
In a way Hoffman had done many times before when
registering strong and tense emotion, the knuckles of one
hand sunk deeply into the palm of the other. Lifting his
head he looked at the moon, or it may have been the
roof of the library.
"Yes," he said, and he said it h'uskily, "that's the devil
of it! I'm eviled!"
An 'L' train rushed along, flinging across them, great
tossing shadows. Sadie stared at Mr. Astor's gray walls.
"Where to?" she asked strangely witchlike.
Hoffman's dark eyes appraised her.
"Upstate, to a farm on which I've obtained a) job as
caretaker. A place in the backwoods where III have to
live pretty simply. Best thing in the world for me, I
suppose, but Lord! — it's having to live — alone — there!"
Hoffman, wearing the done-for look, also previously regis-
tere don the silver-sheet, watched a Fifth Avenue bus pass
the signal tower. Sadie, emphatically expressed her senti-
ments:
"I ain't such a dumb-foeM," she said, eyeing him unsenti-
mentally, "that I can't guess you're tryin' to make me a
proposition. Well, where'd you get the idea you're the only
first-nighter who's wanted to sign me up for an extended
engagement? C'on, baby, — do your monologue!"
To the lips of a motion picture star came a grin he had
difficulty i nrepressing. One of bis hands covered hers.
"That's just exactly what I am trying to do," he said,
"trying to get up nerve enough to ask you to go with me."
Something tragic came into his face as his free hand
brushed his countenance with the gesture of a tired man
who has wandered far and come back lonely.
"Will you?" he tensely questioned.
The girl leaned slightly forward.
"Say! what'd you ever see about hayseed that'd make you
think it'll appeal to one of my artistic temperament?" She
paused before inquiring tentatively, "Besides, — who'd be
there besides me and you?"
"No one."
"No one?"
She chuckled.
"A one-act with two people, and the frogs and crickets
for audience! Say, — what'd we do to kill time?"
'"Work, I suppose, — and oh, there'd be other things."
"Baby," she said, rising and straightening her short skirt,
"if this'd happened before they headlined Volstead, you'd
be layin' in a stock of booze instead of tryin' to sign up a
woman, but seein' it's this dead day and age, I reckon even
a poor has-been's entitled to some little form of amuse-
ment!"
The situation seemed to call for some display of emotion.
Hoffman seized a thin hand and pressed it.
"You mean?" he asked, "you'll accompany me?"
Sadie tolerated his grip. She nodded.
"But you. might as well know," she said, "Mr. What Ever
Your Name is, that, while, of course, I'm sorry you gotta
bum ticker, the real reason I'm acceptin' this proposition's
not because you've been put out of the first row, but because
that farm's the added attraction. Always thought I'd like
to try livin' on one. Take it from me, if you hadn't men-
tioned it, I'd never played on this bill! Strollin' along the
shady lanes'll be a change from hotfootin' it on dark streets,
but I 'spect I'll get awful sick of it!"
Taking with him the girl's promise to rejoin him short-
ly at Grand Central, .Hoffman sauntered east to purchase
tickets with what was supposed to be advanced salary,
for a night train to a city upstate, and Sadie departed =
westward, presumably to her room to pack a needed grip.
Four hours later, both were descending from a New York
state suburban trolley and facing the two mile stretch back
country.
It was during that almost silent walk along a country
road bordered by bushes that huddled like live figures, and
trees that met and whispered above their heads, that the
aotor first heard the girl express herself sentimentally.
"Gee!" she exclaimed, shivering in the cool air and lift-
ing a little tired, painted face to stars that were slowly
fading, "those twinklers 're like lights in a theater, that
someone's forgot to turn off ! An' that little one makes me
think of a peep-hole. Suppose anyone's lookin' down at
us from up there behind that curtain?"
A wonder crept into her face; an eagerness vaguely
wistful.
"Oh, damn!" she exclaimed the next instant, when high
heels and a pebble failing to make contact, she barely saved
herself from a dusty fall.
"You ought to have had sense enough to change those
shoes," informed Hoffman, disgustedly striding ahead.
Sadie paused to adjust her hat which had shot awry when
fehe stumbled. She also solitiously adjusted the white plume.
"Holy Smoke!" she exclaimed crossly, "walkin' the ties
with a busted road show ain't got a thing on this, and if
ever we make this joint we're bound for, it'll not be of any
help you've given me!"
Up-to-date, her precociousness had amused, but the fact
that it was early morning, and they were tired from the
trip and of each other, had put them both in a bad mood.
Hoffman waited for her to catch up.
"Oh, for Heaven's sake, come on," he said, irritatedly
shifting her grip.
Like some tropical little bird, drooping and pathetically
weary, she hopped painfully along, and if she knew that as
he took her arm, the flues of her long plume brushed his
cheek in a way that added nothing to his enjoyment, she
did not reveal her awareness.
After a time on a high knoll, with huge trees overhanging
it, and a lake glimmering in the background, Sadie saw a
house. A low, rambling house; a very silent-looking house
around whose closed doors and windows the soft morning
breeze was wreathing 'in little whispers. A squatty house.
One of those low, square cottages to which here and there
at various times, an ell or porch had been molded.
Sadie stared, for a bare second inarticulate. Then:
"Some dump!" she said, "beats the movies, an' better'n
any stage set!"
The truth regarding the house was, that it had descended
to Hoffman through the death of his mother's brother. Once
before, only, had he visited it, and that was a month ago, and
then on a hurried trip for the funeral. When, some hours
previous, the argument about the play had arisen, he had
recalled this as an ideal place to take the girl; play the
derelict, and try to learn something of her inner nature.
Entering the house, they found it completely furnished,
and, in a butler's pantry, they glimpsed shelves well stocked.
Entering the dining-room they faced a yawning fire-place, —
and off the dining-room was a library. Nothing, as yet, had
been dismantled.
"This's the life!" said Sadie, limping to a chair and kick-
ing her pumps as far. as-"she could -kick -them.
Hoffman wearily discarded the grip.
"Scout around and make yourself at home," he said, "as
for me, I'm tired! There're plenty of rooms, no doubt,
where you can find a bed."
Without much ado, and as though he Were glad to break
away, he passed through to the library with a pleasant-
enough "goodnight," and began to climb a winding stair-
way.
Sadie remained staring after him.
She sat for a long time staring in the direction he ha,
gone. After awhile, she rose and noiselessly locked the
doors. Locked, also, the one between the two rooms. After
that she turned to stare first at this then at that. Turned
to the solidly-built old buffet; to the quaintly carved chairs
and table. To the well-done paintings rather large for the
size of the room. To other things, solid — aged. Drank in
the atmosphere that seemed to hover. An atmosphere sug-
gesting how a motherly lady, entering that room many times
long ago, might have been greeted by a stately old gentle-
man who turned to smile at her from his stand before the
fireplace. An atmosphere sweet — and ancient.
"What a lovely, lovely home!" murmured Sadie in a
tone that had Hoffman heard, would have caused him to
wonder at its refinement.
(Continued in October.)
(\Start this story with this issue. You can quickly catch the thread of the plot.
Enjoy now this fascinating movie serial.
67
■~:7y r amal an d
JOE LAURIE, JR. is the only comedian I know who
is funny in his dressing room. Joe is not a collector
of wise-cracks; he is an originator of them. When
you see Plain Jane you
will behold the spectacle of a
comic artist who can take a hold
of a part and shake the life out
of it. And take it from me there
a lot of life in it. I can't say
(\Says Mr. Xobel
is
enough for Joe Laurie, Jr. He's
good.
In addition to Joe there's a
Sorp'ie °^ songs and three
v,.itle dancers who deserve honor-
able mention. Their names are
Frances Wilson, Estelle Penny and
Mable Grete.
II.
QPlain Jane is a good comedy
built around a good comedian.
Joe Laurie, Jr.
cool perfection of the Terminal Shop at Forty-second and
Broadway where Tony holds sway over chair number three.
At 9:15 Mr. Todd did away with his third customer and
I walked out to get the air. The
next thing I remember I was in
the barber's chair and Tony had
the haircut under way. In con-
sequence of which I think the
production of Sweeney Todd an
eminently satisfactory one.
because it
His name
III.
QSweeney Todd may be a good show for
know. I couldn't stay to see the finish.
all I
QThe Ziegfeld Follies is the circus of the tired
business man. They change the sawdust but
the animals are always the same.
Sweeney Todd, otherwise known
as The Demon Barber, and if
this is not enough identification,
you can have the third title, The
String of Pearls, did one good
thing for me anyway. It reminded me of the fact that I
needed a haircut.
The play ds old English melodrama about a tonsorial
artist who had a playful way of chopping his customers up
into veal pies. He chopped up his first customer at a quar-
ter to nine and I thought longingly of the fact that here in
New York barber shops stay open late — having in mind my
need for a hair cut and no sadistic desire to be turned into
succulent meat pies. At nine by the clock the second cus-
tomer was demolished and my mind turned longingly to the
QKeep Kool is one of the best shows in town
It has sprightliness and originality.
The Ziegfeld Follies' annual
production is the circus of the
tired business man. How the lit-
tle fellows caper when the circus
comes to town, and the fellows a
little bigger and no whit different
in the college towns of Boston,
Princeton and New Haven caper
just as joyously when the Follies
comes around.
To me there is no "good year"
, or "bad year" for the Follies.
They have the thrill of youth and color about them. To
the small boy the circus is just "the circus." It is always
good. To his father, Mr. Zdegfeld's production is the same.
Of course the ring leader of this year's production
is Will Rogers. The jokes he cracks are sharper than
the snip-snap of the whip in the hands of the red-
coated riding master. And how the "ponies" in the
Ziegfeld circus step and prance about! Lupino Lane
as the head clown and tumbler is a roaring success. He
has always seemed to me the cleverest of the movies' many
68
^^-u^-tInviv
By Myron Xobel
Decorations by Wyn/2
eccentric comedians. Such noise, such laughter, such color!
Ann Pennington is the prima ballerina. Her twinkling
toes twinkle faster, her dimpled knees dimple more darling-
ly, and her broad smile is broader
than anything on the stage this
summer. ,
Congratulations, Mr. Ziegfeld
for the great eye fest. A great
and glorified time was had by all.
(\Says Mr. Zobel
QShooting Shadows was a melo-mystery.
means just what it says.
IV,
C[So This is Politics. A mystery farce,
growth of the democratic convention,
important.
The cleverest lyrics of the year,
to my way of thinking, are in
Keep Kool. Carl Gerard Smith
wrote them and if this notice
should come to his attention I
will thank him to send me a copy
of his extremely clever burlesque
on "Gunga Din" which Hazel
Dawn recited in scene five on the
subject of beds, bedrooms and
boudoirs she has known.
The how is full of talent and
the sketches have originality and
sprightliness. In particular, the satire ' Justifiable Homi-
cides," stands out m my memory. It contains seven epi-
sodes, each of which offer a perfect excuse for murder in
the first degree:
1. The Lithuanian ticket chopper who gives directions to
subway passengers in a mixture of Yiddish and Greek.
2. The hail-fellow-well-met chap who insists on slapping
the freshly sunburned chap on the back.
3. The solicitous gentleman who goes around on a scorch-
ing day and asks, "Is it hot enough for you today?"
Qlnnocent Eyes. When they say that they don't
mean the audience.
4. The singers of ''Yes, We Have No Bananas."
5. The commuter who drops his bundles and misses his
train in order to give a stranger a match..
6. The girl who crowds in ahead
of her place in the line at the
ticket window.
7. And one other which I forget.
Ina Williams, Johnny Dooley,
Hazel Dawn and Charles King
are an unbeatable comedie quartet.
If you miss this show don't blame
me.
That
V.
An out-
Equally
QI'll Say She Is is a revue to laugh at, not look
at. That's something new. . .
R. I. P. Shooting Shadows
passed quietly through New York
during the hottest part of the
summer and left no trace. It was,
according to the authors, a melo-
mystery farce, concerning a miss-
ing body, which refused to stay
put. It contained the usual num-
ber of dumb professional sleuths
and clever amateur detectives,
with the least suspected person proving to be the guilty
party — according to formula. Several shots rang out from
the darkened stage and an extremely well-behaved audi-
ence only laughed once in the wrong place.
Edward M. Favor did a splendid piece of character work
in it as Noah Flood.
VI.
No, it isn't Mistinguett who has the Innocent Eyes. She
has headdresses — oh, many and various and weighty head-
60
Johnny Dooley, Hazel Dawn and Charles King in "Keep Kool.'' Johnny Dooley says
that he intends to take up comedy in a serious way.
dresses, and beautiful legs, but an otherwise rather too
oppulent body. It's Cecil Lean who plays the part of the
gullible and easily led-astray professor who starts the play
with "innocent eyes" and ends it with that tired feeling
and a headache. For it is a very
wild party which the professor
finds himself involved in, when he
takes over the management of a
cabaret for one night — a clause in
a will giving the excuse for his
getting into such a situation.
This Winter Garden spectacle
has more of a plot thread than the
usual ensemble of music, noise,
talent and backdrops known as a
revue. The cast fairly bristles with
important names, but Cleo May-
field stands out in my memory,
chiefly because I can staill hear
the echo of her enchanting whine.
And Cleo is awfully easy to look
at. Mr. J. J. Shubert, who admits
that he "personally supervised" the
big production, has an eye for color
and beauty. If there's been a hand-
somer show in town, I haven't seen
it.
If you like dancing, and you
won't go to the Winter Garden
if you don't, you'll feel like fling-
ing coins at the exotic figure of
Vannessi, who looks like the poet's
ideal of the heroine of "On the
Road to Mandalay." See her in
her "peacock strut!" The song
hits are the name piece, "Innocent
Eyes", 'Organdy Days" and "Gar-
den of Love".
VI.
So This Is Politics I was one of
the regular convention crop of
plays that hit New York with the
hot weather and the out of town
are both made to get
Myron Zobcl sketched by Wynn
passing the 12 mile limit as Wynn,
as it happens, was out at Rum Row
■ looking for artist's material.
Which came first, the chicken or the egg?
We have applied that question to the theatre
and we are sending Myron Zobel to Paris to
settle the question long disputed as to whether
the Parisian revues furnish the inspiration for
the American article turned out by Messrs.
Ziegfeld, Shubert, White, Hammerstein et
freres or whether the French revue producer
of today gets American chorus girls, American
song writers and American "nifties" and him-
self supplies only the gallic flavor.
Mr. Zobel will send over his next article on
the theatre from somewhere in France, most
likely the front row of the Follies Bergeres,
the Palais Royale or the Casino de Paris.
—THE EDITOR.
delegates. The much-herald-
ed arrival of the delegates,
by the way, proved a bitter
disappointment to theater
owners and restauranteurs.
One of the waitresses in
Child's says she served 65
delegates in one day and
received 60 tips of five
cents each; the other five
left nothing.
Marjorie Gateson gives a
competent performance as
the wife whose political as-
pirations break up the
home, but the real star of
■ the piece is William Court-
leigh, as Butch McKenna,
the boss of the First Ward.
' Mr. Courtleigh pts life and
character into this part.
One of the best lines in
the play compares the po-
litical party platform, with
street car platforms; "they
in on, not to stand on."
VII.
The Four Marx Brothers blew
in out of the west on a gale of
laughter. They have brought a
new kind of slapstick into the Am-
erican revue. None of the at-
tempts at broad sophistication are
here; no nifties; no wise-cracking
gentry or patter artists, but I'll
Say She Is has some of the most
rib-tickling, side-splittinfi (see press
agent notices for further adjectives)
situations you ever saw.
Herbert Marx is, to my mind, the
funniest of the Four Marx Broth-
ers. He speaks not a single word
through the entire performance,
but his actions and looks bespeak
volumes. He is made up as a sort
of half-and-half mixture of Boob
McNutt and Dinty Moore. I saw
the play when it first came out in
Chicago and I paid for the tickets
at box office prices. When a re-
viewer does that and still praises
the piece, it is a recommendation
for fair.
East Side Wins
The Grand Street Follies proves
the old saw that if a man can write
a better review than his neighbor
though he lived in the lower Ea.it
side of New York the audience will
beat a pathway to his door. It
isn't only that the East side of the
girls is the same, — er — that is, East
side girls are the same but the show
is good.
70
SCEEENLANJO
New-Unusual
Do You
Know—
how to give a trousseau
tea?
how to order in a res-
taurant?
how to plan a formal
wedding?
how to adapt yourself to
every environment?
how to be socially pop-
ular ?
how to be at ease in a
ballroom?
how to
idity?
how to call on a young
woman?
how to
riage ?
how to cultivate at? in-
teresting speaking
overcome tim-
propose mar-
voice ?
how to dress for social'
occasions ?
bow to entertain in the
latest approved fash-
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The Old Maid Has
Vanished !
"The New Book of Etiquette"
does not recognize any of the old
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ditions. The old maid, for in-
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doing? How does the new eti-
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manners that ordinary books
portray. The new etiquette for
instance, generously forgives the
tired, elderly man who remains
seated in the crowded subway
while raucous-voiced girls swing
from the straps in front of him.
— and Slang
Though it has been condemned
by almost every writer on eti-
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New Book of Etiquette" which
says, "Slang is a characteristic
phase of the American language.
It can be colourful and expres-
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since it adds a typical verve and
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f
88
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HARRY LATZ.
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Q, The Beauty- Maker—
from page 86.
possible that a new cameraman would be
speedily engaged. But while the atten-
tion of director and producer are cen-
tered upon the star, it is easy for a cam-
eraman to neglect a lesser player, bring-
ing out her worst points, rather than her
best, and lighting her so badly that her
beauty is lost or badly damaged.
''The possibilities of working off a
grudge in this way intrigue me," Mr.
Barnes acknowledges, "but I've never
known of its being worked. I suppose we
have all neglected some of our opportuni-
ties to makes beauties out of extra girls,
and I've actually known cameramen who
had the interest of certain girl's at heart
and boosted them with ail his skill. But
it is impossible, working under the hec-
tic conditions which obtain in every stu-
dio, to devote a great deal of time, light-
ing and skill to the unimportant members
of the cast. Occasionally, when the time
permits, I spend more than a fair amount
of time and Kleig juice on a close-up of
an extra girl, and in one case at least a
contract has resulted. But such things
are usually accidental."
An expert cameraman makes a salary
equal to that of a leading lady or popular
character actor — that is, from two hun-
dred to four hundred a week. Consider-
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expresses it, "After all, the public pays
to see pictures. If the photography is
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C\This Way Out — from page 39.
Queen Bess with his cloak.
I also realized that an opportunity was
presented.
I could not spread the taxi under her
agitated foot, but I felt I could at least
let her sit in it.
So with a grandiloquent gesture I
bared my growing bald-spot and bowed
low before her, muttering my proffer of
service to a fair lady in distress; how I
had recognized her from her "stills," etc.,
etc.
Oistress ceased. That feminine danger
signal, the tap-tapping foot, was stilled.
I strove to make the unconventional seem
conventional. It was unnecessary. She
was already within the cab.
Thinking that perhaps Sigrid desired to
be aloof, I sought a perch beside the
chauffeur, seeking directions through the
window. But the queen beckoned.
"Mithter Willith! Thit inthide with
me!" was her command.
"'Where do you wish to go, Miss
SCEEENLANB
Holmquist?" I murmured meekly as I
slunk to do her bidding .
'"Jutht take me home. Do you know
where it ith?"
I did and so did the driver.
"Theems thtrange the garage did not
thend my car ath I athked them to," she
quavered plaintively as the car got under
way.
"Yeth, I mean, yes, it doth; I mean,
does — dammit — pardon me," I responded
politely, knowing that she was then
motorless, having been in Hollywood but
a few days. (Lisping is strangely con-
tagious.)
Straightway she launched a desire for
newspaper publicity which, in the telling,
consumed the several miles until the car
was shuttling in and out of the Laurel
Canyon traffic. Then she began to talk
about herself.
The cars were thick and the pace, fast.
Drivers with one arm about the neck of
another are not to be trusted. And there
were many of them hurrying their forty-
horses and less up the steep and twisting
roadway to hillside dovecotes. One could
hear them cooing as they passed in the
snorting motors.
Hence hearing what she "thaid" to the
King of Portugal in Paris and what he
"thaid" to her is now hazier than I wish
it were.
Her enunciation of the word "Manuel"
was a caress. Her pronunciation of
"Deauville" made me conjecture she
would spell it "dough."
The car turned sharply off the main
road at the second fork and then to the
right into a gulch as black as a jealous
bridegroom's heart, stopping suddenly in
the gloom with shrieking brakes.
Sigrid clambered out, trailing an un-
finished sentence in her wake.
She spoke harshly in an outlandish
tongue. A tiny light cut the gloom above
us.
Seizing me by the hand Sigrid bounded
up a series of flag-stoned steps. I felt
like Alice in Wonderland in the grip of
the Duchess.
We stopped suddenly in the darkness.
She beat upon an unseen door with both
her hands.
The door swung back. Her sleepy,
young servitor, Johnson, a comely if
somewhat too rotund lass, greeted her in
some scrambled tongue. Sigrid returned
in kind as she brushed by. Since she
had regained hold of my hand. I followed.
Sigrid flitted about what was evidently
the living-room, snapping on lights in
the corners, snatching up an abandoned
feminine garment here, flicking away cig-
arette ashes there.
Light from a lamp, draped with some
iridescent, gossamer stuff, standing on a
wicker table opposite the entrance, im-
parted the gleam of a topaz tc» half a
LAUGH AND LITE TO 90
f^HAUNCEY M. DEPEW, famous
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v/e recommend the reading of "Exper-
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tumbler of liquid poised perilously near
the table's edge.
Sigrid darted toward it as a child to
the rescue of a shard of some bright glass
from a rubbish heap. She raised it to
her lips and gulped. Her eyes grew wide
with apprehension. Tilting back her head
and looking at me down her nose, she
replaced the tumbler hastily.
"Ugg wugg erth erble," she remarked
liquidly with some difficulty, as she sped
to the door. There she cast the offend-
ing fluid in outer darkness with a boister-
ous expectoration.
"Barbarouth thtuff," Sigrid declared,
making a wry face, on her return. "Pleath
make yourself at home till I come back.
Pahdon me."
A doorway swallowed her.
(O traightway heated words came
^ through crevices in the flimsy wall.
Crackling syllables hissed and sputtered
in intense dialogue in a strange tongue.
Something that sounded like a slap ended
the argument.
A tearful maid entered. She seized
the tumbler from which Sigrid had re-
cently quaffed an unpleasant potion and
retraced her steps.
I was alone in the salon of a LaureS
Canyon lair.
Frankly the room was disappointing.
It was a welter of disorder, dingy and
dusty. The maid was evidently in love.
The place was utterly without character.
"Fifty dollars a month, furnished" was
written all over it.
I was just about to lower myself into
the only comfortable chair in the room
when I was deterred by a screech. A fly-
ing pink and filmy negligee, picked out
by gleaming arms and a flash of silken-
clad calf, swooped down upon me and
swept a dark and furry something from
the seat which was to have been mine.
I staggered back and waited for things
to straighten out. Sigrid, smiling mater-
nally and cuddling a wierd animal in her
arms emerged from the murk born of the
rapidity of her motion.
"You almotht that on Thweetheart,"
she crooned.
My chin was on my chest. I could
feel my eyes bulge. "Thweetheart" was
an animal big as a house-cat with
a weasel-like head, a squat body covered
with fur akin to sable and a tail seeming-
ly a yard long. He regarded ma with
beady eyes full of hostility.
"What is it?" I queried, indicating
"Thweetheart" with a trembling fore-
finger. If he had been green with pink
stripes he would not have been half as
upsetting.
"It ith a mongooth," Sigrid said. "An
admirer thent him to me from Thouth
America.
"Come in here and we thall talk. Thith
room ith tho deprething."
SCREEN3LAND
She led the way into her boudoir.
We sat on a plebeian brass bed, gay
with crimson silken cover, with "Thweet-
heart" romping, as if his dear little heart
would break, between us.
She told of her European conquests;
of her continental title, "The Swedish
Mary Pickford"; of her life in New
York, in the Follies or something; of
meeting prominent men intimate with
movie magnates.
It was an automatic interview. Ques-
tions were unnecessary even if they could
have been inserted in Sigrid's purling
monologue.
With a keen edge to her lisping sylla-
bles she flayed her fellow-players under
the Paramount banner, telling how all the
women were jealous of her because of her
beauty; how all the men hated her be-
cause she laughed off their advances.
"Nathty beatht," Sigrid declared.
"Would you like to thee my gownth?"
Without regard for my blushes or
waiting for an answer, she threw open a
closet door. The recess, a deep one, was
crowded with confections capable of turn-
ing any woman glassy-eyed with envy.
There were gowns trimmed with ermine,
garments of every hue and texture, allur-
ingly intimate apparel in a myriad of
shades — coats, wraps, cloaks, capes and
all the what-nots dear to the heart of
woman but beyond the ken of man.
"These represent a fortune," I ven-
tured.
"They did not cotht me anything,"
Sigrid replied carelessly but with a trace
of pride, withal. "Nithe men like to
give me thingth."
"My Gawd! I have an appointment!"
she exclaimed in the next breath. "You'll
have to take me — but don't forget you
thould write thomething about me."
She pushed me out of the room into
the company of "Thweetheart." The in-
terview was at an end. There was naught
left for me but the way out.
0[ Wanda and Viola — .
from page 45.
old gray matter isn't functioning. And
Viola is by no means a nit-wit. She
looks as a normal woman of twenty-five
ought to look, only better-looking than
most. And as her mind has developed
right along with her body, she wants
parts that are worthy of her steel. She
wants to act, and in the future she ex-
pects to.
Wanda Rebels Too
TD> UT Viola is not the only Hollywood
cutie who aspires to dramatic hon-
ors. She has a blonde rival. Wanda
Hawlej* 5s back on the screen, with all
her blonds c.'.rls slicked straight back,
trying her best is look intense.
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Wanda has a straight dramatic part in
Victor Shertzinger's production, Bread, by
Charles Norris. She got it by brushing
out her curls and looking intense where
Shertzinger could see her. It really makes
her look quite different. More "soul,"
you know, and everything. And as far
as Wanda, is concerned, the Hollywood
beauty shops can just close their doors
before she makes an appointment for an-
other marcel.
Wanda was one of the old guard at the
Real Art Studio, and after that, at Las-
ky's. She was being cast in fluffy roles
when Bebe Daniels was playing opposite
Wally Ried in The Dancing Fool; and
Gloria Swanson was swishing about Cecil
DeMille's sets.
And always WTanda played the role of
the sweet young thing. Her main duty
was to look cunning and to wear clothes.
To be a perfect foil, by her five feet
three inches of pink and gold femininity
for stalwart screen heroes. But it must
be confessed, that as far as honest-to-
goodness 14-karat acting goes, I have
never caught Wanda in the act.
Perhaps she has never had a chance.
She .had the leading role opposite Valen-
tino in that fearful affair; The Yowig
Rajah, but stronger personalities than
Wanda's have been eclipsed by the color-
ful Rudolph. She was lovely but vapid.
Never once did she stand out as a per-
sonage to be taken seriously. She was a
decorative part of the stage setting, no
more.
In Affairs of Anatol, Wanda did the
best work of her career, I believe. I re-
member thinking at the time that she was
better than* I had ever seen her. But her
characterization was not clean-cut enough
to leave in my memory as I write this
other than a vague remembrance of -°
young and cuddly person who cried on
Wally Reid's shoulder.
Her starring pieces, Miss Hobbs, Her
Sturdy Oak and The House that Jazz
Built were all fluffy things that needed a
stronger personalities than Wanda's to
put them over. They all sagged in the
middle. Evidently others thought the
same thing, for soon after The Young
Rajah flopped with such a dull, sickening
thud (I hasten to add that the fault was
by no, means all Wanda's) Wanda's con-
tract expired and was not renewed. Wanda
went to Cairo to make a picture for a
foreign company. After her return, she
played the demure little housewife in her
own home for a year, until the idea
seized her that perhaps it was the fault
of the> curls that kept her from realizing
her dramatic aspirations.
At any rate, with the release of Revela-
tion and Bread you will see the gesture
of two young rebels against the flapper
and all her works. The dramatic season
is looking up.
FOR. 25 OEisTTS
Many readers dislike tearing or marring their
copies of SCREENLAND and yet they would e>
like to frame the eight handsome rotogravure e-
portraits that appear each month. Two un- ^
bound copies of the complete gallery in this
issue — ready for framing — will be sent upon as
receipt of twenty-five cents in coin or stamps;
or FREE with a five months' subscription to \n
SCREENLAND for $1.00.
.ith
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SCIREENLANB
9
are fastened. I am one of those
■who have found Eleanor a believable and
not-too-saccharine ingenue. The most col-
orful feminine interest, however, is sup-
plied by Eileen Percy — in a black wig,
did you ever? — and Pauline Garon, who
stages a delicious Dempsey-Carpentier — ■
the best female screen scrap since Gerry
Farrar and Jeanie MacPherson turned
Carmen's cigarette factory into a prize
ring.
But I shall recall The Turmoil for a
long time because of one superb scene,
which occurs in a barber shop. The sen-
ior? Sheridan, very well played by Em-
mett Corrigan, steps in for his morning
shave, unaware of a tragedy in his house
which the whole world knows. He be-
comes gradually conscious of the horri-
fied suspense with which he is regarded;
and his awakening provides a bit of genu-
ine emotion.
Those Who Dance Is Timely
Those Who Dance must pay the piper.
It sounds like one of those super-
sexy things, but as a matter of fact, it
is a sombre preachment on prohibition.
I hand it to Thomas H. Ince because
gradually — very gradually — he is work-
ing back into the same pictorial frame of
mind which produced some of the most
memorable motion pictures on record —
the old Ince-Triangles. Ince was never
one to mince matters on the screen; he
had the courage of his artistic convictions
and has more than once realized them —
recall Anna Christie. For that one drama
alone, he earned everlasting recognition.
Those Who Dance will not add to the
prestige of the melodrama master, but it
will keep the wolf from the doors of
Inceville, being a timely treatise not too
tiresome.
(][ The Pathos of Walthall—
from page 58
eyes to see the temperamental star take
a reprimand without resentment. The
director began to work himself up into a
frenzy, and as no word came from the
huddled figure in the chair, concluded at
last in a stinging ultimatum. He was
having a splendid time, the director.
". . . . and I want you to know, Mr.
Walthall, that when I call my actors on
the set at nine o'clock, I want them there
at that time."
Then the huddled figure rose. With
simple dignity he spoke.
"All right, call 'em for Thursday morn-
ing at nine o'clock." And walked off
the set. As I said, it was Monday morn-
ing. And not until Thursday did our
hero come back.
But that was ten long years ago, and
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Dapt. 309 lOOO Olvaraay Boulavrd Chicago
a decade in the "great onrushing art" of
pictures is as a century in other fields.
The stars who shone so brightly in that
year of grace, 1914, have passed into
oblivion, and new generations of stars
have filled their places for a brief day,
only to pass on in their turn. Some have
left a dear and fragrant memory in their
wake; the very names of others, once
famous among stars, have been forgotten.
The years that have swept to forgetful-
ness many and many a proud name have
not obliterated the name of the finest
actor of his time, Henry B. Walthall. But
they have dimmed its lustre. His slip-
ping away into obscurity is one of the
saddest phases of film life, and one of
the strongest counts against the sincerity
of pictures as an art.
If Henry B. Walthall had been a little
less finished as an actor and a little more
physical in his appeal, his name might
still be blazing in electric, lights. But he
was an actor, not a young Greek god.
Even as the Little Colonel, Ben Cameron,
in Griffith's immortal Birth of a Nation,
■he was not handsome. His appeal lay in
the firmness of his technique, in his
speaking eyes and his sensitive mouth.
He was, and is, unimposing of figure; he
is only five feet six inches in height, and
weighs about 140. His brown hair is in-
clined to curl, and he wears it brushed
back from a high, broad forehead. He is
a mental type, except for his month. His
eyes are brown and eloquent.. Though he
is a Southerner, born in Shelby county,
Alabama, he speaks without the. soft slurr
of the South. His long years on the
speaking stage have eliminated that.
It was from the stage that Walthall
came to make a name for himself in pic-
tures in The Birth of a Nation. And
there he was one of a galaxy of players
that made screen history, a galaxy scat-
tered to the four corners of the earth and
beyond now. Lillian Gish alone of that
brave company retains her fame. The
others? Miriam Cooper? Merely a name;
perhaps not even that to the newest gen-
eration of film fans. Mae Marsh? In
pictures still, to be sure, but not the Mae
Marsh of the Griffith film; not the pixi-
eish Littlest Sister who bravely trimmed
her shabby gown with cotton "ermine" to
celebrate her brother's return from the
war; a woman now. Bobby Harron?
Gone, with that blithe spirit, ' Wallace
Reid, to the shadow land of peaceful rest.
It was The Birth of a Nation that
made Henry Walthall on the screen, and
it was the same picture that nearly killed
him professionally, a few years later. For
some four years Walthall starred. Not
all of his pictures were good. Some were
trivial. But his technique was as sure
and his charm as subtle in the poor stor-
ies as in the good. He made many pic-
tures: A Greet Love; False Faces; And
SCREENLANB
a Still Small Voice; A Splendid Hazard.
Then came the beginning of the end.
Never strong at best, under the strain
of the exotic life of a famous star,
Walthall's health failed. For weeks at a
time he would not be able to work. His
nerves grew abnormally sensitive. He
was often moody, even irritable. His
engagements fell off. For several years
his face vanished from the screen. He
took a home at Santa Monica and waited,
perhaps reading in the dull booming of
the waves against the rocks the final
doom of all actors grown old in the
harness.
A few remembered him in his exile. The
faithful few wrote to the editors of film
magazines, "Where is Henry Walthall?
What has happened to him?" And the
editors could only say they did not know.
The producers were not interested. Wal-
thall? Why, he was the chap that played
in The Birth of a Nation, wasn't he?
And that was way back in — why, it must
have been around 1910! Say, the man's
old, now! This studio ain't no Home
for Retired Actors, y'know. Oh, well, if
he's that good, maybe we can work him
in a character part.
And sometimes they did. Small, tri-
vial parts that must have hurt Walthall
to the quick to play, and surely hurt the
faithful fans who remembered his past
glory. It did not even occur to produc-
ers to give hirn a romantic part. The man
was forty. In those days the romances
of the screen were chronicles of puppy
love. Half-baked boys of twenty-one
were making half-baked love to sixteen-
year-old girls who wouldn't have recog-
nized adult passions if they had met
them on the street. And so Henry B.
Walthall remained in obscurity foi
another year.
Then sophistication came to the screen
with the advent of foreign stars and for-
eign directors. Grown-up men and
women portrayed the love scenes. Lewis
Stone, Adolphe Menjou, Irene Rich,
Huntley Gordon came into prominence.
And the audiences applauded the experi-
ence of their touch and called for more.
It dawned upon the producers that adult
men and women could love. The just-
past-adolescents fell back into their pro-
per juvenile roles. Walthall was no long-
er passe, an "old man"; he was merely
experienced.
For once, that fickle jade, Fortune,
smiled upon him. He was given one of
the principal roles in a picture that has
turned out to be one of the big box-
office sensations of the year, Boy of Mine.
The boy, Benny Alexander, is starred,
but the real interest lies in the love of
Henry Walthall and Irene Rich, as the
parents of the boy, and is Walthall's
struggle to understand the workings of a
small boy's heart. In a most unsym-
pathetic part, he manages to be great.
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{Continued jrum page 55) leading to ever greater and
brighter triumphs. They would become famous together —
he would be Romeo, she Juliet.
The Bride, Mary Carr
Oh shining-eyed and joyous, wrapped in dreams, the bride
Mary Carr!
But Mary soon found that her husband had decided ideas
of his own about his wife's career. It was for him to work
in the world, to reap the triumphs and the world's applause.
Mary's place was in the home, cherished, protected, bask-
ing only in the light of reflected glory. It was hard, but
Mary loved him, and as most women have always done,
she acquiesced. Was the first bloom of her illusions lost?
Still she was eager and loving, the young wife, Mary Carr.
Twelve years — seven children! No time for dreams now.
They came so fast, these little ones, clinging about her
skirts, heavy in her arms, warm under her heart. Her blue
eyes that had been so bright shone now with the soft
radiance of mother love. How she loved them, and perhaps
the one who would not stay most of all. Busy, busy years,
years of toil, and love and suffering, spent in a world of help-
less, growing things. This was Mary Carr the mother, the ele-
mental woman, utterly surrendered to the impulse of creation.
Mary Carr, Mother
Tragedy ! Six helpless
little things for her to
care for, and now their
father a helpless seventh.
How to feed those seven
mouths, how to keep a
shelter over them, how {f/'
to clothe them? She
could not leave them for
.the stage, even if after twelve years there was a place for
her upon its boards. She must find work that would enable
her to take a home for them, to keep them in the shadow of
her protecting love.
The old Lubin studio was still located in Philadelphia.
Jn happier days her husband had been a director there, and
now Mary turned to men who had known him there for help.
They gave her her first picture work.
Ten years of ceaseless, weary struggle. Little by little
Mary Carr and her children gained a foothold in the studios,
in Philadelphia only at first, but later in New York. Who
can ever know what those years meant to her, the search for
work, the constant worry over those seven dependent on
her. This was Mary Carr, the woman at bay, her back
against the wall, fighting with savage persistence for her
children, holding the wolf aloof by the sheer strength of
her will. No wonder the mother in "Over the Hill" carried
the mark of absolute truth in her portrayal.
But now the stress has a- little abated. Mary Carr has
brought her brood on what seemed an endless journey
through a dark and dangerous forest. Now they have
emerged into the sunlit meadows, and Mary can sit a little
apart and look at them as though for the first time.
Incredible! These bright and splendid youngsters are
not the babies she has known and brooded over. Eager,
restless, bursting with life and the sense of their own power,
they are where she was twenty-five years ago, snatching at
life with the greedy egotism of youth. They press around
her, beautiful with the hard strength of youth, almost over-
whelming, no longer the young helpless things which she
has moulded, but definite, demanding individuals each.
Mary Carr sits in a low rocking chair beside the window.
Her face is calm and sweet, her blue eyes are very wise, her
mouth has a little humorous twist.
Q."If you had your life to live over
again, would you have it different, a
little easier, a little brighter?"
Mary Carr answered, —
"Not a single thing would I change
Mary Carr, Philosopher
"My children love me," she says, "but I am an abstrac-
tion to them, not an individual. It is the eternal struggle of
youth and age. They cannot understand that 'mother' has
a life, a mind, an individuality apart from them. They
think of me as they might of some revered image with a
benignant face, and it disturbs them to have their uncon-
scious concept destroyed. They are hurt because I wish
friends of my own, and because I do not wish to give them
all my thought — they think I do not love them. They are
critical of me, my dress, my manners, my whole life, with a
tender sensitive pride, just as I was critical of my parents
at their age — as their children will be critical of them. They
would like to see me sit with idle hands, while they took
care of me, repaying with their reverent love and devotion
what I have done for them.
"And because they are too young to understand, they
suffer.
"And they cannot see how my heart goes out to them,
and how I would yield to them if I could. But I cannot,
without destroying myself. I was a human being, an indi-
vidual, before I was a mother— I shall always be a mother,
but I am individual too
This is Mary Carr, the
individualist, the rebel.
But how proud she is
of those children, how
ambitious for their fu-
ture! All of them are
handsome and with the
traditions of the stage on
both sides of the house
they have all naturally
expected to be actors,
and all have worked on
the screen, but they have other gifts as well. Luella, the
eldest, draws quite well, and John, the redhaired clever
boy who comes next, is both poet and artist. Then comes
Stephen, the wit of the family, who has never had a music
lesson, but who improvises soulfully. Then Thomas,, dear,
lucky, plucky youngster, who never waits for things to
turn up, but goes out and digs for them, and who shows
a marked aptitude for business. Then Rosemary, the
beauty; and last lovely Maybeth, golden-voiced, talented
in music, and already in demand for picture roles which
require the peculiar spiritual quality which distinguishes
her beauty.
"If you had your life to live over again, would you have
it different, a little easier, a little brighter?"
Mary Carr's blue eyes flash, her head goes up proudly,
as she answers the question:
"Not a single thing would I change iiTTt It has been
hard and bitter, and I have often been weary, but it has
been worth it. Life has been wonderful and beautiful to
me, full of rich rewards. I have seen too many pros-
perous, happy women, sunk into narrow, futile, dull lives
to wish to exchange with any of them. If suffering was
the price for what I have gained, individuality, tolerance
and broadness of view, capacity to enjoy life, then I am
glad to have paid it. How could I regret any life that has
brought to me my children?"
This is Mary Carr, the philosopher, the incorrigible lover
of life. And as Mary Carr proudly surveys her babies
we would like to have her know that the fans are proud
of her.
Here's good luck to you, Luella, John, Stephen, Thomas,
Rosemary and Maybeth! And to you, Mary Carr, our
love.
East Coast
By Billie Dove
I HAVE looked over the editor's
shoulder and seen that Miss Logan
has explained that she is not a
writer, but that she will do her
best to tell what has happened in Holly-
wood this last month. That goes double,
so without any preliminary apologies, I'll
tear pages from my notebook— I'm very
proud of the notebook; I felt_like a real
reporter while carrying it — and present
them to you, realizing that the regular
conductor of these columns could have
done a better job, and, as the old-fash-
ioned after-dinner speakers say, "crav-
ing your indulgence."
A Bright Husband
Trying to get accustomed to the posi-
tion of interviewer instead of the one to
be interviewed, I wandered over to the
set on which my director-husband Irvin
Willat was working. Miss Agnes Ayres,
who is playing in the picture, most cour-
teously introduced us.
"I would like a few words for pub-
lication from you, Mr. Willat," I be-
gan rather haughtily.
"Well, what will I say?" he asked.
"Something bright, if you please."
"Lights!" said he, as he turned to his
electricians and went on with his scene.
This was much too bright for me.
I
Cullen's "Personal Appearance"
met Cullen Landis walking on Fifth Avenue a few days
ago. I had not seen him since Yuma, Arizona, where I
was working on location and at which town the train
Who wouldn't be a reporter? Billie doesn't look over-
worked nor dissatisfied. And Valentino is wearing his
million dollar smile as well as a new slave bracelet.
on which he was traveling stopped for a
short time. In this profession, one never
knows where one will meet a fellow-
player. Our conversation led to the pic-
ture we had made together about two
years ago. We were in Sacramento,
California, for a few days during which
time a picture of Cullen's played at
one of the leading theatres. One morn-
ing, the manager asked both Cullen and
me to make an appearance after the
film 'on that night, We told him that
we would be glad to and then hustled
off to do our day's work. It was not
until dinner time that we again thought
of it and realized that we had planned
to do nothing. We knew how hard and
formal it was to just come out on the
stage and make a "speech," and decided
that we should do something different.
The company offered no assistance but
laughingly told us that they would all
be there, which made it much harder
for us. Finally, with . still nothing
planned, we left the hotel and on our
way out, saw Cullen's little red road-
ster, which he had built himself stand-
ing near the curve. It was really no
bigger than a minute, and had it been
standing on the sidewalk, I do not think
anyone would have noticed the differ-
ence. It gave us an idea, though, and with our hearts
much lighter, hurried to the theatre to speak with the stage
manager. — The curtains were drawn after the picture. The
stage manager appeared. With a rather, hesitant . voice, he
started to apologize for the players who did not keep their
promise to make the appearance. (Continued on page 74)
You'd think Billie Dove is making peace between enemies,
but Antonio Moreno used to work as an extra on the same
lot with Maurice Costello, when, that grand' old actor was
a star. Now they are working in the same picture together.
Billie Dove, called "the most beau-
tiful girl in the world" by Florenz
Ziegfeld, took the job of "star re-
porter" for SCREENLAND this
month, to "cover" the east coast.
Her gentle, uncritical personality
radiates from her budget of items.
By the way, don't fail to see her
in Wanderer of the Wasteland, the
gorgeous picture in natural colors,
about which Miss Dove wrote for
August SCREENLAND.
72
West Coast
By Jacqueline Logan
,f~^\ 0 you want me to tell you all
5 about the happenings in Holly-
wood this month! Well. I
never attempted to write, but it
is never difficult to talk, so let's just
-magine that we are together and I am
■eUing you the things I can remember.
First, where will we go to be com-
fortable? I know! Down to the
)each. Everybody goes to the beach
vhen they can find time away from
the studio. So just imagine that we
ire sprawled out on the California
^ands (everybody's sprawls out com-
fortably beside the Pacific) and we
will have a nice talk about folks and
doings in Hollywood and around the
studios.
Sitting right over there under the
big beach umbrella are Shirley Mason
and Dorothy MacKail!. Don't they look
comfy? Oh. yes, that is a pretty bath-
ing suit Shirley has on. She is so tiny
and demure; she is just lovable. And
blue looks well on her, doesn't it?
And there is Bill Hart just wading
into the water. See him raise his foot?
The water is slightly cold today. Look
at Malcolm MacGregor dive in without
hesitating. He is a splendid swimmer.
He was a champion at Yale and. he cer-
tainly knows how to shoot through the water.
4 Gracious, the studios must be deserted today. There are
i lot of actors and actresses seated around us. There is
I era Reynolds at the hot dog stand. Right beside her is
Virginia Valli. I wonder if they know hot dogs are-
fattening?
Her director sent Eleanor Board man back to nature to get
fat — or a least a little less thin — and she took Dolly, the
faithful brown coin along. Success is reported and art is
saved.
And look! Here comes Pat O'Malley
and Conway Tearle. Both of them look
nice in bathing suits, don't they? Pat
- has big muscles, which he must just hate
to show!
But we didn"t come down to the beach
to watch all the people swimming and
lounging, did we? I was going to tell
you what had happened in Hollywood
this month. Well, now, let's see:
Jacqueline Logan has a sense of
humor that makes her budget of
west coast gossip mighty sprightly
reading. Jackie says she's all set
to apply for a newspaper job
when she is "through" with pic-
tures— which, judging by Jackie's
popularity at the present time, is
not likely to be in the near future
at any rate.
calfe. Gil Pratt
The "Irregulars'' Whoop it up
f course, you've heard a great deal
about "The Regulars'', a club
formed here in Hollywood with motion
picture leading ladies as members?
Well, trust the men to be just as clubby
as the opposite sex. A group of leading
men have just joined hands and formed
"The Irregulars''. They meet every
week at the home of one of the mem-
bers. Last week they gathered at the
home of Raymond McKee. who really
formed the club. What do they do?
Why, my dear, they are all musicians,
and good ones, too. Raymond plays
every instrument, but when the Irregu-
lars get together, he confines himself to
a cornet. Conway Tearle, Earl Met-
(he is a director, perhaps you knowr),
Creighton Hale and John Miljan are the other members
of the club. All of them play musical instruments of one
kind or another, and they have quite an orchestra.
Raymond McKee said to me just the other day: "We
are not so bad . . . but not so {Continued on page 75)
The Fox artist had a nice little job of bareback writing on
the back of twefcee girls in a cabaret scene. No, dearie,
the torn panties aren't part of the costume — but wait, some-
thing a little snappier is!
Marjorie Daw enjoys SCREENLAND in faraway London, where she
has been working in The Passionate Adventure, an English picture to
he released soon by Selznick.
(Continued from page 72) Suddenly, a loud "honk honk"
drowned his voice ; two headlights gleamed from one of the
back ''Exits" and amidst much laughter from the audience,
down the aisle to the stage we drove the little red racer.
The rest then, of course, was easy.
eluding midnight and early morning rides until
the company was in a fairly tired condition. The
day following an all night session Harrison
Ford was stealing a few minutes sleep on the
set. When it was time for him to go to work, the
assistant director shook him by the arm. Har-
rison opened one eye, jumped up and ex-
claimed, "What? Home already?"
Dagmar Busy
/\ lthough Dagmar Gadowsky's father,
the great pianist, and family left her
alone in New York for a whole year while
they toured Europe, Dagmar finds no spare
time. At present, she is working in two pic-
tures, "The Story Without A Name" and
"The Price Of A Party." Not satisfied with
this, a few days ago, the ambitious little Dag-
mar left the studio hurriedly and made a per- I
sonal appearance in Passaic, New Jersey. It
was her first speech and in her own words, she j
was "panicky." I really think, though, that }
that was an exaggeration, because, as I know I
Dagmar, anything she attempts, is usually a
success, and I am sure her appearance and little talk were
greatly appreciated and applauded. Later, on her return to
the City, Texas Guinan gave a (Continued on page 76)
The Bewildered Captain
HP he most bewildered expression I have ever seen was on
the face of the Captain of a yacht which was being
used in a picture recently. The ship with its crew was
rented for the week. The Captain, not understanding the
many orders to "come on" and "go back again," conscien-
tiously though confusedly obeyed all instructions but was
finally absolutely dumfounded as through the megaphone
of the assistant director was bellowed from the shore, "Go
up-stage farther, Captain, up-stage."
Honest Boy, Lane
Lupino Lane, the likable English comedian, has deserted
California and his two reelers for the time being and
is "cutting up" in the Follies. Between the acts, at re-
hearsals, before the show opened, he kept the company
amused by causing coins which he had gathered from the vari-
ous members, to disappear. (Yes, I might mention, that
he returned them.)
Happy Warners
H. B. Warner and his wife planned and planned — then
they built and built. Now they are enjoying both the
gorgeous new house in Great Neck, Long Island and the
vacation Mr. Warner is taking. Theirs is one of the many
happy film marriages. They have three of the sweetest
children in the world. Ask H. B. — he'll tell you too.
Ramon Navarro, so many, times unfairly called one of
Rudolph Valentino's successors, stopped in New York for
a few days on his way to Rome, where he is to replace
George Walsh in the picture, ' Ben Hur."
One on Harrison
Bad weather caused several changes in the original schedule
of the "Story Without a Name" company working on
location, and there were many trips to and from New York, in-
There was Hope for Governor Smith, at least, and it is
not Miss Hampton's fault that he won't he the next president.
74
(Continued from page 73) good . . . when
we get together to play. My dog, Bozo, often
interrupts us by howling as we play. Neigh-
bors complain once in a while, and once the
policeman on our beat dropped in to see if he
could be of any assistance. Other than these
minor troubles, we proceed with our practices
unmolested."
Lots of the younger folk in motion pictures,
and I include myself, hope for an opportunity
to dance to the music of The Irregulars.
Wouldn't that be thrilling?
Can you imagine a feminine Jackie Coogan?
It is hard to do, isn't it? But out at the
Metro-Goldwyn-Mayer studio they think they
have uncovered just such a possibility in little
Jane Hughes. She is very good, too. I saw
her work in Elinor Glyn's His Hour and you
can't help loving her. Little Jane departed for
the East when she finished this picture. I
understand she comes into some money back
there this summer. When she gets it, she will
return to Hollywood and resume her picture
career. I wish her s'uccess. Despite her age, four and one
half years, she is a perfect-mannered little lady and all of
us who know her, love Jane dearly.
Those famous $100,000 legs, insured for that sum by Mack
Sennett. The ozvner — oh, Cecille Evans a gay little bathing
beauty.
Charles Ray is said to be entirely happy, back at
Ince and doing Dynamite Smith. Good luck, Charlie.'
Walter Hiers' Good Luck
"Everybody's friend .... Walter Hiers ... has at
last won the success he is entitled to. He is at the
head of his own company. Isn't that lovely? He has
already started making the Walter Hiers Comedies. Holly-
wood gave him a big congratulations party just before he
started to work. Mrs. Hiers was there, just beaming over
her hubby's success. We all had a peachy time, too.
Lew Cody was there and I danced with him. He is a
marvelous dancer . , . the best, I believe, -I have ever
danced with, in Hollywood, at any rate. Lew is very clever
with his tongue, too. He was toastmaster at the dinner
and believe me. everybody was "razzed" mercilessly by the
quick-thinking Lew.
Madge Bellamy looked beautiful. I think Madge is
perfectly lovely anway. She had on an evening gown
that was a combination of the alluring lines of 1924, added
to which were the winsome old-fashioned touches of 1850.
She wore her lovely hair piled high on top of her head.
One thing I noticed particularly, and have seen at other
recent Hollywood affairs, was the lack of jewels worn by
the stars and leading ladies present. Jewelry seems to
have gone out, as a fad. Claire Windsor, with pearls, wears
jewelry as well as any person I know, but even Claire is
making little use of them.
Of course, Walter was the life of the party. He always
.is. Jolly, good-natured and witty, Walter is ever ready
with a sally or a cheerful quip.
Huntly Gordon Has Sprained Back
Poor, poor Huntly Gordon is suffering pains from a
severely sprained back. I am not sure whether the joke
is on Huntly or on Myrtle Steadman. Maybe I'd better
explain from the beginning. Huntly and Myrtle were tak-
ing part in a picture at Universal titled Wine. One scene
necessitated Huntly picking Myrtle up from the floor and
laying her on a couch. But bless your heart, thati was
quite a job. Myrtle isn't at all stout ... in fact, she
is beautifully formed ... but she weighs about one
hundred and thirty pounds. Huntly went through the scene
all right, but the next day he was suffering agonies from
strained back muscles. He was nearly forced to resort to
a cane or crutch for a few days. (Continued on page 77)
75
Rosemary Davies, sister of Marion, has
been engaged for four starring features
by Frank Donovan. The first will be a
modernized version of Sir Bulwyer
Lytton's Alice.
(Continued from page 74) party in her honor
at the "Elsey Club." From all reports there
were "hundreds of guests." Evidently, the pro-
ducers and friends of Dagmar have no inten-
tion of giving her any time to be lonesome.
Alice Terry Under New Direction
JP or the first time since they have been
married, Alice Terry is going to make
a picture with other than the direction of
Rex Ingram. Alice was in New York with
Rex but returned almost immediately to
California to play in "The Great Divide.'
Mr. Ingram will leave in several weeks for
Algiers where he has bought a chateau and
where he and Alice will live, his wife join-
ing him on the completion of her picture.
Imogene Wilson Out
g efore Mary Pickford sailed for Europe,
Imogene Wilson, whom she had seen in
the Ziegfeld Follies, signed a contract to go
to Hollywood with Miss Pickford on her re-
turn from abroad. When the unfortunate
affair with Frank Tinney was published in
the papers, Miss Pickford's representative
and Imogene, by mutual agreement, cancelled
the contract. Miss Wilson, however, says
that she is still going to Hollywood to ap-
pear in pictures, even if she has to change
her name.
76
La nance to Make Pictures
TO hilip La Plante, who has come to the attention of
the public through the automobile accident in which
pretty Helen Jessmer was injured, is now interested in pic-
tures. He is backing a production called Bom Rich, in
which Bert Lytell, Claire Windsor, Cullen Landis, Doris
Kenyon and Barney Sherry are playing.
ell, I tell you," said Louis Wolheim, at the end of
" ^ an argument on the profits of experiences,' "Twenty
years ago, if a man said to me? 'You're a blankety blank-
blank-blank!' I would up an smash 'im in the eye. But
now," he said, as he rubbed his broken nose, "if a man
calls me a blankety blank-blank-blank, I merely answer,
'Maybe you're right, maybe you're right.' "
Gloria Upholds Bobbed Hair Too
Although Gloria Swanson loves to comb out the wig
she is wearing in her latest picture and is thrilled at
the feel of the long silken hair over her shoulders, she told
me a few days ago that her own bobbed hair is by far the
most comfortable. "It is so much easier to dress. Women
with long hair never seem to put it up becomingly. I have
always kept mine rather short and have added switches or
braids to complete the coiffure." Gloria looks very beautiful
in her role of a Balkan Princess and I am looking forward,
as are many others, to the completion of the picture.
Engaged? Matt Moore and Patsy Ruth Miller are said to
have developed an awful crash on each other on the F.li.O.
lot, while making Fools in the Dark. Maybe they will next
co-star in a serio-comic drama, entitled, A Leap in the Dark.
SCREENLANJD
77
QWest Coast — from page 75.
Italian Sheiks the Rage
Wouldn't it be terrible if we should
lose all of our Italian screen lovers
at one time? The disaster is a possibility,
I understand. I know that Rudolph
Valentino, Naldo Morelli and, George
Beban have all be invited to Rome, Italy,
to attend the opening of Europe's biggest
theater, which is now being constructed
in that city. Naldo, I hear, is a close
friend of the architect who designed the
theater and may be the master of cere-
monies. Goodness, but the screen would
oe quiet if Italy shoul8 manage to lure
these three away, even if only tempo-
rarily.
A Leap Year Club
(f~^ oodness, but thoughts of matrimony
seem to have taken Hollywood and
the movie colony by storm. Just the
other day someone was telling me that
five girls have formed a Leap Year Club.
The five, I believe, are Marian Nixon,
Ruth Clifford, Ann May, Dorothy Wood
and Alberta Vaughn. They met one night
at Marian's house, and the next thing
we knew, the newspapers told us about
their new Leap Year Club.
It is a jolly little club, at that. Each
member put in one hundred dollars, five
hundred in all. The first girl of the
group to marry in 1924 will receive the
entire sum as a wedding gift. If, fifteen
days before Christmas, all of them are
still single, the money will be devoted
to some charitable use. Isn't that a nice
idea?
Marian told me about it yesterday.
Within a week following publication of
the stories about the club, she received
forty-one proposals of marriage from un-
known people who resorted to the mails
to present their sentiments.
I was so sorry to hear about Wallace
MacDonald's and Doris May's (she is
Mrs. McDonald, you know) sad mis-
fortune. Mrs. MacDonald was to be-
come a mother in x\ugust, you know,
and both of them were so happy, planning
for its coming and future. Wally's
mother came all the way from Canada
to be present. Then something hap-
pened and the baby was born prematurely.
Of course, it didn't live, but Mrs. Mac-
Donald is allright. Doris and Wally both
bore up remarkably well under the blow,
but she confided to me how very sad
she really is.
Oh, did I tell you about Charlie Ray?
I have been playing opposite him in his
new pictures for Thomas H. Ince, you
know. The first one is titled "Smith".
Charlie is very glad to get back to the
Ince studio, he told me. He says that
the worries of producing were too many
for him. Now he is satisfied to remain
a star and let someone else do the pro-
ducing and releasing.
He is the same old Charlie. . . good-
natured and always ready to lend a help-
ing hand to ambitious beginners. I enjoy
very much appearing in pictures with him.
. . . in fact, I can't say that anyone
has been a more congenial working part-
ner.
evening, and got chatting. Miss Faire
said she wished she knew who it was had
helped her win that contest. She said she
was sure he had some unknown advocate.
"Well, here she is!" answered Mabel.
"I know you had talent, when I saw that-
little test of you run off at Mr. Blank's
home."
And now Virginia is wondering what on
earth she can ever do for Miss Scott.
"Wjy e kept a grocery store and I gave
" v music lessons. Usually the grocery
store was more remunerative, and we
could always live off the groceries he
didn't sell, anyway."
Ramon Novarro gives credit to a
younger brother for all the help in the
world when he first came to Hollywood,
an unknown boy, from Mexico, seeking
his fortune. The younger boy started a "
grocery store, and Ramon worked with
him, too, when he wasn't ushering in a
theater or giving music or dancing lessons.
Now Ramon is aiding in supporting his
big family of brothers and sisters.
Norman Kerry aided an unknown
young man to get a foothold in pictures.
The young man is well on his way, but
he seems to have forgotten his benefac-
tor. Kerry gave the boy clothes, loaned
him his machine, even gave him money
for food and entertained him at his home.
Kerry was very patient. He never
wanted the money back, he says, nor any-
thing else, except a decent amount of
recognition.
"But I thought it was about the limit,"
Norman told some friends, "when, the
Q\Tke Lion and the Motise — from
things. Her na me is Ella Wickersham.
She dwells in Hollywood, and she and
Carrol were schoolmates together. Ella
had intended becoming a dancer, too, but
when misfortune overtook her, she brave-
ly made up her mind to hide her own
deep grief and trouble, and to aid others
all she could. Carrol and Ella used to
have long talks, in which Ella encouraged
Carrol to hope that she could some day
be a great dancer or a great actress. Car-
rol and Ella's brother William were
dancing partners doing exhibition work,
and Carrol was studying dancing with
Ruth St. Denis at the same time. Some-
times Ella aided Carrol in making Car-
rol's dancing costumes, for Ella could sit
and sew even though she could not walk.
When Carrol got a chance to play a
nice bit in Intolerance, it was Ella who
congratulated her with shining eyes; it
was Ella who told her, "You'll be great
some day, Carrol!"
So on the brief occasions of late when
Carrol has come to Hollywood, it is her
brave, beautiful schoolmate she looks up
first -of all.
Ofttimes it is the stars themselves who
are great helpers of others stars. Mary
Pickford it was who took Dorothy and
Lillian Gish to see D. W. Griffith.
Mr. Griffith evidently at once sensed
that the girls had screen personality and
talent. For he made them act. Yes, in-
deed. Let Dorothy tell it in her own
words:
"We all went up into the property room
to see the interesting things there, and
suddenly Mr. Griffith grabbed a knife
page 23.
and chased us about. We were scared to
death! I think now that he wanted to
see us register fear. He got his wish.''
Mabel Normand helped an unhappy
girl, who was ill and out of work, once
on a time. Miss Normand gave the girl
clothes and got her a job But once the
girl had risen, she seemed to have forgot-
ten all about Miss Normand. She was
the cause of the greatest unhappiness in
Miss Normand 's life. Her name is well
known now.
A beauty contest was being held in
New York by a big magazine. The
name of a pretty young girl named Vir-
ginia Brown was prominently mentioned
for one of the first prizes. But the owner,
and publisher of the magazine was a
great admirer of another girl. He held
the contest down at his country place in
Long Island. Mabel Julienne Scott was
invited as one of the judges of the
contest.
Miss Scott favored Virginia Brown.
The magazine owner didn't like it at all.
He told her he had invited her down
there as his guest, and he expected her to
vote as he wanted her to. She held her
ground, and persuaded others to vote
with her. Due to her efforts Virginia
Brown, whom we now know as Virginia
Brown Faire, won a prize which put her
in pictures.
Miss Faire has always been grateful to
her until recently unknown friend. She
knew that some one had helped her, but
she didn't know who it was.
The girls met at a party, the other
78
other night, my car being in the shop, and
it being a rainy, nasty evening, I was
standing at a corner waiting for a street-
car, and I saw my erstwhile friend dash
by in his machine! He looked at me,
gave me an airy hello, — and went right
along, — never even offered me a lift!"
Kerry is one of the kindest hearted,
most generous actors in the business, and
many are the beginners to whom he has
lent a helping hand.
A Writer's Mouse
/T~\ne of the greatest and tenderest ro-
mances of all times went on unob-
trusively in a little apartment in Holly-
wood. Maybe you have seen Abraham
Lincoln, and if so you remember the fine
work of Nell Craig. Nell Craig's hus-
band is Fred Wright. He was one of the
top-notch directors at Vitagraph when
Nell met him. Nell herself was an extra
girl. Mr Wright fell in love with her.
He was older than Nell, and Neir rather
respected than loved him. Certainly she
was hugely nattered. The pair were mar-
ried and Nell became one of the most de-
voted of wives. Then times became hard
in the picture business, and Wright was
out of work. He took up writing, be-
came so absorbed in it that he refused to
go back to directing even when he had a
chance.
Meanwhile Nell Craig went forth into
the world to work. She had faith in her
husband, and she kept the home together
while he clattered away early and late at
his typewriter, working on a novel. Nell
faced the world three long years, always
believing her husband would win. And he
has! His novel, "Pandora La Croix," was
no sooner on the bookstands than it was
at once seized upon by the publishers, and
was grabbed off by a picture company.
Mr. Wright, — who writes under the name
of Gene Wright, — will tell you that his
success was due to his wife.
Often that young wife, out in the
world, while her middle-aged husband
toiled at home, had the chance to go the
way of the world; often she was offered
the easiest way to success; often fascinat-
ing men of the film world made advances
to her. But she kept the even and deeply
sincere tenor of her way. And there's
no happier home in Hollywood these days
than that same little apartment. That
apartment, though, is going to be changed
soon for a beautiful little home in the
Hollywood Hills, owned by Nell Craig
and Gene Wright.
Priscilla and Her Mother
"|[f you ask Priscilla Dean who helped
her she will answer promptly: "My
mother, Mary Dean!" Priscilla's mother
it was who trudged from studio to studio,
trying to get her pretty and brilliant
young daughter into the films. And Pris-
cilla's mother gave up her own stage
career to stay at home and work for her
daughter, cook and sew for her, or go
forth to do battle for the girl she had so
much faith in. And Priscilla landed fairly
with both pretty feet well up on the lad-
der of fame.
Then Priscilla married Wheeler Oak-
man, and Priscilla's mother went away.
She and Wheeler did not get on well, she
said. The saddest experience in Priscilla's
life came through this rift. She cannot
talk of it. Now, however, I hear that
time has soothed this estrangement, as it
soothes all troubles in this troubled life,
and Mrs. Dean once more freely visits
her daughter, with better feeling all
afound.
Alice Calhoun, Jacqueline Logan, and
Anita Stewart, too, will tell you they owe
everything to their mothers. All these
mothers, when their daughters were
starting their careers, cheerfully sacri-
ficed home comfort, all luxuries, even
some necessities, that their daughters
might be near their work and might be
always nicely dressed.
The Duncan Sisters, Rosetta and Viv-
ian, who are making such a great hit in
Chicago at present in "Topsy and Eva,"
are to become film stars soon, if their
present plans are carried out.
Their fondest memory is of a sweet-
faced matron of a summer nursery at
Manhattan Beach, California, established
for orphans without much money. Their
own mother died when, they were little
children, and their father put them into
this orphanage at the beach. They left it
and went on the stage, but no matter
what their success, they never forgot Mrs.
Turnbull. As soon as they arrived in Los
Angeles, down they popped to the beach
to see their foster-mother. Even after
royalty had greeted and accepted them
abroad, they didn't forget her. And one
of the big sorrows of their lives came
when they received word from their
father, during their last stay in the east,
that Mother Turnbull had been killed in
an automobile accident.
The Red Eat
|J" eat rice Joy admits that it was a
^ pretty red hat loaned her by a model
and the admiration for herself plus the
hat of a kindly faced old doorman down
at the Goldwyn Studios, when they were
the Ince Studios, at Culver City, which
gave her her first entrance into the pic-
ture world as represented by Thomas H.
Ince, and it was with Ince she got her
first big parts.
Leatrice had been earning fifty cents an
hour — sometimes- — as a model in an art
school in Los Angeles. She walked to save
carfare to and from the school. One day
she was talking to some of 'the other mo-
dels about working in pictures. She said
she wanted to call at the Ince Studios,
but didn't have a nice hat. One of the
models told Leatrice she might borrow a
red hat which was particularly becoming
to Leatrice and which she had often ad-
mired. Leatrice borrowed it, spent the
necessary carfare to go to- Culver City,
walked up to the gate man, and said she
had an appointment inside. The gate man
didn't seem to believe her story; but he
looked at 'the red hat, and at the eager
face beneath it, — and he relented.
"Gee, you're certainly purty enough to
get in anywhere!" said the gateman, and
smilingly smuggled her in.
Of course Leatrice had done stage
work and picture work before that, how-
ever.
Jackie Saunders says that she got her
start in pictures through Mabel Normand",
whose record of kindly deeds seems never-
ending. Though Mabel herself would be
the first to deprecate any unselfish pur-
poses in her own acts.
"Oh, don't be silly! Be yourself!"
Mabel would say, if you tried to thank
her.
Jackie Saunders went to the old Bio-
graph Studios where Mabel was working.
Jackie had long curls of a beautiful gold-
en color. Mabel ran over to her im-
pulsively, exclaiming: "Say, kid you ought
to make good! You're a pretty kid!
Here," she called out to one of the direc-
tors, "Here's a beautiful girl! Don't
overlook her!" Mabel helped Jackie to
make up for a test, and Jackie got work
almost at once.
goodlooking boy of twenty stood
watching Zasu Pitts at work in one
of the studios. King Vidor was direct-
ing. The boy had done a little extra work
in pictures. Zasu glanced over at the
boy. He was looking at the boy. He
was looking at her. She glanced again.
When the scene was over she asked Vidor
who the boy was.
"Oh, an awfully nice boy with a lot of
talent," said the director. "Want to
meet him?"
That was in the day before stars were
as formal as they are now.
"Sure!" said Zasu. He played a small
part in that picture, and did it so well
that he was engaged as her leading man
for the next picture.
And that was where the romance be-
tween Tom and Zasu began. Miss Pitts
is considered a star these days, and it is
said she is going to be one of the first
luminaries of the screen when Greed di-
rected by Von Stroheim comes out. Tom
Gallery is progressing nicely, and never
misses an opportunity to say that he owes
it all to his clever wife.
SCEEEHLAN©
(\ House of Broken Dreams — from
whose dreams were yet to be broken com-
pletely. Thus do movie values fluctuate
jn Hollywood.
Another girl, in a wild stagger for
oblivion, tried to take veronal one night
on the warped balcony. Some said a
lack of work — but the house mother took
the poison away from her — and she re-
turned east to gather the remnants of
a broken dream.
The picture bacillus is never complete-
ly cured. One girl made a moderate
success in small parts on the eastern
stage. And then, of course, she tried
her luck at pictures. She would get a
day's work now and then — just enough
to keep her hopeful — and the weekly pit-
tance for board almost paid. The months,
like wounded soldiers, passed slowly by.
Her Wardrobe grew shabby and her spirit
grew shabby with it. She borrowed
money which she must have known she
could never pay back. Later she dodged
people on the street to whom she owed
the money. Finally, she was unable to
pay even her board at the Club — being
months in arrears. Her moods became
as dark as a storm-clouded sky. But
the spell of the pictures was upon her
— and even had an honest person told
her she had no chance, she would not
have listened. The picture ego is mightier
than words. This girl has a genuine
flair for writing, but being in a shallow
atmosphere, she had not the strength
to develop it. It were (better to Ije a
Swanson than a Willa Cather. She had
brains, could talk well, even brilliantly
at times, and was a decided modernist.
But earning a living at anything but
pictures in Hollywood was not to be
considered. This girl may have written
in granite but she preferred to scribble
in sand. The waves, in irony, washed
away her ineffectual scribbling and she
went out with the tide.
The Beauty Contest Winner
A nother girl was as beautiful as the
dawn on a California mountain.
Her eyes held mysteries that men have
tried to solve — and failed — but that is
nobody's business. She won a beauty
contest put on by a magazine and a
producer. The producer was to use the
girl for some time at one hundred dol-
lars per week and the magazine was to
pay her expenses to Hollywood. The
magazine kept faith to the letter — even
if it did overlook what Browning said:
" 'Tis an awkward thing to play with
souls,
And trouble enough to save one's
own."
But producers always seem to be ill
or out of town ,or in conference or
something when so many high hopes de-
page 25.
pend upon them. This producer was ill
for a while. The picture did not get
under way. A year after the contest
ended, the magazine paid the girl's fare
to Hollywood and introduced her to the
studios and even obtained work for her
at the most dreaded of things in the
movies, "atmosphere"— ^filling in the pic-
ture. She was even given a chance to
write her own publicity and sign it —
■the magazine publishing her .story of
"success." The producer paid the girl's
board at the Studio Club for a month.
Then everything was over and' she was
left to shift for herself. The moss has
long grown over her broken and golden
dream. Any human's destiny is cruel
enough — one should not play with it, The
girl is still an extra.
But on they come — the lovely pilgrims
to the land of shadows.
One of them walked from Seattle to
Hollywood with the hope of flickering
awhile. She arrived, penniless, and sick,
as only a girl can be who has walked
two thousand miles, and who had been
married three times before she was nine-
teen years old. She was as sweet as
sugar cane, and married thjree times,
paradoxical as it may seem, she looked
to be as perishable and frail as beautiful
Chinaware. She had no physical sta-
mina at all, though it does not require
an Anatole France to explain tie reason.
She just could not stand the gaff. A
child in mentality, with no innate abili-
ty, she had to depend on personal appeal
to get by at all. Being forced to give
up making the rounds of the studios,,
she was given work in the cutting room.
It was damp, unhealthful work, with
long hours, and she was forced to give
it up. She then solicited subscriptions
for a newspaper. Some of the girls
tried to induce her to return to her
mother, but that parent had married a
second time, and the girl's stepfather
had an unholy lust for her. She was
alone in the world, with neither ability
nor the physical strength to fight even
the weakest battles. But if courage was
the password, she would get into the
shifting movie hall of fame as a Pick-
ford-Negri. She married a fourth time.
Frail atom floating in a sea of atoms —
she seems to like men.
A girl friend of mine often heard her
sobbing in the night. They were soul-
breaking sobs that shattered her frail
body. She finally wenjt away and was
heard of no more.
Ah, destiny, ruler of vagabonds and
kings — is there no mercy — but I must
step and choke back the sob in my heart
— for I am afraid the Pseudo Younger
Intellectuals will get after me — for I
live life — and I must not be sentimental.
Sentimentality is merely sentiment that
has boiled over the fire of life too long.
Damn the younger intellectuals — My
heart aches for this bruised traveller
with the broken dream in her head.
I have never been one to quarrel with
the morals of Hollywood. I quarrel with
its heartless mediocrity. Unless a spirit-
ual flower be of terrible strength it can-
not grow in Hollywood.
If a girl wishes to gamble with fate
with the hope of winning out, she should
at least be told that she has one chance
in three hundred thousand. She should
know that merit in pictures does not
always count.
But then it may be thought that I
paint too dark a picture of the Studio
Club. The girls do not all fail — though
none of them succeed.
Were I a moralist, which, fortunately,
I am not, I could draw a picture of
five girls who once chatted with me in
the reception room of the Club. They
seemed to like me, for I was a penni-
less broker of destiny like themselves,
and I said things that the girl from
the south called "provocative." These
girls debated with me the question
whether it were wiser for a girl to sell
beauty and youth for success when it
was all one had to sell, or to retain
the Ivory soap percentage of purity and
never get anywhere. I kept in the mid-
dle of the road, as a clever man will
who walks with five beauties. But four
of the girls thought it wiser to sell
golden fruit when it was ripe. One girl
decided otherwise — she was the Irish girl
who had the interview with the director.
I am no moralist, and this may, or may
not be, the female psychology of Holly-
wood. I only record a fact.
Somehow it makes me sad to see love
go abegging. And these beautiful girts
are made for love, of the old-fashioned,
dream-drenched kind. They all belong
in cottages; they should be struggling
(shoulder to shoulder with clean boy-
husbands. They should be making dreams
come true, 'instead of watching them
shatter hopelessly in the Hollywood night,
like spent stars.
But what is the answer? They can't
go home. Even if they want to. Every
dollar is spent far in advance of being
earned. Debts yelp at their pretty silk-
clad heels, never letting them alone for
one single day of glad, carefree youth.
One by one they disappear — God knows
where. Eaten up. Devoured by lust
or retrieved by parents, who manage to
scrape together the necessary money for
a railroad ticket. The pity of it is that
so many are orphans — or girls "on their
own" — with no one to salvage their tired
bodies and tarnished souls with railroad
tickets. But — I wish there was some-
thing we could do.
80
(j[ Femininity Plvs — from page 27,
Mayo uses in The Perfect Flapper about
men wanting girls like me for playthings
and queens like Corinne for wives! Be-
lieve you me, if I had long hair I'd be
tempted to try Corinne's line. I want to
get married before I'm twenty-five, and
would you believe it? — I've only had
three proposals this season, and not a one
was what the old-fashioned girl would call
'eligible.' But my hair's boyish-bobbed
and it takes an awful long time to grow
out — oh, say, there's the cutest new cut,
called the mannish bcb, and my dear,
there's hardly a hair left on the female
head! But it's so chic! Well, when I'm
bald, I'll buy a wig just like Corinne
Griffith's hair—"
But I doubt if my flapper friend can
put it over in any such simple fashion.
For Corinne Griffith means more than
long hair. By the way, her hair is really
bobbed, but she's letting it grow and is
able to dress it so that it gives every ap-
pearance of being infinite in its length.
I suspect her of what the sisterhood calls
'side pieces.'
No, Corinne is Femininity Plus.
The knowledge of perfect loveliness
dwells deep .within her, giving every
movement that gracious poise and langour
that have made her a 'different' screen
personality. She has the sort of face
that every woman would cheerfully buy
at the price of brains, and yet she has
brains, too, or enough of them to give the
appearance of having them. It doesn't
really matter which.
In her acting, as in her personal con-
tacts, she gives the appearance of think-
ing. Sometimes I think it is laziness that
restrains her acting so admirably. Then
I forget that criticism in seeing her
thoughts slowly materialize on the screen.
She thought her way through Black
Oxen — scarcely acted a scene of it.
"I'm so glad you think that," she told
me in her rather ugly and very big sit-
ting room at the Plaza Hotel the other
day. "I've wondered if anybody realized
that I was consciously attempting to
make thought rather than facial contor-
tions register. I loathe acting. I would
never have chosen acting as it used to be
conceived; I had rather have remained
in obscurity. Some actresses believe that
if they dress the part and make up for
the part and follow the director's orders,
they are creating the role. I force my-
self to concentrate. I forget Corinne
Griffith. Oh, I know it sounds trite to
say that while I am playing Mary Zat-
tiany I am thinking Mary Zattiany, I
am Mary Zattiany, but it's true. I used
to get that feeling in looking at Sessue
Hayakawa's work. He stood perfectly
still, his face impassive, masklike almost,
and he thought, and slowly the thoughts
drifted out from the screen and entered
our consciousness like spoken words. I
determined to learn that trick."
In that rather ugly hotel room, with
its stiff, hotel-like furniture, there were
quantities of withering flowers — duty-
flowers, they seemed to me; the masses
of blooms that producers tell their secre-
taries to order so that the visitor will
feel adequately welcomed. Great bas-
kets of withering, blackening peonies,
roses curling up discouraged in the New
York heat. But on a little table beside
what looked like an Episcopalian prayer
book but was an engagement book there
was a beautiful little crystal vase with
two crisply fresh orchids, as ephemeral
as butterflies, as poised and gracious as
Corinne herself.. I think there is a real
affinity between Corinne and orchids. She
feels it, is happier when there is an or-
chid in the room — as indeed most women
would be. The new husband had laid
them as a daily offering upon the shining
threshold of honeymoon love.
But Corinne talked little of beauty and
femininity and orchids and honeymoon-
ing. She talked business.
"I'm not happy in pictures. I've been
accused of temperament. Just because
I won't permit ugly, suggestive things in
my pictures certain people believe I am
wilful. I am wilful about what goes out
as a Corinne Griffith production, starring
Corinne Griffith. In making Single
Wives, for instance, out of the remains
of Warner Fabian's Flaming Youth, they
wanted me to beg a doctor to perform an
illegal operation for my sister, to relieve
her of an unwanted child. I refused,
hated even to discuss the thing, refused
to rehearse the business with the actors,
much less to allow it to go out on the
screen. I don't care if it is in the book.
I'm not responsible for the book, but I
am responsible to the public for the
things that go into my picture."
Temperamental, perhaps. But not in
a stormy, impetuous way. Just stub-
bornly determined, sure of herself. And
always poised. Outwardly as soft and
fragile as the orchid in the twinkling crys-
tal vase, but inwardly as indomitable as
Joan of Arc. Isn't that often the way
with feminine women?
Corinne's fragility is largely a matter
of screening. To look upon in the flesh
— to use that handy but unlovely phrase
— Corinne is glowingly healthy and strong.
Very slender and graceful, with small
feet and marvelous ankles. Her skin has
a warm, healthy glow, independent of her
skilful rouging. There is no suggestion
of the lily-like pallor which the screen
creates. Her lips are firm-cut, richly-col-
ored, breaking in easy, frequent smiles over
her perfectly shaped teeth — not tiny pear-
SCKEENLANB
ly teeth, but good substantial tooth-paste
ad teeth, that look as if they bite with
healthy appetite into satisfying foods.
Her hair is brightly brown, marcelled
with an utter lack of that mechanical,
crimped effect that some stars seem to
think indicates careful grooming.
Corinne has less of the "show girl"
effect than almost any star I've met, ex-
cepting always May McAvoy. She seems
to scorn posing. She has not cultivated
ber voice. It still has that negligent ease
of the born Southerner, and is as little
musical as the voices of most southerners,
begging tradition's pardon. She says over
the telephone, which interrupts our talk
constantly, "Yes, this is Miz Morosco."
and she says it unhurriedly, rather than
with a drawl.
She is tired of it all. Tired of never
belonging to herself, of fighting for her
principles, of maintaining her hold, of
straining upward.
"It's the hardest life in the world,"
she said that day on which she had had
not five minutes alone. "I sometimes
think it is like a nightmare I've often
had. I dream that I'm hurrying franti-
cally to catch a train. I pack my suit-
case, watching the clock. Then I have
to pack it all over again because I've put
in the wrong clothes. I cry on the street
corner for a taxi, and no one will heed
me. And I run, the suitcase knocking at
my knees. It is terribly important that
I catch the train. And I never do. I run
and run until I wake up exhausted. That
is the way with the picture business. You
■run and run for years, trying to catch
phantom trains. And at last you wake up,
wet with sweat, to find there was no train
to catch. I've had enough. I love some
phases of the game, but mostly it tires
me dreadfully, and keeps me wondering
what all the mad scramble is about. Eight
years of it ! I used to think when I did
dreadful things for Vitagraph that if I
could get with a big producing company
I would be happy. Then I did and I'm
not. It seems to me now that I want
peace and a home like obscure women
have, with my husband to love and serve,
and a baby or two. Every woman dreams
those dreams, I suppose, and maybe it
sounds like a bid for favorable publicity,
but it «happens to be true. I'd rather
get out now, while my popularity is at
its height, than to find myself coasting
downhill a few years from now, a lonely
woman without husband or children or
friends. It is hard to keep friends in the -
picture business. Professional jealousy.
Changing conditions. Irritated nerves. Xo
I mean it when I say I'm going to quit
and be Mrs. Walter Morosco. And I'm*
selfish enough to hope the public will be
a little sorry and sentimental about it."
Frankly, I will be. Won't you?
21
The hair is held in
"waves" by the crfoss
pieces and allowed to dry
in this position. Mean-
while you can read or
finish dressing.
After moistening' hair with
Spanish Curling liquid, fur-
nished free with every Curl-
ing Cap, place cap over head '
and pull the hair forward
through the rubberized cross
pieces with the fingers.
Marvelous New Curl-
in g Cap Marcelle
Waves Any Hair
Startling new invention makes W >s „,,„„■«
j » „ • 7 7 ' ftp'"' *J is clrv' t,le cap is removec^
marcelling quick ana easy TA^LZ^L^l
you 'ever had in your life.
they will keep it curled through the quantities it will be possible for him to
summer. Tennis, golf, boating make a Price of $2-87 for the entire
swimming and other summer sports °f^' ^ich includes a large sized bottle
, , ° 1,1 ■ . x r °f Spanish Curling Liquid as well as the
always have played havoc with Mar- newiy invented Curling Cap. As this
celles and make it nearly impossible same bottle of Spanish Curling Liquid has
for the average outdoor °irl to keep always sold for $1.87, you can see that
her bob looking as smart as it should. f u *re r.e,ally, getting- the ,Cur,ing Cap
r, . u 1 1 1 r for the ridiculous price of one dollar,
£ut now she can laugh at her former which is just about what it cost to make.
worries, for with McGowan's Curling „„ . .
r> , , . ,„ . , _ 6 bend no money — just mad the coupon
Lap and a bottle of Spanish Curling , , ,
Liquid she can have a fresh Marcelle l0? /,nt ?-ven haJe.t0 ^ for Tthis
i-i , " ividiccnc wonderful curling outfit in advance. Just
every day in less time than it took to sign the coupon and in a few days the
comb her hair when it was long. postman will deliver the Curling Cap and
r . , . , Spanish Curling Liquid to you. Simply
l,urly hairs the thing now pay. him $2.87, plus postage— and then
No matter what style of bob you favor, your Marcelle worries will be at an end.
or even if you wear your hair long, you've ™u don't find it the greatest beauty
got to keep it curly and wavy if you want a^ you ever u.sec* — ^ if doesn't bring you
to be in style. There never was a style the m.ost beautiful of Marcelles just as we
more universally becoming and there promised— if you _ are not satisfied with
never was one more rigidly demanded by McGowan's Curling Cap and Spanish
the arbiters of fashion. Curling Liquid in every way, just return
It makes no difference, either, whether funded^' ^ ^ m0"ey wUI be
you prefer the waves running across your ' /"T^T TT>r\lVT
hair or from front to back. The Curling i«"fl»"J«iaiaa^j<J \J f (JJ\ aBajKijoiijasar
Cap is adjustable either way. When not ■ THE McCOWAN LABORATORIES '-
in use the. Cap may be folded and carried 5 710 w Jackson Blvd., Dept 546, Chicago 5
in your handbag. - Dear Mr McGowan: Please send me your ;
n j . t • . rr 5 hair curling outfit, which includes your"
Head this amazing otter ■ newly invented Curling Cap and a bottle *
Hr ... • 1 , ■ r S °f Spanish Curling-Liquid. I agree to "
you are familiar with the price of -deposit $2.87 (plus postage) with the post :
other curling devices — none of which is to 5 man upon its delivery If I am not satis- 5
be compared with the Curling Cap — you 5 fied with results in every way I will re- 5
would expect this one to cost at least $10 : ^n,n^c0"t,it to you and you are t0 refund E
or $15. In fact, when Mr. McGowan first 5
showed his invention to his friends many ■ Name S
of them advised him to sell it for that S
price because it is easily worth it. But ■ Address «
Mr. McGowan wants every girl and wo- 5 Note: If you expect to be out when the I
man to get the benefit of his great inven- S P°stman calls enclose $3 with your order :
.. C j -j j * i.*u - - and the McGowan Curling Outfit will be I
tion, so he decided to put the price within 3 sent postpaid.
reach of all. By selling in tremendous 3iiiiiiiii&iihiiiiiihhiii(iiiii«iiiiiiiiiii£
HERE'S the greatest beauty
news you've had in many a
day! It makes no difference
whether you wear your hair bobbed or
long — whether it's thick and fluffy or
thin and scraggly — for this great
beauty invention insures a mass of
lovely ringlets, waves and curls all the
time at practically no expense to you
and with only a few minutes' time
every few days.
Like all great inventions, Mc-
Gowan's Curling Cap is very simple.
There is no complicated apparatus.
Nothing to catch in your hair or get
out of order. It is a simple device
that applies the principles of the
curling iron, using a specially pre-
pared, safe and harmless curling fluid
— Spanish Curling Liquid — in the
place of water and heat.
You can see at a glance how the
Curling Cap works. Elastic head
bands hold the six rubberized cross
pieces in place. The1 hair is held in
"v/cves" by the cross pieces until it
C:xz, when the Curling Cap is re-
moved, and you have a beautiful
Marcelle that would cost a dollar or
more at a Beauty Shop and take about
an hour's time.
A timely aid to beauty
There never was a more timely in-
vention than this, when nearly all
girls and young women are wearing
bobbed hair — and wondering how
82
SC1EENLANB
Scientific Face-Powdering
Having spoken at some length of the use of rouge
it is relevant to say a few words
about face powders.
By HELENA RUBINSTEIN
Gossip of the Stars
By Lucille Larrzmer
"Well, I'm getting so that I'm not sur-
prised at anything, any more," said the
Ingenue. "Now that I've learned that
Eric von Stroheim is to direct Mae Mur-
ray. Can you feature that combination?"
"I don't even believe it."
"Yes indeed. Von is going to direct
Mae in The Merry Widow. I can't quite
imagine stark realism connected with Mae
Murray, somehow. But it sounds inter-
esting, anyhow."
"Oh, my dear! Were you at the open-
ing of Three Weeks? No? Well, then,
you missed something. Lew Cody made a
speech introducing the picture, and I'd
rather hear Lew make a speech than eat.
The nerve that boy's got!"
"Well, go on. What did he say?"
The Baby Vamp snickered, then re-
membering her role, laughed silently,
quirking her lips a la Barbara LaMarr.
"He said: 'Mrs. Glynn is a timely writ-
er. First she wrote Three Weeks, then
Six Days, then His Hour, and I fully ex-
pect that her next will be titled Come On,
Kid!' "
"And what did Mrs. Glynn say to
that?" gurgled the Ingenue.
"Oh, she just sat and smiled behind
her glove. You know she thinks Lew is
a very interesting boy."
"Well, so do I," sighed the Ingenue,
who had worshipped at that popular
shrine for almost two weeks now. "I
wish he'd pay some attention to me."
"Write him a letter," advised the
Vamp genially. "He's in a wonderfully
good temper just now.
"Oh, look! There's Pauline Frederick.
Isn't she stunning? You know, Lubitsch
is directing her, and he has only the high-
est praise for Pauline. Ej says she has
distinction, poise and discretion. 'She does
nothing too much,' he declares."
"I've always had a crush on Pauline,"
agreed the Vamp. "I've already seen her
twice in Spring Cleaning at the Playhouse,
where she is appearing in person, and I'm
going to see her again."
"I want to see Gloria Swanson . . .
and that reminds me!" broke in the In-
genue. "You know those three-sheet
posters you see on bill-boards every-
where. 'Imagine! Our Gloria, Man-
handled!'
Marjorie's Marital MixJJp
"There's Virginia Valli. Doesn't she
look adorable with her hair bobbed? She
just cut it recently."
"Oh, no, dear. It's been cut for over
a year, only nobody knew it.
Science has given her attention to this
article of woman's toilet as she has to
other accessories of her dressing table,
and in doing so has dispelled once for all
several superstitions that lingered for
many many years in the minds of the pub-
lic. One of these bugaboos has been that
powders are injurious to the skin. The
other that if the face is to be powdered
at all ,only pure "rice" powder or fioui
should be used for the purpose.
When one considers that dusting pow-
ders of one sort or another have been
used since time immemorial on the bodies
of children from earliest infancy, this
charge of harmfulness of powders as such
must forever remain an unsolved puzzle.
There is hardly any face powder used but
contains one or more of those very ingre-
dients, which, singly or in various com-
binations, have been used by physicians
as dusting powder in many skin affections
where these powders frequently came In
immediate contact with raw surfaces of
the skin. If their influence was a healing
one when dusted over sore and open tis-
sue, how could these same powders be
harmful when dusted upon an unbroken,
healthy skin?
However, the prejudice against the use
of face powders as other similar preju-
dices fostered by ignorance has gradually
died away and the medical authorities
themselves now admit the usefulness of
face powder for protective, antiseptic and
moisture absorbing uses and have, more-
over, admitted them as ligitimate toilet
accessories, provided they are desirable
from the point of view of quality and
purity.
Another superstition was the notion
that preference should be given to rice
powder by reason of its vegetable charac-
ter. That view also has been consigned
to the limbo. Powders of a mineral char-
acter which have had to fight their way
to the fore for years, have now practically
supplanted altogether the various vege-
table preparations. The scientific reason,
for the change was that the mineral pow-
ders such as talc, zinc-oxide, and the like,
are not subject to alteration. They al-
ways remain the same, while vegetable
compounds are subject to contamination
by germs, mould, and to decomposition
generally. Moreover when coming in
contact with moisture on the face, these
flours swell and are therefore apt to clog
the pores and to enlarge them. The
science of chemistry brought to bear upon
the manufacture of powders has now such
skill, such refinement at its disposal that
it is capable of determining almost to a
nicety the character of a powder suitable
or essential, in fact, to one person rather
than to another.
With the exercise of a little discrimina-
tion in the choice of the make or brand
of a powder, and ordinary common sense
and judgment as to the standing and re-
putation of the maker for scientific me-
thods of production, a woman nowadays
is without excuse if she uses a face pow-
der that disagrees with her skin and which
is in the least degree harmful to her.
And now, -may I be forgiven for saying
that it is to me as the originator of the
theory and practice that the use of face
powders has been classified and made so
simple that it is almost impossible for
any woman to be in error as to what sort
of powder is suitable to her individually.
All that the principle amounts to is this:
When your skin is dry, use what I call a
"fatty" powder. By that I mean a pow-
der which contains a certain quantity of
cream in order to keep the skin from
further drying and to relieve in a mea-
sure, the dryness already existing. When
the skin inclines to be oily or is normal,
use an ordinary or "absorbent" powder of
a good pure quality.
This same distinction is now observed
in the production of powders in compact
form as well as in what is known as
liquid powders and by putting this strict-
ly scientific differentiation into practice, —
you will not only insure the sticking of
the powder but you prevent deterioration
of the skin. It is just as well and just as
cheap to proceed even in this apparently
simple matter on a scientific basis. To
use unscientifically prepared powders does
not cost you any less than you pay for
the scientific ones. By getting the latter
you get greater comfort, greater beauty
results and preserve the healthy conditioa
of your skin.
MEENLAN©
83
30 DAYS AGO THEY
I never would have believed that anyone could become
popular overnight. And yet — here's what
ONE evening, about a month ago, I
went to a dance. Just a jolly, in-
formal sort of dance where 'every-
one knew almost everyone else. I wouldn't
have gone to a really big or important
dance, because I— well, I wasn't sure of
myself.
There was a young woman at this dance
I had long wanted to meet. Someone in-
troduced us, and before I knew it I was
dancing with her. That is, I was trying
to dance with her. She was an exquisite
dancer, graceful, poised, at ease. Her
.neps were in perfect harmony with the
music.
But I, clumsy boor that I was, found
myself following her instead of leading.
And I couldn't follow ! That was the sad
part of it. I stumbled through the steps.
I trod on her toes. I tried desperately to
keep in time with the music. You cannot
imagine how uncomfortable I was, how
conspicuous I felt.
Suddenly I realized that we were practi-
cally the only couple on the floor. The
boys had gathered in a little group and
were laughing. I knew, in an instant,
that they were laughing at me. I glanced
at my partner, and saw that she, too, was
smiling. She had entered into the fun.
Fun ! At my expense !
I felt myself blushing furiously, and I
hated myself for it. Very well. Let them
laugh. Someday I would show them.
Someday I would laugh at them as they
had laughed at me.
All the way heme I told myself over
and over again that I would become a
perfect dancer, that I would amaze and
astonish them. Rut how? I couldn't go
to a dancing school because of the time
and expense. I certainly couldn't afford
a dancing instructor. What could I do?
By morning I had forgotten my anger
and humiliation and with them the desire
to become a perfect dancer. But three
weeks later I received another invitation.
It was from Jack. He wanted me to come
to a small dance at his home, a dance to
which, I knew, the same people would
come. I wouldn't go, of course. I wouldn't
give them the chance to laugh at me again.
But that night Jack called. "Coming to
the dance-?'' he asked. "No \" I retorted.
He grinned, and I knew why. It infu-
riated me. A darmg pU.n flashed through
my mind. Yes, I would come. I would
show them this time that they couldn't
laugh at me.
"I've changed my mind,'' I said to Jack.'
"I'll be there." Jack grinned again— and
was gone.
Popular Overnight!
I ran upstairs and found the magazine I had
been reading the night before. One clip of
the shears, a few words quickly written, a
trip to the corner mail-box — and the first part
of my plan was carried out. I had sent for
Arthur Murray's free dancing lessons.
Somehow I didn't believe that dancing
could be learned by mail. But there was
nothing to risk — and think of the joy of be-
ing able to astound them all at the dance.
The free lessons arrived just the night be-
fore the dance . I was amazed at the ease
■with which I mastered a fascinating new fox-
trot step. I learned how to lead, how to have
ease and confidence while dancing, how to fol-
low if my partner leads, and how to dance in har-
mony with the music. It was fun to follow
the |simple diagrams and instructions. I
gained a wonderful new ease and poise. I
could hardly wait for Jack's dance.
The following evening I asked the best
dancer in the room to dance wilh me. She
hesitated a moment, then rose — smiling. I
knew why she smiled. I knew why Jack and |
the other boys gathered in a little group. Goodl |
Here was my chance.
It- was a fox-trot. I led my partner grace-
fully around the room, interpreting the dance
like a professional, keeping perfect harmony
with the music. I saw that she was aston-
ished. I saw that we were the only couple
on the floor and that everyone was watching
us. I was at ease, thoroughly enjoying my-
self. When the music stopped there was ap-
plause!
It was a triumph. I could see how amazed
everyone was. Jack and the boys actually en-
vied me — and only 3 days ago they had laughed I
at me. No one will ever laugh at my danc- |
ing again. I became popular overnight! \
i'ou, too, can quickly learn dancing at home, I
without music and without a partner. More
than 120,000 men and women have become ac-
complished dancers through Arthur Murray's
remarkable new method.
Send today for the five free lessons. The-y — -
will tell you more than anything we could pos-
sibly say. These five lessons which tell you
the secret of leading, how to follow successfully,
how to gain confidence, how to fox-trot are
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Clip and mail this coupon NOW. Please
include 25c to cover the cost of handling, mail-
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271, 290 Broadway, New York.
iiiiioa>i>aiieiiiiBu=BSC9isGiniBB«BaiiiiiiBiisEiiaic
Arthur Murray, Studio 271
290 Broadway, New York
To prove that I can learn to dance at home
in one evening, you may send me the F1VR
FREE lessons by Arthur Murray. I enclose
25c to pay for the postage, printing, etc.
This does not obligate me in any way.
Name
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Cit* . .
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Q Good Little Bad Girl —
from page 30.
wickeder woman. As it is, I manage to
keep working without breaking any of the
ten commandments in private life."
Carmel's Comeback
I hand it to Carmel because she has
come back so bravely. A star at seven-
teen, she might have had her sleek head
turned. But she kept her balance and
her sense of humor, and so- it wasn't so
hard for her when the vogue for her
pictures died, and she found herself with-
out a very definite place in the screen
world. It wasn't her fault — her pictures
had been terrible. But there she was, —
if she hadn't been a screen star she'd have
been out of a job; as it was, she was
minus a good contract. She wasn't licked
— not Carmel. She packed her trunks,
came to New York, and got a singing and
dancing part in "The Magic Melody."
She returned, and began to find her-
self again. Fred Niblo offered her a
herself again. Fred Niblo offered her a
grown-up role in The Famous Mrs. Fair
— he's responsible for her screen down-
fall ; it was the first time she ever vamped
It's the thing in Hollywood to keep right
on giving 'em what they want. "Carmel
Myers was great in that Niblo picture;
here's a vamp part she could play." And
she's been doing it ever since.
But the parts have been growing gradu-
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rug for ages. And now she has been se-
lected to play Iras in Ben Hur ; and Iras.
while she may be called a vamp without
fear of argument, was a big-time enchan-
tress; in other words, she used her brain
as well as her more obvious attributes.
Q The Beauty Maker — ■
from page 34.
appeal and acting ability of May Mac-
Avoy, however. Miss MacAvoy, by the
way, is Mr. Barnes' choice for a Peter
Pan.
"Estelle Taylor has an obvious, easily
photographed type of good looks. Her
face can be caught from any angle. I
imagine DeMille will bring out qualities
in her that the screen has not seen, but
after all, the task is really up to the
cameraman. Sometimes I think Miss
Taylor is too easily photographed. The
cameraman's task is apparently so easy
that he does not take pains to bring out
mysteries, hidden qualities. And with-
out them Miss Taylor lacks soul and
fire," says George Barnes.
"Enid Bennett is the exact opposite of
Miss Taylor. Miss Bennett is a difficult
camera subject, for she requires front
lighting and must be photographed from
/
SCKEEHLANID)
85
See How Easy It Is
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0LThe Beauty Maker — ■
from page 84.
the front to insure pleasing results. Her
profile is bad, since her chin recedes. [
Photographed with the utmost skill and
through gauze, Miss Bennett is a very
appealing and spirituelle screen person-
ality.
'Tlair causes more trouble than any-
thing else except deep lines. A star's
beauty often depends upon highlighting
around the difficulties of backlighting the
natural hair. Hope Hampton, for in-
her hair, and often wigs are used to get
stance, has a glorious head of bright red
hair, which, one would think, would photo-
graph beautifully. But it does not. It
comes out an uninteresting brown. A
cameraman would have to drown her with
light to get any beauty into her hair. A
blond wig is the easiest solution. Claire
Windsor has bleached her naturally blond
hair, and often resorts to very light
blond wigs. A golden-blond photographs
brown-haired. An interesting example is
Flora Le Breton, the English beauty who
appears to such good advantage in Swords
and the Woman. Miss Le Breton's hair
is real gold, but it photographs dark
brown, and she is accused of wearing a
wig for her pictures.
"The screen plays queer tricks with
personalities. I have seen Virginia Valli
on the screen several times, and did not
get at all excited about her. To me she
seemed rather insipid and uninteresting.
Then I saw her in The Signal Tower and
it seemed to me I was looking at a new
and vibrant personality. Part of the
miraculous change was due to direction
and part to extremely skilful camera-
work. It has always been my conten-
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upon the soul and heart and mind, dis-
' covering the true person beneath the
camouflage, delving eve ninto the subcon-
scious. The camera lies about lines and
coloring, but I do not believe it falsely
photographs the soul of the player. I
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a siren even if in private life he is above
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This young veteran of the camera be-
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He even believes it is possible for a camera
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Name
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CLEANS
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*On page 12 of the book "Good
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