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Book J

ffOPmiGHT DEPosrr.

Scanned from the collections of
The Library of Congress

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

The Five Stages of JOAN CRAWFORD'S Life
JANET GaYNORS Lost Romances

SHOULD BE

OST ALLURING FEATURE

■ >

The
PERFECT

Mascara .

Beautiful teeth make for beguiling smiles — a lovely skin is desirable too — but, allure, the essence of
life's thrills, is most assuredly a matter of eyes. Make your eyes alluring, and you will suddenly find
yourself as alluring as your eyes. It's easy with Maybelline Eyelash Darkener. This wonderful mas'
cara will instantly transform your lashes into dark, luxuriant fringe, making your eyes appear as deep
pools of loveliness — bewitching to all who come within their influence. You must, however, be sure
to use only genuine Maybelline, otherwise the necessary note of allurement is more difficult to obtain.
Moreover, Maybelline is non-smarting, tearproof, harmless, and it has a wonderful oil base that
will keep your lashes soft and sweeping. Obtainable at toilet goods counters. Black or Brown, 75c.

EYELASH DARKENER

SCREENLAND for Apr/l 19 3 3

FOOL

WHAT A I SHE IS!

It has never dawned upon this
girl that lipstick draws atten-
tion to her dull, dingy-looking
teeth — or she would take better
care of her teeth and gums.

Are your teeth dull— or bright?
Are your gums firm — or flabby?

If your gums bleed easily — if
you have "pink tooth brush" —
the soundness of your gums, the

brightness of your teeth, and the
attractiveness of your smile may
be in danger.

"Pink tooth brush" may lead
to gum troubles as serious as gingi-
vitis, Vincent's disease, or even
pyorrhea. It is a threat to the
good -looks of your teeth — and
sometimes to the teeth themselves.
. Try the Ipana method of keeping
your teeth sparkling, and your
gums firm and healthy.

Soft modern foods rob your gums
of the stimulation they need. To
give them this necessary stimula-
tion, massage a little extra Ipana
into your gums each time you clean
your teeth.

Almost immediately your teeth
will brighten. Soon, you'll see an
improvement in your gums. Con-
tinue with Ipana and massage, and
vou needn't be bothered about
"pink tooth brush."

IPANA

„, *1fZ^tfF~ BRISTOL-MYERS CO., Dept. 0-43

-"^""V S -.^S^^Hf^R Kindly send me a trial tube of IPANA TOOTH

£2 >■/ P -*-> & ^B^£Z?, jSfc- PASTE. Enclosed is a three-cent stamp to cover

". ^pyt^C^^^C^^^^^^^^^'^^^g partly the cost of packing and mailing.

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

©C1B

18R102

APR -3 1933

James M. Fidler, Western Representative

The Smart Screen Magazine

Delight Evans, Editor

Frank J. Carroll, Art Director

Our Cover Artist is in a
Crawford Quandary!

THERE is more
than one Joan
Crawford. Did
you know that?
Well, SCREENLAND
found it out in
planning a por-
trait of Joan for
next month — the
May issue.

Charles Sheldon, the famous
portrait painter, who makes
SCREENLAND covers stand out
among all other covers on the
newsstands for beauty and charm,
says he is facing
the biggest prob-
lem of his career.
Which Joan
Crawford shall
he give you: The
gay Joan, the
sombre Joan, the
natural, human
Joan, or the Joan
Crawford whose strange and
lovely face so intrigues his artistic
curiosity? As we write this we
can't tell you which of the many
Crawfords, all alluring, will grace
the next SCREENLAND cover; but
we do know that
with such an in-
spiration, Sheldon
will give you the
most fascinating
portrait so far of
the girl he calls,
"the most puzzl-
ing personality in
motion pictures."

Don't miss the May issue of
SCREENLAND, on sale March 24,
1933, with the Crawford cover.

April, 1933

THIS MONTH

Vol. XXVI, No. 6

FEATURES:

COVER PORTRAIT OF KAY FRANCIS Charles Sheldon

AN OPEN LETTER TO LILIAN HARVEY Delight Evans 17

JANET GAYNOR'S LOST ROMANCES James M. Fidler 18

WHAT! DO THEY REALLY LOOK LIKE THIS? Caricatures Hans Flato 20

THE FIVE STAGES OF JOAN CRAWFORD'S LIFE Ann Randolph 22

EXPOSING HOLLYWOOD'S LATEST "TRIANGLE" Ben Maddox 24

MY MOST MYSTERIOUS FRIEND Robert Montgomery 26

GRAND DUCHESS MARIE OF RUSSIA WRITES ABOUT "RASPUTIN" 28

A DIRECTOR LOOKS AT THE STARS. George Cukor Ida Zeitlin 32

PERSONALITIES:

SPRINGTIME FOR CONNIE 11

FROM STENO TO STARLET. Mozelle Brittone 12

ANN HARDING'S "OLD HOME WEEK" 13

MASTER MUGG. Spencer Tracy S. R. Mook 34

CONFIDENTIAL. Wallace Ford Mrs. Wallace Ford 51

THREE WEEKS WITH NEIL HAMILTON . Mae Clarke 52

LOOKOUT! HERE'S THE NEW JUNGLE MENACE. Buster Crabbe 54

WHO SAID "NO MORE THRILLS"? Richard Halliburton Mortimer Franklin 61

HOLLYWOOD'S MOST INTERESTING WIDOW. Billie Burke Ada Patterson 66

IS IT SAD TO BE FUNNY? Zasu Pitts, Slim Summerville Reeves Harmon 67

SPECIAL ART SECTION:

Hollywood Highlights

Premiere of "Cavalcade." In "Lighter" Vein (Kay Francis). In Darker Mood (Joel McCrea). Bright
Boys — Gay Girls — Peppy Parties! Hollywood Prefers Impromptu Fun. Those Gay '90's! Taming the
Wild Cagney! Suti^kissed Shearer. A Spring Idyll (Bette Davis). Torrid Teasers! Gloria Stuart.
The Most Beautiful Still of the Month.

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 6

ASK ME Miss Vee Dee 8

THE TRUTH ABOUT COSMETICS Mary Lee 10

HONOR PAGE 14

REVIEWS OF THE BEST PICTURES Delight Evans 56

WHAT LIES IN EYES? Beauty Margery Wilson 58

HOT OFF THE ETHER Evelyn Ballarine 60

SCREENLAND'S GLAMOR SCHOOL 62

RELIABLE REVIEWS OF CURRENT FILMS 64

HERE'S HOLLYWOOD. Screen News Weston East 68

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President ; J. S.

MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must

be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in

the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us six weeks in advance of the next
issue. Be sure to give both the old and new address. Entered as second-class matter November 30, 1923, at the Post Office at New York, N. Y., under

the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1933.
Member Audit Bureau of Circulations.

Printed In the U. S. A.

Screenland for April 19 3 3

CAVALCADE

STATE FAIR77 and NOW

Where youth finds love
amid the strangest of
settings . . .

Where, before the eyes
of the curious, is enacted
a primitive romance so
thrilling, so tender so
strange ...that by the very
power and uniqueness of
its story and the produc-
tion genius of Jesse L.
Lasky,ZOO in BUDAPEST
definitely becomes one
of the leaders in the Fox
Cavalcade of Hits.

*5V

JESSE L. LASKY

The genius who made movies
ehe great American entertain-
ment, crowns his career with the
year's most thri! liny picture.

LORETTA YOUNG
GENE RAYMOND

O. P. HEGGIE
Directed by Rowland V. Lee

The

Public

Be
Heard!

SCREENLAND

Acme

You'll always find a crowd collecting where the 1933 Bow makes her
appearance. Here's what happened when Clara and her handsome
husband, Rex Bell, stepped off the boat on their trip to England. The

Britons loved it!

Listen in— then
speak out

BIG IDEAS!
(First Prize Letter)

Some people object to the movies on the
ground that they "put ideas" into our heads.
Well, so they do ! There are many ideas
that they put into my head. For instance,
when I see that swell actress, Lilyan Tash-
man, I long to wear clothes like hers, and
with her poise; when I see the glamorous
Dietrich I long to have the charm and the
shapely legs of that fascinating gal. I wish
I could look as sweet, and have such a
sunny smile, as Janet Gaynor ; a musical
voice like Ruth Chatterton's ; and just half
the pep that bubbles from Clara Bow. I
see the goodness of the world in Crawford's
eyes ; and hope I can grow old as beauti-
fully as Norma Shearer did in "Strange
Interlude."

Those are a few of the ideas that pic-
tures put into my head !

Helen Raykovich,
1814— 19th St.,
Huntington, W. Va.

FILM "FOOD" FOR THOUGHT!
(Second Prize Letter)

I am disgusted with the critical attitude
taken by many so-called moving picture
fans. In the vast majority of cases the
criticism is unjustified, and the dissatis-
faction due more to their own carelessness
in the selection of entertainment than to
the fault of the pictures.

How many would visit a restaurant and
permit the waiter to select a meal without
consulting their tastes? The picture menu
at the local theatres necessarily cannot be
as varied as the menus at the restaurant
and yet, if the manager's selection fails to
meet his patron's taste, the movies are con-
demned as impossible.

Consult an edition of Screenland and
select your picture diet as you would your
food. By avoiding pictures you are fairly
certain will not be to your liking, you will
find that the standard is improving ( in your
imagination), and everybody will be satis-
fied.

John F. MacDuffee,

Portland, Me.

WELCOMING THE NEW BOW
(Third Prize Letter)

The old question, "Can Clara Bow Come
Back?" has at last been answered. It seems
to me that in "Call Her Savage" she has

"come back" in the most significant sense
of that term. There isn't any of the hip-
swinging, hair-tossing hoydenism that char-
acterized her earlier pictures. Instead she
gives us a poise, sureness and sincerity that
show she is developing into a mature, emo-
tional actress. The vital, vivid personality
that has endeared Clara to all of us still
glows with its old fire, but there is some-
thing there beside "spit-fire" qualities. I
never was a real Bow fan, but "Call Her
Savage" has completely won me over. I
especially enjoyed the moments in which
she lives up to her name of "Dynamite."

Josephine Behan,

Pawtucket, R. I.
{Continued on page 83)

Here's a new game! It's fun, it's profitable, and anyone can join in!

SCREENLAND'S letter page has always encouraged free discussion of
vital movie questions. Whether we've agreed with you or not, we've
printed your boosts and your bumps alike, so long as they were sincerely
written. For the movies, after all is said and done, belong to the movie-
goers— and you're entitled to your say about them!

We're going to continue keeping "open house" for constructive opin-
ions on things cinematic. But now we're going to add zest to the game
by focussing the discussion on one particular topic each month. From
now on the machine-gun fire of critical opinion, instead of being scattered
over a wide area, will be concentrated on one particular topic each issue,
thus providing direct and lively debate.

Are you ready? Here's the topic we suggest that you write about this
month:

Should the screen stars put their personalities foremost in their roles?
Or should they hide their individual characters in the parts they play?

There's a question you've often thought about, discussed and debated
with yourself, your friends, your family. Should Garbo be Garbo first on
the screen and the character she is playing secondarily? Should George
Arliss be George Arliss always and forever, or his screen character first
and Arliss second? You know what you think about it — write down your
ideas and send them to us in a letter. •

The best answers, both pro and con, will be printed in a subsequent
issue of SCREENLAND, along with a new question for debate. And, as
in the past, the four best letters on particular or general subjects will
receive prizes of $20, $10, $5, and $5, respectively. If you prefer to write
on some other topic, or to rave about your favorite film star, your letters
will be just as welcome and equally eligible.

Keep your efforts within 150 words, and mail to reach us by the 10th
of each month. Sincerity and freshness of thought are what count. Address
letters to "Public Be Heard" Dept., SCREENLAND, 45 W. 45th St.,
New York. Come on, you amateur critics!

for April 19 33

1933 WILL BE FAMED FOR ONE PICTURE!

Ask
Me!

Be "in-the-know"
about your favorites

Miss Vee Dee

Gargan Fan. So the actor you would go
through fire and water for is big Bill
Gargan. Joan Crawford went through
"Rain" with him and are all the girls
jealous of Joan ! His first screen appear-
ance was with Claudette Colbert and
Edmund Lowe in "Misleading Lady." Re-
member him? He plays the makeshift
butler, Regan, in "Animal Kingdom" with
Leslie Howard and Ann Harding and with
what charm — he doesn't act, he's real.
William played with Leslie Howard on the
Broadway stage in "Animal Kingdom" and
made a big hit and he's doing the same
"big-hit stuff" with us movie fans. He
was born in Brooklyn, N. Y., twenty-seven
years ago. He is 6 feet tall and has blue
eyes and auburn hair. His face isn't scarred
as it appears in "Rain" and "Animal King-
dom"— the- studio manufactured the scars
for the roles he played. His wife is Pat
Kenny, who before her marriage to Bill
was with the "Scandals" and the "Vanities"
on the New York stage. They have a
three-year-old son, Barrie.

Iwantano. Tom Brown is too busy carv-
ing out his career to be very much "that
way" about the girls. As for his prefer-
ence for blondes or brunettes, I think he
likes them both. Wise Tommy. Arietta
Duncan played in "Back Street" with Irene
Dunne and John Boles and in "Night
World" with Lew Ayres.

Lil. Short and sweet, eh ? Your movie
hero, Phillips Holmes is under contract to
M-G-M and his first film for Metro is
"The Secret of Madame Blanche" with
Irene Dunne.

Madeline. When is the co-starring team
of Gaynor and Farrell not a team? Each
star seems to be twinkling with some other
star but don't blame Mickey Mouse and
Minnie. Janet's and Charles' last emoting
together was in "Tess of the Storm Coun-
try." Janet's next will be with Will
Rogers, Lew Ayres, Sally Eilers, Norman
Foster and others in "State Fair." Janet
is a trifle over 5 feet tall and weighs 100
pounds and Charlie Farrell is 6 feet 2
inches tall and weighs 178 pounds. "Sev-
enth Heaven" has never been released as a
talkie. Nina Mae McKinney lives in Hol-
lywood when making films and in New
York while appearing in revues.

Joan A. K. I've been called all kinds of
nice things but an M.D. has not been in
the list. However if you're the patient and

SCREENL AND

Wide World

Marlene Dietrich, in her famous male attire, strolling on the Paramount
lot with Maurice Chevalier. It's rumored they may play in a picture to-
gether— and what a team they would make!

I'm to relieve the brain storm, I'm your
Doctor. My information says Anita Louise
was born January 9, 1917, and who am I
to doubt it? Constance Bennett, the eldest
of Richard Bennett's three daughters, was
born October 22, 1905, in New York City.
She has golden hair, blue eyes, is 5 feet
4 inches tall and weighs about 102 pounds.
Connie is still making pictures and has not
gone to live in France as you have been
told.

Francis F. I settle all arguments or dis-
putes free of charge so step right up and
get settled. John Barrymore played in
"The Sea Beast," a Warner Bros, pro-
duction of 1926. It rated as one of the
best pictures of that year. Playing with
him was Dolores Costello, who is now his
wife. Henry Garet was Czar Alexander
of Russia in "Congress Dances." I do not
know of a fifth Marx brother in pictures —
Chico, Harpo, Groucho and Zeppo are all
there are — there isn't any more on the
screen. The fifth brother, I hear, is in
the dress business.

Vic. Norma Talmadge played in
"Smilin' Thru" in 1922 for First National.
As far as I know, it was the only silent
version. Norma Shearer's talking version
was given world release in 1932. "The
Student Prince" has not been adapted for

sound but the fans are still hoping.

Old. Tinier. You're right — some of the
best character portrayals are done by men
and women who have spent many years on
the stage — real seasoned troupers. Walter
Connolly, who so beautifully played the
father of Carole Lombard in "No More
Orchids," and Arthur Byron, the film
father of Madge Evans in "Fast Life," are
both from the stage and come close to
stealing the whole works.

iV. C. If you'll turn back to the January
and February issues of Screenland, you'll
find the interesting life story of Warren
William Krech, better known to the stage
and screen as Warren William. He was
born in Aitken, Minn., on December 2,
1895. He has been happily married for
twelve years. It's interesting to note he
appeared several years ago in a silent
serial with Pearl White, called "Plunder."
One of his greatest stage successes was in
"The Vinegar Tree" with Mary Boland.
He has appeared on the screen in "Honor
of the Family," "Expensive Women,"
"The Woman from Monte Carlo," "Beauty
and the Beast," "The Mouthpiece," "Dark
Florse." "Skyscraper Souls," "Three on
a Match" and "Employees Entrance" with
Loretta Young and Alice White.

(Continued on page 82)

for April 19 3 3

SCREENLAND

The TRUTH

about

Cosmetics

News and views of
beauty helps

By
Mary

MORE news! And
it's really news
when a house like
Coty decides to
make, for the first time, a
loose powder case. (Yes,
that's it in the picture on
this page.) It's really quite
exciting. Let me tell you
about it. The original was

executed by Cartier, no less, if you please, in Paris. And
now these exquisite copies are within the purse of ordi-
nary mortals like you and me. No pun intended ! It is
described accurately as a slim, platinum-toned oblong,
with smart accents of black and red, proudly carrying
the regal-looking Coty crest. Stunning but ever so
practical, with a brand-new idea that you'll love. The
powder supply is in the little left-hand compartment.
In the center is an ivory-material powder-well into which
a few grains of powder at a time roll when you tap the
side gently. Thus you have no waste and muss. When
the case is closed a spring closes the powder compart-
ment tightly. On the right is a dainty, evening edition
of the Coty lip-stick, the cover of which is fastened to
the compact. When you use it you simply pull the filler
out with one hand — so you need not lay the compact
down while you touch up your lips. A great conve-
nience in a public "powder room" ! I almost forgot to
tell you that the dainty puff in the case is swansdown.
Isn't this your dream of your ideal compact?

Speaking of dreams — well, I may as well warn you,
I'm about to slide into an ecstacy over Coty's newest,
brand-newest, and, I think, grandest perfume. There it
stands in the picture in all its slim, aristocratic desirable-
ness. The package and the bottle so perfectly exemplify
the perfume itself. They have called it "La Fougeraie
au crepuscule" — (Ferns at Twilight) — a poetic accuracy.
It is important without any trace of heaviness. It is
elusive, yet pervading. It has that freshness, that clean-
ness that helps a woman seem well-groomed, yet it is

A thrilling, rapturous new perfume, "La
Fougeraie au crepuscule" (Ferns at Twi-
light)— created by Coty. In only one size,
and it's so grand they can afford to be
"that way" about it!

Coty's first loose-powder case! An entirely
new, revolutionary idea. The original was
created by Cartier in Paris. Read about it.

infinitely more. Feminine, warm, yet spicy and cool.
Well, I give up! Describe it yourself — if you can.
You'll probably just roll your eyes heavenward and
breathe a long "A-a-a-ah !"

Coty apparently is just bursting with new ideas for
nineteen thirty-three. As. if that compact and perfume
were not enough to put Coty on everyone's lips (that
one slipped, too!) they add to the array a beautiful new
box of powder scented with the new perfume ! You'll
want to keep the box right on top of your dressing
table. The softest gold and ivory colors flecked imagin-
atively with tiny cream bubbles, it stands on four little
red feet like a small replica of a treasure chest. No
tucking that box away in a drawer. You probably
know the excellence of Coty's powder, but if you haven't
tried it in the new perfume you haven't enjoyed the
dernier cri in lovely toilet accessories.

Let's be intensely practical for a moment. What is
the real condition of your skin? Is it beginning to dry
and "break"' around your eyes? Marie Earle has a spe-
cial eye treatment designed to nourish and tone these
delicate tissue that will not absorb ordinary oils. An
especially fine eye cream which is a gentle astringent as
well as a food is used in connection with the Marie Earle
herbal eye-packs. These little bags which look like tiny
sacks of tea are dipped in hot water and laid over the
eyes while you relax for ten minutes or more. When
these are removed, the eyes seem toned and brighter.
Puffy eyes, hollow eyes, and wrinkles disappear gradu-
ally but surely. It also clears (Continued on page 93)

for April 19 3 3

Three - quarter - length
coats have come into their
own — capably assisted by
Constance Bennett. And
gray is still the winning
color! Connie's coat of
heavily ribbed wool is en-
riched by the luxurious
silver fox scarf.

Springtime for Connie!

Connie's spring bonnet is a jaunty, shiny, brimmed black straw
elaborated with black crepe. Miss Bennett will wear this costume in

"Our Betters."

SCREENLAND

From
Steno

Starlet !

Mozelle the actress. Seems a director needed a cutie,
looked around, saw Mozelle, and said, "You're in pic-
tures." And now Miss Brittone can't decide which of her
two jobs she likes better — so she keeps them both.'
Smart girl.

Right, Mozelle Brittone stealing a scene from Alan Dine-
hart in "As the Devil Commands." Other Columbia
Pictures in which she has appeared are "Man Against
Woman," "Air Hostess," and "Child of Manhattan."
Keep watching her!

Mozelle at her every -day job as as-
sistant to the Columbia casting
director. Can she be business-like!

ERE'S Hollywood's lat-
est little Cinderella, Mo-
zelle Brittone, 22-year-old
assistant to the casting
director at Columbia Pictures stu-
dio, who is known as a great
"pinch-hitter" when it comes to
jumping into roles. Coming to
Hollywood from Oklahoma City
four years ago, Mozelle shunned
pictures to take a job on the stage
in "Girl Crazy," when that musical
went on the road with Ginger
Rogers. Returning to the screen
city, Miss Brittone accepted an
office position, and later became
casting assistant. But when the
studio needs someone of her type
in a hurry, Mozelle drops her note-
book and telephone and leaps into
make-up. Another Alice White?

for April 19 3 3

Ann
Harding's
Old Home
Week"

Ann talks over the good old
days with Jasper Deeter, in
whose stock company she
learned to act years ago. To
the training of Mr. Deeter, who
has been the discoverer of
many outstanding actors, Ann
graciously attributes her own
success.

Inside the Hedgerow Theatre,
the little temple of Thespian
Art at Rose Valley, Pa. Miss
Harding renews her acquaint-
ance with the stage on which
she played her first parts.
Note the light-hearted infor-
mality with which the little
auditorium is equipped.

The charmingly rustic exterior
of the Hedgerow Theatre. The
play in which Ann Harding
made her stage debut here,
Susan Glaspell's "The Inheri-
tors," is revived by the Hedge-
row Players each season, and
Ann came back to play her old
part without rehearsal!

THE staunch patrons of Jasper
Deeter 's Hedgerow Theatre sat up-
right and gasped one recent eve-
ning when the former star of the
troupe, a girl known as Ann Harding,
walked onto the stage in her old role in
"The Inheritors." For them it was the
season's big thrill ; and for Ann, back at the
old stamping ground where she had learned
her ABC's of acting, it was sheer joy. Dur-
ing Miss Harding's brief visit the theatre
played to packed houses every night.

After four clays with the troupe, during
which she continued performing in her old
vehicle, Ann was called back to Hollywood
to begin work on "Declasse," voting it the
happiest vacation she had spent in years.

SCREENLAND

"Magnificent f
"Exquisite!"
"Sublime!"
"Noble!"

These are just a few of the adjec-
tives showered by the New York
critics upon "Cavalcade" — and
thev are all accurate!

To the Great Cast

"Cavalcade"

and particularly to

Diana Wynyard

we present this

Honor Page

Diana Wyn-
yard as Jane
Marryot with
the two little
English boys
who play her
sons.

The Great Picture of our Time!

NOEL COWARD wrote a play called "Cavalcade." It was a success
in its native London. Fox Films bought the screen rights and pro-
ceeded to make a picture in Hollywood. People shook their heads sadly.
"It's too British," they said. "It'll never get over. And who is this Diana
Wynyard, anyway?" They went on mumbling while Fox poured over a
million dollars into a splendid and lavish production. These same people,
today, are saying: "What did I tell you? 'Cavalcade' is the picture of the
year. And this Diana Wynyard — I always knew she had the stuff." "Cav-
alcade" is not only the picture of the year, but of many years. It is by far
the greatest talking picture ever made. It is universal in
its scope and appeal; it is masterly in its direction and
acting. It makes Diana Wynyard a star, establishes Her-
bert Mundin and Una O'Connor as peerless performers,
and enhances the reputation of Clive Brook. All honor
to Frank Lloyd, fine director.

Two of the most
charming
people you have
ever met upon
the screen : Jane
and Robert
Marryot, played
by Diana Wyn-
yard and Clive
Brook. You
meet them first
at the end of the
19th century
and live their
lives with them.

Robert and Jane
greet old age to-
gether. Mr. Brook,
Miss Wynyard as
the English couple
whose fine spirit
survives two wars
and the upheavalof
their social order.

We Want

you

TO TRY THE
PERFOLASTIC

GIRDLE
FOR 10 D AYS
AT OUR EXPENSE

you DO NOT

REDUCE

WAIST AND HIPS

J INCHES DAys

nil rinio- ri o n ri \r f

you one penny,

tare

REDUCED MY HIPS 9 INCHES"

. . . WRITES MISS JEAN HEALY!

TOO miraculous io be true? That is what they all say .... until they
try it. THEN they tell us "I reduced 9 inches"; "I reduced from
43 inches to 34'/2 inches"; "The fat seemed to have melted away"
.... and so on through hundreds of enthusiastic letters.

You don't have to take our word for it. We want you to try it.
Test it yourself for 10 days absolutely FREE. Then, if, without diet,
drugs or exercise, you have not reduced at least 3 inches around waist
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SCREENLAND

You against the Rest of Womankind
your Beauty • • your Charm • • your Skin!

Of course, you can mask your thoughts, your
feelings. But you cannot mask your skin. It
is there for all "to see ... to natter or criticize,
to admire or deplore. In the Beauty Contest
of life, in keen rivalry with other women,
it's the girl with flawless skin who wins.

THE SOAP OF BEAUTIFUL WOMEN

Your complexion at its radiant best is a
glorious weapon that can help you conquer.
And Camay, the Soap of Beautiful Women,

the 3

is your skin's best friend. Camay is mild,
pure, safe. Made of delicate oils for delicate
skins. And what a rich, copious lather it
gives, even in hard water!

THE PRICE IS DOWN

Camay, in its gay new dress, is the out-
standing beauty value of the hour that wo-
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so fine sold at a price so low! Get a dozen
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Alone, your looks may not seem so
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hold your own, in competition with
other women, you realize that life is
a Beauty Contest. Someone's eyes are
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ing you with other women, judging
the beauty of your skin.

• To have a skin of clear, natural love-
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• Pure, creamy-white Camay is tfi£
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You 11 find Camay s rich, lux; ;ant
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Copr. 1933, Procter *»^"a~ib]e Co.

CAMAY

THE SOAP OF BEAUTIFUL WO MEN

for April 19 3 3

DEAR Miss, Mile., or
Fraulein Harvey:
You're so tri-Iin-
gual I don't know
what to call you.

Never mind. It isn't every
movie star who knows how to
talk in three different languages.
Why, some of them haven't
even learned to talk in one.

It won't matter. You're set
to be a sensation in any lan-
guage. I thought so before I
met you. Now I'm sure of it.
SCREENLAND had "discovered"
you over here, in the June,
1932, issue, with a rave notice
of your "Congress Dances" and
an attention-calling article by
Rebecca West. I suggested then
that some smart American pro-
ducer should sign you for Hol-
lywood. And now you're here.
The most important star in all
Europe. So I expected a brittle
sophisticate, bored with her
first glimpse of our "prohibition
Ameddica." And then you
walked in — dainty, fragile, all
smiles and apologies for being
two minutes late. You shocked
me — you did really.

Somebody showed you that
issue of SCREENLAND, and you
looked at it and beamed, "Why,
I thought nobody knew me over
here!" And then you read the
bit where Rebecca West said,
"Beside Lilian Harvey, Joan
Crawford and Constance Ben-
nett seem as if they were cut
out of tin." "Ooh," you
squealed, "how terrible!" But
yor looked a little pleased, too.

So here you are, too good to
be ti. » with your white and
pink and gold angel prettiness,
and vcir soft voice, and your
danc -'s grace, and your ex-
qui Ite manners. (I hope they
won't get. rusty in Hollywood.)
You showed me, gaily, the fare-
well pre:> your friends
— a gold cig rette case with a

An Open Letter

Lilian Harvey

pom

The Editor's Page

Here's Lilian Harvey! You'll see
Europe's screen sweetheart soon in
her first American movie, "My
Lips Betray," for Fox, with John
Boles. In the circle above, on the
left, a close-up of Lilian leaving
Germany — the crowd cried, and she
cried, too. Right, cheering up as she
reaches New York. Come right in,
Lilian — we're expecting you.

map of Europe engraved on it,
each capital dotted with a real
jewel — a ruby for Paris, an em-
erald for Berlin, a sapphire for
Budapest, and so on — and then,
across the gold Atlantic, a big
diamond for Hollywood! These
Continentals!

And you ate. Thank heaven
for a movie actress who likes her
food. Meat and noodles — two
helpings of noodles, too. You
have an unvarying weight of
ninety pounds. You smoke freely;
admit you enjoyed doing Har-
lem with Ernst Lubitsch; that
you like Maurice Chevalier, who
owns the next estate to yours
on the French Riviera; that
you'd like to "die" just once
in a film, preferably as Mimi in
"La Boheme"; and for the rest
of the time you're satisfied to be
yourself in light, gay, bitter-
sweet pictures.

There's glitter about you:
bringing over your own costume
designer, and twenty trunks, and
a maid, and your own white
Mercedes complete with chauf-
feur; and one of the dozen big-
gest diamonds in the world, and
bracelets to match. It's all true
— I saw them; and I met Joe
Strassner, brilliant young Ger-
man who designs everything you
wear. And still you, yourself,
have more sparkle than your
biggest diamond. It may be per-
sonality. It may be technique.
Whatever it is, I wish more
actresses had it. I'm tired of
long languorous ladies with lifted
eyebrows and drooping mouths.
I'm fed up with posturings and
pseudo-sophistication. I welcome
you, Lilian Harvey, because
you're the true sophisticate who
conceals boredom, if any, with a
marvelous gaiety. And you're
Hollywood-proof. What, after
all, does a swimming pool mean
to a star who's had the whole
darned Mediterranean?

SC REENLAND

Janet Gaynor's

Lost Romances!

The strange love tangle in the
life of Hollywood's sweetest star

Will love return to Janet
Gay nor? She has left her
real-life husband, Lydell
Peck; and her screen
sweetheart, Charles Far-
rell, has left her! Now
she plays opposite Lew
Ay res in "State Fair,"
from which a love scene
is shown, below. The
close-up is Janet's latest
photograph.

for April 19 3 3

Above, Janet Caynor with Charles
Farrell in their first great screen
success, "Seventh Heaven."
Right, with ex-husband Lydell Peck.

OST fairy tales commence
with Once upon a lime,
and this little story shall
be no different.

Once upon a time — a few years
ago when I was young and in love,
and Janet Gaynor was younger but
perhaps not in love — I asked of
her: "What would you do if your sweetheart or hus-
band were suddenly taken from you?"

I sought her answer in an effort to modify a void in
my own heart — the girl I loved had just been lost to me.

For a long minute, Janet weighed my problem in her
girl's heart and mind, and then :

"I don't know," she said. "Perhaps I would feel like
dying."

Within the past few weeks I have had reason to re-
member those words. When two romances went out
of Janet Gaynor's life within a few days of each other —
when she lost not only her husband, but also the screen
sweetheart with whom the world has long believed her
in love — I recalled that very young, very wistful
girl of several years ago, who looked at me from
eyes that did not quite comprehend, and said :
"I don't know. Perhaps I would feel like
dying."

Yes, as surely as the sun loses its power
at nightfall, Janet has lost two ro-
mances. Perhaps, unlike the sun
•which returns at dawn, neither
of her loves will come again.
•If this be true, then a mite
of a girl to whom ro-
■K mance seems such a

By
James M.
Fidler

How do you like Janet's new film
lover, Lew Ay res? In "State Fair"
they share many charming
scenes, with Gaynor at her best.

necessary element to happiness will
be left alone — horribly, dreadfully
alone.

Who — or what — will refill those
minutes that a few weeks "ago were
occupied with her husband, Lydell
Peck, and her screen sweetheart,
Charles Farrell?
Of course, one half of her loss was by her own hand ;
she thrust her husband away from her.

But the other half — perhaps she would rather it had
not happened?

It did happen, though, and by her voluntary ejection
of Peck from her life, Janet innocently removed Farrell.
How? Simply by reason of the peculiar circumstances
that surround the relationship of Janet and Charlie. If
Janet should be. seen with Farrell now, or possibly for
some time to come, there likely would be gossip — vile,
meaningful gossip from which even as sweet,- decent folk
as these two are not immune.

Because of this, Charlie cannot return to her side, even
if he should so desire. They cannot be friendly on
studio sets, as they were when Janet had a husband to
protect her from gossip. They dare -not appear so de-
voted when they dance together in public places, as has
been their custom in the past.

No. Janet must go on alone — temporarily, at least.
Does she feel like dying? Does she, too, recall those
words she spoke to me several years ago ?

Of Janet's two romances, that with Farrell predates
the other. She met Charlie in 1924, when both took
casual parts in a Hollywood benefit show, "The Writers'
Revue." They did not meet again until 1925, when they
were cast together in "Seventh Heaven." It was during
and after production of this picture that they fell in
love.

Until early in 1929, their romance was interrupted,
and it was a love affair that apparently had the approval
of the entire world. I do not believe anyone doubted
that Charlie and Janet eventually would marrv. That
they did not wed during those blissful years may be
traced to their mutual fear that marriage would endanger
their careers. They were not sure that their screen ro-
mances would ring true if they were married ; after all,
there is no particular thrill in {Continued on paac 81 I

SCREENLAND

What !

Do They Really
Look Like This?

Ruth Chatterton, one of the
films' leading practitioners of
poise, takes on a new austerity
under Flato's imaginative pen.
Note the determination ex-
pressed in chin and mouth.

Bette Davis adds to her new and
popular screen character as an
irresis tible sorceress — comple te
with drooping eyes, Garbo-esque
lashes, and side-lcng look.

Paul Muni, above, emerges from
the ordeal-by-Flato with a slightly
satanic look, the left eyebrow
raised in the very best "Scarface"-
"Fugitive" manner.

You thought you knew all about
Eddie Robinson's menace? Well,
just gaze upon this striking ver-
sion of a real good actor playing
the part of a real bad man!

All smile and dancing eyes!
That's Flato's characteriza-
tion of the bonny, blithe
Blondell. And you must
admit that the clever cari-
caturist is right about Joan.

Rugged and rock-like, War-
ren William's sternly hand-
some features become al-
most Grecian under this
artist's transforming touch.
Barrymoresque? Don't say
that!

for April 19 3 3

Re-introducing some famous
film friends of yours, as seen
exclusively for Screenland
by the equally famous inter-
national cartoonist, Hans Flato

William Powell, as debonair off
the screen as on, takes on a
touch of added insouciance when
portrayed in the inimitable Fla to
manner.

Strikingly dramatic is this
profile of Ann Dvorak, left, one
of the bright-eyed charmers in
''Three On a Match." Doesn't
she look like one of those ladies
of the traditional stage?

Our caricaturist neatly catches
Joe E. Brown's capacious smile,
though there may be those who'll
claim that this drawing of it is an
unders ta tement.

George Brent's well-known suav-
ity remains intact even under this
artist's satiric pen. Sitting for
this sketch, one gathers, must
have bored Brent!

Fla to turns . Lo r e 1 1 a
Young's lovely face into a
cold classical mask, with
very modern max! actor
lips super -imposed.

No mistaking the culti-
vated Arliss features! In
this caricature he appears
thin-lipped and severe,
without the softening
grace of the Arliss smile.

SCREENL AND

The

The 5 Girls who have been Joan Crawford!

1. The Hey-Hey Kid 3. Dignified Matron

2. Young Lady in Love 4. Tragic Actress

5. Girl with a Sense-of-Humor

Stages

Joan's
Life

Ann Randolph

for April 1933 23

Crawford has been, in her short life span, five women! Here you'll meet
them and discover new reasons for Joan's greatness

JOAN CRAWFORD'S emotional life is divided into
five definite and distinct phases ! Unlike everyone
else J know, she has not allowed one phase to over-
lap the other. With her usual sudden decisiveness
she has been, in her comparatively short life span — five
women!

The reasons that caused her to change thus, five times,
came sometimes from outside things and sometimes from
within herself. If you string along with me for a while
and discover those reasons, you'll find some nev
in Joan's personality.

First of all, of course, there was the Hey-Hey Girl —
\ and you're probably as sick of hearing her called that
as Joan is, but it was such a characteristic stage that it
can't be ignored).

Joan plunged herself into gayety because she had not
had much of it before, and because she was bewildered
by the Hollywood scene and did not know
how to cope with it. She loved to dance
and she loved the adulation of sleek-haired
boys who told her she was swell. In a skirt
that just missed her knees and a rakish hat
pulled down over her reddish-brown hair,
she made the Montmartre customers sit up
and take plenty of notice when she and one
of the youths in her entourage danced the
Charleston or the Black Bottom.

Yet during all this time something in the
back of her very amazing mind kept telling
her that it was empty fun. One Christmas
Eve during this period she watched all the
gay folks at the studio and said, disconso-
lately, '"What's the matter with me? I should
be having a grand time, but I'm not."

And it was that very question that took
Joan into the second stage of her emotional
career. This time, you see, it came from
within herself — the change. What was lack-
ing? What did she need? And she dis-
covered that what she needed was love — not

Across the page, Joan in her First Stage, as
the Hey-Hey Girl, when she first hit Holly-
wood. Below, Second Stage, as Young Lady
in Love — with Douglas Fairbanks, Jr.

Righ t, a scene
from the latest
screenplay star-
ring the new
Crawford: a
poised, well-bal-
anced girl with a
grand sense of
humor, a finer
actress and a
more appealing
person than ever
before. The film
is ''Today We
Live," with Rob-
ert Young, shown
here, Gary
Cooper, and
Franchot Tone.

Here's the Dignified Matron of
Joan's Third Stage: Mrs. Doug,
Jr., working away at one of those
widely-publicized rugs she made
for her home. In the circle,
Tragic Actress, the Fourth Stage
in the colorful Crawford career.

just a lot of boys who
told her she was "grand"'
and "a swell dancer'" and
"a wonderful girl" — but
one man to love and ad-
mire her.

That was when Doug-
las Fairbanks, Jr., came
into her life. And Joan
made a brisk change from
the Hey-Hey Girl to the
Young Lady Deeply in
Love. Suddenly, she was
happy — and she wanted
everybody to know it.

So she and Doug were
together every possible
waking moment. She
and Doug held hands in
public and isolated them-
selves with the funny
"double Dutch" jargon
that got them so much
publicity — publicity that
eventually made Joan
see that she had worn
her heart too conspicu-
ously upon her sleeve.

They did all the silly
things that people in love
do — the only difference
being that they were pic-
ture people instead of a
couple of neighbor kids
and all the silly things
they did got into print.
How would you like
having what you do when
in love printed? I
(Continued on page 78)

SCREENLAND

Exposing
Hollywood's

T.j£Lt£St

"Triangle"!

Read about this newest
— and nicest torrid trio

Ben Maddox

BUDDY, Mary, and Dick ! A-a-ahl
Who's whose little whosis? Who's whose tur-
tle dove?
Suddenly these three romancers have become
Hollywood's newest "triangle." Their dates, thanks to
the newspaper gossips, have the whole town on the guess.

For years Buddy and Mary have been playmates.
They didn't "go steady," but each was apparently "pre-
ferred" in the other's eyes. And then in barges that
irresistible, singing, hotcha Dick Powell !

Marlene can wear the pants in her family, Garbo come
back, and Joan Crawford revert from quiet evenings at
home with the hook rugs to the dance places. What the
local folks are concerned with is: Which of the two —
Buddy Rogers or Dick Powell— is Mary Brian's real
sweetheart? If both are carrying the torch for her,
which has the inside track? »

If you are faithful to your favorite columnist, you
have been reading that Buddy and Dick are pitting croon
against croon and trumpet against sax, to say nothing of
madly mastering more instruments to impress her. All
this excess energy for the love o' Mary, the little lass
from down Dallas way, suh, who has shown a sophis-
ticated world how to be nice and popular !

"I like Mary because she is a nice girl !" The new
Mr. Powell raving. "Everyone admires her type. She's
regular. She's natural and you can be natural with her.
And she's a heck of a lot of fun !"

He made his screen debut crooning that tantalizing
tune, "I'm Makin' Hay in the Moonlight— In My Baby's
Arms !" And then went and fell for our nicest actress.
Mary adores moonlight drives, but she's slow on the
hey-hay. See how she converts 'em?

This "triangle" has been so carefully nurtured by the
daily press that it actually assumed reality the other
night. Mary attended Kate Smith's big party in the
Cocoanut Grove with both boys. Were the people puz-

I'm Mary

zled ! Three was no crowd ! ! A new Hollywood love
wrinkle ! ! !

Having known Buddy and Mary for nearly five years,
and having made Dick's acquaintance recently, I finally
swore I couldn't stand these rumors any longer. To
check for certainty, I ups to them — and they ups to me.
And we have their love lives all straightened out for you.
' So listen to this !

Buddy and Dick are awfully fond of Mary. They

Shocking.' Hollywood starlet attends Kate
Dick Powell, actually beaming across the
of both their dreams, sweer Mary Brian. Of
movies" even by other actresses, but did

for April 19 3 3

I'm Buddy!"

"I'm Dick!"

crave to take her lunching and dining and dancing — and
driving. (Day or evening.) And to run over to her
apartment whenever they can between official dates.

She, on her part, thinks the world of her old pal
Buddy, and likewise enjoys Dick's company. But she
isn't in love with either, or with anyone else. Yet! And
so all three are actually free-lancing the love game.

Buddy, who used to set thirty as his matrimonial dead-
line, now tells me that he doubts if he'll ever marry. The

Smith's big party at the Cocoanut Grove with TWO men! Left,
table at his deadly rival, Charles "Buddy" Rogers, and the girl
course you know that Miss Brian is called "the nicest girl in the
you know that she is also one of the two or three most popular?

infinite possibilities of a combined screen, stage, radio
and television career entrance him. The idea of being
tied down is unpleasant.

And Dick insists he has to click permanently in the
talkies before he can dream of plunging again. He will
plunge, though ! Last December he was granted a
divorce in Arkansas, having separated from his wife
before he hit Hollywood.

Last Fall Dick's mother and father visited him in
California and he rented a home
one door away from Buddy's place
in Beverly. What a break that was
for the columnists ! The two rivals
picturesquely located as neighbors !

The right angle on this "triangle"
is that Buddy and Dick are not
gunning for each other, but are the
best of friends. Either one might
have been captured by Mary had
she felt true love's pangs. She
hasn't — so far.

According to some of Dick's con-
fidants, he really has fallen hard for
Mary. Buddy's intimates are di-
vided. One group claims he has
been in love with Mary for years,
and the other declares he and Man-
have known each other too long to
turn romantic.

Meanwhile, I wonder if you have
an accurate picture of the glamor-
ous members of this "trio" ?

Dick is quite a bit like his screen
self, but Buddy and Mary have
been holding out on you. In their
old silent days together at Para-
mount they generally portrayed
themselves. Adolescent, naively
charming youth. Remember that
the years have crept up on them.
The reason they've appeared less
often on the screen of late is that
they have been away from Holly-
wood for stage engagements, bump-
ing up against a world that is differ-
ent from (Continued on page 84)

Wide World

SCREENLAND

• My

Most
Mysterious

Friend

How a phantom
"guide and philoso-
pher" pointed the
way to a star's career

By
Robert
Montgomery

As told to Hal Howe

Robert Montgomery today — the
cool, self-possessed leading man
for whose support lady stars vie
with one another. In this frank bit
of autobiography he tells of the
struggles through which he reached
his present pinnacle.

for April 19 3 3

A MYSTERIOUS Stranger, whom I scarcely know,
has had more effect on my life — and success —
than all my intimates comhined. Yet, he has
^crossed my path only four times and on each oc-
casion for a moment only as we measure time nowadays.

But the face and conduct of this individual has been
indelibly impressed in my mind through the years and
has vitally effected my career. I feel that I have not met
him for the last time, and when our trails next cross, I
mean to chain him clown and delay him long enough to
fathom his depth and the reason for his fateful entry into
my life at certain times.

As a mere kid I worked as a machinist's assistant in the
New York, New Haven and Hartford
railroad yards in Maybrook, New York.
We had eighteen hour shifts, and often
during lapses, my mate and I would crawl
exhausted into the dead fire boxes of the
engines and fall asleep for a cat-nap on
the cold grates. During working hours
I spent the majority of my time in the
pits under locomotives.

When conditions were more normal, at
the end of the shift, we returned to the
"Y," and after a good meal sat about in
the lounge room talking or reading.

One evening I found myself seated next
to a stranger who had just arrived. There
was something both arresting and interest-
ing about him. He was of the type who
might be anywhere between twenty-five
and thirty-five years of age — and decidedly

not of the type generally seen about railroad "Y's." His
clothes, though showing the wear of time, were neatly
brushed and not exactly out of press. His linen was
clean, and his tan shoes carried a polish that glossed
over the tell-tale creases. A battered suitcase lay next
to his chair.

"Going to stay on here and work ?" I queried, to open
conversation.

He turned and faced me. I noted his tanned skin,
sandy colored hair, peculiarly shaped square-cut nose,
wide mouth which turned up with a humorous quirk at
the corners, and a pair of blue boring eyes that stared
glassy-like, from behind thick lenses rimmed in steel

Montgomery is as much at home in rough-
hewn roles as in the drawing-room dramas
you've seen him carry off so well. Above, in a
scene from "Hell Below." Walter Huston, right.

Sea-gazing. Bob whiles away an hour with
a couple of genial cronies, Jimmy Durante
and Gene Pallette. "Schnozzle," for a
change, uses his finger for a pointer!

spectacles. A face not easily forgotten.

He considered me intently for a minute or
so. I met his gaze, smiling as ingratiatingly as
I could. He finally spoke in a husky baritone.

"I do not think I will stay on. One comes
here to eat and sleep, does he not ?"

"Yes," I answered, "but then — "

He interrupted. "Yes, but then they arise
the next morning after accepting the hospi-
tality of the 'Y' and go to work in the yards.
Is that correct?"

"Yes, that's the formula," I said.

"I do not think I will stay on," he reiter-
ated. There was finality and a sureness in
his way of saying it. "I shall move on to
other places." He saw my look of disap-
proval and countered :

"I know what you are thinking, but some-
day, when you have lived as I have lived,
which God forbid, and done the things I
have done, you will consider my act neither
ungracious nor ungrateful. You will, like
me, take the gifts offered you and let it go at
that. Tomorrow is a new day and new gifts
will come. I have (Continued on page SO)

SCREENLAND

Grand Duchess

Here is History! Grand Duchess
Marie reviews "Rasputin" the
startling film based on the Russian
drama that shocked the world

The Grand Duchess Marie, whose book,
"Education of a Princess," won for her the high
regard of the American public. This glamorous
royal lady has written for SCREENLAND the fas-
cinating review of the film "Rasputin."

SINCE the downfall of the Russian monarchy Rus-
sia's last sovereigns have been discussed, criticized
and maligned by the entire world.

Not only were they severely judged as public
characters but also as human beings, every detail of
their private lives having been pried into and dissected.
The unparalleled tragedy of their fate has attracted less
sympathy than curiosity, innumerable fantastic and lurid
tales have been spun around their names, unscrupulous
tales purposely distorting history and misinterpreting

They told me it was
impossible! That the
Grand Duchess Marie
of Russia would not
write about "Raspu-
tin," the motion picture
based on actual events
in Russian history in
which her own family
figured. That it was
a subject too intimate,
too painful. They were
! The Grand
Marie was
keenly interested in
"Rasputin" — and now
I have the great priv-
ilege of presenting her
exclusive review to
SCREENLAND readers!
I believe it is the most
amazing feature ever
published in a screen
magazine.
DELIGHT EVANS,
Editor

wrong
Duchess

When you see the scene in the film "Rasputin" in which the
Empress leaves the train after bidding the Emperor farewell,
note the two cossacks standing on guard. One of the two,
the Grand Duchess Marie tells us, is an ex-member of the
Russian Emperor's escort, and had performed the same
duties in reality! Left, another scene which the Grand
Duchess Marie found particularly poignant: the leave-
taking of the Emperor and Empress, played by Ralph
Morgan and Miss Ethel Barry more.

for April 19 3 3

MARIE of RUSSIA

writes about

Rasputin"

Read the review
of "Rasputin"
by the Grand
Duchess Marie
for her opinion
of Lionel Barry-
more' s colorful
performance.

facts.

For those who loved and respected them with all their
failings but with qualities of mind and heart which set
them far, very far above the average this attitude of the
world is profoundly distasteful.

My reactions therefore when I first heard that Metro-
Goldwyn-Mayer were planning to produce their own
version of the tragic subject which is of such intimate
concern to me, would not be difficult to guess.

Up to the present the names so dear to me had been
spared by Hollywood although they were often made to
figure on the screens abroad and always featured in the
most unattractive fashion. I trembled at the idea of

SCREENLAND

"It was with no pleasurable feelings that I lookec
jtr^. That day came, however, and my nerves were tarn

would see strange people interpret familiar

Don't Miss this
Memorable Review!

Lionel Barrymore and Ethel Barrymore in a scene
from "Rasputin and the Empress," the screen drama
which afforded the Grand Duchess Marie the unique
experience of watching actors impersonate her own
beloved sovereigns and the other characters who
played their parts in the great Russian drama.

what Hollywood would add to the list of calumnies.

My misgivings were further intensified when I was
told what was going to be the title, a title as usual con-
veying a suggestive hint. Consequently it was with no
pleasurable feelings that I was looking forward to the
day when I would be obliged to witness the film's first
performance.

That day came, however, and my nerves were taut as
I took my seat in front of the screen upon which in a
few moments I would see strange people interpret fami-
liar characters, live their lives, suffer their sorrows. I
had no rest either until the performance was over ; every
time that a new scene was projected upon the screen I

was preparing for the expected blow. Yet with it all
as the action developed I found myself getting more and
more interested in the spectacle, and by the time it had
come to an end I was both deeply moved and above all
relieved.

The two characters in the film I was most interested
in, those of the Emperor and Empress, are treated with-
out the prejudice and offensive exaggerations which in
these fifteen years had become almost a tradition. For
this I feel sure I can be thankful to Ethel Barrymore.
She has succeeded in making a very dignified and ap-
pealing figure from a character consistently misrepre-
sented. Her way of interpreting the Empress occupied
my attention to the detriment of almost everything else
on the screen and when she would leave it I waited for
her return impatiently. She could not have been better.

Amongst numerous scenes many of which are highly
dramatic there is one of a less spectacular nature that is

What does the Grand
Duchess Marie think of
Ralph Morgan, who plays
the role of Tzar Nicholas?
Her impressions are viv-
idly and sympathetically
told on these pages.

Striding his way
across the opposite
page is Lionel Barry-
more, who many
believe gives his
greatest perform-
ance in the role of
the baffling Raspu-
tin. Does the author
of our review agree?

or April 19 3 3

Drward to the day when I would witness the film,
s I took my seat in front of the screen upon which I
haracters, live their lives, suffer their sorrows."

(

nevertheless particularly human in its tragic simplicity.
It is a scene during the war in which the Imperial couple
are taking leave of each other before the Emperor's de-
parture for the front to take over the command of the
armies. They are seated side by side on a sofa in the
Emperor's private railway carriage, and on his lap the
Tzar is holding a rug which he forgets to wrap around
his wife's knees. The words they exchange are few but
they are heavy with sadness. Both realize the tremen-
dous responsibility the Tzar is about to take upon him-
self, both know that there are few around them that
they can trust. They are alone in the world and about
to be separated, they who hardly ever were away from
each other for more than a day. The door is opened and
they are told that it is time for the train to start. They
rise and silently embrace ; for a moment they cling to
each other.

The scene changes. Through a large glass door you

A member of the last
reigning family of Russia,
the Grand Duchess Marie,
after the revolution,
carved a new career as a
writer. Her book, "Educa-
tion of a Princess," will be
filmed by Joan Crawford.

Below, Lionel Barrymore
as Rasputin in a scene
with Diana Wynyard, who
plays the fictitious char-
acter of Princess Natasha.

see the train ; it is covered
with icicles. Snow is fall-
ing. There is a whistle
and the train begins to
move. Against the back-
ground of departing car-
riages a figure appears
.which slowly walks to-
wards the glass door; it
is the Empress who has
just said goodbye to her
husband. She does not
cry and her face in all its
impenetrable rigidity is a
mask behind which you
can sense the consuming
anguish.

The scene contains a de-
tail which will only be
noticed by a few who
know and for whom its
realistic qualities will
therefore be all the more
poignant. On either side
of the door two cossacks
in uniform stand on guard.
{Continued on page 96)

SCREENLAND

A Director

looks at the

Stars

Cukor, who made "A Bill of Divorcement" and ''What
Price Hollywood ," is one of Hollywood's outstanding
directors. Here he is with Connie Bennett, whom he
is guiding through her new film, "Our Betters."

ROLL 'em, boys!"
We're on a set in the R.K.O. studios — mak-
ing ourselves modestly inconspicuous — for vis-
itors, though occasionally admitted, are never
looked upon with high favor.

The scene has been rehearsed again and again and
again — rehearsed till all the sense has been rehearsed
out of it, and you wonder how the actors are ever going
to get it back in again. There's been a rehearsal for
lights. The make-up man has gone the rounds, repair-
ing the ravages of excitement and perspiration. The
cameraman has mounted his "dolly," his hand on the
crank. His assistants hover helpfully. The sound men
are at their machines. A dozen others whose duties are
Greek to you are stationed in the offing. The actors wait,
tense and ready.

It is then that the center of all this activity, the hub
around which it turns, the motor whose driving energy
releases and sets it going, controls and guides it to vic-
tory or defeat — it is then that the man with the mega-
phone cries : "Roll 'em, boys !" and the cameras grind.

The director on this set is George Cukor, veteran of
the stage, who with "What Price Hollywood" and "A
Bill of Divorcement" leaped to the top of the directorial
ladder of filmdom. Your first impression, as you watch
him moving purposefully from one group to another, is
one of bulk — a hefty figure of a man who, despite his
heft, is remarkably light on his feet. Your second im-
pression— if he gets close enough to you — is of a boyish
face and kindly brown eyes shining behind horn-rimmed
spectacles.

He is putting John Barrymore and Katharine Hep-

burn through a scene of "A Bill of Divorcement." As
the camera takes them, he watches, intent on every move,
every gesture, every shade of expression that crosses their
faces. His fingers curl, his face grows strained, you
can almost see his nerves stretch and tighten. As Barry -
more's hand creeps to his pocket to draw forth a pipe,
his hand creeps to his pocket in a similar gesture. When
Katharine Hepburn's slender figure, wonder and be-
wilderment in its eyes, steals down the staircase, his
heavy, crouching body takes the steps with her, while
his eyes widen with the feeling reflected in hers. Like
any creator, he is striving with all his will to inject into
the material in which he works his imagination, his
energy, his passionate encouragement, and when he cries :
"Cut !" the strain is evident in the perspiration he mops
from his forehead and his eyes.

It was some months later, and after the triumphant
release of "A Bill of Divorcement," that I had a chance
to talk to Mr. Cukor.

"Well," he said, eyeing me warily across the breadth
of a luncheon table, "I suppose you want me to tell you
all about my love life. And I suppose you won't believe
me.- when I tell you I love 'em all. That's right — laugh !
I knew you would. Think I'm afraid to say anything
mean for print, don't you? Well, to tell you the truth,
I don't see much sense in it — and to tell you the truth

for April 19 3 3

"Think I'm afraid to say
anything mean about
my stars for print, don't
you?" says George
Cukor. Well— listen to
this ace director tell the
truth about some
famous players

By Ida Zeitlin

HAVE YOU HEARD
THIS

JOHN BARRYMORE
STORY?

"Listen , George/' said
John at the first
"Bill of Divorcement"
rehearsal, "if I try to
do a single hammy
thing in this picture,
kick me, will you?"
Read more grand anec-
dotes about Connie
Bennett, Katharine
Hepburn, and other
stars in this feature!

What kind of a
girl is Katharine
Hepburn to her
director? When
you read what
George Cukor,
who directed her
screen debut,
says about this
amazing girl,
you'll have an en-
tirely different
picture of her.
One thing is cer-
tain: Hepburn is
unique among
screen actresses.

Left, Cukor di-
recting one of the
telling scenes for
"A Bill of Divorce-
ment," his classic
screen drama.
You'll have to re-
vise some of your
views of Billie
Burke and John
Barry more after
reading this arti-
cle. Cukor knows
his stars!

Is any screen beauty a heroine to her director?
Usually that's hard to discover. But Cukor is
frank, and you'll learn his real opinion of
Connie Bennett here. The picture above
shows him lunching with Connie and Elsa
Maxwell, who is etiquette dictator for Connie's
film, "Our Betters."

again, believe it or not, I'd have to rack my
brains harder than it's worth to find anything
mean to say about the people I've worked with.
Not the first-liners, anyway. That's the fun-
ny part of it. Whenever I have had any
trouble, it's been with the little fellows.

"The others? Sure, they're human — God
help us all if they weren't — sure, we have our
spats and our disagreements — and sometimes
they're right and sometimes I'm right — but
that's not the point. The point is they're intel-
ligent— and to hell with the rest ! They want
to make good pictures — that's all they want ; so
do I — so where's the argument?

"No — print or no print, I'm telling you that
I've yet to come across a case, among any of
the stars I've had under my direction, of what you peo-
ple call artistic temperament when you mean pure cussed-
ness — and I've bad some whose reputations along that
line were nothing to be sneezed at. Barrymore of the
raring Barrymores — a gentleman and a prince ; Bank-
head — London's spoiled darling — a kinder, more con-
siderate person never lived ; Connie Bennett — "

Mr. Cukor may have thought he detected a gleam in
my eye which wasn't there. I have no other way of
accounting for the fact that at this point he wagged an
accusing finger at me and whooped in disgust.

"Yah!! Connie Bennett! — eats a director with her
dinner every night, doesn't she? Well, let me tell you,
there isn't a girl in the world I'd rather direct than this
same man-eating Connie Bennett !"

"Don't shoot, mister," I pleaded. "I believe you."
Mr. Cukor grinned — a sudden, young, disarming grin
— and the blaze faded from his mild eyes.

"Excuse me for getting a little heated," he said.
"There's so much tripe written about this business and
the people in it that it's sometimes hard to keep your
shirt on.

"All right — let's take Connie Bennett, for instance.
She's young, she's pretty, she's rich, she's successful,
she's married to a French nobleman — a dramatic, color-
ful figure — good copy — so what do they do ? They make
a stencil of her and copy her to a standstill as a heartless,
artificial, high-hat, fashion-crazy, luxury-loving butter-
fly and let it go at that, without taking the trouble to find
out what she's really like. Oh, (Continued on page 86)

Master Mugg !

"I want to play muggs,"says Spencer Tracy, "because
that's what I am!" And he is also a grand actor and
a gentleman, as this great human story tells you

By S. R. Mook

Inimitable Spencer Tracy,
at once the cockiest and
the humblest actor in
Hollywood!

Mook knows Tracy as no
other writer knows him.
That's why this is a great
story!

I IKE Jimmy Cagney, he's a mugg on the screen. In-
congruously enough, and also like Jimmy, off-
i screen he's one of the most perfect gentlemen in
Hollywood. It's hard to reconcile the two. More
than one person has gone to see a Tracy film and come
away fascinated by his boisterous rowdiness. More
than one interviewer has gone to see him, expecting a
riotous hour or two, and departed completely dazed by
his quietness.

Outside of his family there is only one thing in the
world that matters to Spencer — his career. I've never
seen him that sometime during the course of the con-
versation he didn't suddenly sober and start worrying —
either about the part he was engaged on at the moment
or what the fuure held for him in the way of parts.

Once when we were sitting in his living-room, sunk
in deep, soft-cushioned chairs with a log fire crackling
on the hearth and the spacious lawns visible through the
windows, he waved his hand to indicate the room and all
it connotated. "This," he said, "is very bad for an actor.
It gets you too used to luxury that doesn't last and makes
you dissatisfied with your regular life when you go back
to it. An actor's life is made up of hardships, and it
should be — for he has to know that side of life in order
to give convincing performances. This spoils all that.
It makes you fat and soft and contented."'

His "regular life" as he referred to it then was the
stage. He has never been able to convince himself that
he has any permanent place in pictures. If he hasn't it's
the screen's loss. Jimmy Cagney once remarked to me

that he considered Tracy the finest actor on the American
stage. Jimmy's remark was no Hollywood gesture,
either, for the two of them have barely a speaking ac-
quaintance.

When Spence spoke of an actor's life being made up
of hardships he literally spoke the truth. No one but
God and Spencer and Mrs. Tracy know what he went
through when he was getting started in the theatre. His
family have always been well fixed but his father hadn't
wanted him to go on the stage and Spencer wouldn't per-
mit him to contribute to a career in which he had no
faith. Spence made his way alone and unaided, except
for the encouragement his wife gave him. They went
from one stock company to another with barely enough
funds to pay their railroad fare to the next engagement.

Once in New York, a few months before their first
baby was born, Spencer lived for four weeks on what is
known in the profession as "a rice pudding diet." In
New York, for a nickel, you can get a bowl of rice
pudding. It is very filling. He became such a con-
noisseur he could tell you which restaurant gave an ounce
more than the others and which one put in the most
raisins. Finally he discovered one joint that poured a
little cream over the stuff and that made it more filling.
He had one bowl a day.

Thirty cents they could ill afford went for Mrs. Tracy's
meals. She had to have nourishing food on account of
the expected baby.

After four weeks of that sort of thing he got a job
in Elizabeth, N. J., with a stock (Continued on page 90)

Opening night of the
film sensation of the
season! The stars
turn out for "Caval-
cade." picturization
of Noel Coward's vast
epic drama. Clive
Brook, who has the
leading male role, at-
tended the Hollywood
premiere with Mrs.
Brook.

An important scene
from "Cavalcade," the
Fox Films master-
piece, with Clive
Brook as Robert Mar-
ryot and Diana Wyn-
yard as Jane Marryot,
the two principal
cliaracters in the
drama. The time is
1903. the occasion a
formal ball. Begin-
ning with the close of
the nineteenth cen-
tury, the picture
traces the recent de-
velopment of the Brit-
ish Empire down to
the present day.

Diana Wynyard, bril-
liant new star, Gene-
v ie v e To b i n , and
George Raft, pictured
below, added their
share of glamor to the
star-studded audi-
ence. Miss Wynyard
is the lovely and strik-
ing actress from the
English stage who has
won unanimous plau-
dits for her exquisite
work in "Cavalcade."

Acme

Hollywood Highlights

Hollywood is many towns in one. Sometimes it's gay, sometimes
it's grim ; one day it's soft and easy-going, the next it's hard-
working, dead serious. We've caught the highlights of some of
Cinema City's pet moods — follow them through these pages and
you'll have an idea of what a many-sided town it can be !

In "Lighter" Vein

THREE guesses — or three hundred! Would you know the darkly
intriguing Kay Francis in her blonde wig? Kay wants to make a
picture in this startling new character; the studio says her nay. So they
decided to leave it to Screenland readers. How about it, folks?
Write Kay and tell her what you think — or write us, and we'll tell her

for you!

In Darker Mood

PERHAPS you never thought of the athletic Joel McCrea as the
pensive type! Yet here he is, in pleasantly informal garb, with
that far-away, wool-gathering look on his face. What's on your mind,
Joel? Wondering how much longer it'll be before they star you in
your very own picture, instead of placing you "in support" of all those

lovely ladies?

Pretty hard to beat thii
combination of movie em-
inence! Mary Pickford.
who graciously acted as
Gary's hostess for theeven-
ing, is caught by the earn-
er a man with Norma
Shearer. Are these girh
enjoying the proceedings
— just have a look at those
smiles.'

One of the most mirthful of recent
evenings was Gary Cooper's party.
Norma Shearer, Leslie Howard, and
Lionel Barrymore were among his
stellar guests — and there, peeping
out from behind Lionel, is Elsa
Maxwell, writer and belle vivante.

Bright Boys <*> Gay Girls ^ Peppy Parties1

Hollywood prefers impromptu fun

And, of course, the tantalizing Tashman was on hand to
enrich the gathering with her well-accoutred presence.
Lit, in a frock relatively simple but with her characteristic
dash, trades chatter with Doug and Gary.

Must have been a good one Doug just told.' The ubiquitous
Fairbanks takes Norma and Freddie March aside for a few
party pleasantries, with Leslie Howard and mine host
listening in over his shoulder

Jean Harlow skips
across the border to
Agua CaJiente, Mexico,
for a little family party.
With her are her
mother and stepfather,
Mr. and Mrs. Marino
Bello. Yes, that's min-
eral water in Jean's
glass!

Charlie Farrell and Virginia
Valli, his wife, go in for fresh-
air enjoyment at Santa Mon-
ica, where one of the season's
important polo matches is
being played. Charles has his
eye on a high one!

Bob Montgomery, who has
his own idea: of fun, organ-
izes a party for himself
and his wife at the Santa
Monica polo matches.
Bob, who swings a mean
mallet himself, is getting
set for a critical close-up.

While some of her col-
leagues were celebrat-
ing the joy of living at
home, Marquise Con-
nie Bennett and her
titled consort made
merry on their own
during a little holiday
trip to Agua Caliente.

And here are Mr. and
Mrs. Spencer Tracy em-
barking on a long spell
of old- fashioned relaxa-
tion. They wen t off on
a vacation trip to South
America. (Going to
brush up on your "S.
A.," Spencer?)

Those Gay '90's!

And all the while you
thought Carole Lom-
bard was an ultra-
modern, super-sophis-
ticated gal!

Ta-ra-ra, boom-de-
ay! These are the
girls who entertained
the tired-business-
men back yonder in
the days of the bicycle
era.

With bustles and ruffles and

pompadours galore,
The modern girl hasn't a
chance any more!

Irene Dunne as a late nineteenth-
century beauty in "The Secret of
Madame Blanche," one of the forth-
coming pictures in the current wave
of costume "epics." You must admit
that those ruffles, flounces and pic-
ture hats had a decided charm of their
own!

Romance in lavender!
Can you blame Richard
Dix for being enchanted
by the charming Wera
Engels in her no less
charming turn-of-the-
century gown? Wera is a
popular actress from
Germany who makes her
American debut playing
opposite Dix in "The
Great Jasper."

The calico girl comes to
life! Florence Eldridge,
that good young actress
who is Mrs. Fredric
March, dons this dashing
garb in Richard Dix's
backward-looking film,
"The Great Jasper." Be
careful with that new-
fangled horseless street
car, Florence!

Taming the
Wild Cagney!

What — is Jimmy just a home
boy after all?

Jimmy Cagney. looking ever so harmless and
sedate, in the living room of his new Beverly Hills
house. Almost devotional is this quiet room with
the stained-glass designs in its windows. A re-
action from James' screen character?

"A villa on the hill-a, and you," croons Cagney to
Mrs. C, below, as they contemplate their not-too-
modest domicile together. Jimmy has learned
that, notwithstanding the Golden Rule, it pays
to be tough. That is, of course, in picture rdles.'

One, two, three, four! Cagney, who
more versatile an artist than you ma
have supposed, spends a good part of h.
spare time brushing up on his keyboar
technique. The bad boy of pungent pic
tures really likes music, and takes hi
piano-playing seriously .

From the spacious windows of the Cagney
home Jimmy commands an agreeable view
of the surrounding foliage But let's hope
the softening influence of lush Mature
doesn't smooth down those rough edges of
his screen personality!

Jimmy, gazing
up at the raft-
ered ceiling,
speculates on
the height of
his living
room. Not ex-
actly a little
hovel, James,
whatever it
may measure.'
To those who
co mp 1 i me n t
him on the
proportions of
his residence,
Cagney non-
chalantly re-
marks, "Don't
mansion it.'"

All photographs
of Mr. and Mrs.
Cagney by Bert
Longwortb,
Warner Bros.,
exclusively for
SCREENLAND .

Here's the balcony scene in this
domestic drama. Don't ask us how
Jim got up here, but here he is — and
no Juliet on hand to greet him! This
high balcony, combined with the tall
windows, lends an added note of
spaciousness to the room.

Sun-kissed Shearer

NORMA SHEARER gives us delightful reminder that it's always swim-time
under filmland's perennial sun. And so she dons her strictly 1933 bath-
ing suit for a cooling dip. Who but Norma could look so warmly ravishing

and yet so deliciously cool?

A Spring Idyll

VERNAL poets, prepare to sing! You can almost feel the first warm
promise of spring in this lovely scene. Budding grass, mossy rocks, a
lilting stream — and sweetly pensive Bette Davis in rustic gown and lacy, floppy

hat to complete the picture!

Torrid
Teasers!

Snow what? Eleanor
Holm thought she'd com-
bine skiing with her swim-
ming— and here's the de-
lightful result.

Technocrats, attention!
Here's a study in high
voltage provided by Lynn
Browning, new little girl.

Getting away from it all! Alice
White relaxes from the ardors of
acting by seeking out a little corner
all her own on the set.

Is it girlish charm you're
strong for? Verna Hillie has it
— complete with shy smile and
ingenue gaze.

Gail Patrick, left, swells
the ranks of brunette
Hollywood charmers — and
a very welcome recruit she
is, too!

Phyllis Frazer
knows what to do
for that tired
feeling! This pos-
ture is good for
heat waves, too!

Vreulich

THE lovely blonde Gloria Stuart hasn't been in pictures very long, but she's
here to stay — she has that "Universal" appeal! You'll see her in "Private
Jones" with Lee Tracy, and in "The Kiss Before the Mirror," with Nancy

Carroll and Paul Lukas.

CAROLE LOMBARD
in Paramount' s
"FROM HELL TO HEAVEN"

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ACE.

The Most Beautiful Still of the Month

Joan Crawford in "Today We Live"

Confidential!

A swell actor's "severest critic"
reveals him to the audience

By Mrs. Wallace Ford

Wallace Ford's life story
is one of the most color-
ful in Hollywood. After
running away from home
repeatedly he became a
boy actor at the age of 13.
Today he is among the
most promising young
men of the current
screen.

Martha Haworth Ford,
who gives you this amus-
ing close-up of her popu-
lar husband, is the
daughter of a well-known
actor and playwright.
Her two main interests
in life are Wally and their
small daughter, Patty.

THE little woman approaches this interview with
knees that feel like pieces of string. My pencil
trembles in my fingers, believe me, boys and girls,
because Wallace Ford, the star of this picture, is
the most important guy in my life.

He pays my bills, lets me drive his car, feeds me kind
of swell, takes me places. So, you see, I must do well
by him — or else !

I probably know less about the young man than, for
instance, his director. He is constantly surprising me.
That's why I've cared about him in such a big way for
so, so long. We're doing this interview surrounded by
fan mail, stamps and mild profanity, so don't blame me
if a flavor of nervous excitement creeps in here and
there.

Y\ ally is an amazing creature. His personality is as
many-sided as a — well, it's many-sided. He bears the
anguish of a hickey on the end of his nose with admir-
able sangfroid. When I weepingly assure him it will be
most apparent to the all-seeing eye of the camera, thereby
destroying his ^ex appeal, he swears that the particular
character he is playing wouldn't be complete without a
hickey on his nose.

I tell him his favorite dog has just died, expecting an

outburst of sorrow, and he simply
says, "Well, that's life. Here to-
day and gone tomorrow."' A true
philosopher. But I say, "I dented
' the fender of our car today, just
a teeny bit," and he stalks from
room to room bellowing like
Hamlet.

He never does the thing you
expect him to do, except in his
work. He is the most whole-
souled and conscientious actor
I've ever met in my life. And he
is a very good actor. I speak, not
only as his best friend, but as his
severest critic.

His eyes are blue, or are they
gray? And very deep-set, with
four wrinkles in each corner,
brought on by a combination of
laughter and the California sun.
His mouth is rather large, but
firm. His nose is largish, too,
but a nice nose for a' that. He
has a chin of great determination
and enterprise. He has well-set
ears, sandy brows and lashes,
shaggy brown hair and a nice 18
complexion. He's enough taller
than I am to make a good danc-
ing partner. All this is beside
the point, no doubt, but it mat-
ters to the little woman.

He calls our child "poodle-facer"' and as she is the spit
of her old man cut down to one act, this exonerates him
from all pretty conceit as to his appearance. He knows
she looks like him ! Personally, I think they're both as
beautiful as arch-angels, but then, I'm prejudiced in their
favor some of the time.

He cooks the grandest bacon and eggs in captivity, but
won't wash up his dishes unless you beat him with a
broom.

He loves cold showers because they make him feel like
a Spartan.

Wears turtle-neck sweaters whenever he can and often
when he shouldn't, because he hates buttoning and un-
buttoning his shirt. Says he has to do it too often when
he's working. Plays what would be a darned good game
of golf if he had time to practice.

Xever has been seen with anything but a cigar as a
smoke because when he was thirteen years old, some man
told him onlv Susies smoked cigarettes.

Snores when he sleeps, although he swears he doesn't.
Usually clutches the blankets around his shoulders with
such singleness of purpose that he leaves his tootsies out
in the cold. (Continued on page 96)

SCREENLAND

3 Weeks with
Neil Hamilton

(Professionally Speaking)

By Mae Clarke

Our star reporter-actress, Mae
Clarke! She played with Neil Ham-
ilton in "As the Devil Commands."
Here's her day by day rating of him
as an actor and a human being.

IUNCHEON with some writers
in Neil Hamilton's dressing
iroom. Never met him before
. . . arrive at noon ... no one
here . . . what t'do? ... so I wait.

Time to go over mentally what I
think he'll be like. Let's see . . .
healthy . . . nicely married ... a very
clean, well-groomed lad . . . steady
and good performer ... a perfect
gentleman. Gness I'm about to meet
a very nice person.

Ah, here he is . . . never was fawn
more startled by hunter . . . didn't
expect me ... or know who I was
. . . extremely polite and patient with
the situation till I explained all. Had
already ordered food ... so after
ordering for me too . . . sits down
and applies grease-paint . . . has on
a sweat shirt . . . and hair all mussed.
Pleasant surprise . . . Absolutely un-
selfconscious . . . makes me feel so
"at home" I straddle a chair, being
attired in riding habit.

Finally arrive the writers . . . De-
lightful food . . . delightful repartee
. . . delightful hour . . . delightful
gentleman with a twinkle in very
brown, deep-set eyes.

Time goes on . . . now a picture
together. Hate to say his sense of
humor is grrrand because it's a lot
like my own . . . we laugh at the
same things so we decide to inter-
view each other and to rate the day's
work with the famous star system.
So here goes Mr. Hamilton's report
daily from my standpoint. Getting
a little shaky knowing I have the evil eye on myself
too . . . Fortunately for this article we decided to do this
after five days' work. Those five are set but from now
on I don't know whether we'll trust each other. We
shall probably be too too good with a tongue in the
cheek and an eve on the stars. We have four stars . . .

"As the Devil
Commands"
— or as the di-
rector c o m -
mandsf Here
a r e M a e and
Neil doing a bit
of dramatic
emoting in a
crucial scene for
the picture. Did
Mae retire to
her dressing
room to make
notes?

Mae Clarke and Neil Hamilton making eyes for picture
has grey temples naturally, with auburn hair — a very
is the perfect outdoor companion —

for April 1933 53

An actress tells what she really thinks of her leading man. Read this

and learn how picture partners get on!

excellent, four; . . . good, three; . . . fair, two; . . . poor,
one. Here goes :

Thursday: Not actually shooting, but in the portrait gal-
lery for advance still pictures. Entire cast gathered . . .
all men ... I the only girl. There for a while ... I
thought I was being ignored . . . several of my gags
went unnoticed. . . . but then men always gather when in
majority to tell certain stories . . . since I contended
with the same thing in "Front Page," guess I'll overlook
it. Yes ... I will ... he just popped up with a match
for my cigarette when I didn't think he even knew I
wanted one. Oh, I'm so sorry I was critical . . . the
poor lad has had novocaine for a few fillings and is
really quite upset. We rush his pictures through ahead
of mine so he can go home — and so to bed . . . All things
considered, and being only half a day, I award two stars.
Friday: First working day . . . very pleasant about
rehearsing . . . very courteous about which side I'd pre-
fer entering on with him . . . both a little on the shy edge
on account of first day and new acquaintances. And so
as all first days should, I award four stars.
Saturday: Had to play organ and sing carols with oodles
of kiddies, and Neil comes in to scene . . . puts his arm
on my shoulder and sings too ... we both get a little
bored as we do it about ten minutes. I adore kiddies
and especially these, but after a while, with fatigue and
the heat making me a bit irked, I exploded to Neil:
"Kids are swell, but after a while let me escape — for my
part I don't want them permanently." He was sort of
tolerant with me, but I realized I'd said something un-
forgivable in his eyes. I unearthed a terrific paternal
instinct in the boyish Mr. Hamilton as he replied, "You
evidently have none of your own." I was that taken
aback! Guess I've been forgiven — he's clowning and
singing all wrong words to "Silent Night," f 'rinstance :

I am so warm,
Tired and fatigued ;
I tank I go home,
And-in-a-nightie get rigged.

Or something just as ridiculous whilst I look saintly.
Well, if that wasn't a task! But soon all jokes stopped
and I could note the Hamilton nerves start to work and
sort of slammed a few of the organ keys ... it was

purposes. And speaking of romance, Mae says that Neil
rich merger. Ah, there, Neil! Miss Clarke also says Neil
so this scene will probably be good.

The smile of victory — did Neil Hamilton make good
with Mae Clarke? Watch for these two in their first
picture together. You'll enjoy the combination.

nearly six and everyone was thinking of the soup-to-be.
And so Neil gets three stars.

Monday: Neil plays assistant to Santa Claus. Is really
awfully good in the scene with the children. Has the
nicest, "realist" laugh you ever did hear, sort of starts
basso ... a few musical tinkles, and then real loud.
Wish I could do it. Am such an ape . . . usually steal
one trait from even-one ... so guess I'll try to make
off with Neil's laugh ... if I were a boy I'd go after
that speaking voice of his . . . Can't describe it . . . it's
too swell . . . you must hear it to know what I mean.
Gets at you somewhere along the spine, like music from
a cello. Now don't get me wrong — I have no more
crush on Neil than I have on a cello, but do you mind
if I appreciate both? A four-star dav.
Tuesday: I worked in the morning and Neil in the after-
noon and night-shift. We only passed each other in
hallways and alleys, so it looks like a dark night . . . not
a star.

Wednesday: Up to date. Today (Continued on page 89)

SCREENLAND

Buster (short for '"Rib-buster") Crabbe, Paramount' s
jungle white hope, as Kaspa, the Lion Man, in "King
of the Jungle." The powerful lad is giving his lion roar.

The thrill that comes once in a young lifetime — right.
The lioness discovers the child castaway — what will
happen to him? It's a new situation in screen drama.

A ripping, roaring threat to
home and fireside! Compare
"The Lion Man" with Tarzan,
the "Ape Man"— who does more
things to your blood pressure?

Look Out!

Here's the New

Jungle
Menace !

Before eating his spinach.' This appealing baby lion
becomes one of the boy's pals and teaches him many
of the ways of the jungle — giving him, as it were, a
lion on the situation. And —

After eating his spinach.' The lionette grows into a
jungle lord — majestic in his flowing mane and power-
ful body, fearing nothing. It just goes to show what
good little pussy-cats can grow up to be.'

for April 19 3 3

We're all cubs together.' The child
Kaspa, lost in the wilderness, becomes
the foster-brother of these two
grouchy-looking young lions, whose
mother adopts and protects him as
her own. "It's a beastly life," says he,
"but I like it."

Trouble in Nature's paradise! Tragedy rears its head
when the human jungle-dwellers go lion-hunting.

The herd of lions, Kaspa's friends, are trapped by the
natives and penned in an enclosure. Their frantic
efforts to escape are unavailing, and for a time things
look pretty black for the lion populace. But soft —
guess who comes to their rescue?

The picture above gives
a graphic idea of the
precautions which were
necessary in filming
this wild-life epic.
Camera "cages" of
heavy wire were erected
on stilts to safeguard
the lives of the photog-
raphers when the fero-
cious performers were
turned loose. At the
left is what the cameras
"shot" — a hapless na-
tive falls into the
clutches of a vengeful
lioness.

Kaspa, it turns out,
isn't so far estranged
from the human race
as to be immune to the
allurements of some
lovely girl such as, for
example, Frances Dee.
It's Frances who, dis-
covering the "Lien
Man" in the jungle,
awakens human love in
his leonine heart. After
various trials and perils
he wins her for his own,
and another outdoor
saga reaches its happy
conclusion.

SCREENLAND

Screenlands Critic Really Sees the Pictures!

Cavalcade
Fox

There's just one word for this motion picture, and that is
•magnificent." If I have ever used it before please forgive
me. I should have saved it for "Cavalcade." Here is the
finest talking picture yet produced — a beautiful, touching,
and thrilling entertainment. Hollywood need never hang its head
in shame again. All finger-pointing must stop at once! The movies
have made a picture to be proud of. Noel Coward's play is British
in scene but universal in appeal. It follows the fortunes of a high-
minded English family from Victoria's day to this. And what
drama the great Coward has found in the quiet lives of the Mar-
ryots — Robert and Jane, their sons, and their servants. The
acting is superlative. Diana Wynyard is first. But Clive Brook
is perfect. Frank Lawton from England is a sensational juvenile.
Ursula Jeans is charming. Three members of the original cast, Una
O'Connor, Merle Tottenham, and Irene Browne, score. Herbert
Mundin, splendid. Frank Lloyd's is a mighty directorial achieve-
ment. • Cavalcade" is an experience you must not miss.

Whistling in
in the Dark
M-G-M

A pleasant little piece, guaranteed to give you a good
evening. Ernest Truex, America's premier light comedian,
makes his talking picture bow and I hope you like him,
because I want to keep right on seeing him in more movies.
He is — what's that word? — inimitable. He can be whimsical, deft,
and debonair, without causing cringes. And here he has a perfect
part — that of a conscientious author of best -selling murder mys-
teries who blunders into real crime. A gloomy country house on
a lonely road, filled with mysterious men and an uneasy atmos-
phere, is the setting. In wander Truex and Una Merkel as his
fiancee, accent and all, and you know you're going to have a grand
time. Truex is told he must prove he's good by concocting a per-
fect crime to "wipe out" an eminent citizen — "or else." There's
a time limit — suspense; there's romance — Ernest and Una are
engaging lovers; and there's a climax that gives you more than
your admission money's worth of thrills. Johnny Hines comes
back creditably in the cast — welcome, Johnny. It's good to see you.

REVIEWS

•is?

SEAL- OF

of the

Best

ictures

"By

Rome Express
Universal-
British
Gaumont

Hurry and catch "Rome Express"! I promise you an ex-
citing ride. Your fellow passengers will keep you so
interested you won't have time to look out the window.
You'll meet a neglected wife — ah! — an eccentric million-
aire, his meek secretary, a beautiful blonde movie star — oh, oh! —
and other keenly drawn characters. They'll provide all the action
you can ask. It's melodrama, and it's good, and it all happens on
an express train, as you've guessed, en route from Paris to Rome.
Conrad Veidt plays the meanest menace of the month — remember
Mr. Veidt in some of our silent films? And how nice to see Esther
Ralston on the screen again. She is just as lovely as you remember
her, and gives a grade-A performance as the weary-of-publicity
film actress who lies to save the man she loves from being wrongly
accused of murder. Murder? Yes, murder, and more — it's never
dull on "Rome Express." Congratulations, England, for sending
over this interesting picture. It's your "Grand Hotel" on wheels,
and good entertainment, the best you have sent us.

You Can Count on these Criticisms

for April 19 3 3

Reviews without Prejudice, Fear or Favor!

Easaaassaas*

Extra Review

"State Fair"

Fox

Just the picture to
usher in the spring
season! It is the most
refreshing entertain-
ment on the screens right now.
"State Fair," from the hearty,
human novel of Phil Stong,
has the appeal and fragrance
of youth-in-love and the peace
and serenity of comfortable,
chuckling middle age. The
combination is sheer delight.
Briefly, it's the story of the
Frake family during the week
of the big State Fair. Mother
— Louise Dresser — exhibits
pickles and mince-meat;
father — Will Rogers — shows
his prize hog, Blue Boy. Janet
Gaynor, as the daughter, falls
in love with a newspaper re-
porter, Lew Ayres. Norman
Foster, playing his best screen
role as the son, encounters
temptation in the person of
pretty Sally Eilers. They
live and love as real people,
not picture puppets. You
really care what happens to
them. And you'll relish every
minute of it. Janet will sur-
prise you with the sincerity
and depth of her performance
— she will win new friends
here. Rogers is in his element
— I've never liked him so
much. In fact, you'll love the
whole family. "State Fair" is
the kind of picture we need.
It's a lovely thing.

42nd Street

Warners

Here's the first of your new musical movies! Some of you
have been begging for them, so this is your big chance.
"42nd Street" is a stunning, lavish, gay tune-picture. If
those song-and-dance films to follow are as good, then it's
heigh and it's ho for a prancy screen season. You won't be bored
by all that endless footage that used to irk you in our first musical
movies showing chorus gals marching endlessly up and down orna-
mental stairs; no — "42nd Street" has just enough chorus work to
give it color. It's jammed with comedy and fast action, and human
interest, too. A Cinderella story of the little Broadway nobody
who steps into the spotlight and saves the show, it presents Ruby
Keeler, Al Jolson's favorite tap dancer, a cutie who scores and will
bear watching in future films. Bebe Daniels sings and looks grand,
Warner Baxter is interesting, and George Brent and Dick Powell
and others help. Brother and Uncle will be glad to hear that prac-
tically every pretty girl in Hollywood was engaged to make "42nd
Street" a further pleasure. Highly pictorial, Misters!

The Bitter
Tea of
General Yen
Columbia

There's a tarig to this entertainment that I like. Not the
usual Oriental movie at all, it combines color with down-
to-earth realism. If you have been disappointed with the
various other Chinese cinema exhibits seen around re-
cently, and I don't blame you too much, don't be discouraged —
visit "The Bitter Tea of General Yen" and see a different East-
is-East drama, with subtleties as well as slant-eyes, and intelligent
dialogue instead of pidgin-English smart cracks. Barbara Stan-
wyck plays a New England missionary in civil-war-torn modern
China, captured by a bandit chief, played by Nils Asther. A
definite promise of drama, and a promise that is handsomely ful-
filled in the delicately shaded emotional conflict between the
General and the girl. If the picture drags, and it sometimes does,
there is more than enough romantic excitement to atone for the
lapses. Nils Asther is superb in a grand role. He makes General
Yen a fascinating, sinister yet sympathetic figure. It's an heroic
portrait. Miss Stanwyck is colorless in comparison.

The King's
Vacation
Warners

The family picture of the month! And everybody but
grandma will like it. She won't, because I hear she insists
upon seeing a Spencer Tracy or Jim Cagney or some other
tough guy in every film; but the younger folks, fed up with
realism, will probably welcome this bright trifle from Mr. Arliss.
It isn't his best screenplay, not by a couple of "Disraelis;" but
it isn't dull, either, and I think you'll enjoy it. Mr. Arliss plays
a nice king who hates his throne job. He welcomes the revolution
and happily goes back to his Old Love and the Simple Life. But
even ex-kings can have their surprises. The Old Love, amusingly
and decoratively played by handsome Marjorie Gateson, has
acquired a regal bearing and a chateau with more pomp than the
king's old palace. So — see it for yourself. Mrs. George Arliss
plays the queen charmingly. Dudley Digges and O. P. Heggie
are splendid; and Dick Powell and a newcomer, pretty Patricia
Ellis, provide young love interest. Like all Arliss entertainments
this picture has poise and dignity.

Let Them Guide You to the Good Films

Screen land

Joan Crawford's eyes are both
bold and wistful. They can be
breath-taking in their intensity.

If you have "Irish Eyes" study
the smart make-up of Maureen
O'Sullivan. Both tender and gay!

Margery
Wilson

Are your eyes friendly and un-
derstanding like Irene Dunne's?
Her look is a veritable warm
hand-clasp.

DO YOU believe in love at first sight? I do!
By that I do not mean that love is discovered
at once or not at all. I do mean that first im-
pressions are the most lasting. I do mean that
in the first glance between two people's eyes an exchange
of vibration occurs that attracts or repels. I have heard
men say that when they looked into the eyes of the ONE
woman their senses reeled in a swooning rapture.

Some people claim that intuition guides one's decision
at first glance — that the message, "Here is my fate," is
quickly carried from the eyes to the solar plexus which
is supposed to be the seat of the intuitional brain.
Others contend that love at first sight is purely a me-
chanical or chemical causation utterly devoid of romance.

Personally, I see a great deal of romance in the meet-
ing of two people who have a chemical and mechanical
affinity for each other. It seems rather as it should be —
a perfect thing in an imperfect world. Why shouldn't
romance have its own law and order of chemistry and
mechanics? Of course it has. And the eyes are the
greatest allies of romance, meaning of course WHEN
they are and IF they are.

The eyes may be the windows of the soul in the high-
est spiritual sense, but they are also our shop-windows
into which passersby look to see if there is anything they
want inside. So we should be sure that they display our
personal and personality wares attractively.

What is the "drawing power" of your eyes? Are
they magnetic and compelling? When people catch your
glance, do their faces light up responsively ? No ? Why
not? What is it you do or do not to your eyes that
leaves people indifferent?

Life is too short and people are too busy to pay much
attention to a girl who does not accent her good looks,
particularly her eyes. Most of us have learned how to
rouge and powder expertly, but so few women really

know how to accent their eyes with telling effect. The
secret is clever make-up, which means the best possible
materials, and knowing how to apply them artistically.
I'm going to tell you about both. And then I'm going
to tell you the effect of colors on the eyes — which ones
to wear for the best effect on the best beau.

Clever make-up intensifies the expression of your
eyes. But you want to use something that is not only
harmless but is actually beneficial to your lashes. If
you are going to wear make-up on your eyes for hours
at a time it might as well be doing some good besides
being decorative. This is why I advocate Maybelline.
As you know, it is not my policy to mention products by
name — but I am so delighted with the new improved
Maybelline that I feel I would be "holding out on you"
if I didn't tell you about it. It is so soft in color, and it
now contains oils that keep the lashes soft and supple,
so, of course, they don't break off. And it is so simple
to use. So waste no time getting a box of the new,
improved Maybelline and see how new and improved
you can make your eyes look. It is interesting to note
how many different effects you can create with eye
make-up.

For instance, if your face is too wide, your eyes too
far apart or your nose too wide and flat across the bridge,
put your Maybelline on heavily at the inside end of the
lashes and put the faintest hint of brown eye-shadow on
the sides of the bridge. This will give a narrower and
higher effect, which will be enhanced if you will lightly
pencil your brows drawing them closer together in the
middle. The Maybelline Company also makes a dandy,
convenient pencil and the smoothest sort of eye-shadow.

On the other hand, if your nose bridge is narrow and
your eyes are too close together, put your Maybelline

for April 19 3 3

Lies

t n

Eyes:

Margery Wilson says eye make-up doesn't change your expression
—it accents the one you have! Which of these expressions is yours?

heavily at the outer end of the lashes blending it to al-
most nothing at the inside line. To have the eyes appear
well apart adds to one's intelligence of expression.

See how make-up frames and accents the eyes of
Joan Crawford, adding to their warmth, intensifying
them until they become the hot, knowing eyes of Sadie
Thompson and some of the other characters she creates.
Now the same amount of make-up on Irene Dunne's
lashes simply intensifies the deep, womanly sympathy
her eyes express.

The cool self-possession and aristocratic beauty of
Joan Bennett's conservative expression is made decora-
tive by a dainty fringe of accented lashes. You can
depend upon Joan for the proper thing and good taste.

The whole world sings sentimental songs about Irish
eyes. In no one is the typical Irish mixture of tender-
ness and humor more personified than in Maureen
O'Sullivan. Her eyes are wisely and well made up to
enhance that appeal inherited from her Erin ancestors.

The fascination of Spain is in the eyes of Dolores Del
Rio via Mexico. Adding to their interest, something in
their slant hints of an Asiatic ancestor perhaps a hundred
years ago. Make-up enhances their dusky depths and
lends a shadowy mystery to their gleam.

Patricia Farley, a newcomer, of whom Paramount

expects big things,
is characterized by
her unusual eyes.
Oh, so you have
noticed it, too ! I
was waiting for

Dolores Del Rio's warm, Latin
eyes are very feminine. Spanish
women of good family avoid the
look of sophistication.

A perfect example of the proper
way to apply make-up to the
lashes. Beauty multiplies itself.'
Careful — don't get too much on!

you to discover that they are almost exactly the eyes of
Gloria Swanson. So light in color that too much make-
up would overshadow them, so, like Gloria, she uses —
just enough.

These different types of eyes reflecting a number of
personalities are well worth studying from the stand-
point of make-up. Why not select the ones most like
your own and experiment with the same effect in eye
make-up? Even the stars do not use as much eye make-
up in private life and on the street as they do in their
pictures taken at the studio. But you can see where it
is placed for the best effect.

When inside photography first became practical, the.
lights were very irritating to the eyes. "Klieg-eyes"
meaning eyes made sore and blood-shot from the lights,
was a common studio expression. Days at a time were
lost on production while the stars' eyes healed. I, my-
self, was totally blind for thirty-six hours with Klieg-
eyes. It was Mary Pickford who told me how to cure
them. Dear little Mary — always mothering people ! To-
day, the lights are so improved that only their brightness
is a strain— and even that is relieved by the use of cer-
tain incandescent lamps that emit a color ray.

The eyes are so extremely sensitive that they respond
to every shadow of change within and without. This is
why it is quite possible to change the rate of vibration
they send out. The condition of your health registers in
them almost immediately. They reflect constantly your
disposition and character. The truly magnetic eyes are
those that mirror complete well-being and look at the
world with some eagerness and interest, understanding
and tolerance. If you have not
these qualities start at once to ac-
quire them. Then instead of hiding
your (Continued on page 92)

A Viking ancestor probably ac-
counts for the light-colored eyes
of Patricia Farley and Gloria
Swanson, whom she resembles.

SCREENLAND

ot off the

Walter Winchell — he scoops to conquer! He's the most
talked-of columnist, and the originator of much of
the modern journalistic phraseology. And now Walter
is radio's chief news-gatherer.

"E SCOOPS to conquer! If
you're not up on the latest
news don't blame Mrs.
Winchell's boy, Walter !
Winchell is the lad who gives the na-
tion Monday's news on Sunday night.

But just to be different I'll reverse
the usual order of things and gossip
about Winchell. Flash! He's goOd-
looking, quick of speech and move-
ment, and left-handed. He's as dem-
ocratic as F. D. R. — even his office
boy calls him Walter. On the night
of broadcasting he keeps revising his
copy until the moment he goes on the
air. Keeps his hat on throughout his
broadcast, and loosens his necktie for
easier speech. There's a legend that
he practically lives in night-clubs,
but it isn't so — he recently made his
first appearance in a night-spot after
an absence of two years. Walter is
prematurely gray and very high-
strung.

Flash! Let's talk about that Ben

Irene Beasley , the torch
singer, is extremely sensitive
to color. When she is dressed
in red, she sings better!

Intimate glimpses of Walter
Winchell and other radio
head-liners

Evelyn Ballarine

Bernie-Walter Winchell feud ! So many gullible people
were under the impression that it was a serious battle. Ac-
tually, Bernie and Winchell have been friends for twenty-
five years. In fact, they went to school together. The
gag started over a year ago. Walter, tired of hearing
everybody being praised, thought it might be amusing to
heave a few bricks at someone. So he and Ben got to-
gether and decided to take verbal socks at each other.
Winchell even wrote the first crack about himself for
Bernie, and he didn't spare himself, either.
The page boy who escorted me to the studio in which
Walter was broadcasting confided that the Winchell
broadcast was a closed program — no visitors allowed.
But when the "grey ghost" heard that I was from
Screenland he at once issued orders to admit me.
Magic word, Screenland!

When Irene Beasley sees "red" she's happy! The
long, tall gal from Dixie is extremely sensitive to color.
For instance, she'll never wear a black dress when she
broadcasts because black subdues her, but red, good old
red, does things to her voice. She dislikes pastel shades
■ — nice, strong colors for her ! Irene loves to drive a
car. She dislikes people who make
puns about her name such as "Beas-
ley weather we're having." Calls her-
self a brunette even though her hair
is a lightish brown and her eyes are
blue. When reminded of the fact
that she leans more to the blonde
type, she comes back with a crack
about having "a brunette point of
view." She's a radio fan — and a
Rudy Vallee fan. And she never
misses a Burns and Allen program if
she can help it. Irene has written
several songs, and is now at work on
a book about radio. It's an answer
to the many fans who write asking
her how to break into the radio
racket.

There's more fun at the Jack
Benny-Ted Weems broadcasts and
rehearsals than on any other program
I've sat in on. The boys in the con-
trol room who test the voices smart-
crack back {Continued on page 91)

for April 19 3 3

Who Said
"No More Thrills"?

Halliburton's "Royal
Road to Romance" leads
him to Hollywood!

By
Mortimer
Franklin

HE'S in the movies now !
Having come face to
face with most of the
other great curiosities of
the world, it was inevitable that
Richard Halliburton sooner or later
would get around to Hollywood.
The man who scaled the Matter-
horn, swam the Panama Canal, and
lived with the head-hunters of
Borneo might pardonably have hesi-
tated before attempting the fast-
nesses of movieland; but the dauntless Halliburton was
never one to quail.

So Halliburton and Hollywood met at last. The meet-
ing, as it turned out, was an auspicious one ; friendship
ripened into love ; and the result of the happy union was,
as you might expect of two such personable parents, a
photoplay entirely different from any that has yet been
shown on the screen.

Eager for details of this latest of his exploits, I sought
out the young author-actor-explorer-adventurer in New
York, where he had temporarily come to roost. Without
much prompting he discoursed at length on the four
subjects nearest his heart, viz.: (1) Halliburton's books;
(2) Halliburton's movie ; (3) Halliburton's adventures ;
and (4) Halliburton, just Halliburton! Which, con-
sidering that this was what I had come to hear, was all
to the good.

"Please don't get the idea that you are interviewing
an actor," warned Richard, "just because I've made a
movie. I made no attempt at histrionic effects in this
film of mine ; but then I didn't need to. Most of the pic-
ure consists of films taken of my actual experiences, and
things happened so fast that merely to be there was to
act in exciting melodrama.

"We did make a few scenes in Hollywood to give co-
herence to the story, which has a connected plot. But
acting wasn't what they wanted from me. In fact, when
1 did begin to do a little emoting now and then, just ex-
perimentally, you know, the director would promptly
shout for a cut and ask me {Continued on page 92)

Here's the much traveled
and much photographed
Dick Halliburton.

Halliburton and Stephen Moye,
pilot of his plane, hobnob with
the white Queen of Borneo and
her two comely daughters. The
Queen, (seated), is quite modern
in ideas, despite the remoteness
of her empire.

Halliburton in
India . A few
casual encoun-
ters with cobras,
vampire bats
and fanatical
native idol -
w or sh ip per s ,
both in the Hin-
du and the Hol-
lywood man-
ners, weren't
sufficient to
remove this
i n gratia ting ,
thirty-fifth-edi-
tion smile.

SCREENL AND

That Gkmor-or

Joan Crawford is
probably the Ideal
Hollywood Star —
Joan has become
smart and dashing,
but she is always
very, very feminine.
For example, note
her new suit.
Adrian's latest crea-
tion, it is simple
without severity. We
suggest you make
notes for your own
new Spring suit!

The gay little girl
making up while she
takes her ease is
Dorothy Wilson, one
of Hollywood's
sweetest starlets .
Dorothy was a ste-
nographer before a
discerning director
made her a movie
actress. It is inter-
esting to us to note
that Dorothy was
such a knockout as
a stenographer that
one office couldn't
hold her charm.

Here's Joan Blondell in
her "working clothes!"
She wears shirt and slacks
on the lot and in her
home, but she wouldn't
dream of wearing 'em on
the street.

for April 19 33

This Freedom?

Screenland's Glamor School
this month presents the
current Hollywood prob-
lem! Appealing and girlish
—or sophisticated in the
Continental manner?
What do you think?

And now we go Continental.' At
left, Lilian Harvey, beautiful
little blonde imported by Fox
Films, as she looked when she
arrived in New York from
Europe. Lilian is wearing a suit
with divided skirt. Like it?

Marlene Dietrich as she ap-
peared at a recent Holly-
wood premiere. Yes, it's
Marlene all right, with
those famous legs encased
in evening trousers, those
shapely shoulders hidden
by this severe overcoat, and
that gorgeous blonde hair
topped by an austere black
felt. Will Marlene start a
new style with this outfit?
It's our guess that most
girls will prefer to cling to
their good, old-fashioned,
becoming frocks and wraps.

Acme

SCREENLAND

Reliable

The Mummy
Universal

Strong entertainment for strong nerves. That "Frankenstein"
fellow, Boris Karloff, is this time a mummified ancient Egyptian
who comes to life spreading horror wherever he goes. Interesting
Zita Johann plays the modern girl who he thinks is the re-in-
carnation of his Egyptian love. Karloff's make-up is the most
gruesome yet. And can he hand out the shivers!

Billion Dollar Scandal
Paramount

At last a good part for a good actor, Robert Armstrong — and
how he plays it! A dumb masseur involved in big-time doings,
he becomes a "hero" for a day when he exposes a group of crooked
business men, but soon finds himself back on the old job with
his old pals, gorgeously played by Jimmy Gleason and Warren
Hymer. Obvious? Yes — but fast-moving and often very funny.

No Other Woman
RKO-Radio

Irene Dunne brightens up a heavy story with her charm and
splendid acting. The plot has her marry Charles Bickford, a
mill-hand. With their rise to riches comes trouble in the form of
seductive Gwili Andre. But the lovely Irene walks off with
Bickford and most of the acting honors. Eric Linden is wasted in
a small role.

Reviews

The Island of Lost Souls

Paramount

If you're a Charles Laughton fan — and who isn't? — then you
won't want to miss this horror film; but park the kiddies in the
nursery. Of course you'll be interested in Richard Aden and the
Panther Woman but it's really Laughton's show. As a slightly
mad scientist he tries to transform beasts into humans. Br-r-r!
Don't say we didn't warn you!

No Man of Her Own
Paramount

Whizz — bang — zip! This is the month's torchiest film. Clark
Gable will leave the femmes limp after this one. Gable, who
plays a card shark, breezes into a small town, meets Carole
Lombard, and marries her on a bet. We won't give the show
away, it's glamorous and gay and okay! Clark runs away with
the film, but Carole isn't very far behind.

Hot Pepper
Fox

Your old friends, Sergeant Quirt and Captain Flagg, are back
again with some fresh, very fresh, gags and a few neat tricks,
including Lupe Velez. Eddie is still out-witting McLaglen, and
of course he's "on the make" for all of Vic's gals — but they're
pals, anyhow. This film has more spontaneity than their last
effort — and you'll enjoy El Brendel and Lupe's looping.

for

April 19 3 3

of Current Films

The Half-Naked Truth
RKO-Radio

A swell show! It's different, it's fast, it's funny. Lee Tracy is a
super-press-agent whose career rushes him from a carnival show
to Broadway — and back again. Lupe Velez plays a hooch dancer
who is transformed into a musical comedy star by publicity
magic, only to find herself right where she started. Tracy gives
a grand performance. Lupe — well, she's Lupe, and wow!

The Parachute Jumper
First National

Here's an exhibit which gets under way in grand style, then turns
into old-time "serial" hodge-podge. You'll like Doug Fair-
banks, Jr., as the too-gay marine aviator who takes the jumps,
but the story cracks up when he becomes a civilian and the
gangster element enters. Doug and Bette Davis should be spared
such high jinks, even though there are aerial thrills aplenty.

Tonight is Ours
Paramount

Ah, that Claudette Colbert! Oh, that Fredric March! They
play in one of those charming, but trite, mythical kingdom films
and make you love it. You know the plot — a queen" who loves a
commoner but must give him up because of duty to her country.
You know there'll be a happy ending and what's more, you want
it! Claudette is ravishing — and Freddie, well, swell!

Employees' Entrance
First National

Warren William here plays powerfully a department store
"superman" who builds a career on the ruined lives of his weaker
brethren. Among his near-victims are Wallace Ford and Loretta
Young, two of his employees who marry against his wishes.
Thanks to excellent acting and a breezy humor in the writing,
it's rousing adult entertainment. Alice White scores.

Air Hostess
Columbia

A knock-down fist fight, a narrowly averted train wreck, assorted
plane crack-ups, and scrambled romance are some of the excite-
ments offered by this latest of the aviation films. Little that's
new, but if you like an old-fashioned "meller" in modern dress,
here's your dish. James Murray plays a swashbuckling flyer,
while lovely Evalyn Knapp furnishes the heart-beats.

Hard to Handle
Warners

You'll welcome Bad Boy Cagney back to the screen even though
his come-back film is disappointing. It's broad comedy mostly,
with the First Gentleman of Fisticuffs playing a high-powered
promoter in love with a marathon-dance contest winner, Mary
Brian gone blonde. Not meaty enough for Cagney. Ruth
Donnelly grabs the laughs. What — no grapefruit?

SCREENLAND

Russet-haired Billie at the height
of her stage success. This por-
trait, Ziegfeld's favorite of his
wife, alvsays occupied the place of
honor in his office.

\ROM the moment when
Billie Burke's footsteps
were heard running down
the corridor of a Los An-
geles hospital, yet all who heard
them knew that, swift as were
those skimming feet, they were
too late, America's cinemaland
seems to have adopted, as its own,
Florenz Ziegfeld's widow. Upon
the russet crown of the actress
who left the studio instantly at
a summons from the hospital, and
who went breathless from run-
ning, into a room of death, it be-
stowed another crown, that of
Hollywood's most interesting
widow.

The more securely was it placed
when it was learned that five days
after the shock of. her husband's
quick passing, she went quietly
back to the studio to resume her
work on her first talking motion
picture, "A Bill of Divorcement."

V .. .

Wide World

The late Florenz Ziegfeld, creator of the spec-
tacular stage "Follies," photographed a few
years ago with his wife, and their daughter.

most interesting

Widow

How Billie Burke, single-handed
and courageous, is fighting for
new acting honors

By Ada Patterson

As a compelling dramatic actress of
the present-day cinema, Miss Burke
carries on bravely. Her next film will
be "The Great Desire," with Colin
Clive, for RKO.

By her act she provided another
example of the duty and glory of
"carrying on." She earned the
honor and esteem that the spec-
tacle of courage always wins.

Hers not to flee the sunset state
that had been the scene of her
tragedy. Hers not to go east for
permanent mourning. When her
one melancholy journey was fin-
ished, the multitude of details
ended, she would return and a
Californienne be. Hollywood
proclaimed her a thoroughbred !

Miss Burke has returned to the
state of her actual origin. For
while she was born in Washington,
D. C, her father, the amiable
clown, Billie Burke, derived from
the State of the Golden Gate. His
marriage to a widowed newspaper
writer in Washington, D. C, and
the birth of their child there, were
merely incidents in his world
wanderings. For with Mrs.
Burke and his infant namesake
he visited and amused folk, who
wanted to laugh, in the larger
cities of France, Germany, Aus-
tria and Russia. To England he
went {Continued on page 94)

for April 1933

Is it Sad to be
Funny ?

Merrily mournful, gaily grim,
the most hilarious comedians
seem to wear the longest faces !

Reeves Harmon

TWO of the greatest comedians on the screen
have the longest faces in Hollywood !
Zasu Pitts might break into a shower of tears
any given moment without changing her facial
expression in the slightest, and there would not be the
slightest incongruity. Slim Summerville, from the
dolorous visage which tops his six-feet-something could
qualify during his most comical moments as one who
had just lost his last friend. Why?

No one can say definitely, but the lanky Universal
comedian surprises with an opinion of philosophical pro-
portions. "It's because only a hairline separates a laugh
from a tear," advances Slim Summerville. Comic situa-
tions, he believes, by a slight twist could be transformed
into tragic ones in almost every case. "In fact," says
Summerville further, "most comedy situations are based
on actual tragedy which becomes funny because it is
either exaggerated or burlesqued."

Of course all this doesn't explain why the facial lines
are long on the screen and off in the expressions of these
two ludicrous players who can merely walk across a
scene and be pursued with bounding laughter by the
audience.

Buster Keaton rose to comedy prominence through
his "dead pan" expression. Chaplin has always been
essentially forlorn. Yet if you called either anything
but a comedian you, in turn, would be called insane.

Real comedy artists have almost made it an axiom that
"it's sad to be funny." Superficial slapstick exponents
grow boring, but Chaplin, Keaton, Summerville, Pitts
and their dreary-countenanced ilk go on forever, which
ought to prove something about the merits of their class.

Zasu Pitts would tend to bear out the contention of the
beanpole Summerville, that comedy and tragedy are not
widely divorced. The weary-handed actress is com-
pletely at home in either' type of role. The world appar-
ently prefers her as a comedienne, although such an
exacting director as Erich von Stroheim has remarked
that she is one of the most capable tragediennes on the
screen.

Neither Summerville nor the inimitable Zasu have any
actual cause for their long faces. Both are in demand
at top salaries in Hollywood. Neither has had any par-
ticular hard struggle to attain success, or any real life
tragedies to mold their forlorn expressions. Asked this
question on the set of "They Just Had to Get Married"
at Universal recently, both were unable to give any rea-
son for their sad eyes. In fact, both were rather sur-

Come, come, folks, it can't be that tragic! Zasu Pitts
and Slim Summerville are two of the most doleful-
looking players on the screen, yet the mere sight of
them sends an audience into gales of mirth. Here
they are at their glummest . Below, with C. Aubrey
Smith in "They Just Had to Get Married."

prised to learn that they looked that way all the time.
They thought they were rather normal appearing persons
off the set. Their humorous natures might have prompted
such a statement, however.

Anyway, one of Hollywood's greatest paradoxes re-
mains unexplained.

SCREENL AND

Here's Hollywood

And points East! Reporting the stars at
play and at work on both camera coasts

By Weston East

ONE of the most charming stories to
come out of Hollywood concerns Joan
Crawford.

There was a boy named Paul Schrebnick
who held a minor job at her studio. He
adored Joan, as do many who work with
her, and waited on her faithfully. From
his meagre wages he managed to save
enough to give her occasional inexpensive
presents.

Miss Crawford liked the kid and was
nice to him. But she is a star and he was
a youngster of no particular consequence.

Early Christmas morning, young Schreb-
nick was fatally injured in an automobile
crash. He was rushed to the hospital, and
his first call was for Joan. She was tele-
phoned, and on Christmas Day she left her
home and went to the hospital.

She remained beside the dying boy all
that day and night, and the next two days.
She even went into the operating room,
where surgeons fought to save his life.
She was holding his hand when the boy
died and he was so delirious that he kept
calling her name, unaware that she was
beside him.

Joan paid the entire cost of his hospital
care and his funeral and then shipped the
body to his family in Florida.

And now she cherishes a keepsake — a
book that he gave her. It is beautifully
inscribed, and at the very bottom of the
flyleaf the inscription ends with : "Why is
it that when I try to write to you, I always
find myself at the end of the page?"

NOT since Rudolph Valentino's famous
tour of the States have women
stormed theatre doors as they did when
George Raft paid visits to several cities.

In Brooklyn, several men and women
actually threw presents on the stage while
Raft was acting. A perfectly gorgeous
bath robe and a beautiful leather wallet
were among the gifts, while more than a
dozen admirers sent him flowers.

And by the way, did you know that
until he walked out on Paramount and
refused to work until his salary was raised,
Raft was receiving only $250 weekly?

THEATRE fans everywhere who had
just learned to like Ann Dvorak when
she married and took a "run-out powder"
on her studio, claiming an unfair contract,
may clap hands hurrah; for all is again
peace between Ann and her studio.

She has been given a new contract, with
a swell salary boost, and if she isn't back
in Hollywood (from England), by the time
you read this item, it won't be long now.
Ann's husband, Leslie Fenton, who has
been working on the London stage and in
English talkies, will return with her.

Ann's return may answer a crying need
of the screen for new and outstanding
feminine personalities. During the past
year, only Katharine Hepburn has arrived
in Hollywood and given promise of cre-
ating new interest in screen femininity.
Producers are crying for the good old days
when a Clara Bow, an Alice White, or a
Greta Garbo popped up every month or so
to add excitement to the movie fare.

Getting into the spotlight!
Charming Julie Haydon seems
about to perform that popular
pastime literally. The blonde
young starlet, who looks like
Ann Harding but acts very
much like her own self, shows
us how different a good strong
light can make matters look!

ALONG with his Irish pugnacity, James
. Cagney owns an Irish sense of humor.
Jimmy has a younger brother named Bill
who is his image. When Bill visited Hol-
lywood, he was persuaded by Jimmy to
comb his hair and dress exactly as does
his more famous screen brother.

Then Brother Bill went to the Derby,
the Hotel Roosevelt, and other public
places. From an obscure position, Jimmy
watched his brother sign autographs, pose
for pictures, and otherwise take all the
family bows !

IF A certain irate golfer ever lays hands
on Katharine Hepburn's dog, there'll be
a canine less in the world. She has trained
her dog to run to her ball on the links and
await her arrival. But recently the Scot-
tie stopped at the wrong ball, and when
Katharine kept going he mouthed the pellet
and followed her. And a mad golfer who
lost five dollars on the hole because he
couldn't find his ball has sworn to "get"
the Hepburn Scottie.

YOU can't hold a good picture down.
"A Farewell to Arms" did business to
six thousand people the first day of its Los
Angeles run, and as word-of-mouth adver-
tising spread over the city, there were daily
attendance increases until the picture played
to fourteen thousand on the sixth day and
promised to mount to higher totals.

George Raft was expected to make a
speech at the "A Farewell to Arms" open-
ing, introducing Gary Cooper. But during
the day Gary said to George, "If I have to
be introduced, I won't go." So Raft took
Gary at his word, and didn't appear. When
Cooper came, and there was no one to in-
troduce him, there was a merry old whirl
for a few minutes.

WILL ROGERS was master
of ceremonies at the Holly-
wood premiere of "Cavalcade."
The all-English cast talks with the
accent peculiar to Londoners, so
Rogers said: "I hear they're going
to make an American version of
the picture."

April 1933

Mozelle Brittone demonstrates Holly-
wood's newest reducing trick. It's the
Palm Springs "sun cabinet," whose
outer wall, composed of sea-shell ma-
terial, magnifies the sun's heat; and off
rolls the undesired avoirdupois!

KATE SMITH established a strict edict
■ that there be no profanity on her
set . . . The garbage collector in Holly-
wood reports his revenue from the sale of
ginger ale bottles has dropped from $30
per month to less than $5 . . . Gary
Cooper's dog barked on a set and cost the
studio $236 when he ruined a scene . . .
Constance and Barbara Bennett Downey
argued several minutes via New York-
Hollywood telephone over diets for Bar-
bara's new baby ... A funny blurb sent
out by a press-agent stated : "Clark Gable
disdains grease paint and appears in all of
his pictures au naturel" — aw, now ! . . .
Joan Crawford spends idle moments on her
sets whittling; several friends have given
her knives since she took up the fad . . .
While Clara Bow was in Europe, her Great
Dane won a prize at a dog show . . . Jimmy
Durante and Robert Montgomery went
three weeks without shaving for scenes in
"Hell Below" . . . Wynne Gibson's hair has
been bobbed continuously since she was
three years of age . . . Groucho Marx
said : "I saw a rising young actor today ;
I had left a tack in his chair" . . . Mary
Carlisle almost quarreled with her boy
friend because he passed a needy beggar
without contributing.

NOT content with wearing tail-
ored suits, Marlene Dietrich is
specializing. She is now copying
Clark Gable by wearing turtle-
neck sweaters.

WILL ROGERS' mania for ham hocks
and sauerkraut has reached a new
high. Will now has his man-of-all-work
visit cafes near the studio and report when
the favored dish is on the menu.

One day recently the fellow returned
with two menus— a pair of restaurants
were featuring ham hocks and sauerkraut
that day. Rogers chose between the two
by flipping a coin.

Wide World

DESPITE a contract offer of
$3,500 weekly, Leslie Howard
will return to Europe in May, and
will appear on the London stage.
Mrs. Howard, who is now with
her husband in Hollywood, (al-
though there were separation ru-
mors about them for a while),
will accompany him.

FOR once the predictions of the calamity
hounds have been fulfilled. When Lew
Ayrcs and Lola Lane eloped about a year
and a half ago Hollywood said it wouldn't
last, and now the prophets are saying "I
told you so." Lew and Lola found them-
selves to be temperamentally unsuited to
each other. Lola likes excitement and fun ;
Lew prefers quiet home life. So Lola is
taking one lane and Lew another. By a
curious coincidence the divorce proceedings
of Janet Gaynor, opposite whom Lew
Ayres played in "State Fair," were filed
at about the same time.

HERE are three A-No. 1 laughs : Kath-
leen Burke, Paramount's Panther
Woman, is afraid of cats. Buster Crabbe,
Lion Man with the same film company,
leaped a fence to escape a friendly cow.
And it has long been known that Dick
Arlen, whose occasional Westerns are fast
and brave, dreads horseback riding.

You'll see another exciting new film combination when Gary Cooper faces Joan
Crawford in "Today We Live." Here's one of the intensely dramatic love episodes
from the picture, in which Gary takes to the ozone as a war aviator.

SCREENL AND

"Angling" for unique camera effects. LeRoy Prinz, Hollywood dance director,
lines up the owners of these artistic ankles for a novel photographic shot. The
girls are stepping in "Hollywood Premiere," a technicolor song-and-dance short.

BY FAR the most attractive portable
dressing room is that of Constance
Bennett's creation. The room is done com-
pletely in yellow, with furnishings to match
and a thick, yellow silk Chinese rug on the
floor. Completing the color scheme, Con-
nie wears a yellow silk Chinese dressing
robe and brilliant yellow slippers when she
lolls in the room between scenes.

"T DON'T wanna work in ani-
4- mal pictures," said Jack
Oakie. "No gnus is good gnus
to me.

"I began my career playing an
accordion, and my motto is: 'Great
Oakies from little accordions
grow.' "

THE month's classic among fan letters
is that received by Norma Shearer. It
came from an Indiana boy who is having
trouble with his girl friend. According to
the letter, the girl is inclined to fall in love
with screen actors, and during such periods
she neglects her real-life sweetie.

"I hope you can advise me how to hold
her permanently," the discouraged youth
wrote. "When she fell for George Raft,
I oiled my hair and kept my face stoney
and otherwise tried to be like him. When
she shifted her affections to James Cagney,
I washed her face with watermelon, (there-
was no grape-fruit handy), and slapped
her down. But lately she has taken a liking
for Leslie Howard, and I can't imitate him
without acting like a big sissy."

JOAN CRAWFORD was practicing her
singing lesson in the M-G-M rehearsal
hall. Oliver Hinsdell, studio talent scout,
heard her from an adjoining booth and de-
cided he had found, a new voice for the
screen. Imagine his embarrassment, when
he rushed into the rehearsal hall, to find
Joan the owner of the voice.

/TPHAT was a funny happening
at Paramount involving Wil-
liam Faulkner, author of "Sanc-
tuary," retitled for films "The
Story of Temple Drake." Under
contract to the studio, he asked
permission to do his writing at
home, which his employers agreed
to. They thought he meant "home"
in Hollywood. But Faulkner
meant "home" in Memphis, Ten-
nessee, and a few days later, when
the studio attempted to contact
the writer, he was two thousand
miles away.

DANIEL J. CUPID (the "J" stands for
"J°y") remarks:
That rumored wedding of Dorothy I-ee
and Marshall Duffield, for which she was
said to have traveled from New York to
Hollywood, is definitely off, she says. No
other romances at present, she adds.

That very hot love affair that involved
Maureen O' Sullivan and John Farrow two
years ago has been resumed, much to the
discomfort of James Dunn. Or is this a
blind to hide a secret marriage?

When a feller gives a gal a diamond
wrist watch, he means business. So watch
the romance of Cary Grant and Virginia
Cher rill.

You can get even money in Hollywood
if you care to wager Ann Harding and
Harry Bannister won't re-wed.

Helene Costello, the ex-Mrs. Lowell
Sherman, has taken unto herself a new
husband, Arturo Del Barrio, a young cuban
attorney.

It's all over town that Eleanor Holm's
gorgeous diamond ring is a gift from Carl
Laemmle, Jr., but they deny an engage-
ment.

Rumors continue to merge the names of
Dorothy Wilson and her director, Gregory
LaCava. And Mary Brian, surprise of
surprises, has been seen with George Raft !

They're in the army! While Flight Officer Gary Cooper makes scenes with Joan
Crawford for "Today We Live," Captain Clark Gable does his military stuff in
"The White Sister," with Helen Hayes. The boys get together for a chat during

a lull in the war.

Upward bound! Katharine Hep-
burn, who would do something
startling like that, is a round-
the-world flyer, no less, in her
forthcoming picture, "The Great
Desire."

for April 19 3 3

CLAUDETTE COLBERT came east on
a long awaited vacation and promptly
got the flu. She sneaked in to have a look
at some of the Broadway plays she wanted
to see all bundled up and feeling miserable
— and to top it all she had to go into a hos-
pital for that ole davil Sinus Trouble.
Claudette vows that next time she'll leave
her sinus difficulties in Hollywood.

KATHARINE HEPBURN, that amaz-
ing woman, has ordered a plane and
will take up flying . . . William Gargan
says a "Yes-man" is a fellow who has the
courage of other people's convictions . . .
Gwili Andre has a collection of seventy
lamps of all descriptions in her home . . .
Charlie Chaplin is the only star who re-
fuses to sign autographs ; even Garbo has
complied on occasions ... At last Holly-
wood has discovered a mouthful for Joe
E. Brown — Kate Smith . . . The nurse who
cares for Helen Twelvetrees' baby also
took care of Helen as a baby . . . The
funniest New Year's toast : "To 1932, the

year in which studio released more

executives than pictures" . . . Marlene
Dietrich, abruptly changing her tactics, very
obligingly poses for snapshots when fans
accost her on Hollywood Boulevard . . .
Clara Bow's "Call Her Savage" was hav-
ing censor trouble in London until the red-
head arrived ; her popularity righted things
. . . Lee Tracy carries a tiny chess board
and miniature pieces every where he goes
. . . Lionel Barrymore named his new
Scotty Rasputin because he thinks the dog
has whiskers just like Lionel wore when
he played that character in a picture.

"\X7ELL, of all things; I have
* " just learned why Marlene
Dietrich wears those masculine
trousers. Here is the lowdown:
There was so much publicity
about Marlene's beautiful legs that
when she appeared in public,
people actually squirmed to
obtain better views of those ad-
vertised extremities. So Miss
Dietrich adopted trousers in self-
defense. The results, insofar as
protection from embarrassment
was concerned, proved so excel-
lent that she now seldom wears
skirts.

Remember when Ethel Clayton and Bessie Barriscale were great ladies of the
silent films? Now Mary Pickford has brought them back to the screen. Here
they are with Theodore Von Eltz and Huntley Gordon (standing).

WHEN Marian Nixon and hubby Ed-
ward Hillman went East two years
ago, they were robbed on the train.

So a few friends who knew the two
were leaving again, (last month), decided
to frame them. One of the group tele-
phoned and asked of Hillman : "Are you
leaving by train for Chicago tonight ?"
Eddie answered affirmatively. "That's all
I want to know," said the voice on the
telephone.

And was Hillman worried! He de-
manded a police escort to the station. He
hired two watchmen to guard his home
during his absence. And when he and
Marian boarded the train, Eddie locked
their drawing-room door from the inside.
Not that he was scared — of course !

AT THE Chinese Theatre premiere of
"Cavalcade," master - of - ceremonies
Will Rogers glanced at the Oriental deco-
rations and remarked: "If the theatre
depression continues, this will make a swell
chop suey joint."

REMEMBER when Screenland intro-
- duced you to Brian Ahearne who
was then playing with Katharine Cornell in
"The Barretts of Wimpole Street"? We
told you he was movie material. Well,
Hollywood thought so, too, and Paramount
has signed him to a contract. His first
picture will be with none other than Mar-
lene Dietrich in "Song of Songs," said to
be Marlene's last American picture before
going home to Germany.

Judge of good reading! Dick
Barthelmess stands rooted to
his tracks as he peruses his
movie Bible, Screenland.
We're so glad you like it,
Richard!

Actress and authoress. Frances Marion, famous screen writer, who wrote the
scenario for "Secrets," calls on Mary Pickford between scenes. Miss Pickford
wears this lovely gown in the early sequences of the film, advance pictures of
which you saw in last month's Screenland.

SCREENLAND

Wide World International

The amazing Marlene continues to set the new "mannish" Junior Laemmle steps out! The "boy genius" of the films

styles for Hollywood. Here she is in boyish beret and high- celebrates something or other at Agua Caliente, Mexico,

necked jersey, at lunch with Ralph Blum, her attorney. with Eleanor Holm, Howard Hughes, and Sandra Shaw.

Here he is — the coming
new film agitator of fem-
inine hearts! Francis *c * |
Lederer, whose recent
Broadway stage debut
sent the girls into trem-
ors, is movie-bound.

WATCH for Francis , Lederer, Broad-
way's newest matinee idol, who will
soon be speeding to Hollywood, having been
signed by RKO on the day after he opened
in his New York stage play, "Autumn
Crocus." Lederer, who hails from Czecho-
slovakia but has learned to speak acceptable
English, has all the qualifications for a
popular leading man of the exciting kind.
Twenty-seven years old, unmarried, and ex-
tremely good to look at, he has so compel-
ling a stage presence that New Yorkers
bave come to the theatre in droves princi-
pally to enjoy his acting.

Physically he is strong and well-built,
with unusually large hazel eyes, strong
chin, and great masses of black curly hair.
And just by way of showing how much his
countrymen think of Lederer, the Czecho-
Slovakian Government is having a statue
made of him, which will be placed in front
of the National Theatre in Prague, the
capital. Incidentally, we may as well settle
right now that little matter of what will
happen if Lederer employs a double in
Hollywood. They'll be called, naturally,
"Czech and double Czech!"

Oh, oh — and a couple of
"darns." Una Merkel gets
caught in a spring rainstorm.
But she's "all bundled up!"

IN AN apartment adjoining Jack Oakie's,
there is a woman who sings, not beauti-
fully but often. One morning, while Jack
was attempting to figure his income tax,
her shrieks became monotonous, so the
comedian thought he'd offer a gentle hint
to stop her. He leaned out his window and
applauded loudly.

A feminine voice — that of the songbird
—cried, "You go to H — !"

"What !" snapped Oakie. "And listen to
you through Eternity !"

TO STIR Lew Ayres' ire, say to him:
"I understand you are a student of
astrology." After that, duck !

Lew would have you know he is a stu-
dent of astronomy, not astrology. It seems
that the latter is a science of the planets
and their influence on the destinies of man.
Astronomy . is a study of the movements,
magnitudes, distances and physical consti-
tution of the orbits.

"Terming an astronomist as an astrol-
ogist," says Lew, "is like calling a golf
champion a croquet player."

Una coyly takes a sounding.
Dampen those pretty new ga-
loshes?— not on your life! Hang
on to the packages, Una!

j or April 19 3 3

OUT OF MY ENVELOPES: "I went
to see Bing Crosby in 'The Big Broad-
cast' eight times," writes Dorothy Mueller
of Minneapolis, "and I'm not through yet.
I am planning to start a fan club for Sue
Carol and Nick Stuart."

"I hope Janet's (Gaynor) fans won't
take her divorce as a scandal," Lois Carl-
son of Chamberlain, S. D., writes. "I wish
it had not happened so soon after she made
that attempt at 'growing sophisticated' on
the screen." Lois is president of The Bing
Crosby Club.

Mike Butler, Taft, Cal., has this to say:
"I hope your magazine will give Peggy
Shannon a boost soon ; that great little girl
is being shamefully neglected, and it is not
because she is not popular with fans. Her
club is the fastest growing that I know of,
and fans adore her."

"Jean Harlow is the most perfect darling
about her fans that I know," raves Lor-
raine Mason of Vineland, N. J., in a letter.
"We have been corresponding for a year,
and in that time she has sent me three
huge, sepia photographs. I don't think
Jean deserves all the tragedy she has had."

HOLLYWOOD has at least two actors
who so closely resemble men famous
in other walks of life that confusion has
resulted on many occasions. Johnny War-
burton, juvenile interest in "Cavalcade,"
looks like the Prince of Wales, and even
in England has been mistaken for His
Royal Highness. And Ned Sparks, droll
comedian, is often confused with ex-Mayor
James Walker of New York by persons
closely associated with the former city
official.

THE next time George O'Brien makes a
wager, he'll give more thought to con-
sequences. On location with his company
several miles outside of Hollywood, he bet
that he could hitch-hike his way back to
the studio. Someone accepted the wager
and the troupe departed, leaving George all
alone.

Two hours later, when he had not ar-
rived at the studio, a car was sent for him.
He was discovered barely halfway home.

Cruel Fate takes a hand, and
Una's only protector falls to the
gutter. But be brave, gal! Re-
member— E Pluribus Una!

At last our heroine decides to
join her umbrella on the curb.
Now what gallant lad will rescue
her? She's waiting for a gondola!

A MAN who knows many of the stars'
innermost secrets is Dr. J. C. Jones,
a dentist who numbers many of the film
famous among his clients. The reason
Dr. Jones knows so much is that he has
pulled many a movie tooth — and even the
closest mouth stars talk under the influence
of laughing gas.

"You say Greta Garbo won't talk," he
says. "Let me give her laughing gas.
She'll talk!"

A STORY brought back from Paris by
one of Hollywood's world travelers
is that a woman approached a theatre box
office in Paris and said to the cashier : "I
am Greta Garbo. Can you tell me whether
'Grand Hotel' has shown in this city?"

The ticket man hid a laugh behind his
hand. Garbo, indeed, he thought: as if
he'd bite on that gag. But he supplied the
information.

You can imagine the fellow's chagrin to
read in the next day's newspapers that
Miss Garbo was really visiting the city.

MORE euphonious adjectives describing
the stars, since you liked them last
month :

Keen Jean Harlow.
Darlin' Arline Judge.
Pally Sally Eilers.
Prancy Nancy Carroll.
Gimme Jimmy Cagney.

Stage premiere. Lewis Stone, popular actor of super-suave roles, takes his pretty
wife (left) to the opening of a Hollywood stage show, accompanied, by friends
who are non-professionals.

JOAN BLONDELL is just about the
most popular star to visit New York
in a long, long time. She captivated every-
one who met her with her whole-souled
enthusiasm. Joan saw all of her old
friends and spent most of her time with
them instead of with Important People who
didn't know she was on earth when she
was an actress in Broadway shows, but
deluged her with invitations to this-and-
that now that she's a famous screenster.

She was hurried up to the studios of
Vanity Fair's famous portrait photogra-
pher, Steichen, to pose for pictures for the
ultra-snooty magazines. Steichen beamed
at her and said, "You're a grand girl.
You remind me of a luscious red apple."

Of course George Barnes, Joan's new
husband, was along. He had worked in
Manhattan as cameraman on Marion
Davies' elaborate production "Yolanda,"
among others. Everybody liked him, too.

SCREINL AND

HEN I lunched with George
Raft in the Brown Derby re-
cently, I was amazed when he
suddenly left the table without a
word. He returned after ten
minutes and explained. I had
ordered an oyster sandwich, and
George can't bear the sight of
them. The only way he can eat
oysters (and he likes them), is to
close his eyes. The funny thing
is, he likes them raw or cooked.

RIGHT on the heels of Maurice Cheva-
• lier's divorce came a most disturbing
rumor to the effect that studio officials
are very much worried about future Cheva-
lier pictures. It seems, if the reports are
to be accepted, that women's clubs through-
out the country are threatening to boycott
Maurice's pictures, along with a boycott
of other French products, pending settle-
ment of that country's war debt.

Since Paramount invests half a million
dollars in every Chevalier vehicle, consid-
erable official conjecture has attended the
rumors of a concentrated drive against
French actors and actresses in America.

I CITE you an example of father love :
Stuart Erwin has long wanted to go
to Europe. The reason he has not satisfied
that yearning has always been lack of
funds.

But now that Stu has a new contract,
money in the bank, and time on his hands,
is he going to Europe?

He is NOT ! Stu and Mrs. June Collyer
Erwin have postponed their trip abroad
until their young son is old enough to
travel with them.

(Continued on page 76)

A breath of the South Seas came to Hollywood when these California cannibals, impersonating a South Sea Island tribe,
dressed in their warlike best to make scenes for "King Kong." This unique film concerns the fortunes of a gigantic ape-god,
measuring some fifty feet in height, which is portrayed on the screen by means of ingenious mechanical devices. Ernest B.
Schoedsack directs the picture, and Fay Wray has the feminine lead.

for April 19 3 3

Dorit let love grow hum-drum

warns -HELEN T WE LVE TREE

She knows her husband really loves her
still, yet she is taken for granted, neg-
lected. Love has grown hum-drum, stale.

DON'T let love grow hum-
drum!" This is the warning
Helen Twelvetrees sends to the
many perplexed women who write
this charming screen star for advice.

"When a man begins to take you
for granted," she says, "look out!"

And then she tells Hollywood's
secret of winning — and holding —
adoration. "Capture for yourself
glamorous complexion loveliness
the way the screen stars do. Men

velvet-smooth skin has a charm men can't
resist. She begins to use the Hollywood
way to this complexion loveliness.

Again she knows the thrill of honeymoon days!
Eager eyes search the new, seductive beauty
of her face. Now life is glamorous, gay!

are always stirred by lovely skin!"

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Begin today to use fragrant,
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Here's Hollywood

Continued from page 74

Movie premiere. Here's an interesting group snapped at the opening of Noel
Coward's "Cavalcade." Mr. and Mrs. Leslie Howard are present with a guest,
and are joined by Richard and Jessica Barthelmess.

TLXARPO MARX went on a
regular gag spree when he
visited Palm Springs. A waiter,
with poised pencil, asked, "What
will you have, sir?" Harpo glow-
ered upon him and shouted, "Did
I ask you what you will have7"

Later that day he borrowed some
tennis balls from other guests.
When he finished playing, he
calmly threw the balls away.
"They're no good; they're worn
out," he said.

Again, he asked a hotel bell boy,
"What would you do for ten
dollars?" The boy didn't know.
"Well, here's ten," snapped Harpo.
"Do something!"

NOT all eminent authors feel it incum-
bent on them to sulk in a corner after
viewing the results of the movies' effort to
translate their work into cinematic terms.
Noel Coward, for instance, reacted quite
differently, and a good deal more gracious-
ly. After having seen the picture made
from his vasty stage drama, "Cavalcade,"
that amazing young genius sat down and
wrote as follows to Winfield Sheehan, Fox
generalissimo :

"I have just seen 'Cavalcade' and I am
deeply in your debt. I can sincerely say
that the picture exceeded my greatest
hopes, even after having read the New
York notices. The whole story has been
directed, adapted, and played with such
sensitive adherence to the text and spirit
of my play, that I am doubly thrilled at
the response of both press and public to
your brilliant achievement. Please accept
my heartfelt thanks and congratulations."

WHICH brings us to the rare achieve-
ment of Mr. C. N. O'Dell of Fox
Films in New York, who establishes an
all-time record for concise synopses by out-
lining in less than one hundred words the
story of "Cavalcade," which on the screen
covers the history of a family extending
over three generations. Here's his synop-
sis :

"There are three beautiful romances
delicately interwoven in the story of 'Cav-
alcade' with three charming pairs of lovers.
> Robert Marryot (Clive Brook) and Jane
Marryot (Diana Wynyard) wed, have
children, and live to old age. Edward
Marryot (John Warburton) and Edith
(Margaret Lindsay) love, wed, and start
off on their honeymoon on the Titanic.
Joe Marryot (Frank Lawton) and Fanny
(Ursula Jeans) fall in love and Joe wants
marriage but Fanny puts it off. It is on
Armistice Day that Fanny, dancer in a
night club, learns that Joe has been killed
in France."

NEWS IN NUTSHELLS : Kent Doug-
las had his nose revamped by plastic
surgery . . . Mary Miles Minter's $210,000
home was auctioned for $45,000 . . . Elea-
nor Boardman asked $4,113 monthly ali-
mony from King Vidor, director . . . Helen
Kane Mexican-divorced her husband and
then married Max Hoffman, Jr. . . . Tom
Mix has retired from motion pictures . . .
Barbara Kent married her manager, Harry
Edington, who also manages Greta Garbo,
Ann Harding, and Charles Farrell . . .
Florenz Ziegfeld's $60,000 summer home
brought $2,500 at a sheriff's sale . . . Dor-
othy Burgess was involved in San Fran-
cisco auto crash in which man was killed
. . . The Wampas will elect no more baby
stars . . . James Hall is reported reconciled
with his wife . . . Frank Fay walked out on
"Tattle Tales," the play partially financed
by his wife, Barbara Stanwyck and then
walked back in again; Babs joined the cast,
too, for a while; she put $10,000 into the
show . . . Marlene Dietrich returned to
Paramount to avoid suit for $182,850.06.

HUNTLEY GORDON, an ac-
tor who has experienced dif-
ficulty finding jobs, says his
tombstone epitaph will be: "Here
lies Huntley Gordon. If I don't
get into Heaven, it'll be because
I'm not the type!"

(Continued on page 98)

for Apr.il 19 3 3

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SCREENLAND

The Five Stages of Joan Crawford's Life

Continued from page 23

Queen and jester! While Doug Fairbanks, Jr. was visiting his mother
in New York, Joan sought to lighten her loneliness by lunching with
Bill Haines, Hollywood' s favorite interior decorator and quipster. Here
comes one of Bill's "swifties."

thought so — and that's just how Joan felt,
too. Hence they began conducting them-
selves more discreetly. It was definitely
the publicity — something from outside her-
self— that shoved Joan into the third phase
of her life. Incidentally, Joan and Doug-
las, Jr., still talk "double Dutch" but in-
stead of its being lovers' lingo it is for
the purpose of making private remarks in
front of the servants.

With her usual suddenness Joan swung
herself right from this carefree, blissfully-
in-love young girl to the Dignified Matron.
The ecstasy of a real love can last, (at
least the public manifestations of it), for
just so long a time. And wifely duties
now began to fill Joan's life. She had
never known a real home — one of her
own — before. The haphazard houses of
her childhood, the rococco apartments of
her New York chorus girl days, and the
Beverly Hills bungalows in which she had
lived when she was the Hey-Hey Girl,
certainly could not come under the cate-
gory of "a home." Now she became fever-
ish with home-making. The Junior Fair-
banks' house — the one in Brentwood
Heights — was Spanish in design, so Joan
read everything she could about Spanish
furniture. She had no more than gotten
this comfortably arranged than she decided
she liked English better — hence the interior
of the house was changed to English. She
read books on antiques and acquired a
pretty knowledge about them, too. She,
herself, bought all the linens and— here-
tofore as free with her money as with her
dances — learned to bargain skillfully.

Whenever Joan Crawford sets out to do
a job, it's well done. She was a grand
Charleston dancer when that was her am-
bition. Now that home-making was of
paramount importance to her, she was the
perfect homemaker. There were no more
sketchy dinners of crackers and mustard
with some rhubarb for dessert — (honestly,
I've seen her dine on just that). Now her
dinners were perfectly planned and served
— her silver and crystal the finest, her
table cloths the most shimmeringly white.

And, mind you, she took this minute
care of her house, (and still does for that
matter), while she was working eight and
ten hours a day at the studio. More than
that, she shopped for Doug, watching his
wardrobe carefully, and whenever some
shirts or socks were not so perfect as they
should have been, Joan personally ordered
more to replace them.

In the bustle of household matters, Joan,
as usual, forgot herself. One day at
luncheon she said, "Oh, I would love to
dress in a truly smart manner — you know
what I mean, that nonchalant carelessness
that spells real chic." I knew that it
wouldn't be long until she had achieved
that ambition — and I was right.

But she found, one day, that she must
become more engrossed with herself than
merely thinking about her clothes. In the
bustle of household activities she had for-
gotten to worry about her career. It was a
little notice in a newspaper that threw
Joan into the fourth stage of her life.

The clipping read, "Joan Crawford has
not yet reached the heights of which she
is capable on the screen, but we're afraid
that unless she forgets Mrs. Douglas Fair-
banks, Jr., the wife, and pays more atten-
tion to Joan Crawford, the actress, she
never will."

And that is when she began to take
stock of herself and to find that her career
had been taking up very little of her at-
tention. She had done her work well, it

is true. She had played in picture after
picture, but she was, more or less, at a
standstill artistically, and she began to
realize that something must be done about
it.

That is when she burst into the fourth
stage — Joan Crawford, the Emotional
Actress. Headlong, she threw herself into
her work. She was tired of light roles —
she needed and wanted parts that would
show whether she was a great actress or
not. And the studio, happy over her new
spurt of ambition, gave her one emotional
role after another.

She made the most of them, playing
every scene with that brand of Crawford
fire that borders pretty close to acting
genius. But she did more. She made up
her mouth in the way that brought down
criticism upon her. It was all a part of
the new pattern. That mouth make-up is
really symbolic of Joan, the person. She
did it that way without knowing why.
The real reason, of course, is that she
wanted to express herself more ardently
than she ever had before. She spread the
lip-stick on too thick — but her acting was
swell.

And it was because of this great ardor
for her work that her personality changed.
Always prone to be unhappy — as her com-
plaint years ago on Christmas Eve has
shown — she now began to lead an inner
life of tragedy. The girl was bordering
on some first class neuroses. That driving
her car alone at night at a mad speed
along the beach — that complex she ac-
quired that she was misunderstood — that
strange hunted look that her face wore—
all these things spelled the fact that" Joan
was on the verge of as pretty a little nerv-
ous breakdown as you'd find in Hollywood.

The high tragedy that Joan played at
the studio had seeped through to her per-
sonal life. "Rain" was the climax. She
had wanted to make the picture, but she
was miserable during its production.

And then came ; the fortunate circum-

stance that again suddenly changed her
life. Doug, seeing the state that Joan had
got herself in, suggested a trip to Europe.
At first, she did not want to go but he
persuaded her at last, and they left Holly-
wood for New York and points East.

The European trip changed Joan again.
When she got back to Hollywood the
hunted look in her eyes was gone. She
had had a swell time in Europe, and more
than that she had done some thinking.
Away from Hollywood she discovered that
she had been bringing all this tragedy
upon herself — she had been taking her
work, her private life, and herself too
seriously. And now she did another about-
face.

In the few short weeks that she and
Doug spent in Europe she acquired not
only a fresh dose of poise but a sense of
humor and a brand new philosophy as
well, a philosophy that tells her she must
be impervious to the disappointments and
criticisms that the days bring her.

And that's what she is like now — a well-
rounded, well-balanced woman. Like all
truly great people, she had to go through
various stages of life to become at last
the woman she is.

And now — what next for Joan? She
won't stand still, I'll guarantee that. She'll
go on and on, for you can easily see how
far she has progressed since those early
days — and she is still so young.

Not very long ago I was talking to a
very brilliant and intelligent man as he
and I sat watching Joan at a smart Holly-
wood party.

"That woman can be anything she wants
to be," he said. "It's my bet that when
she's sixty she'll be a 'grande dame' with
a coterie of worshippers at her shrine — a
great lady with a salon to which every-
one will be begging admission."

And I'll swear I don't think he's far
wrong. That Crawford gal can — if she
wants to — do anything! I know she wants
to do many things — and I know she will !

for April 19 33

More Reviews

Continued from page 65

Boots Mallory makes her movie bow oppo-
site James Dunn in "Handle with Care."

Handle with Care
Fox

In which Boots Mallory makes her film
debut, but the story is so fragile it doesn't
give her much chance. Little Buster Phelps
and George Ernest are the real heroes of the
picture — they catch a couple of gangsters,
thereby saving Jimmy Dunn's film life
which paves the way for a happy ending for
him and Boots. Send Junior, he'll love it!

Second-Hand Wife
Fox

Another "office-wife" makes good. Sally
Eilers is the little stenographer who marries
her boss, Ralph Bellamy. A good cast con-
verts a very so-so domestic triangle story
into pleasant entertainment. Helen Vinson
plays a selfish ex-wife to the hilt. And Sally
Eilers and Ralph Bellamy make an attrac-
tive co-starring combination.

Laughter in Hell

Universal

That ole davil chain gang again 1 If you like
'em brutal, here's a stiff portion. This time
Pat O'Brien suffers inhuman treatment —
and he can take it I Pat, who portrays a
character supposed to have been born and
brought up in the south, talks with his
familiar brogue! Gloria Stuart makes her
small part stand out.

Penguin Pool Murder
RKO-Radio

You're bound to get some wholesome laughs
from the comic team of Edna Mae Oliver
and James Gleason. But shame on you if
you can't guess who is the murderer. The
aquarium is the setting, with a penguin the
only eye-witness. However, Edna Mae and
Jimmy, between gags, track down the cul-
prit. Mae Clarke gives her usual capable
performance.

Hello, Everybody
Paramount
Here, you Kate Smith radio fans, is your
chance to see a lot of the singin' gal. The
story is slim but Kate has a "fat part" in it!
She plays a farm-girl who saves her village
from the clutches of the Big Business. The
romantic angle is supplied by Sally Blane
and Randolph Scott. And, of course, songs
by the inimitable Kate. You'll be singing
"Moon Song."

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My Most Mysterious Friend

Continued from page 27

had a good meal and this is a warm place
in which to sleep overnight."

For an hour or so the mysterious one
talked. He had just started practicing med-
icine when he was afflicted with tuberculosis.
He had only a short time to live he was
told, so he started off on what he called a
"long last hike." He felt since the end had
come that he must leave the glutted cities
or choke to death, and go out and wander
under the big mantle of the sky, over broad
plains and great deserts, climb mountains —
until death called. But the longer he trav-
eled, wandering the country over, the
stronger he grew and the better he felt
until one day he found himself well again.

"Well,'' I asked at this point in his story,
"why didn't you start all over again? Why
do this — "

"Because I can no longer help it," he
answered, staring steadily at me. "During
these years I have become just a bum. The
gypsy taint has entered into my veins and
I keep pushing on — new scenes — new
people— always wandering — " Then de-
fiantly, "You cannot know what it is. You
are a mere babe. The open road has a fas-
cination beyond anything else."

"Son," he added, and there was something
stirring in his voice — "Get out and hit the
big trail. You are not meant for this.
Don't let life stifle you. But do as I say,
not as I have done. As you travel find out
somewhere, someplace, the thing you were
made to do and then do it. Concentrate
and settle down after seeing with real vis-
ion the course set out for you to follow.
The world is your oyster if you only know
when it is in your hand. But do not let
the song of the vagabond get you as it has
got me. Despite what I have said, you will
probably turn out to be a bum just like
me !"

The next morning the section boss looked

for the stranger. But he was gone. The
boss asked if he had left any word with
me, as we had been seen chatting together.
I protested innocence. "Just another bum,"
was the foreman's comment. "It is about
time we quit feeding and sleeping those
blankety blanks."

But the stranger had sown mental seeds
in me that found fertile ground. I must
be on my way to the open road — and ad-
venture. I would find out what the world
had to offer. So with a pal, whom I had
converted to my way of thinking, I went
to New York City and signed up on a
Standard Oil Tanker.

During the next two and a half years
we saw plenty, but easily fell into ways
that were doing us more harm than good.
Unceasingly the oil tankers plied down the
Atlantic coast, through the canal and up
the Pacific coast. It all became a monot-
onous routine that brdught us nowhere.

The stranger's words, "■ — find out some-
where, someplace, the thing you were made
to do. Don't let the song of the vagabond
get you as it has got me!" kept ringing in
my ears.

So when the tanker docked at the Battery
in New York City we left it. Improvident,
we had only a few cents left of our pay,
the last port having filched us of most of
our savings. It was a cold winter's day
and we both felt the need of shelter. A
few feet away was the Aquarium, with a
"welcome" sign for visitors. Into its
warmth we went out of the freezing cold.

We stalled for a few minutes looking
from tank to tank, when suddenly on ap-
proaching the big tank in which were the
seals, I heard a familiar voice. I stopped
dead in my tracks.

There stood my man of mystery — a self-
appointed lecturer, holding a crowd of some

These three happy smiles tell the story! Doug Fairbanks, Jr., made a
special trip East to see his mother, Mrs. Jack Whiting, with Mrs. Whiting
is her husband, a star of the musical comedy stage. All three enjoyed a
pleasant holiday in New York.

twenty-five people spell-bound while he
gave a dissertation on the life and habits of
the seal. He was dressed pretty much as
I had seen him last, shabbily yet neatly,
except for the addition of a camel's hair
overcoat. He held forth with Latin terms
and natural history facts on the species for
ten minutes. It was a thrilling lecture,
couched in the best English.

At its close I strolled up to him, and ex-
tended my hand. He regarded me exactly
as if two and a half years had not elapsed
since our last meeting, and as if it were
only last evening we had talked together.

"Boy," he said, "glad to see you, but why
these clothes?" He looked at my pal's
and my denim overalls. Then before either
of us could answer, "Come," he said, "you
will be my guests for dinner."

He escorted us to a nearby restaurant.

Scarcely anything was said during the
meal for our host concentrated on his food.
Then, as he took his final sip of coffee, he
asked : "Now tell me about yourself."

I gave him a description of what had
happened since we last saw each other :
life aboard the oil tanker, ashore, and the
bad end to everything — broke and penniless.

"I told you once," he rasped, "not to let
the song of the vagabond get you. Travel
far if you like, but find the thing to do.
New York is, to many, the lap of the gods.
Into it are thrown many gifts for them who
will only see. Stay here and study it well
before you move on. But — you will prob-
ably turn out to be a bum, just like me.
What is the use of telling you all this ?"

He snapped his fingers for the check
with the air and manner of Lord Chester-
field. Receiving his change, he turned his
attention to us.

"I assume you are broke, so here is a
dollar for each of you. You can get a bed
for fifteen cents at McCleary's, across the
way."

"Aren't you coming with us," I asked,
"or won't we see you tomorrow?"

"Maybe so, maybe not," he said, rising
to his feet, and lifting a glass of water.
He saluted : "Here's to our next meeting,
wherever it may be."

He left us standing in front of the res-
taurant.

"A queer gink, that," muttered my pal.

"Maybe so, maybe not," I replied, ab-
sent-mindedly, for again he had left me the
clue to my next move along life's path. If
New York was the lap of the gods, I meant
to have intelligence enough to be around
when the gifts fell. I would snuff myself
out before I would become a bum.

In the next three years, I had found my-
self in the theatre. From carrying a spear,
I rose to bits, to parts, and then on into
leads. I had truly gotten some of the gifts
the stranger had mentioned so casually.
And I had found the thing I was made to
do. Besides, there had been a sop to my
wanderlust. I had traveled the country
over in stock in between New York en-
gagements.

Our company moved to Atlantic City to
open a new show. The first day we re-
hearsed far into the evening. Then,
rehearsal finished, I decided to saunter
along the Boardwalk.

In one of the places that lined the walk,
there was an exhibit of incubator babies —
an educational affair. I stepped over the
door sill, and pushed forward as near as
possible to where the lecturer stood. That
worthy acknowledged my arrival with a
wry smile. It was the mysterious stranger !

for April 19 3 3

When he had concluded his talk, he hur-
ried toward me and grabbed my hand.

"I'm in a great hurry," he said, "so par-
don me if I hustle off immediately. But
tell me what you are doing."

I explained that I was playing the lead
with a company at one of the Atlantic City
theatres, and would have said more had he
not stopped me.

"Must be off, old lad, really must," he
remarked. "May see you at the theatre.
Sorry to hear you are an actor. But then
I always knew you'd become a bum !"

Before I could halt him, he was off — lost
in the crowds.

I was disappointed, for there was much
that I wanted to tell him. But I consoled
myself with the thought that he really did
not mean what he had said — that it was
only his peculiar ironic sense of humor
that had led him to make the remark. I
felt sure I would see him again shortly.

But he did not reappear at the incubator
baby display. Nor did he come to the
theatre.

Two years later I was affluent enough to
make a trip to Europe, and for a few
months, I gloried in the sights of Berlin,
Rome and Paris. But all good things must
end, so I left a gay party given in my
honor on the last night in Paris, to board
the boat train for Cherbourg.

Seated in my compartment, I was wait-
ing for the train to pull out, when my at-
tention was attracted to a couple saying
their adieus. The parting was a tearful
one on the girl's part, and she was both
tender and delicious in her clinging affec-
tion. The man took her into his arms,
again and again trying to stem her tears
and kiss them away. I could not hear what
they were saying, but gathered from the
attitude of each that here was no ordinary
romance, but something that meant as much
grief as ecstasy to each. I could not see
the faces of the man or girl, but I watched
fascinated.

Again and again, she would move as if
to board the train, and then, animated by
a change of mind, rush back to him and
cling more closely. At last the train began
to move and the girl stood on the steps.
The man ran alongside, holding onto her
hand and talking passionately, until the
pace grew too fast for him, and he had to
let go.

As he drew up parallel with my window,
he glanced up and saw me. An expression
of amazement swept over his face, followed
by a smile of greeting.

He was my mysterious stranger !

I gibbered back at him in my excitement,
and almost pushed my face through the
pane, for the window had stuck in my at-
tempt to open it, that I might talk with him.
Just as we drew out of sight, the look on
his face changed to one of annoyance, and
my last view was of his fist as he shook it
in my direction.

"At last I have you, my bucko!" I
thought to myself. "I know what you
meant when you shook your fist at me.
You might just as well have said: 'Lay off
my girl, you cuckoo !' I will, but the lady
will tell me in the morning who you are,
and we shall settle accounts."

I was certain I would find the little bird
the next day, and, if not then, I would cer-
tainly meet her aboard ship, for the grief
of the parting augured that she was leaving
him to be separated by nothing less than
the broad Atlantic.

But in the morning she was gone, and a
six-day search over the liner in the first,
second, and third class cabins, failed to lo-
cate her. She had disappeared, and again
I had lost the trail of the mysterious
stranger.

Our paths will cross again. Of that I
am sure. I think it is so written, and as
irrevocable as Fate itself!

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SCREENLAND

Ask Me

Continued from page 8-

Lilian Harvey and two other players of continental films, snapped on the
beach near Berlin before Lilian sailed for America to make pictures for
Fox. Of course you recognize "li'l Lil" in the jaunty white pajamas at the
right. Center, Willy Fritsch, popular German male star; and the lady at
the left is Camilla Horn, whom you will remember for her silent films

over here.

Claudia S. Ah me, and a-lack-a-day !
What a year for dark handsome villains
on the screen ! George Raft has stopped
many an evening dish-washing bee for
mother. But she doesn't mind — she goes
along to the nearest cinema palace to get
another look at George in "Night After
Night" or "Under-Cover Man." George
was born in New York City. He has
black hair, brown eyes, is 5 feet 11 inches
tall and weighs 160 pounds. He was on the
stage before appearing in pictures in 1931.
He has several popular screen successes
to his credit, among them "Quick Millions,"
"Dancers in the Dark" and "Scarface."

Molly S. Taking this opportunity to
welcome all new friends of Screenland,
you and you and you. If you get as much
pleasure out of my column as I do in giving
it to you, we'll be all set for years and
years. Your favorite, Ralph Bellamy, was
born in Chicago, 111., on June 17, 1904.
He has light brown hair, blue eyes, is 6
feet tall and weighs 178 pounds. He was
married to Katherine Willard in 1931. He
has played in "Surrender," "Almost Mar-
ried," "Young America," "Disorderly Con-
duct," "The Woman in Room 13," "Re-
becca of Sunnybrook Farm," "Wild Girl"
and "Air Mail."

Peggy. If I answer just half of your
questions, you'll be happy. What will you
be if I answer all of them? Lew Ayres
has dark brown hair and blue eyes. His
first screen role was with Greta Garbo in
"The Kiss." His current release is "State
Fair" with Janet Gaynor and Will Rogers.
Norma Shearer was born August 10,
1904. She was married to Irving Thal-
berg on October 6, 1927, and their son,
Irving Jr. was born August 24, 1930.
Principals in the cast of "Honor Among
Lovers" were Claudette Colbert, Fredric
March, Charlie Ruggles, Monroe Owsley
and Ginger Rogers. William Haines was
born Jan. 1, 1900. He is not married. He
is good old wise-cracking Bill in his latest
picture, "Fast Life," with Madge Evans
and Cliff Edwards.

Merry-Lee. What an array of new
faces on the screen to fascinate us. Have
you seen Diana Wynyard in "Cavalcade"
and Miriam Jordan in "Sherlock Holmes?"
These two beautiful English girls are bid-
ding for our favor. Then there is Boots
Mallory who plays with James Dunn in
"Handle With Care;" Mae West from
N'Yawk who wins us over with her
Maitdie Triplett in "Night After Night;"
Lyda Roberti, the peppy blonde of "The
Kid from Spain," and Elizabeth Allan, who
played with Leslie Howard in "Reserved
for Ladies."

Curious. You like us because we always
give the deserving little girls in pictures a
great big hand. Here is a loud one for
Sylvia Sidney, who has given us "City
Streets," "An American Tragedy," "Con-
fessions of a Co-Ed, " and "Street Scene."
One of her unforgettable portrayals on the
stage was in "Crime" with Chester Morris,
Robert Montgomery, Kay Johnson and Kay
Francis, all of whom are now prominent in
the motion picture world. Sylvia was born
August 8, 1910, in New York City. She is
5 feet 4 inches tall, weighs 104 pounds, has
dark brown hair and very attractive eyes
that are blue-green with pupil-points of
golden brown. Her next picture will be
"Pick Up."

Kitten B. It's just a matter of opinion
as to the best dressed woman in Hollywood
— we all have our favorites. Pick your
own. Joan Crawford's latest release was
"Rain" with Walter Huston, William Gar-
gan, Guy Kibbe, Matt Moore, and Beulah
Bondi. Miss Bondi will be remembered in
"Street Scene." William Gargan will bear
watching as a coming rave. Your favorite,
Joan Crawford, was married June 3, 1929,
to Douglas Fairbanks Jr. She is 5 feet 4
inches tall, weighs 110 pounds, and has dark
brown hair and blue eyes. Sue Carol hasn't
made a picture for some time — too busy
looking after Carol Lee Stuart, the pride
and joy of the Nick Stuart household.
At this writing she's launching a personal
appearance tour. Loretta Young is 20 or
so years old, weighs 100 pounds and is 5

feet 3 J/2 inches tall — and very beautiful !

Louise B. I haven't a record of Bruce
Line since he appeared in "Forbidden Ad-
venture." Junior Coghlan's latest pic-
tures were "Union Depot," "Race Track,"
and "Hell's House." Junior was born
March 16, 1916, in New Haven, Conn. He
has brown eyes and hair. Sue Carol is
5 feet 2 inches tall and Jean Harlow is
5 feet 3 inches. Gene Raymond was born
in New York City of French parentage.
He has blue eyes, real blonde hair, is 5
feet 10 inches tall and weighs 157 pounds.
His family name is Guion but as it was
never pronounced alike by any two persons,
he decided to change it for the screen. His
film debut was made in "Personal Maid"
with Nancy Carroll.

for April 19 3 3

The Public Be Heard

Continued from page 6

LET SWELL ENOUGH ALONE!
(Fourth Prize Letter)

Just what are they trying to do with that
strangely interesting Hepburn girl? Her
initial screen performance was a rare treat
— one I had hoped to experience again in
her next picture. Now my hopes grow
dimmer.

Why, oh why, begin to change her unique
character when we've just been fortunate
enough to find her? In other words, why
call her "another Garbo" ? Why even hint
that the personalities of the two are simi-
lar? That they have the same characteris-
tics, the same appeal ?

We don't want another Garbo ! Not af-
ter seeing Hepburn's first performance.
We want her to be given a fair opportunity
to show us the Hepburn personality — the
Hepburn appeal — without any Garbo inter-
terence. She has already given us a
mighty good sample.

Catherine Salem,
4310— 44th St.,
Sunnyside, L. I.

THE FINER SIDE OF FILMS

Severe critics of motion pictures main-
tain that movies have a powerful negative
influence on minds in the formative stage.
It is surprising, as well as regrettable, that
they refuse to admit the equally good in-
fluence wielded by the films.

Motion pictures, in my opinion, have
steadily improved during the past few years.
Surely such fine qualities as honesty, dig-
nity, chivalry, virtue and truthfulness can-
not be overlooked when taking an inventory
of the good and evil influences of motion
pictures. When vice is forced into the fore-
ground, it is usually for the purpose of
stressing the advisability of doing right.
And what's "negative" about that?

Producers and directors are to be con-
gratulated for emphasizing the finer virtues,
which are usually triumphant in our modern
motion pictures.

Anna Breen Nutt,

Box E.,
California, Pa.

DO MOVIES MOULD
CHARACTER?

Everyone knows by now that the movies
carry great influence ; but I often wonder
whether the skilled craftsmen of filmland
realize themselves just how much influence
they really do wield. I am a fair specimen
of the fellow who calls himself an average
moviegoer, and when I walk out of a
theatre I find myself trying to emulate the
hero of the film. I walk with his gait, and
unconsciously imitate his mannerisms. Of
course all that wears off in a little while,
but who can tell how deeply my subcon-
scious mind has been affected by what I
have experienced?

Because I am just one of thousands who
are so influenced, I believe picture people
should take stock every once in a while of
the weight their work carries. No propa-
ganda— but let their stories be of real
people, good or bad — and let them ring
true !

Frank M. Baker,
4736 Maiden Street,
Apt. 107,
Chicago, 111.

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Exposing Hollywood's Latest "Triangle"

Continued from page 25

their former sheltered life. They have
changed, grown up.

Today Buddy is twenty-eight. He's
considerably heavier and filling out his tall
frame gives him a mature physique. His
face has taken on interesting lines, in-
dicating more character. Success as a
Ziegfeld star, as a swanky hotel dance
maestro, as a vaudeville magnet and as
a number one radio entertainer has en-
dowed him with a pleasing sureness.

Don't catalog him as a mama's boy.
Because he has evidenced good taste and
good manners, don't assume he's never had
his moments. It's never been publicized,
but the truth is that Buddy didn't learn
the facts of life from the bees — or books.
If you know what I mean ! His virtue has
been over-emphasized and his business acu-
men overlooked.

He earned his way through college and
has been steadily increasing his wages ever
since. While away from the talkies he
averaged almost $5,000 a week from his
hotel and broadcasting wo.rk. He did nine
weeks of personal appearances this last
Winter for $6,000 each. Not so gaga, eh?

Beautiful femmes have always flocked
around him. And he has never let one of
them interfere with his career. As a col-
lege freshman he had only three dates in
the entire year, having arranged to play
in an orchestra every Friday and Satur-
day night. Seven years ago he left the
University of Kansas to go movie. Fol-
lowed immediate exposure to myriads of
lovely ladies.

Claire Windsor, a reigning beauty when
Buddy came West, intrigued him. She
was famous, poised, and he, a veritable
Morton, was much impressed by her kind-
ness in bothering with him. His studio
objected to the difference in their ages and
their friendship had to remain platonic.
They are still friends.

June Collyer was another of Buddy's
girl friends for a while and she and Mary
Brian were reputedly maneuvering for his
affection. This was also a press "triangle."
June chose Stu Erwin, and Mary is god-
mother to June's Stuart, Jr.

Prominent debs have been listed in Bud-
dy's date-books. He spasmodically rushes
various blue bloods, when not concerned

Hocus-pocus.' If it isn't Professor Warren William, all wrapped up in
occult mystery for his crystal-gazing role in "Mind Reader" . Looks like
a typically exciting William part. You must admit the Professor knows
how to choose his "props."

for April 19 3 3

Pain Stops Instantly!

CORNS

Gone in 3 days

THIS SAFE, SCIENTIFIC WAY

with Mary. Dat ol' debil career has ap-
parently ensnared him. M-G-M wanted to
manage his come-back, but the deal was
killed when the studio asked for a share
of his stage and radio salaries.

Since Mary Pickford agrees with him
that he deserves whatever he can get in
these fields himself, he will be re-intro-
duced under her auspices in her "Shanty-
town." She has suggested a long-term
contract and if he is pursuaded on this
course she will loan him to the other com-
panies whenever good parts are offered.

"I don't think a girl would want to
marry a man who'll be on the jump as
much as I'll be," Buddy argues. "When
I'm not working in Hollywood I'll be busy
on the stage or radio." (Yet I think any
number of girls would take the chance!)
"As for my acting future, I am convinced
I got my necessary push in silents as Mary
Pickford's leading man in 'My Best Girl,'
and I'm counting on the luck to repeat !"

Let's leave Buddy for the heroine of
this tale.

Mary Brian is as lovely an ingenue _ as
she was when she burst upon our vision
nine years ago in "Peter Pan." That
alone speaks for her ability. And the
dumb don't last like that. Now, at twenty-
five, she is not going to be content with
colorless roles any longer.

To get her reputation as our most-
rumored-engaged actress, what has she
done? She isn't exotic or mysterious and
she doesn't wear funny eyebrows. She
doesn't entertain to any extent, nor set
styles. She isn't athletic or musical. Just
a girl men want to marry !

Glenda Farrell, that grand stage import
who is a person of cosmopolitan experi-
ence, is perhaps Mary's best feminine
friend, and I went to her for an opinion.

"Most" folks have Mary all wrong !"
Glenda emphasized. "They assume she
leaves a trail of broken hearts behind her
simply because she is young and pretty.
Why, the town's full of sweet young things
who bore you to death after the first
meeting !

"No, I credit Mary's social success to
her brilliance, her wit, and her sincerity.
These are her outstanding characteristics.
Every man adores to talk to her, to be
with her because she has a definite, clever
mind and is perfectly honest.

"The reason no man has ever convinced
her she should marry is that she is not
what she has so often appeared in films.
Mary is not the little woman type! She
isn't a bit domestic. She has no wish to
putter about a house, to sew or bake.

"To win her, a suitor must realize that
she is terrifically ambitious. She loves to
act and, having struggled for a career, she
very naturally wants to continue it. And
another unsuspected fact," Glenda con-
cluded," "she isn't placid. Mary is subject
to every kind of mood. And the man who
out-smarts her will have to be smart
enough to thoroughly understand women.
He'll have to recognize her varying moods
and know how to satisfy them !"

Surprised ?

Come to think of it, Mary has never
owned or rented a house, preferring the
conveniences of an apartment. If she longs
for a home and the duties thereof she
could have had one long ago, for she, too,
has been financially rewarded.

"I've never had any of those hectic love
affairs," she said to me a little apologet-
ically when I quizzed her directly. "Nor
any fights with boy friends. Even after
we drift apart they come around sooner
or later or call up. Certainly I would like
to fall in love with a man who would
mean so much to me that I'd forget about
pictures. But — ! I haven't found him
yet.

"Acting is such a satisfaction that when

I'm not working I have the jitters !" Which
reminds me that Dick Powell chided her
the other night, "The trouble with you,
Mary, is that when you're working you're
too tired to have fun at night, and when
you're not working you have the fidgets
too bad to let go 1"

"Parties don't excite me particularly,"
this belle of our best parties says. "No
dance or date could top a day in a studio.
Everything or anything can happen on the
sets. And generally does. It's like cele-
brating all day !"

The fact that she has many dates with
non-professionals has escaped the column-
ists' eager eyes.

Immediate marriage may not be in Dick's
mind, yet he is pretty crazy about Mary.
If she said yes — ? He said he was in
"the dog-house" when he hadn't seen her
for a week. Life was just a bowl of
blues !

A peppy individual, Dick is in great
favor when Mary is in gay spirits. He
never tires. She gets sleepy and wants
to hie for home soon after midnight. Polly
Ann Young and other movie girls step out
with him when Mary is busy.

"Trying to make a spot for yourself in
Hollywood doesn't exactly win you a
welcome from the established actors," Dick
admitted. "Buddy has been particularly
kind and I appreciate it. Of course, we
really get a lot of laughs over this 'rivalry.'
The last time Buddy went out with Mary
he 'phoned me and asked if I didn't want
to come along !

"That house I had near Buddy's was too
large when my parents left, so I moved
into this place that May Robson used to
have." It is closer in to Hollywood and
impressed me as a fine setting for a hand-
some young bachelor the morning I called
upon Dick for his true confessions.

"My ambition is to make good as an ac-
tor. Then to work half the time here and
half singing on the stage in the East."
Discovered by Warners as a master of
ceremonies in their Pittsburgh theatre, he
is the same age as Buddy and it's a toss-
up as to which is musically superior.

"Until six years ago I'd never sung jazz,
having studied voice seriously. Then it
struck me that light music was more profit-
able than singing in a choir. I'm keeping
up with my lessons and practice still and
I hope to develop a real concert voice. By
the way, Charlie Farrell has started sing-
ing lessons from my teacher here!"

With four important leads at Warners
under his belt, Dick is now being featured
in "Highlights of 1933." He golfs and
swims when he isn't working, practicing
his scales — or trailing Mary.

So, Winchellians, you're all wet. Buddy,
Mary, and Dick — ahh!

A grand trio. If and when they feel
romantic 'neath that tempting Hollywood
moon — they don't kiss. Or at least tell.
Which means there's hope for admirers of
anyone of the three.

Brush up on your music if you want to
make any headway with Mary. For be-
sides her gentlemen callers being hand-
some and bright, nine times out of ten they
are orchestra leaders ! Her own brother
has felt the influence of so many maestros
calling on sis and is now conducting a
dance band after banking hours.

When Buddy or Dick won't advise him,
Fred Waring (of Waring's Pennsylvanians)
will. Oh, yes, I forgot to tell you that
Fred is veddy, veddy strong for Mary,
too. And that yesterday at a fashionable
tea I noted George Raft deserting the for-
ward flirts to join Mary's court. Georgie
can't play an instrument nor croon, and
neither can Lee Tracy — who was spotted
at the Brown Derby with Mary this noon
—so I won't place any bets on their win-
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A Director Looks at the Stars

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yes, I know — she doesn't give 'em a chance.
But why doesn't she ? Because when she
did, they wouldn't take it. Because some-
how the notion had got abroad that this
was the life-size, sure-fire, all-time pic-
ture of Connie Bennett and what are you
going to do about it?

"All right — you can judge a person only
by what that person is to you — and to me
that picture of Connie Bennett's a slander.
To me she's a hard-working, straight-
thinking, fair-minded person with no more
than her decent share of human inconsis-
tencies. Can you call a woman self-
indulgent who works without a murmur
for six weeks on end from eight in the
morning to midnight and later? Can you
call a woman vain who's the first to recog-
nize her own limitations — who's forever
kidding her 'funny little face' and her 'fun-
ny little talent,' as she calls them — and not
with the hope of being contradicted, either.
She knows what she's got and she knows
what she hasn't got, too — and that's what
I like and respect about Connie Bennett.

"I'll tell you another person who's com-
pletely without vanity, whatever you may
have heard, and that's Jack Barrymore."

Through my mind flashed the memory
of something I had heard about Barry-
more, which bore out Mr. Cukor's state-
ment. He had been enthusiastic about the
part of the shell-shocked husband in "A
Bill of Divorcement" and eager to make
the most of it. Appearing on the set fur
his first rehearsal, he had buttonholed Mr.
Cukor.

"Listen, George," John Barrymore is al-
leged to have said, cocking that eyebrow,
"now listen hard. If I try to do a single
hammy thing in this picture, kick me, will
you ? — kindly but firmly, kick me !"

Whether his instructions were obeyed is
not on record, but that the desired result
was achieved is proven, if by no other fact
than that Sister Ethel, hypercritical where
any of the Barrymores are concerned,
called Hilary Fairfield his finest perform-
ance.

"It's a holiday," Mr. Cukor was say-
ing, "to have Barrymore in a film. ' He
works like a demon, he co-operates 100
per cent, he thinks the director's a great
guy, and I've never known his humor to
fail him. Here's another thing. Barry-
more's been called an ace scene-stealer.
From my point of view there's no such
thing as scene-stealing. The director's al-
ways there on the job. The thing he
wants in the foreground is the thing the
camera takes, and if Barrymore or any
other actor seems to be stealing a scene,
it's because he's better than anyone else
in that scene and not because he's resorting
to tricks. If he is, it's the director's fault.

"I never noticed any scene-stealing pro-
pensities in Barrymore. On the contrary.
He was as keen about Hepburn's success
as his own — found her exciting and stimu-
lating to work with. It's true he teased
her mercilessly — but she could take it—
not only take it but bounce it right back-
again — and they got along like a couple
of Siamese twins. As for Billie Burke —
he adored her, as who didn't?

"You know Ziegfeld died while we were
making that picture. We were doing a
scene late one cold Friday night, when she
was called to the hospital. She ran out
to the car in her make-up — without a coat.
She'd never told anyone how sick he was.
After he died she wrote me a note : 'Please
make me work hard. It'll be good for me.'
She came back the following Wednesday —

got in at 6.30 to be made up and have
her hair done. Just once she broke down,
and then apologized to the make-up man
because he had to mascara her lashes
again. She's an enchanting creature, Billie
Burke — " his voice softened and his eyes
grew gentle as he gazed off into space —
"charming — wise — a great sport — a great
lady."

"Hepburn?" Cukor grinned, as the ques-
tion brought him back to here and now.
"Yes, she's a personality, all right — a minx,
that's what she is — a paradox. Hard and
tender. Cocksure about herself, yet hum-
ble about her work. Straight as a knife
and slippery as a snake. But more brains
than she knows what to do with — and a
hard worker.

"She was a little bumptious, to begin
with — as they're likely to be when they
first come out. She'd argue about every-
thing before she did it. But that wore off.
She had to understand exactly what you
wanted and why — couldn't do a thing
mechanically just because she was told to.
But when she understood, she'd do it like
a saint.

"She's absolutely unselfconscious — or at
any rate," he murmured thoughtfully, "she
succeeds in producing that impression.
Does whatever she damn pleases, and any-
one who doesn't like it, too bad. She'd come
to the studio in a pair of old overalls, run-
over moccasins, and a tight sweater, with
a kerchief knotted round her head a la
Russc. She'd drive up in a magnificent
car — though she kept insisting she didn't
know where her next meal was coming
from — and climb into the studio through
a window. She was always telling the
most fantastic lies about herself — not that
she cared whether you believed 'em or not
■ — art for art's sake — I couldn't tell you to
this day whether she's a daughter of mil-
lions or a Cinderella !

"When the picture was finished, we could
hardly hold her. She was sure she was
rotten. As I look back on it now, it seems
to me I spent all my time dragging her
off the step of a train.

" 'I've got no money,' she kept moaning,
'I've got to get back to New York and
get me a job. Sooner I get there, sooner
I'll eat.'

"She wouldn't go to the preview — ran
away to Santa Barbara to spend the night.
Thought we were kidding when we told
her next day the preview report on her'd
been 100 per cent.

"You know," Mr. Cukor said, breaking
off suddenly, "that's one of the things I
resent about the way the movies are
treated — if you'll excuse my airing my
views again. I resent the snooty attitude
of the press — the detached, superior airs
they give themselves. 'When Hepburn ar-
rived, nobody met her but the photo-
grapher,' they say; 'now they're all mak-
ing a hullaballoo about her.' Well, and
why not. for Pete's sake?" cried Mr.
Cukor, flinging out his arms in despair.
"That's not the movies, that's life. If
you're an unknown in any walk of life,
you're grateful even for the photographer.
If you're a celebrity, you get a hullaballoo.
That wasn't invented in Hollywood. 'Now
she has a patio,' they say. Good Lord, is
that supposed to be funny?" he inquired
plaintively. "Everyone in Hollywood has
a patio. You might as well say, 'Now
she has a kitchen sink.' 'We hope,' " he
quoted in hollow tones, " 'we hope Holly-
wood won't spoil this exquisite girl.' Did
it ever occur to them that it was the malign

for April 19 3 3

influence of Hollywood that brought 'this
exquisite girl' to their august attention?
Who made a fuss about her in the theatre ?
Who made a fuss about her in New York ?
She had the same talent, the same looks,
the same distinction there as here. Why
didn't they whoop her up then instead of
waiting for Hollywood to show them the
way?

"I'll tell you," he said, dropping ab-
ruptly into low, "I've been in the theatre
and I've been in the movies and, taken as
a whole, I think the picture people are ex-
actly the same as the theatre people — just
as smart and just as dumb. The percen-
tage of bum movies is no greater than the
percentage of bum plays — and vice versa.
And I think it's time the picture industry
rose up on its hind legs and got itself
treated with some respect. Or maybe — "
concluded Mr. Cukor, biting off a section
of celery with the same gusto with which
he talks, and beaming suddenly, " — maybe
it doesn't matter. What do you think?"

It was something else I was thinking
of as I took my way home. I was think-
ing of the things I'd heard about Mr.
Cukor's popularity among the stars he has
directed, of his reputation for getting the
utmost from them and particularly from
those who are reputed hardest to handle.
I was curious to hear the other side of
the story. And being curious, I asked.

"It's because I respect him and trust
him," said Katharine Hepburn. "Even if
he wants me to do something I feel isn't
right, I'll do it because I've got more faith
in him than I have in myself. Do you
remember that scene in 'A Bill of Divorce-
ment' where I ask Aunt Hester if insanity
runs in the family ? He made me do it
over seventeen times and, after the seven-
teenth time, instead of getting peevish or
bored, he came over to me and said quiet-
ly : 'Listen, kid, are you holding out on
me? Because if you are, you're doing the
lowest thing one human could do to an-
other.' I wasn't. I just didn't understand
what he wanted. But I was so impressed
that I made a heroic effort to understand,
and the eighteenth time I got it right."

"It's because he's gallant and kind," said
Tallulah Bankhead, "which is enough to
bring out the best in any woman. If you're
tired or not up to snuff, he understands
and makes things easy for you instead of
acting as if you'd contrived the complete
feminine anatomy as a personal affront to
him. When he has a correction to make,
instead of bawling it out all over the set
to assert his authority or relieve his nerves,
he takes the time to walk a few steps and
say whatever he's got to say into your
private ear. A little thing? Well, try
being bellowed at for eight or ten hours a
day six weeks on end, and then tell me
how you feel about it."

But it was Connie Bennett who summed
up the situation with simple finality.

"George Cukor's an angel," she said.
"He's that rare thing — an unselfish di-
rector. He doesn't make a show of what
he's giving the actor. He doesn't special-
ize in so-called 'directorial touches' to em-
phasize his own activity. He keeps him-
self in the background. To him the story
— and consequently the people through
whom the story's being told are the impor-
tant thing. You know that first and fore-
most it's you and your part he's thinking
of, so naturally — " with a little shrug,
"you'll work like a slave for him, because
you realize you're safer in his hands than
in your own."

A log-rolling party? Maybe. But I
imagine that Hollywood producers, eyeing
the results of the system, might paraphrase
Lincoln on the subject of General Grant:
"Can you find out what dope he uses ? I'd
like to send a barrel to some of my other
directors."

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SCREENLAND!

Janet Gaynor's Lost Romances

Continued from page 19

witnessing a husband make love to his own
wife on the screen. But the world did
flock to see two sweethearts romancing,
and this illusion both Janet and Charlie
wished to preserve.

In 1929, the romancers commenced to
drift apart. Lydell Peck, a young' San
Francisco attorney, was introduced to Miss
Gaynor by a mutual friend, director Wil-
liam K. Howard. Lydell was constantly
present on "Christina" sets, when Howard
directed Janet in that picture, and the two
of them were often invited to the director's
home.

At about the same time, Farrell met
Virginia Yalli, and the two became deeply
interested in each other. Thereafter, there
began a four-sided race of romance, and as
often as Miss Gaynor and Peck were seen
together, equally as often did Farrell and
Miss Valli appear.

But gradually, Janet and Charlie seemed
to drift together again. They were like
two tree limbs swirling down a stream,

separating momentarily, only to return to-
gether and cling to each other. During the
production of "Sunnyside Up." in the sum-
mer of 1929, the two apparently patched
up their differences and agreed to devote
themselves only to each other. To this
end, Miss Gaynor dismissed Peck, who re-
turned to San Francisco.

Suddenly a bombshell exploded in Holly-
wood ! All within a few days, Janet tele-
phoned Peck to come for her, promising to
marry him. He flew to her side at once,
and within a week they were honeymooning
on the high seas enroute to Hawaii.

What had brought about this amazing-
turn of Janet's tide of romance?

The answer, according to popular opin-
ion, could be traced to a misunderstanding
— Miss Gaynor had not understood, when
she received an anonymous message that
Charlie and Miss Valli were at sea on his
boat. Later reports indicated that he had
taken Virginia sailing in order to tell her
that he was in love with Janet. But

for April 19 33

whether or not this story is true, Miss
Gaynor promised to wed Peck before Far-
rell was given an opportunity to explain —
and Janet kept the promise.

But even Janet's marriage — and the ul-
timate union of Farrell to Miss Valli —
failed to end entirely the comradeship be-
tween Diane and Chico of "Seventh
Heaven" memories. When they made pic-
tures together, they resumed at least a near
approach to their former friendship on the
sets. And the four — Janet, Virginia, Char-
lie and Lydell — made public appearances
together.

Then, not many weeks ago, the new
chapter of the little star's romantic history
was written. Charlie, the first of her ro-
mances to come to Janet, was also first to
leave. With the declaration that he was
tired of playing roles consistently second
to Miss Gaynor, Farrell requested and was
granted release from his contract with the
Fox Film Company.

Before news of this separation had
calmed, Janet abruptly announced her sepa-
ration from Peck, with the added state-
ment that she would sue for divorce. Before
an anxious horde of newspaper reporters
could secure further facts, Janet hurried
aboard ship and fled to Hawaii, an island
she admittedly loves and to which she has
often retired for freedom from her troubles.

Of Janet's two lost romances, Hollywood
may regard the separation from her hus-
band as the more acute. But to the world
at large, I venture to say that the parting
of Janet and Charlie is by far the greater

tragedy, because the world has been a con-
stant spectator of the Gaynor-Farrell ro-
mance.

As for the importance of the two to
Janet, it is my belief, based on logical
conclusion, that she is the more regretful
of her separation from Farrell. I reason-
ably assume that since she voluntarily
ejected Peck from her life, she cannot be
sorry for that loss.

All sorts of rumors are pervading Holly-
wood as I write this article. Someone
mentions a Norman Gilliland. Another
item of gossip declares that several Holly-
wood wives are trembling in their slippers,
now that Janet is free. There was even a
printed story that a popular leading man
had followed her to Honolulu.

Lies. Lies. Lies. I call them by no
other name.

But I do wonder, as I write, if Janet's
memories have gone back over the years
and joined my own at a moment, in the
dim past, when I went to her with a pain
in my heart and asked : "What would you
do if your sweetheart or husband were sud-
denly taken from you?"

I wonder if she can remember her vain
struggle to understand, and her utter seri-
ousness as she answered, "I don't know.
Perhaps I would feel like dying."

Does Janet feel like dying?

Or is Janet happy again? Happy with
the thought that real love — the one real
love of her life — may some day return to
her?

Three Weeks with Neil Hamilton

Continued from page .53

was the birth of the inspiration on both
sides to do this. Each very enthused over
the idea ... a nicer form of the "Truth"
game. It all happened while we had two
hours off . . . had finished visiting other
sets and exhausted all studying in our re-
spective dressing-rooms, and we met in the
hall, both on the way to suggest this form
of amusement to each other. Hope it keeps
you-all as interested as we were this after-
noon. Both on good behavior in view of
project. Letcha know what Neil does to-
morrow . . . tomorrow. As for today —
four stars !

Just like those French and dancing les-
sons I've been going to take for years —
here 'tis over a week and no notes. Feel
better — Neil just confessed a similar pro-
crastination.

Briefly, they have all been pretty nearly
the usual working day, with an interlude
now and then of Neil dashing into my
dressing-room in a red robe . . . shirt in
hand and a woe-begone expression, at
which my maid digs down for the needle
and restores that button to its former
abode ... or shortening a button-hole that
had decided on a long-distance hike . . .
Worked very late one night . . . saw Neil
doing a little pacing and frowning ... it
was one of the two nights the Hamilton
keeps aside for other things.

His best day, really a Five Star One,
was on "location." Can't say why, exactly,
but somehow Neil is the perfect out-of-
doors companion. Fits in perfectly with a
tree and a bridge and a sports suit with a
rakish tilt of hat.

One day he breezed into my dressing-
room for my opinion on his new make-up
for his next picture here at Columbia,
"Child of Manhattan." Later he stepped
out of the cast at his own suggestion when
it was found he could not look old enough
for the father role to a grown-up daughter.
I'd better add right here that the one we
are doing now is "As the Devil Com-
mands." His make-up includes gray hair

at the temples — ladies, watch for it. Neil,
when he grows older, is going to be even
grander. One of those faces that just re-
fuse to lose sparkle, and gain interestingly
with gray hair. He has gray temples
naturally, you know, with auburn hair. A
very rich merger ! He has heretofore worn
his hair combed down slick and flat, but
for a change is not flattening it, and the
effect is nicer, I think, as he has very
thick and wavy hair — and now you get
more of an effect of its having been a wee
bit ruffled; and, "gee-I'd-like-to-ruffle-it-
more" feeling.

Great men in our business have peculiar
methods of overcoming nervousness — one
director chews the ends of his handker-
chief; another employs a rocking chair;
another jingles coins; another whittles;
another turns bill-clip on a finger. Neil
enters this class by virtue of a key-ring on
a chain, which he swings around in circles
constantly. He even does it in scenes —
watch for it — you'll see. He has perfected
it and can do exactly, on a smaller scale,
what Will Rogers does with a lasso.

See here, this' is developing into a book!
I condense the daily star system to one
BIG one for a nice, nice person. And as
I say farewell and good luck to a gentle-
man with wavy auburn hair and gray
temples and deep brown eyes, I irrelevantly
think of a poem I wrote a long time ago :

A man with a pipe, a dog and a fire.
Gray temples and tol'rance and who'd never
tire

Of my petty troubles and make me feel sure
I could run straight to him when I felt
insecure,

Who'd listen and listen, and make me agree
No matter how wrong, I was right as could
be,

Could be sure of my visits for ever and aye
And I'd try awf'ly hard to keep up the play.
But darn it, I know I couldn't resist :
"To heck with this friendship, I want to be
kissed !"

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Will be on sale March 24

Master Mugg

Continued from page 34

company. He was not permitted to draw
anything against his salary until the com-
pany had actually opened, even though
they had been rehearsing for a week with-
out pay. The night before the curtain rose
on the first performance Spencer and Mrs.
Tracy sat in a lunch room boasting chairs
with arms on which you placed the food.
They had one thin nickel in the wide, wide
world. Spence went up to the counter and
came back with an egg sandwich. They
divided it.

The next night he almost missed his
second cue because no sooner had he come
oft' stage from his first scene than he made
a dash to the cashier's office to touch him
for a ten spot.

He was getting $50 a week out of which
he had to pay all the bills they had run
up when they were broke, buy clothes for
the different plays in which he had been
appearing, pay all their living expenses,
including Mrs. Tracy's confinement, and
try to save!

When they had been a few weeks with
the company in Elizabeth, it folded and they
were fighting the wolves again. After a
few more weeks when they barely knew
where their next meal was coming from,
Spencer got a job with a stock company
in Winnipeg. He rehearsed a week with-
out pay, played two weeks, and suddenly
the manager was missing with the com-
pany's'funds and no one had been paid all
the while they were up there.

A year ago Spence felt that that sort
of thing was necessary to be a good actor.
Now -he isn't so sure. Today he said,
"I'm not so positive- that lack of experi-
ence with life is as essential to success as
the proper kind of contract. And by
'proper kind of contract' I don't mean
only the money. I mean principally hav-
ing it stipulated in your contract that you're
only to do so many pictures a year. I
don't believe the actor lives who can make
four to eight films a year and survive.
It's expecting too much of audiences to
ask them to see you that often and not
tire of you.

"I think Paul Muni has the ideal con-
tract—one which specifies only two pic-
tures a year and which permits him to do
stage plays in the interim."

"What about Barthelmess and Robinson
and Colman, who only make two pictures
a year and who make enough out of them
to grow rich without having to do the
plays?" I asked.

"I don't know anything about their con-
tracts," he answered. "That's up to them.
I mentioned Muni's because that's the kind
I want. I want the pictures for the money
and I want to do the stage plays because I
love the theatre. If I had all the money
in the world, I'd still want to work in
the theatre."

I'll never forget the night he told me
about Warners having borrowed him for
the lead in "20,000 Years in Sing Sing."
He was so excited he could hardly talk.
He and Mrs. Tracy and I were going to
a picture together. While we were wait-
ing for her to get ready he said, "If this
doesn't put me over I'll just have to resign
myself to the fact that I'll never be a big
star. I'll just have to play character parts
and be content."

Fortunately, _ "20,000 Years" Ms put
him over but it wouldn't have made any
difference if it hadn't. Spencer will never
be one of those "also in the cast" actors.
Any picture he's in centres around him
whether he has the lead or not. He has

never received a poor press notice for his
work !

When he is thinking, he has a great
habit of sticking out his lower lip until he
looks like a pouting baby.

He's the most naive person I've ever
met. Snowy Baker, the Australian polo
player, invited Spence to visit Australia
with him. "Think of that!" Spence ejac-
ulated. "He's a national figure over there.
He knows everyone of importance.
Wouldn't it be wonderful to be able to
make a trip like that with a man like
that?"

The fact that Tracy is an JM/Vrnational
figure and that it would be quite a coup
for Snowy to bring him home as his guest,
never occurred to Spencer !

The night before the Olympic finals last
summer I was out at his home. Baron
Nishi, one of the Japanese equestrian team,
was also there. I mentioned that I'd not
been able to get seats for the last day.
The Baron gave me a couple. "Boy,"
said Spence to me, "what a thrill you'll
get out of being there watching him ride
and knowing all the time that he gave
you those tickets — that you're his guest!"
He still refers to that.

He won't eat in public restaurants. On
Thursdays, when their cook is off, he and
Mrs. Tracy dine with his mother. His
mother lives in a fashionable apartment
hotel but Spence won't go into the dining
room. While the rest of them are down-
stairs eating, Spence has his dinner sent
up to his mother's apartment and eats alone.

He never attends premieres but oc-
casionally goes to a neighborhood theatre
to see a picture. On a few such occasions
when I've been with him, we've been
stopped outside by people who recognized
him and wanted his autograph. He al-
ways gives it, graciously, but he scrawls
his name with his head down as though
lie were afraid someone he knew would
catch him at it.

Once we went to a prize fight that fea-
tured Baby Arizmendi and Young Tommy.
It wasn't the fact that they were eveniy
matched or that they were "mixing it"
constantly or that there was plenty of
action, that impressed him. It was the
fact that they were fighting clean. He
kept repeating that.

Another time we went and James Dunn
sat a row ahead of us. It was while
Spence and Jimmy were making "Society
Girl" and Jimmy had just had a couple
of ribs busted in a prize fight sequence.
Every time one of the fighters took a
wallop Spence winced and said, "111 bet
Jimmy felt that one."

His ambition is to be natural. "The
Guardsman" was made two years ago but
he still refers to it. "Look how the dial-
ogue overlapped in that. They never
waited for each other to finish talking.
It was the most natural thing in the world.
When you and I talk or when any two
people are chatting they don't wait every
time for each other to finish before start-
ing, the way they do in most pictures.
People anticipate the last few words each
other will say and butt in on them. That's
one of the things that makes Alfred Lunt
and Lynn Fontanne natural. And it's their
naturalness that makes them great."

Once I asked him what kind of parts
he wants to play. "Muggs," he answered
promptly, "because that's what I am."

The first time I ever met him, when we
had concluded the interview, he leaned
towards me and said, "How'd you like

for April 19 3 3

to go down to the brewery one day and
swill a little beer?"

In those days you could go down there
and they'd sell you all you wanted to drink
but they wouldn't sell you any to take
away with you. "I'd like it fine," I an-
swered.

"All right," he responded. "I'll get
hold of Frank Borzage and find out when
he can go and then I'll call you. What's
your 'phone number?"

I gave it to him, remarking, "Why do
you want to wear yourself out writing it
down? You know you'll never call me."

"You think so?" said Spencc. "Well, I'll
bet you five to one I'll call you within a
week."

I left him firmly convinced that the next

time I'd see him would be when I had
another assignment to interview him or
when 1 ran into him on the lot. Three
days later he 'phoned. "They've closed
the brewery up, but how about coming
out to the house for dinner tonight?"

The friendship has continued ever since.
There are people in Hollywood whom 1
see oftener than Spence but none whom I
like better. He's sincere, he's naturai,
and, like Cagney, I think he's the greatest
actor on the screen, but the thing that gets
you about Spencer Tracy is that, with all
this, he's humble. There's nothing of the
"big shot" about him and that, I think,
is the reason everybody in Hollywood is
rooting for him.

Hot Off the Ether

Continued from page 60

and forth with Benny and his gang. Jack,
who had laryngitis the night I was there,
and whose voice as a result would crack
every once in a while into a high falsetto,
was beautifully razzed by the control boys.
"Hey, Jack," they kidded, "what are you
trying to do, give an impersonation of Ed
Wynn ?" Next announcer Paul Douglas,
chewing gum furiously, gave a little spiel
and then asked how his voice sounded.
From the control room came, "You chew
a mean piece of gum, Paul !"

The girl who plays Mary Livingstone

in these skits is Mrs. Jack Benny — or did
you know ? Andrea Marsh, who sings
with Weems' band, is a beautiful brunette.
Ted is a good-looking lad who gets a ter-
rific wallop out of Benny's swell humor.
And the jovial Jack is about the funniest
master of ceremonies on the air.

At the end of a Weems-Benny broad-
cast the studio is littered with pages of the
script, for as the performers finish a page
each member of the troupe drops that page
of the script to the floor. The finale looks
like a snow scene from "Igloo."

Cary Grant, one of Paramount' s high-grade he-men, takes a stroll
around the studio with a lady visitor. The gal behind the sun-glasses
turns out, upon closer inspection, to be Virginia Cherrill, who may be
Mrs. Cary Grant one of these days.

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What Lies in Eyes?

Continued from page j>9

light under a bushel, enhance your attrac-
tive expression with make-up. No more
vague, meaningless eyes !

The Egyptian ladies used to overdo it
with kohl, but nevertheless they knew that
accented eyes were the best attention-ar-
rester. The care and beautifying of the eyes
has held the interest of the world for
longer than most of us realize. An oc-
ulist's instruments were found in an ex-
cavation dating back to the third century
in Gaul. The earliest known text-book on
eyes was written in 809 A.D. by an Arab
with the romantic name of Hunain ibn Is
Haq. Sounds like a new imported star,
doesn't he?

The effect of color on the eyes is a
j fascinating study and one well worth the
attention of any girl who wishes to be at-
j tractive to men. The vibrations of yellow,
j as recorded by the nerves of the eyes and
sent to the brain, are stimulating. Red is
most attractive for a while, a short while,
then it is exhausting after a time. Light
green dazzles the eyes. But blue — listen
well, yearning maidens — soft blue is the
color all men adore. It is restful and its
esoteric meaning is "devotion." Wear soft
blues when you wish to create a confiden-
tial "just you and I" atmosphere. A touch
of blue eye-shadow on your lids will add
to the effect.

And here is another secret — rub a little

Eyelash-Grower into the roots of the lashes
and achieve two results. First, you will
observe, (and so will others), that the oil
will show just enough on the lid and around
the lower lashes to give the eyes that moist,
dewy look that everyone seems to strive
for. Second, you will be nourishing them
for growth. But please don't overdo it
by greasing your whole lid ! At night mas-
sage in more Eyelash-Grower and thus you
will get a quicker growth by using it night
and day. Eyes that are framed by long,
heavy lashes are infinitely more interesting
and arresting as well as beautiful. It's an
effect worth working for.

But even long, lovely lashes should be
touched with Maybelline, for the ends are
always bleached light by sun and creams
so that they appear shorter than they are.
No matter how large and beautiful your
eyes may be they- are not as effective as a
judicious use of Maybelline can make
them.

If your eyes are small, Maybelline will
accent them into importance. But be sure
you have an expression in your eyes that
deserves to be accented. Relax them with
unselfishness — widen them with wonder at
the beauties of the world, of love and
friendships and all loveliness so that it
shines out like a beacon-light and draws
to you the admiration and happiness you
want.

Who said "No More Thrills"?

Continued from page 61

politely to forget about acting and get on
with the picture!"

Nevertheless, I inquired, would not a
future career as an actor seem an agree-
able prospect, now that he has made a
start in the cinema ?

"Not for me," declared the youth who
put Frank Merriwell to shame. "I'm
afraid I wasn't cut out for the role, though
I naturally hope to make more pictures
based on my experiences. But I have no
particular bent for histrionism, and no
overwhelming sex appeal, so Gable, Brent
and Cagney can rest easy !"

This from the slim, fair-haired young
man whose adventurous life and appealing
presence have earned him the unofficial
title of "lion of the ladies' clubs" where-
ever he has gone to lecture !

It was at a chance meeting with Walter
Futter, United Artists executive, that the
subject of making a film from Hallibur-
ton's adventures came up. Mr. Futter
could see no reason why such an epic of
derring-do should be withheld from the
motion picture public. To read about it,
as almost everyone has done, is one thing;
to see it take place before one's eyes is
quite another. It developed that Richa-rd
had taken many thousand feet of film dur-
ing his journeyings; a brief glimpse at his
material convinced Futter that here was
the material for a photoplay such as no
globe-trotter had yet vouchsafed the screen
audience.

Thus occurred the birth of "India
Speaks," Halliburton's film record of his
adventures in the untrodden places of the
Orient. Neither a travel picture nor a
jungle movie nor an "animal epic," it is
an adventure story told in celluloid.

Hardly a reader of popular adventure is
now alive who doesn't remember how

Richard Halliburton, at the age of 19, one
fine morning shoved a razor into one
pocket and a toothbrush into another, and
sallied forth to conquer the far and mys-
terious places of the world. How he visi-
ted the darkest, most forbidding and least
accessible parts of Asia and Africa, delib-
erately seeking out those places where no
white man was thought able to penetrate,
and risking his neck to defy Nature where
she seemed most impregnable, is a story
made familiar to everyone through his
books and his numerous lecture tours.
From his many and far-flung adventures
he has chosen episodes in darkest Asia to
make the picture called "India Speaks."

As the story unfolds one sees Hallibur-
ton wandering among the strange build-
ings and temples of Angkor, a deserted city
in Indo-China which flourished mightily
in ancient and medieval times, but was
lost to civilization in the Thirteenth Cen-
tury. He narrowly escapes death from a
horde of vampire bats that swoop down
from the sky, swirling about so thickly and
in such gigantic numbers as to hide the
sun. A wizened old native next approaches
him and offers to lead him to the cave
wherein the jewels of the ancient dynasty
that ruled Angkor are hidden. Sensing
some mysterious peril, and drawn toward
it by an obscure urge within him, he fol-
lows the native to the cave and finds that
all he need do to obtain the jewels is to
reach his hand through a trap-door into
the room where they lie heaped up —
guarded by a giant cobra. Disregarding
the human bones strewn about the door
which give evidence of former unsuccess-
ful attempts, he plunges his hand in. Just
as his fingers reach a pile of gems he peers
through the door, sees the cobra about to
strike, and rushes away to the maniacal

for April 19 3 3

laughter of the native.

Thence he wanders to Benares, India, to
join the Orientals in their strange rite of
washing away their sins in the Ganges ; and
to Delhi, where he invades the central
Mohammedan mosque during the sacred
festival of Ramadan, only to have his dis-
guise penetrated and to fly for his life
before the deadly scimitars of the outraged
devotees. In Madras he pauses to watch
the Hindus, in an ecstasy of religious fan-
aticism, stick long pins through their cheeks
and tongues, and draw the ponderous cart
of Juggernaut by means of hooks fastened
into their flesh. These rites, as actually
performed by the natives, were photo-
graphed by Halliburton for the first time,
and furnish an intensely gripping, if some-
what gruesome, record of religious wor-
ship on the other side of the world.

Halliburton next proceeds to Kashmir,
where he falls in love with a beautiful six-
teen-year-old Kashmirian Princess, but
their romance, in a serio-comic interlude,
is washed out by a terrific rainstorm. In
the mysterious principality of Thibet, the
interior of which is forbidden to all white
men, he gains the friendship of the chief
Lhama and spies upon the sacred deliber-
ations of the priests until his worldly in-
terest in the white goddess of the Thibetans
brings down upon him the wrath of the

natives. And so on, through one hair-
curling episode after another — mere inci-
dents in Halliburton's life; a life, by the
way, distinguished not only for its unique
hazards, but by the startling consistency
with which a camera always has been on
hand to record them for an avid public
and for his publishers' promotion depart-
ment.

"My life's work is writing, and I am
going to pursue it," concluded Richard.
"I have a record to maintain, you know ;
three of my four books topped the list of
national best-sellers, and the fourth is
fighting hard for first place. Naturally,
I am going to do some more knocking
around the world ; but from now on my
books will be the motivating force behind
my adventures." Nor will hazardous
travel form the only theme for his writ-
ings ; he is now engaged upon a biography
of Rupert Brooke, the glamorous young
soldier-poet who fell in the World War;
and for the near future he plans a book
on archaeology for which he has accu-
mulated material on his travels.

Dick Halliburton, in his thirty-two years,
has already lived more than a thousand
ordinary men during their life-time. And
what a grand idea it was for Hollywood
to transmute his amazing story into pic-
ture entertainment !

The Truth about Cosmetics

Continued f rom page 10

and rests the eyes at the same time.

There are a good many fancier eye
tonics on the market but none that will_ ac-
complish much more than our old friend
"Murine !" It certainly helps to freshen
and cleanse your eyes daily with a few
lrops of this soothing tonic. The small
size is so convenient to carry in your bag
for motoring, any sort of travel, and sports.
In college when your eyes are given heavy
duty in reading, relieve the strain with a
daily use of Murine. Often this simple
care will avoid more serious eye-strain.
So few of us do anything to help our eyes.

Speaking of old friends, you wouldn't
know Pompeian cream unless you have
used it recently. The familiar pink "roily"
cream has two partners, popular runners-up
and threatening to overtake it. Pompeian
Night Cream, a silky, soft luxurious
cleanser and skin food — and Pompeian Day
Cream, a foundation powder base that pro-
tects and softens the skin. The jars are
quite properly classical in line, white with
silver labels. And so that you won't have
to stop to read the labels in order to tell
which jar you are picking up, the Pom-
peian people have thoughtfully put an
orchid top on the Day Cream jar and a
black top on the Night Cream jar. Artis-
tic and practical. Their slogan is "You
may pay more for your creams but you
can't buy better than Pompeian."

Neither will you find a more efficient
hand-lotion than Frostilla. It keeps your
hands smooth and young. It has been said
that age shows first around the eyes and
mouth. But the real truth is that the
years steal the youth from our hands in
almost every case before they attack our
faces. I know that fatigue shows in the
hands very quickly. No matter what the
cause, we can outwit the evidence of neg-
lect, age, and exposure by the constant use
of Frostilla. It is clear and creamy and
nourishes the shriveled, dry skin beauti-
fully. It is also very healing and will cure
chapped hands quickly. And one of its
greatest virtues is that in a very few min-
utes after using it you may draw your

gloves on. It doesn't leave a sticky sur-
face. Your eager skin seems to drink it
all up and beg for more. You can restore
the beauty of your hands with Frostilla.
And even if they, are lovely now, Frostilla
will keep them that way and ward off that
"crepy" look for many years.

And speaking of baths I'm reminded of
Linit. Have you noticed the special offer
they are making now? Perhaps out of
gratitude for the tremendous popularity
and unbelievably large sale of Linit they
are giving away — (I say "giving away" be-
cause the price just about covers the pack-
ing and mailing cost) — the most adorable
perfume containers for ten cents each !
You can get them in several different col-
ors. They are very clever and new and
I'm sure you'll want several of them for
your friends or for prizes or "sump'n."
Imagine a smart little non-leakable perfume
container for ten cents ! Well, I guess the
Linit people can afford it. Since a bath
means Linit to most people and since Linit
perfumes your bath and makes it soft and
luxurious as well as fragrant, they decided
that perfume might also remind people of
their product. Whatever their reason is
for this offer, it is a most unusual one.
I'm going to send for a red one and a
blue one and a black one — oh, I guess I'll
send for all of them ! Thank you, Linit !

When you find something good for a
certain purpose and when the people who
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nails makes a smart and new effect. Cutex
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all of them contain the same high-grade
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SCREENLAND

Hollywood's Most
Interesting Widow

Continued from page 66

when it was apparent that his Titian-
crowned daughter Billie required the edu-
cation of the schools instead of the circus
tent. At seventeen she played in the Lon-
don music hall, the Pavilion. At eighteen
in "The School Girl" at the Prince of
W ales .Theatre. She bewitched London by
her coquettish singing of the ditty, "My
Little Canoe." Her photograph was on the
picture postcards in London shop windows.

At that time Daniel Frohman, elder of
the managers Frohman, said to his brother
Charles, "There is not enough room in the
theatre for two producers of our name. I
will yield it to you but on condition that
you let me, as my last act as a manager,
bring that ravishing young beauty and de-
licious comedienne, Billie Burke, to this
country.''

"Who is she?" asked the then Napoleon
of the stage.

"An American girl of English education
and London and continental stage experi-
ence." There followed further rhapsodic
descriptions. "John Drew needs a leading
woman in 'My Wife.' If she is half as
atractive as you think, I might engage her
for that."

"Do. I guarantee that she will be a sen-
sation."

She was. She perched on stately John
Drew's knees, rumpled his hair, crossed the
stage in three steps and a bound, gurgled
with delight in life. The critics avowed
themselves in love with her. The most
bilious of them declared that nothing so
lovely and utterly irresistible had ever be-
fore crossed their critical path. The next
year Billie Burke was a star in "Love
W atches." Coolly critical eyes warmed at
contemplation of her in "The Mind the
Paint Girl'' and in "The Land of Promise."
When she tossed from her shoulders the
enveloping cloak in "A Marriage of Con-
venience" the audience applauded the sight.

The admiration of her art and personal-
ity was not limited to audiences and critics.
Suitors were numerous. A broad-shoul-
dered, blonde-haired Englishman crossed
the ocean to offer her himself and a place
in the peerage. Miss Burke smiled, con-
sidered, hesitated, induced him to wait for
another season or two.

She, living first at Yonkers, then at
Burkeley Crest at Hastings-on-the-Hudson,
with her mother, pursued her career as a
Frohman star, dividing popularity only with
the long-established Maude Adams.

Then one night, at a dance at the May-
fair Club, the meeting place of stage and
society, came the interruption : Florenz
Ziegfeld, middle-aged, distinguished as pro-
ducer of the long series of Ziegfeld "Fol-
lies," a silent, occasionally smiling man
whom many thought mysterious and so
fascinating. With different partners they
danced in the same quadrille. She told me
she admired his dancing and liked the per-
fume he had used with exact nicety on his
handkerchief. He asked her partner for an
introduction. Thereafter they met at the
Mayfair. Soon he was her devoted com-
panion there and on other dancing floors.
While she was playing in the name role
"Jerry" they crossed the Hudson one after-
noon and were married in Jersey City.

Two years later Patricia Florence Zieg-
feld was born. "I gave her Flo's middle
name because it pleased him so," she said
to me while showing me the new pink in-
fant in her shining bassinette in a New
York hotel.

Oddly prophetic are these words that

for April 19 3 3

Miss Burke spoke to me on the lawn of
Burkeley Crest, the Ziegfelds' home after
their marriage, and still their home when
Mr. Ziegfeld made his last fateful journey
to Los Angeles.

"This is the new order," said Billie
Burke Ziegfeld. "The old order was
motherhood or a career. The new order
is motherhood and a career ! In this new
order the career is richer and the mother-
hood is finer.''

"You think that because there is a Pa-
tricia Ziegfeld you are a better actress ?"

"I know it." Billie Burke spoke with
soft decision. "And I know that, because
I have earned my own living since I was a
child, I am a better mother. Motherhood
is an actual aid to a successful career," in-
sisted Miss Burke. "Ambition flags at
times but mother love never lessens. A
mother wants to earn all she can for her
child, of course. But besides this desire is
the instinct to make good with her off-
spring.

"Motherhood is useful in the arts. Ma-
ternity is cultural. Give me even the un-
lettered mother and I will show you a
woman who, after the birth of her child,
finds more beauty in a flower, a picture,
sunrise, or a sunset than before. That
woman can bring more to an art, if it only
be china or celluloid, than she could before
she was granted the inestimable gift of
motherhood. Certainly motherhood makes
a woman a better painter, sculptor, musi-
cian or actress. The arts appeal to the
emotions. The stir of the deep, primitive
love of woman for her child fosters the
creative impulse of art.

"The trend of the day is toward the hu-
manization of business. The mother has
more tact. She knows the difficult art of
'how to get on with people.' She knows "
how to do more in a given time. She is
an economist of moments. My prophecy is
that this is the dawn of the day in which
married women will play a really important
part in the business world."

Miss Burke is a leading exponent of the
Titian type in America. As much as when
Billie Burke hats tilted saucily over the left
eye and when boxes of Billie Burke choc-
olates were sold in every sweets shop in
New York.

"Women talk a great deal about having
their faces lifted. It would be better to
take good care of their hair and keep it
young. Live, young hair gives a woman a
youthful look. Especially when tight little
hats are the mode, the hair needs fostering
care. I take my hat off whenever I can
do so without being too conspicuous," she
says.

"The red-haired woman expends so much
energy that she must be sure to renew it.
I sleep as many hours as I need. After
about eight hours I awake completely re-
freshed. Sometime during the afternoon I
manage to rest. If it is only for a few
minutes I wholly relax. However short the
time for rest I take off my clothes and get
into a light single garment.

"Every morning I use a system of wak-
ing up exercises, using more of the standing
exercises when I am thinner and floor ex-
ercises when I am plumper, according to
my needs. I walk a great deal.

"I eat simple food and not too much of
it. Grapefruit in the morning with a small
cup of not too strong coffee are a sufficient
start for my day. My luncheon usually is
one cooked and one raw vegetable. Dinner
of whatever I like, but I like only one to
three, or at most four, dishes."

The march of the years holds no ominous
sound to the buoyant-spirited Miss Burke.
"Every age has its interests. We must
keep them keen and full," says the beauty
with the brain of a philosopher.

"Strange what miracle children work!
I did not know much, nor care for children,
until Patricia was born. From the time
I first looked at her there has never been
a moment when I would not willingly have
died for her."

Miss Burke, throughout the years of her
early stage triumphs, of her adventures in
marriage and motherhood, has told me that,
when puzzled by problems and harassed by
griefs, she invariably whispered a plea to
her father in the dim unknown.

"He always tells me what to do," she
said, with the faith of a child. "His love
never failed me in life. It does not now.'"

In this year of her life's rebuilding there
is, no doubt, much whispering of her heart's
secrets by Billie Burke, the actress, to the
shade of Billie Burke, the clown !

Lovely Carole Lombard registers amused excitement in this race-track
scene from her next picture, "From Hell to Heaven." Note the enormous
star sapphire on Carole's finger — a gift from fond husband Bill Powell on
their wedding anniversary. You' 11 see this modest little trinket in the film.

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Grand Duchess Marie Writes on "Rasputin"

Continued from page 31

One of the two, an ex-member of the
Emperor's escort, had performed the same
duties in reality.

The part assigned to Ralph Morgan as
the Tzar is not an important one but
everything concerning his demeanor, make-
up and dress has been carefully studied
and although his gestures often lack ease
and grace they are never in any way dis-
turbing.

John Barrymore is as usual the hero,
a fictitious character planned to win the
sympathies of the audience. His manner
is simple and has a quality of genuine re-
finement which makes him appear perfectly
natural in all the situations in which his
role places him.

But Lionel Barrymore as Rasputin is
somewhat monotonous and too persistent.
His lurking behind columns and curtains,
peering through cracks of doors, his
stealthy tread and sardonic smile are
rather fatiguing. His make-up is con-
ventional ; with his full black beard, beau-
tifully trimmed, and his parted wig he
looks more like a coachman of a well-to-
do merchant family in old Moscow than
the sinister personage he is portraying.
He is magnificent, however, in his death
scene.

Diana Wynyard, who takes the part of
Princess Natasha, another fictitious char-
acter, is extremely winning in her quiet
simplicity. The little boy is excellent
except for his accent.

The plot although not true to history is
nevertheless plausible and the dialogue
sober and moderate. There is some , ex-
aggeration however in religious manifesta-
tions, in gestures particularly, performed
with ostentation and clumsiness.

The background against which the
screen drama evolves is a lavish one, often
surprisingly accurate, sometimes imaginary,
but in keeping with the authentic scenery.
Whereas there are a good many errors in
detail the impression created by the en-
semble is on the whole extraordinarily
vivid.

At the end of the performance, I was
not only relieved and deeply moved but
I felt exhausted as after a harassing ex-
perience. For nearly three hours I had
lived in the past, a past slightly counter-
feited and distorted but nevertheless real
enough to bring back a rush of memories.
A past which belonging to me so closely,
being in fact a part of my own life, I was
happy and thankful to see for once treated
with discretion, honesty and respect.

Confidential! — Wallace Ford

Continued from page 51

Adores poker, the fights, hors d'ouvres,
roquefort cheese, avocado salad (that's a
bit of swank on his part), practical jokes,
his (and my) daughter Patty, and what
else, Wally? What? You old blarney!
He said "ME"!

Hates people who neck in public and
kick each other at home, macaroni, spa-
ghetti or anything slithery, heavy perfume,
washing his hair and what else, Wally?
What? You bum! He said "ME" again!

He's like the little girl with the little curl.
When he's good, etcetera. Only he isn't
often horrid. The only time he is horrid
is when I kiss him coyly and he wants to
read his paper. And oh, yes ! when I tell
him I spent twice my allowance on heaven-
knows-what. And sometimes when I make
his coffee. I make very bad coffee, but
my pie-crust is simply elegant.

He can't be happy unless he is living in
a house. Until we were married (a good
many years ago as the crow flies), he had
never had a house. Houses mean a lot to
Wally. He has vagabonded ever since his
parents died when he was a young 'un.
That's rather an involved statement, but I
think orphanages and being put out for
adoption and running away and being
adopted again and running away again, ad
infinitum is surely vagabonding. He has
had a scrambled life with very few spots
of sunshine in it. Wally is an Englishman
by birth, but thoroughly Americanized now,
except around the edges. Every once in a
while the British crops out in him.

He has been on the stage for more than
twenty years. Started his career in "Little
Lord Fauntleroy" with the Winnipeg Kid-
dies. I can't imagine the virile Ford with
golden curls, but he says he carried them
with the utmost nonchalance. Marie Temp-
est brought him to the United States with
one of her troupes when he was about

fourteen. He's been grateful ever since.

Wally never went to school. Never had
a chance to. He has worked so hard for
bed and board that he never properly
learned to split infinitives, parse sentences
and throw spit-balls. But Wally Ford is
a well-educated young man. He learned
readin' because he had to study his parts.
He learned writin' so he could keep in
touch with his best girl when he left town,
and he learned 'rithmetic so the manager
couldn't gyp him on his salary.

Oh, he knows his way around without a
guide, does Wally, and I'm willing to wager
that anyone meeting him without first hear-
ing his life story, would swear he'd had as
thorough a schooling as you or I — no, nor
I ! They kicked me out of High in my
senior year for bobbing my hair. But
life has taught Wally most of what there
is to know about life. And taught it in
ways that he won't forget.

He grapples his friends to his heart with
hoops of steel. Those who love him never
cease to, and those who don't love him
rarely come to. The taste for Wally can't
be acquired. It's instinctive.

He has some of the wildest ideas about
people. His ideas are so normal and kind
of high-minded that they're almost crazy
in this day and age. I'm afraid the fellow-
is an idealist.

Does all this sound like tripe? I hope
not. I intended this interview to be some-
thing bigger and better. The Ford motto
has always been Excelsior.

Well, my little ones, even the top-notch-
ers in this writing game are allowed only
so much space, so I'll put an end to this.
I've left out all the important things and
embroidered on the trivialities, in my own
inimitable way.

But, as Wally would say, with beautiful
resignation, "That's life, yep, that's life."

for April 19 3 3 97

Packs for a Quarter
against 2 for 30 cents

—in other words, save a nickel

££f H ^ John Public and his wife, sinking funds, amortization and depreciation are
I just words in the dictionary. To John Public and his wife, however, a

five cent subway fare as compared to a ten cent fare in these days of
depression, means a movie on Saturday night — and that's something." New York
Journal, Editorial.

The extra nickel does not mean much to Fifth Avenue bus passengers or they could
easily save it by riding on the subways, surface cars or elevated. Regular riders spend
the extra nickel twice a day for a ride on the buses to get a clean, comfortable,
seated trip.

To the advertisers in the buses this means a great deal — a selected buying constituency
with plenty of time to read the advertising cards in the buses.

We believe that bus passengers form the most unusual group of buyers gotten together
by any one advertising medium in New York City. Have you ever noticed the clothes
worn by bus passengers? Observe them next time you are in a Fifth Avenue bus —
mink and caracul coats generously mixed in with cloth coats with fur collars, good
hats and dresses — good overcoats, hats and shoes on the men, etc.

VER seen our circular "Evaluating Space?" Send for it. It is
worth reading in connection with all advertising media.

When you use space in the Fifth Avenue buses you advertise at the point of purchase
to 30,000 or 3,000,000 passengers per month, according to the number of spaces you
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budget and always have an advertisement that is as big as your neighbor's. The buses
carried 39,000,000 passengers downstairs during the past year; 19,000,000 upstairs.
Let us tell you how to use space in the Fifth Avenue buses to increase your business.

JOHN H. LIVINGSTON, Jr.

Advertising Space in the Fifth Avenue Buses

425 Fifth Ave., N. Y. Telephone CA1. 5-2151

SCREENLAND

Here's Hollywood

Continued from page 76

MODESTY is a prevailing trait among
the Hollywood stars, who are quieter
than our satellites of yesteryear.

Katharine Hepburn frankly says, "I
made good in a part that was fool-proof
(in 'Bill of Divorcement'). Wait until I
get another picture before you call me
successful."

Jean Harlow says : "I have nothing to
offer the screen except a low-brow sex
appeal, and I'm cashing in on that."

Richard Arlen says : "There are thou-
sands of better actors in Hollywood; I've
just had the good luck to get the breaks."

r^\ID the jungle superstitions of interior
Africa cast an evil spell over the cast
of "Trader Horn," picture produced on the
dark continent two years ago ?

Edwina Booth, one feminine member of
the cast, was stricken with a jungle fever
after her return, and has been confined to
her bed for almost two years.

Harry Carey, who played the title role
and gave a fine performance, has hardly
been heard from since.

The only other principal of the cast is
Duncan Renaldo. A few weeks ago he
was sentenced to serve two years in prison
and pay a two thousand dollar fine for
making false statements in order to obtain
passports to go to Africa to play in
"Trader Horn."

W. S. Van Dyke, director of the picture,
is now "iced in," far up North in the Arc-
tic circle, by winter snows. He is pro-
ducing a new film, "Eskimo," near the Pole.

TTERE'S something new — a race with the
■»■ 1 stork ! You all know the Edward G.
Robinsons are "blessed eventing." They
have been living in New York awaiting the
arrival of their heir. But a studio call
came ordering Edward G. to hurry to Hol-
lywood to make "The Little Giant." This
gave him eighteen days to make the picture.
At this writing Robinson is rushing
through the film, and the stork hasn't been
spotted as yet.

SLIM" SUMMERVILLE says
the day he visited San Quen-
tin penitentiary, the Governor was
also there. A convict bumped
into His Honor, according to
Slim, and cried, "Pardon me,
Governor." But the Governor
didn't do it.

WILLIAM HAINES has the softest
racket in Hollywood — his Antique
Shoppe. The stars have gone daffy over
Billy's interior decorating. (After I saw
director Richard Wallace's sitting room,
done in mulberry walls with old rose chairs
piped in pink, I nearly went crazy, too. )
Particularly do the film greats like Bill's
antiques.

Someone very close to Haines informed
me that he makes a four-to-one profit on
antiques, but that hardly sounds reasonable.
Llowever, one thing is sure : Haines profits
at least as much from his business as from
his movie contract.

Helen Hayes bids fair to give one of her most appealing performances in the
sound version of "The White Sister," in which Lillian Gish scored one of her
greatest triumphs in silent days. Clark Gable looks more romantic than ever as
the officer in love with Helen.

DROBABLY the greatest amount of
1 money ever paid an actor in a lump sum
was that $250,000, which represented the
final instalment of John Gilbert's contract
with M-G-M.

Because the human mind has difficulty in
imagining so much money, these compara-
tive figures may interest you : The picture
for which Gilbert received his check • was
made in one month. The average working
girl is paid $75 a month for her services;
therefore, for every dollar the average girl
is paid, Gilbert received $3,333.33.

Of course, the average girl has this ad-
vantage over John : The government won't
take nearly half of her earnings.

GRAND HOTEL" still keeps on gar-
nering honors! Now it wins first
place in the list of the ten best pictures of
the past year, as chosen by 368 film critics
and editors in the eleventh annual poll con-
ducted by Film Daily. The other nine, in
the order of preference, are "The Champ,"
"Arrowsmith," "Smilin' Through," "The
Guardsman," "Dr. Jekyll and Mr. Hyde,"
"Emma," "Bill of Divorcement," "Back
Street," and "Scarface." Pictures voted
on include only those released during the
fiscal year ending November 1, 1932, which
of course excludes from the running a num-
ber of excellent recent films.

LEG and hand doubles often save the
■/ studios oodles of money. Frank Mc-
Donald, who has doubled hands for James
Cagney, Richard Dix, Leslie Howard,
Charles Bickford and others, saved one
film company several hundred dollars re-
cently.

Howard's hands were needed for a scene
in "Secrets," after that picture had been
completed. To have recalled Leslie meant
a full day's salary, or several hundred
dollars. McDonald was called, instead,
and when the scene reaches the screen,
nobody will know the difference — until they
read this item !

SPEAKING of movie doubles, there is a
woman in the publicity department at
Metro-Goldwyn-Mayer who is a counter-
part for Kay Francis. Her name is Elea-
nor Packer, and she has often been con-
fused with Kay.

A MAN I know is out of a job. He is
the guy who formerly painted and
removed names on office doors at one of
the film studios. He had himself quite a
position, for hardly a day passed, what
with hiring and firing quite the fad, that
he didn't have at least a few names to
erase and replace.

But a new building on the lot features
on office doors brass holders into which
cards may be slipped, for identification of
occupants. Anybody got a job for a swell
name-painter-on ?

IN CASE you think you've seen some-
thing in the line of movie shockers, just
stick around until Paramount releases its
"War of the Worlds," based on the fan-
tastic novel by H. G. Wells. It's all about
a band of creatures from Mars who invade
our poor planet and start messing things
up. They're a gruesome lot, those Mar-
tians that Mr. Wells imagined, and if the
picture portrays them faithfully you'll want
a light burning in your bedroom for a good
many nights after you've seen them.

The Oriental girl reclines on a sheet
of plate glass supported by two
slaves. The magician waves a white
sheet . . . pronounces a few magic-
words ... Presto! She has disap-
peared in thin air.

EXPLANATION:

One of the "slaves" is a holloiv dummy.
When the magician holds up the
sheet the lithe little lady disappears
completely — into his empty figure.

ITS FUN TO BE FOOLED

...IT'S MORE FUN TO KNOW

Here's a trick used in cigarette
advertising. It is called "Coolness."
EXPLANATION: Coolness is deter-
mined by the speed of burning.
Fresh cigarettes, retaining their
full moisture, burn more slowly
. . . smoke cooler. Dried- out ciga-
rettes taste hot.

Your CAMELS area/ways
kept fresh in the a
welded Humidor

Camels are cooler because they
come in the famous air-tight welded
Humidor Pack . . . and because
they contain better tobaccos.
A cigarette blended from choice,
ripe tobaccos tastes cooler than
one that is harsh and acrid. For
coolness, choose a fresh cigarette,
made from costlier tobaccos.

It is a fact, well known by leaf
tobacco experts, that Camels
are made from finer, MORE
EXPENSIVE tobaccos than
any other popular brand.

Smoke Camels... give your taste
a chance to sense the difference.

TVo Trie As fust Cosf/ier To 6 a ceo s

*S IN A MATCHLESS BLEND

if you really knew about Princess Pat powder

- - - YOU'D SURELY TRY IT

• here we shall try to give
the facts— read carefully

BY PATRICIA GORDON

In the first place, Princess Pat is the only face powder
that contains almond. Your accustomed powders
likely have a base of starch. This change of the
base in Princess Pat makes it a completely
different powder. Almond makes a more clinging
powder than can possibly be obtained with starch
as a base. So point one in favor of Princess Pat
face powder is that it stays on longer. Every
woman will appreciate this advantage.

Almond makes Princess Pat a softer pow'der than can be
made with any other base. The softer a powder, the better
its application.

So point two in favor of Princess Pat is that it can be applied
more smoothly, assuring the peculiarly soft, velvety tone
and texture which definitely establishes Princess Pat as
the choice of ultra fashionable women everywhere.
A deciding factor in choosing powder is perfume. Will you
like Princess Pat — an original fragrance? Yes. For it
steals upon the senses subtly, elusively. Its appeal is to
delicacy, to the appreciation every woman has of finer
things. It is sheer beauty, haunting wistfulness expressed
in perfume.

So point three in favor of Princess Pat is perfume of such
universal charm that every woman is enraptured.
Even beyond all these advantages, Princess Pat possesses
a special virtue which should make every woman choose
Princess Pat as her only powder.

For Princess Pat powder is good for the skin. Not merely

PRINCESS PAT ICE ASTRINGENT acts like ice to close
and refine the pores. It is ideal as the powder base — cool,
pleasant, refreshing as ice. Prevents and corrects
coarse pores. Liquid or cream. Always use before powder.

PRINCESS PAT

harmless, mind you, but beneficial! And once again the
almond in Princess Pat is to be credited — the almond
found in no other face powder. You know how confidently
you depend upon almond in lotions and creams, how it
soothes and beautifies, keeping the skin soft, pliant and
naturally lovely.

Almond in Princess Pat face powder has the selfsame
properties. Fancy that! Instead of drying out your skin
when you powder, you actually improve it. Constant use
of Princess Pat powder is one of the very best ways to
correct and prevent coarse pores, blackheads and rough-
ened skin texture.

Princess Pat has been called "the powder your skin loves
to feel." It is a most apt description; for the soft, vel-
vety texture of Princess Pat is delightful — and different.
And now, if you have read carefully, learned the unusual
advantages of Princess Pat you will surely want to try it.

A MAKE-UP KIT FOR ONLY 10c

# 9 This famous Introductory Kit contains rouge and
lip rouge to last two weeks to a month; also a purse size,
metal box of Princess Pat face powder and book of new
copyrighted beauty secrets. The 10c is simply for postage
and packing. An extraordinary offer; made to acquaint
you with three delightful Princess Pat beauty aids.

PRINCESS PAT. Dept. A-2644. 2709 S. Wells St., Chicago.
Send your famous Minute Make-up Kit containing rouge,
lip rouge and face powder. I enclose 10c in full payment.

Name

Street , ,

City and Stato

LONDON

CHICAGO

IN CANADA, 93 CHURCH STREET, TORONTO

The Smart Screen Magazine

Joan Crawford Confesses!

Rare Photographs of Garbo
Visit a Star in Hollywood — See Page 26 for New Contest

TODAY — NEARLY 5000 YEARS LATER

Science has made great progress, but several troubles
have never been conquered — tooth decay, mouth and
disorders which bring a train of serious results.

3000 B. C. — Food — tough wild meat which
was gnawed from the bones; roots, and coarse grains.
They bad perfect teeth then. And their health must
have been remarkable for them to survive the rigors
of uncivilized life.

A NEW HEALTH HABIT MAY CORRECT
THESE MISTAKES OF CIVILIZATION

CHEWING, doctors say, was the cause of primitive man's fine
teeth. Chewing kept him healthy. It is because we no longer
chew enough that many of the present day physical handicaps per-
sist. Exercising all the parts of the oral cavity is essential to the
proper development of the teeth, gums, jaws, and mouth structure.

Dentyne — a special chewing gum — helps overcome these conditions
just as our ancestors were helped by chewing tough meats, coarse
grains, and by gnawing roots. Because it has a special consistency —
a special chew — it exercises the mouth. It causes the flow of saliva
to return to normal, cleansing the mouth and teeth and increasing
the flow of blood to all the mouth tissues.

KEEPS TEETH WHITE— Here is an aid to health for your family
in the pleasantest form, for Dentyne is delicious. Here are healthy
mouths and white, beautiful teeth. See to it that every member of
your family chews Dentyne every day for five minutes. Be as regular
about this as about other health habits. It is just as important.

READ THIS REPORT

Chewing certain tough substance*
every day is absolutely essential to
the proper development of the teeth,
gums, jaws and mouth structure:

1 To supply the masticatory exer-
cise important to develop the
mouth structure properly. This
is now lacking due to the elim-
ination of coarse, tough foods
from our diet.

2 To exercise the jaws and im-
prove the condition of the tooth
sockets and teeth.

3 To increase the Row of saliva
which helps keep the mouth and
teeth clean.

4 To help keep the throat and

mouth and gums in 0 healthy
condition bv exercise which in-
s.nre» a proper supply of blood
to all tissues.

Dentyne him exactly rfte right tough
consistency to give you these results.
Thus the regular use of Dentyne will
keep the mouth henlthy und the teeth
tvhite.

Dentyne

•S THE MOUTH HEALTHY - ■ KEEPS TEETH WHITE

Screenland for May 19 3 3

i he insists on silk stockings to set off
her shapely ankles. She couldn't
imagine doing without them. But to
the glamour and loveliness of her smile
— to the health of her teeth and gums
— she never gives a second thought.

You must take care of your teeth and
gums. If you find "pink" upon your
tooth brush, if your gums bleed easily
—then the health of your gums, the
brightness of your teeth, the attrac-
tiveness of your smile, are in danger.

IPANA

"Pink tooth brush" may lead to Restore to your gums the stimula-

gum troubles as serious as gingivitis, tion they need, and of which they are

Vincent's disease or even pyorrhea. It robbed by the soft, modern foods that

is an ever-present threat to the give them so little natural work. Each

brightness and even the soundness of time You clean Your teeth with Ipana,

your teeth. ru^ a ^tc^e more Ipana directly on

your gums, massaging gently with

Ipana and Massage your finger or the tooth brush.

Defeat "Pink Tooth Brush" Start in tomorrow. Buy a full-size

tube (over 100 brushings). Follow the

Keep your gums firm and healthy- Ipanamethodandyourteethwillshine

and your teeth clean and bright with brighter, your gums will be firmer

Ipana and massage. . . . "Pink tooth brush" will depart.

- BRISTOL-MYERS CO., Dept. 0-53

■^i, ' o '^S^^^HHT^Mk Kindly send me a trial tube of IPANA TOOTH

^^^J O ~° O ^BB?^^ B:. PASTE. Enclosed isa three-cent stamp to cover pir;ly

>^^^^j^^^^^^^^^^^^^^^^^>^^p the cost of packing and mailing.

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

Florence Eldridge March inter-
viewing her husband Freddie!

Why I Married Fredric March
By Florence Eldridge March

h I ^HERE is no actor more
■*- popular on the screen to-
day than Fredric March. You
have read about him, of course,
many times. But it remains
for Screenland, as usual, to
present the star in a new and
original light . You will meet
a different Freddie March
when you read the story in
which his wife talks about
him, the man she fell in love
with and married. There is
added interest in this story
since Mrs. March has resumed
her screen career — you have
doubtless seen her with
Richard Dix in "The Great
Jasper," and she also appears
in "Shame of Temple Drake."

May, 1933

THIS MONTH vol xxvn, n* i

FEATURES:

COVER PORTRAIT OF JOAN CRAWFORD Charles Sheldon

AN OPEN LETTER TO MARY PICKFORD Delight Evans 17

RARE PHOTOGRAPHS OF GARBO 18

THE GREAT JUNGLE GANG WAR Mortimer Franklin 21

JOAN CRAWFORD CONFESSES James M. Fidler 24

VISIT A STAR IN HOLLYWOOD. C ontest 26

A TAIL OF TWO SCOTTIES Mortimer Franklin 30

"BETTER-HALF" DOUBLETS. Constance Bennett and the Marquis William E. Benton 32

IT'S THE CAT'S Gwen Davies 34

CAMERA MAGIC Ruth Tildesley 5*

PERSONALITIES:

EXPLODING THE JOEL McCREA MYTH Margaret Reid 22

THE LATEST ABOUT QUEEN JEANETTE. Jeanette MacDonald Marcel Durand 23

MORE ABOUT HERBERT MARSHALL Laura Benham 2)

"CYNIC" IN LOVE. Bruce Cabot Hale Horton 51

THE GODDESS DIANA OF ENGLAND. Diana Wynyard James Marion 52

WHAT I THINK OF BOB Bert Wheeler 62

WHAT I THINK OF BERT Robert Woolsey 63

SPECIAL ART SECTION:

Our Movie Masqueraders

Clark Gable. Sorrowful Lady (.Katharine Hepburn). Classic Clown (Jimmie Durante). Grimness in the
Shadows (.Gary Cooper). Proud Beauty (Miriam Hopkins). Hearts and Flowers (Sylvia Sidney and George
Raft). Fast and Furious Lover (Lee Tracy). Clothes that Act! Especially posed fashions by Kay Fi'ancis
and Belie Davis. Swa?ison is Still a "Best Dressed Wojnan' (Gloria Swanson). TheGown that made Holly-
wood Gasp! (Lilian Harvey). Movie Man-Eater! (Edward G. Robinson). Sophisticate! (Wynne Gib-
son). Strictly Formal (Warner Baxter). Dainty Ingenue (Helen Twelvetrees). The Most Beautiful Still of
the Month.

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 6

ASK ME Miss Vee Dee 8

WE CAN PICK THEM. Onslow Stevens, Marion Davies 10

TAGGING THE TALKIES. Short Reviews 12

HONOR PAGE 14

REVIEWS OF THE BEST PICTURES Delight Evans 56

SCREENLAND'S GLAMOR SCHOOL 58

AND WHO ARE BILL AND COUSIN MAUD, PRAY? Radio Evelyn Ballarine 64

HAPPINESS IN HAIR. Beauty Margery Wilson 66

HERE'S HOLLYWOOD. Screen News Weston East 68

THE TRUTH ABOUT COSMETICS Mary Lee 73

Published monthly by Screenland Magazine. Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President ; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must
be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign S2.50. Changes of address must teach us six weeks in advance of the next
issue. Be sure to give both the old and new address. Entered as second-class matter November 30, 192}, at the Post Office at New York, N. Y., under

the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1933.
Member Audit Bureau of Circulations.

Printed In tha D. S. X.

Screenland for May 19 3 3

THEN JiUeur LE BABY

ARRIVED'

Once upon a time there was a gay young
man who loved to play about Paris. One
day just about playtime, he found the
cutest little baby ... so cute that he forgot
about playing and took the little baby
right straight home . . . for the baby looked
exactly like him .. . But the gay young man
was not supposed to have a little baby
at home, for he was about to be married.
So he got the baby a pretty nurse . . .
. . . and what do you think happened ?

aufrice

CHEVALIE

VXA BEDTIME STORY*

with

HELEN TWELVETREES

EDWARD EVERETT HORTON

ADRIENNE AMES and M'SIEUR Le BABY

A Paramount Picture directed by Norman Taurog
A sparkling new romance with naughty songs?

PARAMOUNT PICTURES DISTRIBUTING CORP., PARAMOUNT BUILDING, N. Y. C.

SCREENLAND

The

Public

Be
Heard

Mount the cinema
soap-box!

MICKEY TOO MODEST?

(First Prize Letter)

Those Mickey Mouse cartoons are getting
so good that I think the attendance at local
theatres would be increased considerably if
theatre owners would adopt a different slant
in advertising the little animal. For in-
stance, I'd put out a sign in big, bold letters,
"MICKEY MOUSE," and below it in
smaller type, "Also Clark Gable and Jean
Harlow" !

Oscar LeNormand,
2104H Maury St.,
Houston, Tex.

IT'S UNANIMOUS!
(Second Prize Letter)

Have you seen him in "The Animal King-
dom," or "Smilin' Through;" or "Five and
Ten," or "Reserved for Ladies" ; and —

Have you thrilled to his finesse, charm,
sophistication and virility; and —

Have you watched your favorite feminine
star cry for him and sneer at less romantic
men ; and —

Have you been caught in the web of his
fascination long enough to admire him for
the man he must be and the actor he is ;
and — i

Have you imagined him with Helen
Hayes as the most potent team in filmdom ;
and —

Have you asked the above questions of
more people than you can readily think of ?

Then you are indeed a Leslie Howard
fan, even as

Adine Travis,
627 So. Carson,
Tulsa, Okla.

"Have you thrilled to his finesse, charm, sophistication?" queries a rap-
turous Leslie Howard admirer. Yes, indeed.' And now you'll thrill more
than ever to his romantic playing opposite the radiant Mary Pickford in
her new costume romance, "Secrets."

AND NOW THAT'S SETTLED!
(Third Prize Letter)

Still the plaintive cry is heard, "What's
wrong with the movies?" Permit me to
settle the question for all time by rising
to answer, "Just nothing 1" Their ailments
are, for the most part, the fevered imagin-
ings of fault-finders. Like the robust old
woman who was "always on the verge of
collapse," the movies will live to a ripe old
age.

Pictures differ, and so do actors — they
differ as much as do Will and Buddy Rogers.
You and I differ. Life and the movies would
be a drab affair if this were not so. Per-
sonally, I like my Boris Karloff straight,
and then I take Will Rogers for a chaser.
Cagney, Barrymore, Crawford, Merkel —
they're all good actors, yet so different in
appeal. I Bow to the whole Raft of them !

The next time you see a talkie just re-
member that it was not produced for you
alone, but for me, too.

LeRoy E. Clark,
128 No. 31 St., Apt. 17.

Omaha, Neb.

CHOICE "BITS"
(Fourth Prize Letter)

When the orchids are being passed
around, why don't they bestow a few upon
the "bit" players, those valiant troupers
that never fail to give good performances,
no matter how tiny their parts may be.

Time and again I've watched these actors
in their "brief moments." I never remem-
ber their names — I don't think they're even
given on the programs — yet I always recog-

nize them. Just a line or two, perhaps, is
all their parts consist of; but they usually
register. And though most of them will
never reach the starry heights, they are
just as important as the stars; for without
them a picture would be like a beautiful
stone without a setting.

So I hope that the "bit playing" army
will read this, and know that someone ap-
preciates them !

C. L. Merisch,
1708 Filbert St.,
San Francisco, Calif.

A "NEW DEAL" FOR
GARBO-ITES?

According to Miss Delight Evans, the
public is in danger of becoming Garbo-
sated. Isn't that because, in every talkie
she has made, she has played the same
part — that of a downfallen, disheartened
woman redeemed by a great love, a modern
Lady of the Camelias ? For the first few
sequences of one film only has Garbo been
allowed to shed her cloak of weary sophis-
tication, and I claim that she has never
been more appealing than as the awkward
adolescent, Susan Lennox.

Garbo is not by nature or upbringing an
exotic. Her special beauty needs simple
clothes and coiffure. She should move
against a background of mountains and
wind, not in drawing-rooms. Let her be
natural when she comes back : let her be
young again !

P. S.,

Amateur Dramatic Club,
Cambridge University, England.

(Continued on page 96)

Here's a pressing movie problem of the momenl, neatly posed by a
correspondent. Read, and see how you feel about it: —

"Just how much do we need to know about the private lives of our movie
favorites?" writes Henry Picola, 966 E. 25th St., Paterson, N. J. "When
you know all there is to be known about your pet stars, doesn't it shatter
your perfect mental image of them? Or is this compensated for by a feeling
of greater intimacy with them? What's the answer?"

Well, what is the answer? Let's hear both sides of the question; and if
there's a third side, let's hear that, too! The best answers conforming to
the usual requirements of letters to (his department will be eligible for
prizes.

And now let's look at this month's mail bag. Controversial letters bring
an unusual degree of zest and excitement to our monthly picture pow-wow.
Our correspondents know what they think — and they can't seem to

agree on anything! And the result is a grand and glorious free-for-all.

One writer puts in an eloquent defense of the movies in general. An-
other criticizes the trend toward "standardization" of the stars. A third
calls for more Garbo pictures. And then, of course, there are the "ravers"
— each clamoring to place his chosen star on the Olympian heights.

What's your favorite film fancy? If you have an answer to the problem
outlined above on the private doings of film stars, (and who hasn't?), by
all means write us about i! Or, if you would like to unload your ideas on
some other movie topic, or to rave, roar or rant about your favorite per-
former, here's your chance. All letters will be equally eligible for those
attractive prizes — $20, $10, $5, and $5 respectively for the four best letters.
Keep your communications within 150 words, and mail to reach us by
the 10th of each month. Address the "Public Be Heard" Dept., SCREEN*
1 AND, 45 W. 45th St., New York City. You may fire when ready!

for May 1 93 3 7

JOAN: "I love my role in 'TODAY WE
LIVE'. No part ever thrilled me
so deeply, touched my heart
so keenly. Do you think the
public will like me in it, Leo?"

LEO: "My child, the public always
appreciates genius. It's a great
emotional part. You are per-
fect in 'Today We Live'."

Joan

"If that's so, then we must
thank Howard Hawks' mar-
velous direction for his greatest
picture since 'Hell's Angels',
and the inspired playing of
Gary Cooper."

The finest picture Joan Crawford has yet made. Gary Cooper shares the stellar hon-
ors. The scene at her home, where the sweetheart she believed dead returns and
finds her the mistress of another— is as powerful an emotional scene as the screen
has ever witnessed. Metro-Goldwyn-Mayer is very proud of "Today We Live"!

With Robert Young, Fronchot Tone, Roscoe Korns. Story and dio/ogue by W„'(/om Foulkner. Screen play by Edith Fitzgerald and Dwight Taylor.

SCREENLAND

Ask
Me!

Step right up and
have your questions
answered here

Miss Vee Dee

Mrs. H. V. S. Of course you are not
silly to be so fond of Joan Blondell — she
would love it, so write and tell her so. She
can be found at Warner Bros. -First Na-
tional Studios. Joan was born on August
30, 1909, in New York City. Her mother
and father, a sister and a brother are all
of the stage, where Joan had worked since
infancy until pictures claimed her. Her
new picture is "Blondie Johnson," with
Chester Morris.

Kendall A. Sorry I cannot give you the
salary details of the stars. Why worry
about a star's weekly wage — let them do
it ! Joan Crawford, Norma Shearer, and
Ruth Chatterton are in the big money, but
think of the income tax we don't have to
worry about ! Bette Davis has appeared
in "The Man Who Played God," with
George Arliss, "The Dark Horse" with
Warren William, "The Rich Are Always
With Us" with Ruth Chatterton, "Cabin
in the Cotton" with Richard Barthelmess,
and "Twenty Thousand Years in Sing Sing"
with Spencer Tracy. Bette was born
April 5, 1908, in Lowell, Mass. She has
blonde hair, blue eyes, is 5 feet 3^2 inches
tall and weighs 110 pounds. Watch for her
in "Ex-Lady" with Gene Raymond.

Madeline A. Here is a severe test of my
detective ability but if I'm wrong, better
luck next time. I think you have Charles
Sellon on your mind as Pop Jackson in
"The Tip Off" with Eddie Quillan. Other
characters in the picture were Nick Vatelli,
played by Ralf Harolde; Mike Dolin was
Swanky, and Ernie Adams was Slug. The
Johnny Mack Brown fans were happy to
see their favorite in "70,000 Witnesses"
with Phillips Holmes, Charlie Ruggles, Big
Boy Williams, Paul Page, and Dorothy
Jordan.

Inquisitive. You have been searching in
the wide open spaces for Matty Kemp and
failed to find him. If you saw "Down to
Earth" with Will Rogers and Dorothy Jor-
dan, you saw your favorite. Matty was
born in New York City on Sept. 10, 1909.
He has brown hair and eyes, is 5 feet 11
inches tall and weighs 162 pounds. Matty
has a splendid voice and should be heard
and seen oftener. You'll see Barry Nor-
ton in "Luxury Liner" with George Brent
and Alice White. Barry was born June
16, 1905, in Buenos Aires, Argentina.

Madge Evans was born August 1, 1907;
Peggy Shannon, January 10, 1909. Phillips
Holmes, July 22, 1909, and Phil is 6 feet
tall, weighs 155 pounds, and has blonde
hair and blue eyes. Eric Linden was born
Sept. 15, 1909. Rochelle Hudson was born
in Claremore, Okla., 17 years ago. She has
dark brown hair and eyes and is 5 feet 3
inches tall.

Elinor G. The Skippy you hear over the
radio has nothing whatever to do with'
Jackie Cooper. Jackie is too busy to do a
national broadcast just now. Tommy Con-
Ion has appeared in two very popular pic-
tures, "Young America" and "Rebecca of
Sunnybrook Farm, and also in "Sign of
the Cross." Tommy was born in Philadel-
phia, Pa., on June 21, 1917. He is 5 feet
inches tall, weighs 100 pounds, and has
auburn-brown hair and blue eyes.

Wondering Audrey. Madge Evans is a
natural blonde with blue eyes, golden hair,
and is 5 feet 4 inches tall and weighs 116
pounds. She is 23 years old. Her new
picture is "Hallelujah I'm a Bum," with Al
Jolson. Bette Davis is 24 years old.

A Boyer Fan. After Charles Boyer's
appearance in "The Man From Yesterday,"
with Claudette Colbert and Clive Brook,
the mail bags are bulging with letters ask-
ing about the Frenchman. Charles is 5 feet
11 inches tall, weighs 154 pounds, and has
black hair and brown eyes. He has an
M-G-M contract that calls for other pic-
tures. Boyer has gone back to France
where he will probably make more films.

Yankee Maid. I'll tell Andy Devine all
the sweet nothings you say about him. He
appeared with Richard Arlen, John Darrow,
Gloria Stuart, June Clyde and a host of
famous football players in "The All Ameri-
can." He'll appear next in a picture called
"The Big Cage," unless the title is changed.
Johnny Weissmuller, the Tarcan of "Tar-
zan the Ape Man," was born in Chicago,
111., about 28 years ago. He is 6 feet
3 inches tall, weighs 190 pounds, and has
brown hair and eyes. He married Bobbe
Arnst, a former musical comedy star, but
they are divorced. Johnny received his
education in the Chicago public schools and
the University of Chicago.

Rosalee B. To go back to 1924 in mov-
ing picture history is going places and re-
membering things. I'm sorry I haven't any
recent information about Pierre Gendron
who played with May McAvoy in "Three
Women," released in that year. Lew Ayres
gave one of his best performances in "State
Fair," Janet Gaynor providing the love ap-
peal. Eric Linden and Joan Blondell co-star
in "Big City Blues," a recent Warner re-
lease. Eric is one of the outstanding youths
developed by the stage in the past ten years.
His picture debut was made in "Are These
Our Children?"

Katherine B. Edna May Oliver appeared
in "Hold 'Em Jail" with Wheeler and
Woolsey. Others in the cast were Roscoe
Ates, Edgar Kennedy, Betty Grable and
Warren Hymer. Miss Oliver's latest re-
lease is "The Great Jasper," with Richard
Dix. The picture you refer to with Helen
{Continued on page 94)

/ o r M ay 19 3 3

HAUNTINGLY
BEAUTIFUL
LOVE STORY

A love that suffered and rose triumphant
above the crushing events of this mod-
ern age .. . Strong in tenderness ... in- £
spiring in loyalty ... it will remain in
your heart forever!

Now YOU can seethe Picture the whole
world acclaims as the Greatest Ever!

LOUELLA PARSONS: Greater even
than "Birth of a Nation." Drama
beautifully real and splendidly told.
Truly magnificent.

PHILADELPHIA Public Ledger: If
your budget calls for but one film a
year I recommend "Cavalcade."

ST. LOUIS Post Dispatch:The cinema
triumph of modern talkies ... a tre-
mendous and magnificent picture.
By all means see it.

ATLANTA Constitution: It stands

FOX

supremely above criticism. A capac-
ity audience sat spellbound.

NEW YORK Herald Tribune: The

finest photoplay that has yet been
made in the English language.

BOSTON Hercld: It is, without fear
of contradiction or dispute, the
greatest film production since speech
was given to the screen.

CHICAGO Tribune: "Cavalcade" IS,
unquestionably, one of the screen
wonders of the age— it has everything.

"Cavalcade"will be shown inyour
city soon. Your Theater Manager
will be glad to tell you when.

SCREENLAND

YOU saw Onslow Stevens in "Once
in a Lifetime" and doubtless re-
member the favorable impression
he made in that Universal classic. We
told you he was one of the best bets
among the younger actors. Marion
Davies thought so, too, because after
she saw Onslow's work she signed him
to play with her in "Peg O' My Heart."
Carl Laemmle, Jr., who also "dis-
covered" Lew Ayres, can point with
pride to Stevens, for whom he has great
plans on the old home lot at Universal
City when Onskr.v has finished his "bor
rowed" assignment opposite Marion at
M-G-M. And those of you who have
rooted for Stevens since his "Once in a
Lifetime" screen debut know that he can
make a small role stand out, such as his
characterization of the scientist in "Na-
gana," with Tala Birell and Melvyn
Douglas. His restraint and naturalness
will send him a long way along the road
to film fame. And is Marion smart to
borrow him!

Pick Them!

Remember we told you to watch
Onslow Stevens? Now look at
him — Marion Davies' leading
man in "Peg O' My Heart"

for May 19 3 3

WE DON'T DARE TELL YOU HOW DARING IT IS

Never before has
the screen had the
courage to present
a story so frank— so
outspoken— yet so
truel Get set for a
surprise sensationl

filmdom's newest favorite
in the stardom she earned
in"Cabin in the Cotton"and
"20,000 Years in Sing Sing"

Bette Davis

EX- LADY

With Gene Raymond, Monroe
Owsley, Frank McHugh, Claire
Dodd, Say Sirozzi . . . Directed by
Robert Flore y . . . One more in the
sensational series of 1933 hits from
WARNER BROS.

SCREENL AND

Hallelujah, I'm A Bum

United Artists

Al Jolson's melodious warbling, Madge
Evans' surpassing loveliness, and Rodgers'
and Hart's clever ditties make this senti-
mental little fable worth the price of several
admissions. Al plays a philosophic hobo
who forsakes his "ideals" and goes to work
for Madge's sake, but loses her in the end.
Very affecting, and all! Harry Langdon is
amusing in a secondary role.

Grand Slam

Warners

You don't have to be a bridge addict to
enjoy this hilarious satire on the contract
mania. The prima-donna "expert," the
pompous championship tournament, the
bridge-crazy public, all are amusingly
burlesqued. Paul Lukas is adept at his
comedy role, and Loretta Young is nicely
decorative as his wife. Now how about a
jig-saw puzzle epic? Go ahead, Warners!

Mystery of the Wax Museum

Warners

Boys and girls, meet Dr. Igor. He's just
a nice old grandpa whose favorite whimsy
is to kidnap people and boil them in wax.
Lionel Atwill, as the gruesomely disfigured
Doctor, scales new heights of sheer horror.
Much too strong for the kiddies. Fay Wray
is the be-menaced heroine, Allen Vincent and
Glenda Farrell her rescuers. Quick, Smythe,
the smelling-salts! In technicolor.

Tagging

the

Talkies

Brief ratings of current
screenplays. Make this
your cinema guide

Delight Evans' Reviews on

Page 56.
More reviews on Page 97.

She Done Him Wrong
Paramount

NOT the family picture of the month!
It's rough and rowdy stuff, with Mae West
at her best, if you feel that way about Mae.
She plays Lady Lou, a descendant of
Diamond Lit, with the maximum of gusto,
and the minimum of good taste. A good
cast, including Gilbert Roland, Cary Grant,
and Noah Beery. It's only fair to say that
Mae packed 'em in on Broadway.

What! No Beer?
M-G-M

Rough and rowdy comedy! Schnozzola
Durante and Frozen-Face Keaton buy a
brewery and make real beer! And is Jimmy
fermentin'! There's no rhyme or reason
to the story, but who cares, it's a howling
success, thanks to Jimmy and Buster. The
boys' beer-brewing efforts result in plenty
of laugh situations. Phyllis Barry and
Buster take care of the love interest.

Men Must Fight
M-G-M

An advance peep at 1940, with an anti-
war theme. Diana Wynyard was a nurse
in the World War. Hence, when war comes
again in 1940, she refuses to allow her son,
Phillips Holmes, to enlist — despite the pro-
tests of her militaristic husband, Lewis
Stone. You'll be interested in this novel
idea — also, the very unusual costumes by
Adrian. Nice performance by Wynyard.

Perfect Understanding
United Artists
Hail! Gloria's back again! And with her
new husband, Michael Farmer, in his movie
debut, at that! You'll like "Mike." The
film is a domestic mix up, with Gloria doing
a grand acting job. But the photography
and sound don't do her justice. Gay, color-
ful scenes taken on the French Riviera
brighten the proceedings. Genevieve Tobin,
Laurence Olivier, John Halliday in support.

They Just Had to Get Married
Universal

The spirit is willing, but the gags are
weak with age. Zasu Pitts as a maid, and
Slim Summerville as her butler boy-friend,
inherit their employer's fortune, marry, and
try to crash lofty society. The results are
funny, but not nearly so funny as they
should be. Zasu is laughably tremulous as
ever, and Slim tries hard. Roland Young
scores in a small part.

for May 1933

Presentee/ by

CARL LAEMMLE

ITS JI UNIVERSAL

not for him. He realized it instantly,
followed her — found her in her lover's
arms and killed her.

His intimate friend, who defended
him in court, found a similar situa=
tion in his own home, and promised
nimsc If th at he would follow his
friend s example. Did he or did he
not? What happened'? This picture
will stir you to the core. It is modern
romance and trasedy combined, beau-
tiiully acted by players of more th an
the average moving = picture talent.

Directed hy

JAMES WHALE

Produced bv

CARL LAEMMLE, JR.

1 1

SCREENLAND

Honor Page

Lee Tracy, you great big "Blessed
Event" in the motion picture business,
vou force us to "Clear All Wires"
and hail you as the most refreshing
personality on current screens

I EE TRACY is the actor most in demand in Holly-
wood right now — and if you are still wondering
why, you'll understand when you see him in
"Clear All Wires." You will realize that no other
actor — no, not Cagney or Gable or Spencer Tracy —
could play the part of the ace newspaper correspondent
as Tracy plays it. His is an electric personality — he
may tire you out watching him, but he'll never, never
bore you. "Clear All Wires" is his best
picture to date. Every film company is
competing for his expensive services.
And the funny part of it is, Lee Tracy
was in pictures before, several years
ago, but went back to Broadway be-
cause he just didn't seem to fit into the
screen scene. Then another company
signed him and gave him the right roles.
And now look! That's Hollywood!

Lee Tracy with Una Merkel in a scene from
the latest Tracy hit. Una is at her sparkling
best as a guileless little gold-digger who turns
up in Moscow to see our hero at the most
inopportune moment.

Tracy, SCREENLAND Salutes You!

for May 1933

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for May 1933

An Open Letter to Mary Pickford

EAR MARY:

What's your se-
cret?

I'm not just pun-
title of your new
I really want to

from

M «_

Mary said "I call this my
'Kiki' hat — but maybe I
shouldn't remind you!"

ning the
picture,
know.

There's no explaining you.
Garbo a Mystery Woman?
Why, Garbo is just Anita
Louise in comparison. You,
Mary Pickford, are the real
sphinx of the cinema. And
I'd like to know the answer.

You know I hadn't seen
you for a while, and in the
meantime I'd met Garbo and
Dietrich and Bennett; cheered
Crawford and watched a
whole new school of ingenues
swim in. Mary Pickford?
Oh — ah, yes; I'd heard the

name. But — really, she makes so few films these days;
and after all, we don't have a "queen of the movies"
any more; too, too old-fashioned. And what do you
think of Katharine Hepburn?

I know better now. I went up to see you, Mary,
while you were in Manhattan on your way to join
Douglas in Europe — went up for just a nice, quiet
talk for auld lang syne, etc. And I had the surprise
of my life. The queen is dead, eh? Long live the
queen, eh? Will some bright little boy or girl please
give me a new expression meaning "Oh, yeah?"

For you were holding court, Mary; your hotel apart-
ment was just a big throne room, and your subjects the
"names" of New York society and finance, with Lady
Astor's sister, and a great stage star, and a countess
or two for color. I thought Connie Bennett lived a
crowded life; that Claudette Colbert had the busiest
telephone; that Lilian Harvey was in demand — but
these girls are practically in retirement compared to
you, Mary.

Just a sample of an average, quiet Pickford after-
noon:

"Will you okay this sketch for the billboard, Miss
Pickford?" asked representative Mark Larkin.
"My name is too big," you said.

"Now, boss," said Mark, "we want your name big.
We're selling Mary Pickford."

"You're selling Mary Pickford in 'Secrets' with Les-
lie Howard," you said firmly. "Make my name smaller
than the title. But leave Frances Marion's name as
large as you can get it."

You grinned at me, that same impish Irish grin.
"Here I am transacting business in this!" and you
gestured with tiny hands at your dress, a filmy white
evening gown that a desperate fitter was following

you around trying to put together in
time for dinner that evening. "But it will
look nice, especially with my new rubies."
And you scooped them up — both hands
filled with red and white glitter. "They're
an investment!"

"Are they real?" asked the great stage
star, Laurette Taylor, also impish and
Irish. "Try them on."

So you put on the earrings and the
choker and the ring and the bracelet, and
looked like a pleased child dressing up.
"A present from me to me," you said.

"Mary!" cried Lady Astor's sister. "That
other bracelet rolled on the floor." So
down you went on hands and knees and picked up
the diamond and ruby bracelet — and a penny. Pen-
nies and rubies — that's Pickford.

"Will you be at the Countess' villa in Rome?" "Are
you going on to China with Douglas?" "Why aren't
you staying until your picture opens?"

"I think so — positively no, but I may weaken — yes,
I'd like to stay for the opening but I'd rather meet
Douglas. I must reduce a bit on the boat, but how
can I, it's an Italian boat with grand spaghetti — yes,
I liked doing 'Secrets' and I think it's a good picture
but it's funny, I didn't want to do it at first — Frank
Borzage asked me if I wanted some Menthol for the
crying scenes — I was so insulted! I've never used
anything yet to make me cry in a scene, the hard part
is to stop crying."

By this time the fitter had given up hope. You were
running from room to room, talking to Kathleen Nor-
ris and Lillian Gish, signing checks, dashing off tele-
grams. And looking like Mary Pickford has always
looked, very tiny and determined, reminding herself,
she says, of her scatter-brained Irish terrier.

Nothing has changed, really. Pickford is still Queen
Mary. "There's no use trying to put on an act, is
there?" you said. "Not for me, anyway. You know
before I left Hollywood I had to make a very serious
speech for the Motion Picture Relief Fund. I wore my
most dignified dress, and when they made me get out
in the middle of a big ballroom to talk, I felt pretty
important. And the newsreel cameramen were there,
and I thought my speech wasn't so bad, really. All in
all, I came home feeling I had made a rather good im-
pression. And then I happened to glance down at my
feet. They looked funny. I had each shoe on the
wrong foot!"

SCREENLAND

Rare photographs from
Greta's family album taken
in Sweden before she
became a great Hollywood
star. So you can't wait to see
Garbo again? How about
it, Greta—when will we be

'OU?

seeing y<

Before the Garbo bob vogue — note how she
wore her hair in long loose curls. This is her
last portrait taken in Sweden — then she came
to Hollywood and Success!

This informal photograph was taken while
Garbo was making a name for herself on the
Swedish screen. The youngster with her is a
Garbo fan. Those were the good old days when
Greta posed with her public, and apparently
liked it!

Above, the Gorgeous Garbo as
she looked in her pre-Hollywood
days — the same heavy-lidded
eyes, fascinating mouth, and
general aloof expression — but
still somewhat naive, with those
curls and all! This scene shows
Greta with another actress in
one of her early Swedish roles.

Left, here's Greta when she was a
model in the cloak and suit department
of Paul U. Bergstrom's department
store in Stockholm, Sweden, before she
became an actress.

for May 19 3 3

She was Greta Gustafsson !

Photographs of Garbo from Globe Photos

Greta with her first automobile — she was then
dividing her time between the Swedish stage and
screen, with no thought of Hollywood film fame.
And how do you like her short black coat with
its astrakhan trim? Get right in that car and
drive back to America, Garbo!

Now See Next Page!

Isn't she lovely here? But this
is more proof that she acquired
that sirenic, mysterious some-
thing in Hollywood. Garbo,
here, looks like just another
beautiful blonde. This photo-
graph was taken at the time
that she was winning success in
Swedish motion pictures under
the direction of Mauritz Stiller,
and shortly before the M-G-M
scouts saw and signed her.

Garbo B. A. — That is, before
Adrian! We hope Adrian, the
designer, who creates all of
Greta's American screen cos-
tumes, doesn't see this picture
because we don't think he'll
approve of her plaid suit. This
photograph was taken during
a visit to Serbia, long ago.

SCREENLAND

She's making a picture in
Sweden. No, she isn't — she's
back in Hollywood, working
in a new film with Gary
Cooper as her leading man.
Is that so — she is still un-
decided, and may not make
another picture for a good,
long time. What? Why,
we're just collecting the
latest Garbo-rumors for you.
Don't blame us if none of
them comes true. Or all of
them at once! That's all we
know right now.

And here's

The Garbo

that

Hollywood Knows !

Where, here? No, no
— this is a little cam-
era study of Greta
Gustafsson at the hair-
ribbon age, when she
was a school-girl. Com-
pare her with the
Katharine-Cornellish
close-up, above, the
Garbo as she looks
today, created by Hol-
lywood, applauded by
the world. And then
wonder what she will
be doing next!

for May 19 3 3

Thi

Great J ungle

Gang

"Lion Man" versus "Ape Man"—
whose zoo in the movies?

JSAortimer Franklin

To beast or not to beast — that is the movie question of the
moment. First it was the "Ape Man," then the "Panther
Woman" — and now the "Lion Man" has made his movie
bow. With all these half-humans, semi-simians and quasi-
cats running around the jungle, trouble is bound to start
sooner or later. And here's a slightly cock-eyed account
of what may happen!

"No matter where I go I find you in front of a movie
camera, ready to fling an elephant over your
shoulder or ' somethin' . "

SCENE I.

(Scene: A heavily wooded part of the African jungle,
or the South American thicket — or maybe it's the Aus-
tralian bush. All jungles look alike to the movies.

The Lion Man, newest of the jungle gang rulers, is
conducting a council of war with a group of hard-boiled
lions. He has adopted modern methods in his racket, and
carries a shiny .45-calibre automatic protruding from his
leopard-skin chemise, instead of the crude carving-knife
which old-fashioned jungle heroes used to produce mirac-
ulously out of the thin air. The lions, like good gangsters,
wear guns strapped to their sides, within easy reach of
their paws.)

Lion Man: Well, boys, we're doin' fine. Since we
crashed into that Ape Man's territory we've been gettin'
most of the movie offers.

First Lion (preening his whiskers) : You howled it.
Chief ! Looks like an animal year in the movies — even
more animal than usual.

Second Lion: We'll show them directors what it really
means to be inhuman !

Lion Man: Heh, heh — an' is that ape crowd burnin'
up ! Ever since we busted into this district the Ape Man
an' his mob ain't slept nights. Here come the apes now —
keep your gats handy, boys !

(The Ape Man comes swinging down from aloft on
one of those convenient trapeze ropes which Nature
thoughtfully places in jungle trees for this purpose. He
alights at the Lion Man's feet, followed by the Zebra
Man, the Panther Woman, and the Ant-Eater Man, alias
Jimmy Durante. A bodyguard of apes brings up the
rear.)

LiorTMan: Well, well, the Ape Man himself is a-monk
those present !

Ape Man (looking tough) : Yeah, we thought we'd
drop in an' talk business with youse brutes, see?

for their guns)

When you call us

Lions (reaching
that —

Lion Man: None of that, you muggs. Who are all
these folks with you, Ape?

Ape Man: This is my moll, the Panther Woman —
she's Apie's Irish Rose. This bird here is a fugitive
from a chain gang and couldn't get rid of his stripes, so
he joined my mob as the Zebra Man. And here's Jimmy
the Ant-Eater Man ; we call him Beer Bill for short.

Lion Man: Why?

Jimmy: I'm fermentin', that's why!

Lion Man: Well, Ape, tell us what's on your mind.

Ape Man: Just this, big boy —

Lion Man: Big lion, you dope!

Ape Man: Things ain't what they used to be around
these parts since you come musclin' in, see? So Pm jest
tellin' you an' your mob to quit runnin' beer — I mean quit
signin' movie contracts — in my territory ! No matter
where I go lately I find you in front of a movie camera,
gettin' ready to fling an elephant over your shoulder or
somethin'. Now I'm warnin' ya — get out. or else !

Lion Man: So I'm supposed to be scared of you, hey
— you an' your mob of gorillas ! Well, get this, you big
ape — I'll sign movie contracts just as long as my Public
demands it. And now go climb a tree !

Ape Man: That's jest what we're gonna do — but re-
member you was warned !

(He and his party swarm up into the trees. The Ape
Man looks back and gives his ape yell : the Lion Man
retaliates with his lion roar, and the Panther Woman
joins in with a cat's meow. Then the apes disappear
amid the foliage.)

SCENE II.

(That evening. The Lion Man is entertaining at
dinner in his cave, which is {Continued on page 86)

SCREENLAND

Exploding the

Joel McC rea Myth

IN THE dark archives of Hollywood's social files,
one finds — "McCrea, Joel — nice boy, heart-breaker."
Blithely combining the two hopelessly antony-
mous terms, Hollywood has him docketed thus.
Proceeding from these labels, many a magazine thesis
has been written on Joel. Sometimes it is one way,
sometimes another, sometimes both together in an ambi-
tious attempt to make credible such an unlikely character
as a clean-cut, wholesome home-breaker !

It is flying in the face of tradition, therefore, that I
decline to select either the Jekyll or Hyde of Joel for
comment. Because neither is there. He is not a simple,
homespun boy. He is not a heart-breaker. He is, it is
true, a forthright and honest young man with good man-
ners. He is also an ardent admirer of charming, gay
women. But, knowing him, these attributes are not
predominant enough to classify him.

By some fluke, perhaps because of preconceived ideas
in interviewers' minds, Joel has usually sounded "sweet"
in print. Such a nice boy that the stomach was slightly
turned.

"Sweet!" he raged noisily to me a few hours ago.
"What's wrong with these people? They don't know
McCrea. Why, I'd steal the milk out of their babies'

bottles !" Speaking slowly and punctuating his words
with an angry fist on the arm of the chair, he added,
"I — am — not — nice !"

He is, of course. But not nauseously. The average,
human number of pleasant faults makes him palatable.

"I can see," he says, "where it all started. It's easy
to trace back.

"It started as far back as my first part in pictures. I
had done some extra work here and there, when a friend
of mine took me over to Colleen Moore's set one day
and asked her if there was a chance I might get a couple
of days' work in her picture, which was just beginning
then. Colleen had been having trouble finding the right
type for her leading man. She looked at me and said,
'Just for fun let's give you a test and see if you couldn't
do the lead.' It was one of those incredible miracles —
I just happened to be the type and I got the part.

"Colleen was charming to me. She knew I was ner-
vous as the devil and desperately anxious to learn some-
thing. And out of her kindly — and purely impersonal,
God knows — helpfulness to me a big myth grew. You
know the kind — star crazy about her leading man, pro-
ducer-husband in a fury, leading man's career to be
wrecked, etc. Since there was no vestige of anything

for May 19 3 3

"Nice Boy"? No! "Heart-breaker"? Wrong again!
McCrea tells you the real truth in this revealing story

Margaret Keid

but a very pleasant acquaintance to base it on, the myth
evaporated. But Hollywood won't relinquish its labels
that easily — fact or no fact, I was pigeon-holed as some
kind of heart-breaker. Me!-'

Rumor has, at varying times, linked his name optimist-
ically with Marion Davies, Evelyn Brent, Frances
Marion, Constance Bennett, Dorothy Mackaill, and
others.

"The joke, by the way, is on the gossips," says Mc-
Crea. "The only woman I've ever in my life been really
serious about is a star with whom my name was never
connected. It was the one time there might have been
something to gabble about, but they never knew it.
Which is one thing to be thankful for, I suppose."

The other assumed romances were widely discussed,
reported, speculated upon. Joel — young and certainly
bewildered — was nevertheless a pretty level-headed
young man already.

The legend of Joel the Irresistible, once it started,
gathered terrific momentum. Young, handsome, well-
bred and untouched by dissipation, he was swept into
the swirling current of Hollywood social life. In all
the places where stars are seen would be seen Joel Mc-

"/ did have a crush on Connie Bennett,"
the truthful Joel admits. Here are the two
in a tender scene from "Rockabye."

Joel, the he-man at home! (Bet he posed
for this picture under protest.')

Crea, in the company of now one glamorous
star, now another. Romance statisticians of
the press were devoted to him for the fre-
quency with which they could report "Joel
McCrea and Miss Blank are 'that way' this
week."

Had Joel been "that way" as many times as
reported, loud cries would have been heard
issuing from Casanova's grave.

"Of course, they had to give it up finally.
The most zealous Pinkertons never saw me
coming out of some lady's house at dawn. It
was all a snare and a delusion. They were
disappointed, I suppose. And to justify them-
selves they said these aren't really affairs after
all. It's just that he's such a thoroughly nice
boy the women like to go about with him."

"And that's where the two tags came from.
As simple as that !"

Both are equally distateful to him. As is
any public babbling about the personal ele-
ments which should be personal business. Be-
cause of the particularly arresting celebrity of
the stars with whom his name was linked, he
could not possibly have avoided the publicity,
even had he been a schooled diplomat. And
because of the unpleasant sensation of having
had a spotlight at his {Continued on poor 92)

2 (

SCREENL AND

for May 19 3 3

Joan
Tells
some of her
Secrets:

"I owe ray success and wealth to shame!

"When I was a child I was ashamed be-
cause other little girls had dolls my own
parents could not afford to give me. So I
ran errands and minded neighbors' babies
until I earned enough money to buy my
own doll!

"When I was a bit player and passed
stars on the street, I was ashamed that I
was not a success.

"That's why I'm a star — 7 ivas ashamed
not to be!"

JOAN CRAWFORD said to me, "1 owe my success
and wealth to shame!
"I mean that 1 am ashamed of my deficiencies,"
she confessed. "Since early childhood, I've been
ashamed of my faults or lack of accomplishments. When
other children did things I could not duplicate, I worked
and studied until I could do as much. Some hidden
internal element of my soul will not permit me to be
satisfied with my lot. I constantly discover new things
which I do not understand, and I am never happy until
they are clear to me. That is why I am a star ; / was
ashamed not to be!"

"But I have always regarded ambition as the guiding
motive to success, Joan," I said.

"Ambition is a word that is broadly mis-used," she
answered. "We have a way of saying, 'He will succeed,
for he is ambitious,' but if we really stop to diagnose,
we would learn that the term is ambiguous ; it is a word
with many meanings — a word that mothers a number of
words, as a hen mothers her chicks.

"I, for example, wish to be learned and respected.
People say I am ambitious, when I am really ashamed
of my shortcomings. Therefore, shame is the basis for
my success. The next man may achieve wealth because
he fears poverty, and struggles to rise from it. Still an-
other may succeed because he is avaricious. Another
may have innate yearnings to travel, and he may realize
that money is necessary to the complete satisfaction of
his desire. Each of these humans would struggle hard
for success, but each would be motivated by an individual
motive.

"Shame has guided my efforts as long as I can remem-
ber. When I was a child, other little girls had dolls and
toys my own parents could not afford to give me. So I
worked at odd jobs, such as running errands, minding
neighbors' babies and so on — until I accumulated the
money to purchase a doll as beautiful as any I have ever
seen. Then I was not ashamed.

"A few years later I went to school. Because my
parents could not afford the tuition, I had to work to
pay a part of my expenses. I (Continued on page 90)

James M. Fidler

Here is a Crawford vho
can say, "Today I have
arrived at some of the
goa/s / have set for myself.
But now I find new aims,
other things to reach for."

SCREENL AND

Just a few of the sights of Hollywood 7 Left, above, an aerial view.
Right, fans waiting outside a popular restaurant for a glimpse of
the stars "in the flesh."

Jimmy Cagney wants
to meet one of his

public! SCREENLAND

joins him in offering a reader
a visit to Hollywood with all
expenses paid!

JIMMY CAGNEY wants to meet you!
Or maybe it's you! SCREENLAND offers
a free trip to Hollywood, most glamor-
ous and exciting of all the world's
paradises, Visit the studios, stroll down
Hollywood Boulevard, sniff that fragrant
California air and bask in that celebrated
sunshine; meet and know Jimmy Cagney,
the Warner Bros, star — in fact, enjoy just
about the grandest vacation you could plan
for yourself!

Here's our contest offer: Write a letter
to Cagney Contest Editor, SCREENLAND
Magazine — not more than 200 words, please
— telling him whether you prefer him on
the screen as a "Public Enemy" or as a lov-
able human being. In other words, do you
want your Cagney tough or tender? Jimmy
really wants your opinion. He will select
the letter he considers most interestingly
and concisely written, whether by a man
or a woman, and he will invite the writer
of that letter, through SCREENLAND Maga-
zine, to come to Hollywood for a week's
visit. The winner will be sent to Hollywood
and return with all expenses paid, entertain-
ment provided, and every opportunity for
a glorious vacation in the thrilling town
where movies are made.

The two close-ups
of Cagney to the
righ t illustrate just
the question that
the star wants you
to answer for him.
Do you relish such
roles as "The Pub-
lic Enemy," or do
you prefer your
Cagney lovable and
humorous?

Below, Jimmy in a
scene with Alice
White from his
latest release, "Pic-
ture Snatcher."
Wouldn't you like
to have Jimmy give
you this?

2l S t 2lT

More Hollywood excitement! Left, above, a gay gang at the smart
May fair. Right, one of those Hollywood movie premieres you have
all read about — crowds, lights, stars.'

in Hollywood!

I like Jimmy Cagney and would enjoy meeting him.
Accordingly I am entering your SCREENLAND contest.
Please find my name and address below: My letter is
enclosed.

NAME

STREET ADDRESS

CITY

STATE

How would you
like to go on a tour
of the Warner film
studio conducted
by Cagney? Jimmy
shows the damage
done a sound booth
in one of his shoot-
ing scenes.

RULES

For The SCREENLAND Contest:

1. Fill out the coupon above.

2. Write a letter to James Cagney telling
him in not more than 200 words what
type of role you want him to play —
would you rather see him go back to the
grim realism of "The Public Enemy," or
do you prefer him in more appealing
roles such as he played in "Hard To
Handle"?

3. This contest is not open to any persons
connected with SCREENLAND Magazine or
their families.

4. This contest will close at midnight on the
24th of April, 1933.

5. In the event of ties, each tying con-
testant will be awarded the prize tied
for.

6. Enclose coupon with your letter and mail
to Cagney Contest Editor, SCREENLAND
Magazine, 45 West 45th Street, New
York, N. Y.

SCREENLAND

The Latest

about

Queen
Jeanette!

Here's news from Paris about
La MacDonald

Keystone

Jeanette MacDonald in her dressing room at a Paris
theatre. She's a great favorite on ze continent.
Read all about her plans in the story on this page.

Yes, Jeanette is drinking tea, while Herbert
Marshall, across the page, who plays opposite
her in her new picture, filmed abroad, toasts
her in a more potent beverage.

HAVING heard that Jeanette MacDonald is in
Paris, I advance upon the Rex Theatre where
she is appearing, and ambush myself in her
dressing room to await her return from the
stage with as much patience as I am able to muster.

Her act is still in progress, and there is time to look
about the room, its mirrored walls fringed with congrat-
ulatory cables. Let us steal a glance at these. There are
the signatures of Gloria Swanson, Clara Bow, Vilma
Banky, Emil Jannings, Harold Lloyd. Another, "May
Paris Love You as I Love Paris" — Claudette Colbert.
And there is one from Tom Mix and Tony, and here one
says : "France Gave Me a Big Foot But I Know it Will
Give You a Big Hand" — Texas Guinan ! Ah, you Amer-
icans !

Gilda Gray wishes that "all those fifty million French-
men who can't be wrong" may {Continued on page 82)

Wide World

A cross-section of a party given for Jeanette MacDonald in France. (Yes, that's fiance Robert Ritchie smiling
right into the camera.) The guests are distinguished Europeans gathered to honor the American actress. As
gay and festive as a scene from a Chevalier -MacDonald motion picture, isn't it?

for May 19 3 3

What a grand screen team — Miss MacDonald
and Mr. Marshall! Their co-starring picture
is tentatively titled "The Queen" and is being
filmed in England as you read this.

HERBERT MARSHALL is a refreshing refuta-
tion of the facts generally true of members of
the acting craft. Especially leading men of the
"matinee idol'' type.
From my first moment of meeting him until we parted,
he turned topsy-turvy all my pre-conceived ideas.
To begin with, he isn't "handsome."
Which was a disappointment lasting for fully five
minutes — or until he began really to talk to me.

My first glimpse of Herbert Marshall was two years
ago when he appeared in "Tomorrow and Tomorrow"
on the stage in New York. It was a story of renuncia-
tion and I left the theatre furious with the woman who
had been willing to allow a little thing like marriage to
another man to come between her and Marshall.

Every woman I know who saw the play confessed to
the same reaction.

This, of course, might have been attributed merely to
his personal charm.

However, one evening not long ago, I was in Ruben's
(New York's famous after-theatre rendezvous) with Mr.
and Mrs. Paul Muni and Eugenie (stage "Grand Hotel")
Leontovich and heard that distinguished little trio heap
an accolade of praise upon the unknowing head of Mr.
Marshall— for his histrionic ability. A real tribute, that,
to a finished performer.

More recently, in fact on the day of my scheduled in-
terview with him, I set about collecting random impres-
sions of the suave and ingratiating Englishman.

While in a beauty shop, I drew my manicurist into
conversation. "I'm on my way over to meet Herbert
Marshall," I told her casually. Her eyes brightened.
"Oh, gee, you'd better let me put an extra coat of polish
on your nails for that," she {Continued on page 83)

More about

Herbert
Marshall!

And here's a close-up of her
new leading man

Laura Benham

Herbert Marshall talks frankly to our fearless re-
porter. You'll be interested in this interview, ob-
tained during Marshall's flying business trip to
New York. He returned to England for the Mac-
Donald picture.

SCREENL AND

"Oh, hum!"

A "terrible
tough guy."

"Me, too!'

A Tail of
Two Scotties

life.

OU know, I like being interviewed," said Jock
the Scottie, taking a nibble at the eraser on my
pencil. "It gives a fellow a chance to spread
himself a bit — to enlarge on his philosophy of
I'd recommend it to all Scottish terriers. See your
interviewer at least twice a year, that's my motto.'"

I was bound to agree with him. For every Scottie, of
course, has a well-thought-out philosophy of life; it's
written all over their grave, deeply contemplative, almost
professorial countenances.

"That goes for me, too," chimed in Jock's sister Jill,
who was sitting on a chair at my other elbow, opposite
Jock. "Be sure to say," she directed, "that I'm distinctly
a mental type, and my favorite hobby is trying to solve
all the big problems of the universe."

Jock and Jill Dennis, in case you haven't met them,
are the young gentleman and young lady Scotties whose
foster-parent — they call him "The Boss"— is Morgan
Dennis, famous etcher of dog subjects. And if you ask
me by what right they were being interviewed for
Screenland, I'll tell you it was by the best right in the
world : they were preparing to make their debut in the
movies.

"The Boss has been etching dogs for years, of course,"
Jock explained, leaning forward to place his elbows on
the table in confidential, free-and-easy manner. "And
those dogs certainly come to life. too. But you can"t
hear them, can you ? And what. I ask you. is a dog that

No help wanted.

"Yes, sir, that's my baby!'

for May 19 3 3

Etchings of dogs
by Morgan Dennis

Morgan Dennis' pal, "Jock," fell
for a movie contract— and "Jill"
came tumbling after!

Nlortimer Franklin

A quartet of Thes-
pians : Morgan
Dennis, artist-
actor, with- Jock,
and Eva Farrell, his
leading lady, with
Jill. Jill is some-
thing of a leading
lady herself — see
how she comes to
the fore in this
scene!

you can"t hear?"

"Dogs should be heard as well as seen," I admitted.

''You're durn barkin' they should," put in Jill. "And
that's why the Boss decided to make these talking pictures
of us !"

It was as simple as all that.

At the other end of his studio, reclining comfortably
on a sofa. Air. Dennis puffed at a cigarette and silently
watched the progress of the interview. The Scotties
plainly needed no advice and no prompting, and he per-
mitted them to conduct the proceedings in their own
unabashed way.

"What sort of mark do you pups think a couple of
bright, upstanding, clean-limbed young Scotties should
shoot at in starting their picture careers?" I asked them.

"Shoot at?" echoed Jock. "Well, personally we don't
care much for these Western pictures, and the shooting
business will be out, if we have anything to say."

"But," I persisted, "isn't there some particular style of
acting you favor, or some special screen character you'd
like to adopt ?"

"Yes, there certainly is." he agreed warmly. "Or,
rather, there are certain characteristics that we're very
anxious not to have ! Those of the idle-rich type of dog.
for example ; the perfumed pet that has nothing to do
but sit around and look pretty all day. As for me, rather
than be a stuffed shirt, I'd prefer to be a stuffed dog!"

"And then there's the red- (Continued on page 93)

'Here we are!"

SCREENLAND

"Better-Half" Doublets!

Something new! See what Benton has
deduced from the features of Connie
Bennett and her husband. Watch for
the next couple in this series

HANK'S:
BROWS: keenly observing
NOSES : analytical
LIPS: friendly, talkative
CHINS: athletic

CONNIE'S:
exotic, colorful
humorous, intuitive
alluring, passionate
very determined

hi common: literal and figurative breadth of mind

Benton compares the
faces of Miss Bennett
and her Marquis.
Note his observations
drawn from the
"doublets" shown in
the circle on this page

for May 19 3 3

Here they are, the Marquis,
or "Hank," and the Marquise,
or"Connie." Read what Ben-
ton says about them.' "They
will probably spend little time
trying to revamp each other,"
according to Benton.

William E.
Benton

EET my better half" is a terse and somewhat
flippant phrase that has been used by millions
of men and women in introducing their wives
or husbands, as the case might be, for ages.
Some stone-age columnist probably carved it into a rock
tablet, either because they wanted forgiveness or a favor
at home or to win a smile from their readers — just as
O. O. Mclntyre plays up his wife occasionally in his
column. At any rate, it is quite a compliment and like a
lot of other thoughtless sayings, it can be productive of
much thought in those who contemplate taking on a better
half or holding the one they have. Certainly, in times
like these, it would be wonderful to have our wavering-
personalities made whole, kept strong and successful by
a real better half !

Ever since the greatest of biological urges has kept us
interested in the human race we've hoped that luck or
propinquity would see that we fell in love with the mate
that could run in step and help us win this race in double
harness. The best music, poetry, stories, and plays are
centered around this new, yet age-old, theme. Will he
or she win a real mate or better half ?

Moving pictures with their so carefully chosen heroes
and heroines prove that casting directors have as varying
ideas about the proper Jack for each Jill as any other
story-teller. Some strive to bring out the fact that op-
posites attract or fall for each other; others seem to be
convinced that similar types understand each other better.

But let us look, not into the studios but into the hearts
and homes of those who have most often enacted the
roles of lover and loved one. We have many stars we
can study and compare in this unique way, putting the
half of a famous wife's face beside that of her husband
and so see which is the better half, if any.

This, of course, is based on the same theory of all
casting — that people are as different as they look and that
they are as different mentally as they are physically. The
best proof of this is in the uncanny similarity in talents
and abilities of twins the world over. Therefore, if a

"Alluring," says Benton of Connie. This scene from
Miss Bennett's latest film, "Our Betters," with
Gilbert Roland, would seem to prove that our char-
acter expert is correct!

husband and wife looked exactly alike they would prob-
ably think about the same. This could happen about
once in a million marriages, perhaps. What does happen,
though, and quite often, is that those most congenially
mated have heads of the same general type, with some
one main feature on one of the faces small where the
same feature on the other face is prominent ; in this case
they would, in the main, be congenial and understanding
of one another and one's worst lack might be the other's
talent. We'll say the husband has a large chin and the
love of athletics that it denotes, while the wife has a very
small chin and will be urged by friend husband to take
more of a healthy interest in sports and the great out-
doors. This could easily be the case with the subjects
here shown.

Our "doublet" picture of Constance Bennett and her
husband, Henri de la Falaise de la Coudraye, is a won-
derful study in comparative features, for it shows a half
of each face so that the features can be compared most
convincingly. His chin is deep and wide and on the whole
indicative of the love of athletics such as one would ex-
pect of a virile manly man. Constance Bennett's, being
not so deep from mouth to chin, is very wide and deter-
mined at the back jaw. If you were a casting director
or character analyst it would be instinctive to cast the
long-jawed person like the Marquis for parts in pictures
or real life where physical and (Continued on page 85)

(^at's !

A whiskered young
actress communes
on the set with
Bette Davis and
Doug Fairbanks,
Jr., while waiting
to do her big scene.
Puss' ambition is
to star in "The
Nine Lives of a
Bengal Lancer."

By
Gwen
Davies

Tommy and Tabby crash the movies—but oh, that artistic temperament!

HOLLYWOOD, which abounds in entertain-
ment talent of all descriptions, doesn't confine
its scope to the stage or screen. It encompasses
the "bigtop" entertainers — circus and carnival
talent, and that, quite naturally, includes animal trainers
of all kinds. There are, in abundance, lion tamers, seal
trainers, horse trainers and even dog trainers.

Recently the casting office of the Warner Brothers
Studios were put on the quest of a new type trainer, one
whose work never draws the attention of the public —
a cat trainer ! And, in keeping with the casting office
"get your man" slogan, the hunt was successful.

We always think of tabby as a sleeping ball of fur
curled in front of an open fireplace. Rarely is it associ-
ated in our minds as a trained animal, such as the per-
forming dogs we often witness on the stage or in the
sawdust ring at the circus. The cat is always a fixture
of the home and hearth, never an entertainer.

But the casting office, when it set out to find a cat
trainer, did just that! J. H. Kerr operates a small zoo
which he terms "Animal-Land." In it are many animals
— small ones, pumas, cheetahs, lynxes and such. His
hobby,' however, is that of training cats — plain, everyday
garden-variety cats, such as owned by you and you and
you.

When given a call to report to the studios it was in
connection with a scene in a motion picture being made
with Douglas Fairbanks, Jr., Bette Davis, Frank McHugh
and others. The script required that a cat carry a pack-

age from which protruded a fish. The problem which
confronted the cat-trainer was to get the cat actually to
carry the fish without pausing to eat it. The scene was
explained to Kerr and his assistant, Morrison, and both
agreed it could be done.

By careful rehearsing the cat: was taught that never
was it to be allowed to examine the contents of the paper
package it was carrying, although experiment taught the
trainers that if anything but a real fish was used, the
cat refused to carry it. Accordingly, tabby was informed,
by repeated rehearsals, that when it had carried the pack-
age a certain distance it would be rewarded by a gift
of food it could devour unmolested.

Through repetition of this procedure, tabby finally
acted in accordance with the script requirements and the
scene was "shot" successfully.

Kerr, the trainer, has about thirty cats ranging in age
between three and six years. He has spent about twelve
years at his unique vocation and declares that constantly
he is learning new quirks about cat reasoning. A cat
cannot, he has found, be beaten into submission or forced
to perform any stunt which doesn't appeal to it. To
induce a member of the feline family to do anything, it
must be "kidded" into it by soothing methods.

All cats cannot be trained for trick work. There are
some that easily adapt themselves to training and others
that will never respond. Usually within a course of two
or three months of preliminary training, it can be as-
certained that a cat will or {Continued on page 95)

C. S. Bull

Viva Clark Gable, that dashing, debonair officer and
gentleman! That is, of course, when he's playing
opposite Helen Hayes in "The White Sister." But
now have a glimpse of the real, every-day Clark — a
wholesome, earthy, pants-and-sweater sort of chap.
How different, yet how completely likeable!

Those stern heroes and awesome
villains, those languorous, worid-
weary ladies! Are they really like
that, or are these exciting char-
acters merely thrown over them
like cloaks, to be removed at
will? Here are some amusing and
amazing answers!

Sorrowful Lady

(Girl with a Grin)

OH, THAT gloomy air; ah, that drooping
mouth and tragic brow, heavy with all
the world's woe! That, boys and girls, is
Katharine Hepburn. But wait a minute —
who's that giggling damsel over at the left,
with mischief in her eyes and nothing on her
mind? And that trousered tomboy at the
right? It's "Katie" Hepburn — the real
Katharine !

Bacbracb

S. Bull

Classic Clown

{Man About Town)

TT'S Jimmy the Jester — the foolishly funny Dur-
1> ante whom the movies have embraced as their
nze zany. Here he is with that slightly gay,
ightly goofy glare by which you have come to
now him. But do you really know him? Con-
der James Durante, Esq., after working hours,
perfectly sane, normal citizen going places with
his wife.

2 '

*4 m

Dyar

Grimness in the Shadows

{Carefree Cavalier)

WHAT strength of mouth and chin, what rugged, ruth-
less force we find in this portrait of the screen Gary
Cooper! A figure half romantic, half sinister. And the real-
life Gary? Well, just see the old rounder staying out late with
two of Hollywood's lovely ladies, Mary Pickford and Countess

di Frasso.

Wide World

THERE'S a disdainful hauteur even in her laugh —
this Temple Drake, saucy heroine of William
Faulkner's story. That's Miriam Hopkins — so long as
the cameras keep turning. But what of the off-screen
Miriam? Well, we ask you: Is she or is she not get-
ting a good, gushy giggle out of her tea-and-a-bite with
director Stephen Roberts?

Hearts and Flowers

(A Guy and a Gal)

SYLVIA SIDNEY and George Raft have some sweetly
solemn moments like this in "Pick-up." And, in case
you should happen to think that this heavy love business
really gets them, observe the breezy, unspiritual attitude in
which they were spotted by the camera, jaunting about.

Fast and Furious Lover

(Mr. Tracy, Sir!)

THE name of Lee Tracy has become a sort of class-mark for
roughness, bluffness, fast talk and faster action. Lee lives
up to it with a vengeance as a raffish war correspondent in
"Clear All Wires." And then, when the camera truck has
been trundled .off — behold Mr. Tracy, just a nice young man !

Cloi

SCREENLAND presents a new slant
on screen fashions ! Here we show
you not only the star's dress, but how
it looks in action

And here is Kay's gown in action. For
kissable shoulders, this strap effect is
strongly recommended .' The pictures above
and to the righ t show you Miss Francis with
her leading man, George Brent, in scenes
from "The Keyhole."

Here's Kay Francis posing for us in
the Grecian-influence gown she
wears in her latest film, "The Key-
hole." Of ivory brocaded velvet, it
has the flowing lines and even the
corded girdle of its classic model.
The shoulder treatment is particu-
larly interesting.

Suggested for summer evenings: a
frock of yellow chiffon with pet ailed
flounce; and, if possible, a cape bor-
dered with silver fox! Kay Francis,
right, poses for you in this striking
ensemble. Extreme right, the same
costume in graceful action.

Photographs by Elmer Fryer, espe-
cially posed for SCREENLAND. Cos-
tumes by Orry-Kelly.

that Act!

Every smart girl wants her clothes to
live up to her emotions, and now here is
her chance to see just how it's done in
Hollywood, home of clever clothes
and cleverer women !

Bette Davis is posing
at the right in the
sensa tional evening
gown she wears in
her first starring pic-
ture, "Ex-Lady." It
was designed to show
off Bette' s slim fig-
ure to best advan-
tage. The cut-out
front, the high col-
lar, and the long
sleeves are daring
notes. Now see the
picture above, show-
ing Bette in action,
in a scene from her
picture, with Mon-
roe Owsley.

Photographs by Elmer Fryer especially
posed for SCREEN LA ND. Costumes by
Orry-Kelly.

Left, Bette posing for a "fash-
ion picture" — the sort o/ pic-
ture you may see in other
magazines. But it's in
SCREENLAND that you'll be
able to "catch" the same
clothes really in action, so
that you can see what they are
all about. The circle shows
Bette's hat as it looks when
she is emoting.

See this scene at right from
"Ex-Lady," with Bette and
Gene Raymond, and note how
cleverly Miss Davis is costumed
to set off her fragile beauty.

Gloria's
white wool
sports dress,
which she
wears in
"Perfect Un-
derstand-
ing," is sur-
prisingly
short until
you recall
that Paris
says "short-
er for sports."
See the wide
band of wool
with a stripe
in thecenter?
The box
pleats reach
to eight
inches from
thehem line.

Swanson is Still
a "Best Dressed W>mati

Gloria' s sport
dress in action, in
scene with Laui
ence Olivier froi
her new film
Swanson's jaunt
white felt hi
boasts a ribbc
band of black an
scarlet to mate
the belt of ht
frock. "Perfec
Und erst and int
was filmed in Eni
land and Franc
and the star
clothes are straigi
from the heai
quarters of Chi

Right, Gloria posing for us in a
beetle-green tailored frock with
cuffs of white pique. The dress
is perfectly straight, with in-
verted pleats on either side.
There is a wide black suede
belt. Something new at the
neck: two tiny buttonholes. On
the principle of a man's shirt
cuffs, through which is a silver
link with initials in black enam-
el! Above, the frock in action.

Left, Swanson in a scene from
her picture, wearing a dress
from which you should make
notes for your spring wardrobe.
Black blister crepe; very wide
gauntlet cuffs of white crepe;
bodice cut diagonally at the
back, and the cross-over se-
cured with a square button.
Similar buttons decorate the
cuffs. Remember that Gloria
is the tiniest star on the screen,
smaller even than Mary Pick-
ford, and has to select her
clothes accordingly. Watch
Swanson, you little girls!

"he Gown
hat made
lollywood
Gasp!

lian Harvey, the
autiful blonde from
irope, wore it at her
st Hollywood party,
d did the other girls
groan!

Lilian Harvey's gown is
by Strassner, famous con-
tinental couturier, now in
Hollywood designing all
Miss Harvey's costumes.

Photographs by
Lazarnick, posed for
SCREENLASD.

Lilian has that irresistible combin-
ation of super-sophistication and
appealing naivete, and dresses are
designed to match her personality.
This white crepe gown is daringly
simple and deceptively disarming.
If you're a sylph like La Harvey
you might try wriggling yourself
into a dress like this, and be
popular.'

Left, the Harvey gown in action.
Yes, it's absolutely backless, and
Lilian wears one of her best dia-
mond clips at the waist. (What,
no diamonds? Well, rhinestones
will do, then.) Right, Miss Harvey
says she feels all dressed up when
she adds to her gown this long
string of lovely feathers How this
dress does enter a room!

Bruebl

Movie Man-Eater!

{Santa Claus in Person)

EDDIE ROBINSON, one of the screen's most convincing supermen, in-
variably makes you think of gang leaders, or ruthless financiers, or
biters-off of puppies' tails. Tush, what an idea ! Get acquainted with the
real, relaxed Robinson, and beg his pardon.

Sophisticate!

(All in Fun)

THEN there's Wynne Gibson, that knowing, disillusioned girl-about-
town of so many amusing performances in so many entertaining pic-
tures. But is that Wynne? Well, look at this gay young beachcomber at
her favorite off-the-set pursuit, and judge for yourself!

Dyar

Strictly Formal

(Baxter Nature!)

SO IMPECCABLE is Warner Baxter s
customary screen character that we hate
to disillusion you. But why not, when his
actual self is even more human and agree-
able? Such as, for example, in this little
beach episode.

Dainty Ingenue

(Grown-Up Lady)

PERHAPS Helen Twelvetrees has always
meant a sweetly simple little gill to you.
But now meet Helen the young matron,
proudly displaying her son. She plays the
part of a nurse in Maurice Chevalier's next
picture, "A Bedtime Story."

The Most Beautiful Still of the Month

Loretta Young and Gene Raymond in "Zoo in Budapest."

AFTER watching Bruce Cabot make love to seventy-
/% three different women in seventy-three different
J \ screen tests, a producer decided he was the next
great lover of the screen. So Mr. Cabot was
cast as leading man to "King Kong," the gorilla !

Now all this would seem to call for Cabot being the
cold, calculating, disillusioned, frost-bitten old cynic he
thinks he is — if in reality he weren't the most senti-
mental and madly impulsive actor in pictures. But try
and make him believe it !

"Never fall for a dame, pal," he once warned me
while wrecking my rug with his frenzied pacing. "I can
tell you it just doesn't pay. If she ever discovers it,
she'll play you for a monkey and you'll be off your diet
for a week.

"Be cynical, pal !" Cabot continued. "Cynical and
hard-hearted. And cold-blooded. And think of your-
self first, last, and always. You don't catch me being
sentimental about 'em. Not the Old Master! I make
it a point never to be sentimental about anything. I got
no yen to get a poke in the nose! Life's like that," he
said. "And the only way to beat it is first to get every-
thing under control, then take it easy. Don't make a
move until you've given it plenty of cold, calculating
thought. Then when you know what you want just
stick to it. Personally," he added, easily, "I've always
known what I wanted. Ever since the day I was born !"
Thus spake the lad who has fallen violently in love about
forty times, and who has worked at an equally large

Cynic
In Love!

Bruce Cabot thinks he's "hard"—
but wait till you hear!

number of jobs. Just consider, jf you will, his life:
Bruce Cabot had his inception back in Carlsbad, New
Mexico, where he was born with his left ear nearly twice
the size of his right. In spite of publicity blurbs he is
not one of the "Cabots who speak only to God," but
he's a Bujac which is almost as snorty. His father was
the wealthiest attorney in New Mexico. His two uncles.
Andrew and Leon Graves, are New York bankers with
a capital B. And yet another uncle, Herman Harjes,
was a J. P. Morgan partner and later partner of Mor-
gan-Harjes bank over in Paris, France. Briefly his
family name means social and financial prominence in
Europe as well as the United States.

As a tiny, toddling, spindle-bodied tot. of some four-
teen years, Mr. Brucie-Woocie was entered in the New
Mexico Military Institute where he remained for three
weeks before being overwhelmed with a "silly romantic
notion" for turning cowboy — whereupon he ran away
from school, fibbed about his age, and caught himself
a job on a ranch.

A month or so later, when barely fifteen, Bruce began
hearing about Dempsey and as {Continued on page SO)

SCREENLAND

CQhe Goddess Diana

of England

By James Marion

for May 19 3 3

Here's the story you've been asking for — all about
the new acting sensation, Diana Wynyard

HOLLYWOOD'S very newest sensation is a tall young
Englishwoman stage-named Diana Wynyard, but born
Dorothy Cox.

She came to these United States one year ago with the
intention of conquering the American stage; she remains to
triumph on the screen instead.

She is a broad A-ed woman with small eyes, blue-gray, and a
careless manner of tossing expensive coats across low chairs
which is most effective !

She is a woman apparently instilled with the belief that she
has an ugly mouth, and she must spend hours conniving ways to
improve the fault, especially when her lips are in action.

She is, of course, interesting
to you because, although she
has been in Hollywood only six
months, she has already been
featured in four important pro-
ductions — "Cavalcade," "Ras-
putin," "Men Must Fight" and
"Re-Union in Vienna." Not in
years has a newcomer so sud-
denly and so completely domi-
nated the country's screens.

Miss Wynyard told me her
story at the M-G-M studio
cafe, where she applied herself
industriously to a small bowl
of chicken broth, which alone
comprised her luncheon — al-
ready she has acquired the
American custom of hunger-
dieting to retard fat.

She wore a semi-modest
black gown and one of those
absurd little hats that perch on
women's heads like the caps
worn by organ grinders' mon-
keys. Inasmuch as the fairer
sex has decreed that such im-

Above, a scene from Miss Wynyard's first
film, "Rasputin," with John, the Profile
Prince. The girl gave a good performance
even though surrounded by Barrymores!

The unforgettable Jane Marryot of "Caval-
cade"— Diana Wynyard's flawless portrayal
that hurled her into the first rank of
screen actresses.

Here is still another facet of Wynyard's gem-like art —
her characterization of the devoted wife in "Men
Must Fight," with Lewis Stone.

mature hats are the style. I can find no
fault other than my personal opinion that
tall, angular women — such as she — should
wear more hat. Not more hats; more hat.

After six months in Hollywood, Miss Wynyard is
still amazed that the home of motion pictures is a nar-
row-minded, provincial small town, rather than the
broad-minded city she had been warned to expect.

She is shocked that Hollywood hosts encourage the
presence of photographers and newspaper reporters at
supposedly private parties, particularly since the press is
apparently invited for the sole purpose of photograph-
ing and reporting the social life of guests.

"Many is the time," complains Diana of England (to
distinguish her from that Greek Goddess), "many is the
time I've been halted in the act of lifting a bite of food
to my mouth, and warned not to move until cameras
duly recorded the quantity of my bite.

"Too often I have talked away merrily and freely,
only to discover a person at my elbow frenziedlv taking
notes on my conversation. I have become so cautious
that I peer about nervously before I dare accept a sec-
ond food offering. I should heartily dislike to see my
photograph in a newspaper bearing the caption : English
actress doubles on potatoes!"

Miss Wynyard was born in London, twenty-seven
years ago January sixteenth {Continued on page 78)

SCREENLAND

Here is magic indeed — the kind of movie necromancy that brings a glamorous aura of illusion
to films. A full-sized sailing vessel built right inside the studio — batteries of floodlights and
cameras — structures, "props" and portable machinery — all devised for the purpose of making you
forget reality and believe in the impossible. It's a scene from Universal's "Destination Unknown."

By Ruth Tildesley

for May 19 3 3

It's a wise actress that knows her own close-ups

when the camera experts have worked their

cinema sorcery

HEN Barbara . Stanwyck-
came to Columbia Studios
after the dire flop of her
first picture, she was pre-
ceded by tips from cameramen who
had filmed that unfortunate affair.
"She's hard to light."
"You can't photograph that dame."
"Good luck — you'll need it !"
Joseph Walker, first cameraman for
Columbia, and known as one of Holly-
wood's greatest experts in photograph-
ing women, was glad to hear it. Any-
thing difficult meant credit for results.

"I tried all the tricks I knew. I used
a lens here to soften an outline, a light
so placed there that no least line was
visible, I made her hair a shining glory.
She was gorgeous. I was triumphant,"
he recalls.

"Frank Capra, the director, came to
me after we had looked at the rushes
of the earlier sequences. He was wor-
ried.

" 'Joe, this girl is the best actress
we've ever had on the lot,' he told me,
'I watch her on the set and see her giv-
ing one of the greatest performances
any girl ever gave. But we're not get-
ting it on the screen.'

"I said : 'I think she looks marvel-
ous. I've never done anything any
better than this stuff.'

" 'Maybe that's the trouble,' replied
Capra, 'You're making her so beautiful
that we aren't getting the real girl.
Barbara has character. That's better

The soft semi-darkness pervading
this scene, above, with Joan
Crawford and Robert Young, in
"Today We Live," is achieved
through clever lighting.

Jean Harlow's platinum
blonde hair and very fair
complexion make the light-
ing of her scenes an unusu-
ally interesting problem.

than beauty and more interest-
ing. Try her for character.'

"So I stopped making beau-
tiful art studies of her and shot
her just as she was. 'Ladies of
Leisure' made a lot of money
for the studio and a star of
Barbara.

"You see, Barbara hates any-
thing artificial, she hates make-
up, she won't do anything
unless it's natural. She always
plays a part as if she were that
girl and she knows what that
girl would do in any situation,
because she is that girl for the
time.

"But (Continued on page 88)

Left, a scene played
by Clark Gable and
Jean Harlow in "Red
Dust" which illus-
trates the problems
of lighting two op-
posite types of faces
at once. The light
had to be softened
for Jean's light col-
oring, and intensi-
fied for Clark's
dark features.

Helen Hayes is an
absorbing camera
subject, owing to
the infinite variety
of her art and per-
sonality. No mat-
ter how much one
may work with her,
say photographers,
her constant fresh-
ness continues to
suggest new and dif-
ferent moods. Here
is cameraman
Charles Lang pre-
paring her for some
experimental shots.

56 SCREENLAND

Screenlands Critic Really Sees the Pictures!

Topaze
RKO

A John Barrymore field day! And if you enjoy seeing Prince
John revel in a role, this picture will entertain you. It is
Mr. Barrymore's juiciest characterization since "Svengali"
-but fortunately his whiskers are not so luxuriant. Al-
though "Topaze" is frankly more of a frame for the Barrymore
tricks and talents than a well balanced motion picture, it is always
rather good fun. John plays, and plays, a Timid Soul teaching in
a French boys' school. He is a good man and a good professor, but
success passes him by — until, presto! he discovers that dishonesty
is the best policy, becomes rich and famous, and steals another rich
man's sweetheart, Myrna Loy. Speaking of Miss Loy, and do let's,
she manages somehow to score with the minimum number of
close-ups ever allotted a heroine. She is very smooth and sirenic,
and I find myself wondering if her quiet but telling performance
isn't a greater acting feat than Mr. Barrymore's. Ssh! Not so loud.
I believe that's what they call committing lese majesty.

King Kong
RKO

So the monster climbed the Empire State Building. So all
Manhattan was in his power. So-o-o-o — oh, sorry, Mr.
Wynn; but only you should tell the story of "King Kong."
Only you could do it justice. It's that fantastic. You won't
believe it until you've seen it, and then you won't; but check your
common sense and you'll have a grand time. It is beyond a doubt
the most exciting picture ever filmed. When Robert Armstrong, as
a director of adventure movies, sets out for an island where no white
man has ever been, you just know there's going to be trouble.
Fay Wray comes along as the beautiful heroine, because the public
— yoo-hoo! — demands love interest in its films. I won't keep you in
suspense — they meet King Kong, giant ape sixty feet tall. And
they capture him and bring him to New York for personal ap-
pearances! The super-climax comes when the monster climbs the
Empire State Building with Fay in his paw. See it to find out how
they make Manhattan safe from Kong.

REVIEWS

of the

< U- SEAL- OF] J

Best
Pictures

Clear All
Wires
M-G-M

This is my favorite picture of the month. I mean I had a
better time seeing it than any of the others. I must warn
you, however, that it hasn't a monster in it, or a horde of
elephants, or a pack of lions. But Lee Tracy more than
takes their place. And if you think I mean by that, that Lee is a
three-ring circus, you're right — I do. He is my idea of entertain-
ment as he plays, frantically and furiously, the ace newspaper cor-
respondent in Moscow, carrying out his own five-day plan. He
can't find news, so he makes it — Stalin or no Stalin. And he would
have gone right on rewriting Russian history if it hadn't been for a
Girl — and a Girl with a Southern accent. You've guessed it, Una
Merkel. More fun. Oh, yes, and there's another girl, Benita
Hume, from England, and very charming, too. And still another,
Lya Lys. And now I've told you enough. See it. And here's a
suggestion for M-G-M — why not a sequel? More mad Tracy
adventures? He's our champion depression-chaser.

You Can Count on these Criticisms

for May 1 9 3 3 57

Reviews without Prejudice, Fear or Favor!

Extra Review

"Secrets"

United Artists

Here's a heart-warm-
ing event! It is the
finest motion picture
Mary Pickford has
ever made. You will enjoy
"Secrets" for its own sake as
splendid family entertain-
ment, but you will thrill, no
less, to the exquisite perform-
ance given by the "little girl
with the golden curls" who
has grown into a poised, ap-
pealing actress. The new
"Secrets" is a beautiful and
lavish production, with Frank
Borzage's direction lifting the
comedy sequences into sheer
charm, and the drama to real
heights. You will see Leslie
Howard in a new role — that
of a pioneer who wins through
the West to the Governorship
of California. Although so
obviously miscast physically
in this sturdy part, Mr.
Howard endows it with all
of his inimitable art, and his
tender scenes with Mary are
unsurpassed on current
screens. From gay youth to
serene old age, the "Secrets"
stars hold your keen interest.
See this — and take the family.

King
of the
Jungle
Paramount

Let's go native — again. This time with Kaspa, the Lion
Man, first cousin to Tarzan of the Apes, and certainly a
not -too-distant relative of Kipling's Kim. You'll like
Kaspa, who was orphaned in the jungle when a little
boy, and brought up by friendly lions. Yes, it's like that. But go
in the circus mood and you'll be vastly entertained. It's a real
thrill-picture — you see, Kaspa is captured with his animals and
brought to America as a circus attraction, and meets Frances Dee,
who is the only one who can tame him, and a fire breaks out, and
the animals break loose, and — and — whew! My eyes are still
popping. Those stampede scenes are terrific. Round up all the
small boys in the neighborhood and take them. Paramount
atones for "She Done Him Wrong" with "King of the Jungle."
You'll like Buster Crabbe — a nice, sincere, handsome boy — champ
swimmer, too. Frances Dee is just right as the one entirely
believable person in this picture. She is charming.

The Great
Jasper
RKO

mlrW —

Our Betters
RKO

Here's a picture that should appeal to people demanding
down-to-earth entertainment. It has the pungent appeal
of a realistic novel. And it presents a colorful character in
Jasper Horn, covering his career from horse-car motor-
man to prosperous fortune-teller. Richard Dix plays Jasper with
insight and understanding. It's his most interesting film since
"Cimarron." There's fine flavor to the early scenes, with the
lovable but unscrupulous Jasper leading a double life — his wife,
splendidly played by Florence Eldridge, has a rival in the beautiful
wife of his employer, enacted by the newcomer, Wera Engels. As
Jasper "progresses" to fortune as a fakir in a fez, Dix manages to
make him always a sympathetic and human figure. For adult
movie-goers, "The Great Jasper" is full-flavored, absorbing, "real"
film fare. But the younger members of the family had better go see
"King Kong." And be sure to wear your fright wig. (Broadway
for: be prepared to have your hair stand on end.)

And one of Connie Bennett's better pictures. In fact, it's
her best as far as this reviewer can remember. It's brittle,
sophisticated, and bitter, and it is dialogued in the most
acid W. Somerset Maugham manner. Connie plays an
American girl who has married a title. Unhappy, she glitters in
social brilliance, surrounded by a group of equally bored and witty
people. The Maugham society portraits are mocking and clever,
and as interpreted by Violet Kemble-Cooper, Gilbert Roland,
Phoebe Foster, and other smart performers they take on vivid
cinematic interest. Fortunately, the star is saved from the com-
mercial bathos of her more recent films by the superior snootiness
of the story. Connie's role calls for dash and arrogance, and she
plays it superbly. And I want to save a special round of applause
for Gilbert Roland. He is rapidly becoming a real actor, this boy,
and I'm beginning to think he is star material, if they'll only let
him be something besides "just a gigolo."

Let Them Guide You to the Good Films

58 SCREENLAND

SCREENLAND'S

We give you Glamor — in person!
Glamor, impersonated by one of the
most gorgeous picture girls of them
all, Miss Jean Harlow. The Plati-
num Blonde consented to edit these
pages for us this month, presenting
her new Spring clothes and her
own intimate advice on how to
wear them

Ever since she first
sizzled on the
screen in "Hell's
Angels," Jean Har-
low has stood for
high-voltage lure.
So when Jean says,
"Stick to skirts,"
better listen! Miss
Harlow follows the
tailored trend just
so far, permitting
her cape suit to be
severe, but never
mannish.

Harlow's checks
are good! Jean's
cape suit is carried
out in smart brown
and tan check wool.
When you wear a
cape, says Jean,
you must live up
to it! Capes call
for swagger.

And now the hat!
A creased -crow n
tan felt "vaga-
bond" with brown
grosgrain ribbon
band. Jean's
warning: A hat
like this is an ex-
aggeration; there-
fore, wear it in-
solently. Like that!

for May 1 93 3 59

Gl amor Sch o o 1

Original! Exclusive! Scoop!
SCREENLAND gave you Glamor-
guidance first. Now the imita-
tors are crowding after. So,
this month, The Smart Screen
Magazine introduces still an-
other new slant — the personal
touch of a famous screen star,
as Glamor Editor. Watch for
another noted screen star
next month

Jean Harlow wears white on
every possible occasion. Reason?
It's spectacular! Add a red jacket
to a simple white dress — see the
large picture, above — and you
have a spectator-sports costume
that cries for attention. See the
novel laced closing of the dress?

Left, Jean tops her red-and-
white suit with a coat of white
angora, with raglan sleeves
and puff -above-wrist fullness.
With this ensemble, which
looks simply luscious but is
really simple, Jean wears a
shallow hat of white crepe.

Still another hat, this time of
straw, selected by Miss Harlow
for your approval because of
those pert winged bows of
grosgrain ribbon. Like it?

SCREENLAN

SCREENLAND

D'S

Positively no
sports clothes just
(or effect, girls, ad-
vises Jean Harlow.
The semi-mannish
suit sponsored by
most smartwomen
for spor ts and
country wear,
should be cast aside
for strictly femin-
ine attire when it
has served its utili-
tarian purpose .
The full-length
picture of Jean
shows her favorite
afternoon dress,
jumper style with
a crisp white organ-
die blouse. The
two-tiered ruffles
of collar and
sleeves are ex-
tremely girlish and
dainty, and Jean
loves 'em!

Glamor. (Glamour.) 1. Magic;
enchantment; a spell or charm.
2. A magical or fictitious glory or
beauty; a deceptive or alluring
charm; witchery .— Webster's
Dictionary. And every woman
wants to achieve it!

Personal dainti-
ness is a fetish
with Jean Har-
low. She is just
as fussy about
non-shine nose
and fresh lip-
rouge when she
is playing golf
as she has to be
when she is fac-
i n g a movie
camera. Here's
Jean repairing
her wind-blown
make-up at the
emergency mir-
ror of her sedan.

Harlow's first home rule for
lovely hair is, "Brush it until
it shines. Then, when your
coiffure is as smart as you
can make it, give yourself the
Profile Test!"

for May 19 3 3

Gl amor Sch o o 1

With all due respect to
Webster, Screenland be-
lieves that Hollywood girls
know more about Glamor
than anyone! And we have
asked them to define it for
you in practical terms. This
month Jean Harlow is your
Glamor Guide

Don't make hard-and-fast clothes
rules vou can't break, grins our
Glamor Guide. For instance, Jean
invariably wears white for evening.
That is, she did until she saw this
frock in pastel-shaded orchid, and or-
dered it sent straight home. Of
course, that cascade of ruffles is per-
fectly charming, but be sure your fig-
ure approaches something near the
Harlow perfection before you invest.

Ear, ear.' Jean sponsors ear-revealing,
believing it adds character to the coif-
fure. And notice those exquisitely
manicured nails! Like so many-
aware women, Jean Harlow varies her
liquid polish to match her moods and
costumes.

> 1

SCREENLAND

"He's always trying to make me save my money,"
accuses Bert, "as if I didn't know he has plenty for
us both! ' But Wheeler admits that his pal is largely
responsible for his success.

BOB is worse than a wife. Always nagging, always
picking on me. Always trying to make me save
my money, as if I didn't know that he has plenty
for us both to live on.
When I first met Bob a few years ago I didn't think
he was funny. We were featured comedians in Zieg-
feld's original New York production of "Rio Rita." I
had never seen Bob before. As I had been in the "Fol-
lies" four years, I was the fair-haired boy. Ziggy really
thought I was funny. A pal(?) told me that I had
nothing to worry about as Bob wasn't funny. Bob is
very direct and out-spoken. After a few rehearsals of
the show, he told me to my face that if I insisted upon
using my revue and vaudeville comedy methods, I would
throw my characterization right out of the window. Was
I burned up ? I told him to go lay down and roll over,
but on the opening night he bounced so many laughs off
the top of my head that I thought I was in the ring with
Jack Dempsey.

I was a flop that opening night. After thinking it over,
I came to the conclusion that this Woolsey knew what it
was all about. Next day I made up with him. Then and
there he started in picking me to pieces and nagging away
like an old hen. But when he got through with me I was
clicking. We worked together for three solid years in
"Rio Rita," and we grew so used to one another that we
decided to stay spliced.

Just having Bob around all the time is like being mar-
ried, and I ought to know, because I have been married
twice.

He is always finding out where I was last night, and
I never try to disappoint him. I have a weakness for
staying up late at night clubs, while Bob is happily mar-

What I Think

Bob

Half of a cuckoo comedy
team talks about his wild-
and- Woolsey partner

Bert Wheeler

ried and likes to stay home. One day on the set when
I looked particularly tired, Bob suggested I give the di-
rector and cameraman a break by getting some sleep.
We shook hands and I promised to be a good boy. But
habit was too strong that night and my foot slipped. As
Bob didn't happen to sleep very well that night, he arose
at three o'clock in the morning to take his dog out for a
walk. Just around the corner from where he lived there
was a speak-easy. He stepped in to get a bracer — and
there was his side-kick, the lone customer, making
whoopee with the Hawaiian orchestra. Bob has never
recovered from that episode. {Continued on page 86)

The firm of W. and W. give Raquel Torres a surprising
welcome in "So This is Africa," their new film, in
which the clown princes are a couple of slightly
cracked explorers.

for May 19 3 3

What I Think

of
Bert

The man with the cigar
tells the whole truth about
his team-mate

Robert Woolsey

I HAVE no one to blame but myself. It was my
own idea and I'm stuck with it. I took Bert for
better or worse, and I got both.
Of course, if I had it to do over again I would
do the same thing, because I realize that Bert is a nice,
lovable little guy who would be absolutely helpless with-
out me. He is God's gift to Woolsey.

When I first laid eyes on Bert some ten years ago, he
was featured in Ziegfeld's "Follies." He was working
with a broken arm, and I vividly recall how the little

Reverse English — or is it German? The members of
the firm take revenge on Marlene Dietrich and the
other trouser-toting ladies by beating them at their
own game. Wally Beery acts as their escort.

"I took you for better or for worse," retorts Woolsey,
"and I got both!" But he gets along all right with
his accomplice — because, he says, he wouldn't
know how to get along without him!

punk aroused my sympathy. I have been a sucker for
his appeal ever since.

He has that God-given sympathetic personality that
makes everyone want to take care of him, and everyone
does, from me to the prop man. The women are natural
set-ups for Bert. They love to "mother" him because
they think he is so darned cute and helpless.

Bert knows everybody. He is a great mixer. He likes
to be called "Bert." He is the most popular guy I have
ever known. It often takes him an hour to walk a couple
of blocks on Hollywood Boulevard or Broadway because
everybody stops him to talk.

"Hello, pal," says Bert. "I'm certainly glad to see
you. How long have you been out here?" And the guy
probably replies, "Five years." But Bert still manages
to make him believe that he is an old pal. Then he
usually turns to me and asks, "Who was that guy, Bob ?"

I call Bert "A Hail Fellow, All Wet!'"

But he is one swell little guy, Bert is. I have never
known him to say an unkind word about another person,
nor to hurt anyone's feelings. He never indulges in
practical jokes at another's expense.

Bert has the finest sense of loyalty I know, and he is
generous to a fault. If he had one-tenth of the money
he has earned, he would be a rich man. Before we
formed a corporation, he spent his money like water, and
seldom knew where it went. In two years he bought
seven different new and expensive automobiles. But
when he went to an Auto Show and purchased an air-
plane, that was the pay-off. I had had enough. It was
up to me to get his money back, which I did.

Although Bert has no business ability, he can drop
$10,000 in the stock market or (Continued on page 87)

SCREENLAND

Winifred Lenihan
was formerly with
the Theatre Guild as
actress and direc-
tress, and later
founded and con-
ducted the Theatre
Guild's school of act-
ing. This is Miss
Lenihan's first radio
job and she loves it!

OW would you like to sit in on a radio rehear-
sal? I thought you would! Come along, then,
to the National Broadcasting Company — Studio
F — 14th Floor. It's Booth Tarkington's grand
"Maud and Cousin Bill" series, directed by Miss Wini-
fred Lenihan, who used to be with the Theatre Guild as
actress and directress, and who founded and conducted
the Theatre Guild's school of acting. During the past
two years she directed several productions for the New
York Repertory Company. And now radio has capti-
vated her.

Here you are at Studio F, National Broadcasting Company, watching Miss Winifred
Booth Tarkington's popular "Maud and Cousin Bill" sketches. Miss Lenihan re-
Besides that, she makes recordings of each skit so that she can time the program

This, Miss Lenihan tells me, is her first radio experi-
ence, and she's tremendously interested in her work.
"'I like to try anything new," is her comment, "and at the
moment radio is absorbing all my attention. No," in
answer to my question, "I don't think I'll ever get away
from the theatre. I get bored very quickly and I find
I last about two years on a job. But when I get tired
of acting I direct, and when I weary of that I start a.
school for acting. It's hectic, but it's grand!"

Studio F is a. very large room. Two baby grand pianos
occupy part of one corner of the room. A table in an-
other, and several chairs are scattered here and there.
Two microphones placed very low so that Maud and
Bill, the youngsters who perform the Tarkington
sketches, won't have to stand on tip-toes or stretch their
necks or sit on stools, and there are several higher mikes
for the grown-ups. In another part of the studio is
a large box-like contraption with a door. When the
door is opened it is supposed to squeak like a screen door.
But at this rehearsal it just wouldn't squeak — someone
must have oiled the door ! They had to use a swivel
chair to get the desired effect.

Miss Lenihan rehearses each sketch at least eight hours.
She even makes recordings of every skit so that she can
time the program and correct the youngsters' errors. She
treats the kids like g"rown-ups. (Continued on page 77)

And who are
Maud and Cousin Bill,

Pray?

Meet the Booth Tarkington radio
youngsters, and their "teacher," Miss
Winifred Lenihan

By Evelyn Ballarine

Lenihan, extreme right, directing one of
hearses each sketch at least eight hours,
and correct the youngsters' errors, if any.

Booth Tarkington's
Radio Kids in Action!

(Excerpts from a Booth Tarkington
"Maud and Cousin Bill" radio script.*)

Maud: My goodness, Bill, it's lucky for you that I'm
your partner in this lemonade business.

Bill: I don't see anything so lucky for me about that.

Maud: You don't? Why, if I wasn't your partner,
where would you of got any four lemons to make any
of this good ole four lemon lemonade out of, I ask
you, pray?

Bill: I'd of got 'em off Kitty Silvers just the way
you did, pray. Wouldn't I, pray?
Maud: No you wouldn't, pray.
Bill: Why wouldn't I, pray?

Maud: Because, pray, you'd of got tired askin' her
for 'em long before I did. I had to keep askin' her for
these lemons and the good ole sugar we got with 'em
for pretty near a whole afternoon. Why, I began askin'
her for 'em right after school yesterday and she didn't
say yes and give 'em to me until it was almost time for

"What's yours is mine," is Maud's motto, and here she is helping
Cousin Bill drink his sody, pray! Both these youngsters are veteran
radio performers.

Grandpa's supper and she said she thought she must
be going crazy. I bet if it'd been you, Bill, you'd only
have asked her for 'em about a couple o' dozen times,
and then you wouldn't of got 'em. Would you, pray?

Bill: Oh, fluff! My goodness, Maud, maybe you did
get the ole lemons; but —

Maud: And the sugar, Bill.

Bill: Well, all right, maybe you did get the lemons
and the sugar; but —

Maud: And the cookies, Bill. Don't forget the cook-
ies. I got the cookies off Kitty Silvers, too, Bill.

Bill: My goodness, listen, what if you did? We
can't ever sell any lemonade or anything, can we, if
you keep talkin' so much, can we? And the whole
reason of this lemonade is to sell it and make money,
isn't it?

Maud: Oh. Well, what do we haf to do to sell it?

Bill: My goodness, we haf to holler. Like this. Lis-
ten. Lemo! Ice cold fresh lemo! Step up, everybody,
and get your nice fresh lemo, only a nickel, a half a
dime, a twentieth part of a dolluh!

SCREENLAND

Look at this electric hair
of Peggy Shannon. Its
striking beauty becomes
dramatic. How could
such loveliness fail to
strike a spark of beauty
in any sensitive mind?
"And it is really easy to
have beautiful hair!"
says Margery Wilson.

Margery
Wilson

" — and in my dreams, the moonlight seems to
find your silken tresses tangled in my heart."

HAS no love-struck swain ever written sonnets to
your lovely hair ? Then you have missed one of
the thrills every woman should have. These
are the little things that keep the cockles of the
feminine heart warm for years and years. Like scented
keep-sakes in the memory their poignancy grows in retro-
spect. Lay up these treasures for yourself !

Look at this lovely hair of Peggy Shannon. Its strik-
ing beauty becomes dramatic. Its rippling rhythm be-
comes a living poem, and how welcome in these fretted
days. How could such loveliness fail to strike a spark
of beauty in any sensitive mind? The tortured, chaotic
world owes a vote of thanks to every woman who by
any outward or inner expression of loveliness brings the
soothing touch of beauty. Such charm is repaid grate-
fully in many ways. And it is really easy to have beau-
tiful hair!

Your hair responds instantly to intelligent care. No
period of waiting is necessary before you enjoy the
fruits of your effort. In two hours' time or less, you
can turn a head of lank, listless, dull hair into a crown

of shimmering glory. Of course, it does take a bit more
time to train it into lovely arrangement. But if your
hair is in good condition it will be much more obedient
to your will — or should I say, your fingers ? I learn that
more and more women are doing their hair at home. No
doubt economic necessity has influenced that. But your
hair seems to be glad of it. Perhaps it's because in a
shop you hesitate to order extras such as oil, and egg and
a lemon rinse on account of the expense. At home you
think nothing of reaching into the medicine chest and
the refrigerator for what you want. Then, too, the prod-
ucts of many of the finest hair specialists are available
for home use. You can put a tonic or an oil in your
hair and leave it for a couple of hours — or even all night !
This helps to keep the cuticle of the scalp softened and
clear, permitting the hair to get more air and light.
When you first begin to do your hair at home you feel
all thumbs, I know. But very quickly you can gain an
expertness that will save your time and energy. You
need but few tools and materials and some smart labor-
saving ideas.

All hair, even the oiliest, needs a few good oil treat-
ments to clear and stimulate the scalp. Oily hair indi-
cates weak or over-active glands. By softening and

for May 19 3 3

in Hair!

appiness

Dramatize your tresses! Make your coiffure
close-ups as lovely as your favorite screen star's

Here the shining
tresses of Miriam
Jordan are part of
her silken lure with
which she charms
handsome men like
Warner Baxter,
right, in "Danger-
ously Yours."

clearing the cuticle
of the scalp with oil
and massaging it well
you strengthen the
oil glands to normal-
cy. Sometimes the
scalp tries to supply
oil enough to soften
the dandruff and cu-
ticle. When the
necessity for this is
removed the glands
stop flowing so freely. Na-
ture does only what it must
do. For dry hair, the soft-
ening and stimulation of oil
massage also restores nor-
malcy.

I have said over and over
again in this department
that so often we do not do
the things we should do to
care for our beauty because
we have not arranged things
conveniently for that pur-
pose. For instance, some-
times the putting of tonic
in your hair just seems too
much of a job — and it sim-
ply goes undone. The mere
thought of parting your hair
into fifty little parts and
applying the tonic with a
dab of cotton — well, it just

Julie Haydon is showing you how to brush your hair
up! This is absolutely the correct way. Separate it
into sections. Brushing polishes your hair until it
shines like burnished metal.

stays a mere thought.
But here is a simple
little way to do it
quickly and cleanly
and almost without
effort. Put it in, di-
rectly on your scalp,
with an eye-dropper !
Xo muss, no parting,
and you don't get it
on your hair so much
if you wish to keep it
only on your scalp.

W hen you haven't
time for an oil treat-
ment, just break an
egg over your dry
head, (yes, the whole
egg right out of the
shell ) , and rub it
well into your scalp.
Then wash your head thor-
oughly — that means three
soapings — with a good soap
or shampoo. Never rub a
cake of soap directly on your
hair. ( If you use soap
instead of a prepared sham-
poo, melt it first.) The
work will be simplified if
you have a spray, but, if not,
use a cup to pour the water
over your hair. Thorough
rinsing is the secret of a
good shampoo. Rinse it and
rinse it and rinse it ! And
then finish with a lemon
rinse. This cuts the very
last oFthe soap out of your
hair and leaves it soft, fluf-
fy, and silky. If you want
your hair to look very much
(Continued on page 95)

Kay Francis is an actress
whose hair one always re-
members. She has gone
in for a new softness about
her face, instead of that
sleek, chic, satiny look.

Dorothy Wilson prefers
the quaint coiffure. She
exemplifies this trend with
her hair brought simply,
but softly, back into low
knots behind the ears.

SCREENLAN

Here's Hollywood!

Just a couple of fresh-air enthusiasts! Consuelo Baker and Althea Henley,
two new RKO pretties, believe in being their natural selves as nearly as possible.
They're appearing in a zippy comedy called "Zip Zip Hooray!"

THE most disappointed lady of the
month — Joan Crawford. With her bags
all packed for a trip to New York, she was
asked by her studio to return for retakes
for "Today We Live." And before they
were completed, studio officials decided to
rush production on "Dancing Lady," so
Joan sorrowfully unpacked her bags and
settled down to another two months of
work.

Always a believer in preparedness, Miss
Crawford had wired New York ticket
agencies to reserve first row seats for her
to all successful stage shows, and cancella-
tion of these ticket orders very nearly
broke her heart.

CAN you imagine Clara Bow as
a proud mother? Clara may
adopt two ten-year-old twins, a
boy and a girl, named John and
Lillian, children of an uncle of
hers. She is so fond of them that
she decided to take them to
her Beverly Hills home. If the
kids get along with Clara and Rex
as well as they are expected to,
Clara eventually will adopt them
legally.

TWO surprise parties, both occurring in
one day, caused Clark Gable no end of
blushes. The first took place on "The
White Sister" set and was sponsored by
Helen Hayes, director Victor Fleming, and
others. All members of the cast and staff
were present, and the party was a gay one.
It lasted until after six o'clock; in fact, it
had to last, because :

Mrs. Gable also staged a surprise party
for Clark's birthday at home, and he had
to be detained at the studio until after six
o'clock so that all the guests might as-
semble. More than a score of stars and
social lights were present at Mrs. Gable's
surprise affair.

PREPARE, you Karen Morley fans, to
welcome her back to the screen. After
a six months' absence, ordered by the doc-
tor for rest purposes but made over into a
honeymoon, she returns in "Gabriel Over
the White House," a title that is sure to
be changed.

Karen has added several pounds. Mar-
riage must agree with her, for she looks
better and is acting with a new verve that
was lacking when her nerves were in such
bad order.

Newsy news— gay
gossip— exciting
personalities

Weston East

Here's how
Clark Gable
looks when
walking to
the set of
"The White
Sister." Note
the military
boots.

for May 19 3 3

Here are Marlene and Brian in one of the first stills from La Dietrich lunches with Brian Aherne, her new leading

"Song of Songs." How do you like Marlene in that demure man in "Song of Songs." Remember when SCREENLAND

"Nineties" blouse? Marlene claims she is going back to suggested putting the handsome Aherne in pictures?
Germany after this film. Hollywood took notice!

/\T this writing, the disagreement between
i\ Paramount and George Raft seems to
have been amicably ironed out. Raft, who
turned down the role of Popeye in Wil-
liam Faulkner's story, "Shame of Temple
Drake" is scheduled for a part in "The
Trumpet Blows," which, like the former
picture, stars Miriam Hopkins. I asked
George about his reasons for refusing to
play the villainous Popcyc.

"The role would do me great harm,"
Raft said. "The friends I have won over
the past two years would dislike me. I
told my employers this and I made them
a proposition : I agreed to play the part
if the studio would give me a salary in-
crease and a straight two-year contract. I
would need at least two years to regain
my fan friends."

Whatever may have been the arrange-
ment finally arrived at. Raft seems satisfied
with his role in "The Trumpet Blows," and
is ready to begin work in one of the leading
parts. By a curious coincidence, young
Jack LaRue, who stepped into Raft's part
in "Temple Drake," will also be in the cast
of the new Hopkins-Raft picture.

RICHARD "SKEETS" GAL-
LAGHER'S young son dis-
appeared from home not long ago.
A widespread search, involving
the police, was instigated, and the
Gallaghers were certain that
Junior had been kidnapped.

But they found him. He was
discovered hours later, marching
in an unemployment parade.
Skeets, Jr. was carrying a banner
which bore the words: "Buy
American and Put My Daddy to
Work!"

BILLY BAKEWELL can use
"isolated" in a sentence. Sez
he: "I went to a theatre but iso-
lated didn't do me any good."

IF Marlene Dietrich's masculine apparel
has aroused excited comment, it has also
inspired the sharp wits, and I present you
herewith an assortment of cracks and
authors :

Groucho re-Marxed : "It's okay for
women to wear pants, if they can't be
seen."

Durante Jimmie-d his way in with : "I
hear Dietrich wears skirts in her latest
picture; playing a character role?"

While Keaton Buster-ed out with : "Try-
ing to start a fad to hide pretty legs, huh ?
Her name should be Marlene Dirty-trick."

TMAGINE the chagrin of the telephone
J- company officials when Constance Ben-
nett called to say that when she requested
a change of number, she had been given
Buster Keaton's old 'phone.

"People are calling here at all hours of
the night," said La Bennett, "and are
asking for Mr. Keaton. Give me a new
number, or else !"

THAT was a novel experience
that happened to Richard Dix.
In "The Great Jasper," Dix has
scenes at a bar in which he winks
at a wine girl. The wink, to reg-
ister properly, had to be delivered
prodigiously, and Dix practiced so
much he began to drop his lid
involuntarily.

So when he stopped at a drug
store fountain to order a soda, and
winked without meaning to, he
nearly fell off the stool when he
tasted his drink and discovered
he had gin and ginger ale.

LEW AYRES introduced something
J new, even to Hollywood, with his
"divorce in escrow."

When he and Lola Lane Ayres agreed
upon a divorce, Lew placed in escrow the
settlement money, with instructions to pay
over to Lola after the decree was granted.

Incidentally, Ayres attended the preview
of "State Fair" and conceived an idea from
watching Blue Boy. the prize hog, emote.
He went home from the preview, packed
and left at daybreak for a Northern Cali-
fornia mountain range, where he hunted
wild hogs, or boars.

WITH the report prevalent that Lilian
Harvey, newly imported European
actress, is in love with William Fritsch,
the German actor, Hollywood has para-
phrased Will Mahoney's song and applied
The gals go the results to her. Each time she is met

turtle-neck! by one of her friends, he sings, "She's his

At least, Betty Lilie, he's her Willie." And so much in

Furness does, love is Lilian, they say, that she doesn't

in this attrac- mind the teasing.

tive high- Incidentally, Miss Harvey is one of the

necked tiniest stars in Hollywood — five feet in

sweater. height, she has a 22 inch waist and weighs

Pretty picture! around 90 pounds.

SCREENLAND

NEVER before has so dazzling a rail-
way train left a Los Angeles station
as was that 'Eorty-second Street" special,
advertising Warner Brothers' big picture,
which made a tour of the country. Six
cars, covered with gold and silver leaf and
bearing an amazing array of sun arcs and
searchlights, bore a number of stars and
a chorus of "Hollywood's most beautiful
girls" Eastward.

THE prominent players who made the
tour included Bette Davis, Laura La
Plante, Eleanor Holm, Preston Foster,
Lyle Talbot, Leo Carrillo, Glenda Farrell,
Claire Dodd, and Tom Mix and his horse,
King. Joe E. Brown met the train at
Chicago and continued the tour from that
point. Jack Dempsey joined up at Kansas
City.

Tom Mix rode in the inaugural parade of
Theodore Roosevelt in 1905, as well as
in that of his distinguished relative in
1933. He made a bet with Franklin Roose-
velt before election that he would ride in
the latter's inaugural parade : and now
Tom has won.

Denver, Kansas City, Chicago, Cleve-
land, Washington, Boston, New York and
many other cities were visited, and the
entire party attended the Inaugural Ball
in Washington as guests of President
Roosevelt. Members of the troupe were
honored with parties in every city visited,
and all made personal appearances con-
current with the opening of the picture for
which the train was named.

If the stars did not feel at home, it was
not the fault of studio artists, for the ob-
servation coach was given an interior deco-
ration patterned after Malibu beach, with
the walls bearing familar backgrounds and
the floor covered with grass and sand.

ANDY DEVINE, speaking of
■ the divorce of Lola Lane
from Lew Ayres, said, "She is the
Lane that had a turning."

THERE are those in Hollywood who
say Peggy Hopkins Joyce proved to
be a disappointment, at least in one par-
ticular. She appeared at social events
wearing only one wedding ring.

JIMMY DUNN dislikes combing his
hair (but does for the screen, thereby
making his a screen part) . . . Marjorie
White makes her screen come-back in the
next Bert Wheeler-Robert Woolsey pic-
ture . . . Will Rogers never talks on the
telephone when avoidable . . . Miriam Jor-
dan has seven sisters and one brother . . .
Katharine Hepburn introduced a desk pic-
ture frame featuring a cigarette box on its
back . . . Joan Crawford wears a Parisian
beret woven out of bird feathers . . . Door
of Sylvia Sidney's dressing room, once oc-
cupied by Pola Negri, still bears mark
made by perfume bottle thrown by Polish
star in fit of anger . . . Chico Marx claims
brothers titled their new picture "Grass-
hoppers" because of popularity of animal
films . . . Karen Morley's wedding ring is
of the old-fashioned, plain gold kind . . .
Gary Cooper repainted his yellow car to
black because people had a habit of auto-
graphing it . . . Wynne Gibson planned to
move and told her friends, then forgot it
herself until the morning the moving van
men knocked at her door.

Here's charming Elizabeth Allan,
star of British pictures. Holly-
wood, taking another SCREEN-
LAND tip, has called her.

Arch- villain! Here's how Jack
LaRue, as Popeye, menaces
Miriam Hopkins in "Shame of
Temple Drake." It's the role
George Raft walked out on.

p\ESPITE all reports, Maureen O'Sulli-
van is not retiring from motion pic-
tures, nor is she returning to Ireland to
live — not for some time, at any rate. She
has been signed to a new long term con-
tract and will be a Hollywood citizen for
at least a few more years, so rest easily,
you O'Sullivan fans.

A SMART cracker, that Ely
Culbertson, bridge expert.
When he was called into studio
conference, he chirped: "I never
know whether I'm here to talk
about your contract, or mine."

MY, WHAT a valuable accessory is a
dog's nose. If it is warm, the dog
is ill ; if cold, the animal is well — thus, its
nose is a barometer of the dog's health.

But now canine noses have a new use.
Jean Harlow has discovered, with the aid
of a veterinarian, that "nose prints" of
dogs, like thumb prints of humans, all dif-
fer. She has had all her pets "nose
printed," and the State of California is in-
terested in the idea for general practice.

Remember Ernest Truex in the old silents? Here's Ernest hiding behind a beard
in "The Warrior's Husband," in which he makes his talkie debut with Elissa
Landi and Marjorie Rambeau. It's from a recent stage hit.

Ronald Colman plays a tense scene
ader." It's the second time Ronnie
Who'll triumph in this

for

M ay 19 3 5

Lookout, Temple Drake! Miri-
am cowers before the baleful
stare of Popeye — and well she
may, for he's one of the meanest
men in all screen history.

THE bridge battle between the Culbert-
sons, Ely and Josephine, and the Marx
Brothers, Harpo and Zeppo. might have
been a box-office attraction had the latter
team not chosen to clown. It goes without
saying that the Culbertsons won.

Following Culbertson's statement that
movie actors are not good bridge players,
the Marx brothers (who are fine players)
issued a challenge, which was accepted.
However, the screen comedians saw- too
much opportunity for publicity, and they
responded nobly. They began by going
into training — they punched bags, blew up
footballs to develop their wind and went
into what they called "signal practice."

By the time the contest actually began,
the matter had turned into a huge joke.
And by the score rolled up on the Culbert-
son's side of the sheet, the joke became
even more ludicrous.

IN "SECRETS." Huntley Gordon plays
Mary Pickford's son in the picture's
latter sequences. It was all done with
make-up — Gordon is almost old enough to
be Marv's father in real life.

TITLES of successive Slim Summer-
ville-Zasu Pitts comedies : "The Unex-
pected Father," "They Had to Get Mar-
ried." and "Niagara Falls" . . . The long
heralded Arline Judge-Wesley Ruggles
baby is a boy ; named Charles Wesley
Ruggles for his uncle and father . . .
Spencer Tracy has invented a liniment for
lame excuses . . . Lola Lane won her
divorce from Lew Ayres, plus a $33,500
settlement . . . Clara Bow and Rex Bel'
have returned to Cali-phobia and the
movies . . . Helen Hayes bought a silver
set at auction, and on arrival home found
each piece engraved, "New York Athletic
Club" . . . James Cagney, four months
after winning strike for higher wages, vol-
untarily took $500-a-week salary slash
. . . Lilyan Tashman has been scoring
Western stage success in "Grounds for
Divorce" . . . Joan Crawford owns a gor-
geous new diamond and emerald ring, gift
of Doug Fairbanks. Jr. . . . Buster Keaton
has retired from the movies, perhaps per-
manentlv.

Wide World

The celebrated Peggy Joyce em-
ploys the leisure of a cross-
country train ride to minister to
her make-up.

"PVEN the world's richest man
J— * is susceptible to the lures of ■
Greta Garbo. None other than
Henry Ford, who makes dollars
grow where pennies bloomed be-
fore, requested and received a
photograph of Greta Garbo.

Lest you think that the man
who took millions of people off
their feet (and put them back
again) is Garbo-smitten, let me
impart that he wanted the picture
to hang in his own Dearborn hall
of fame.

THE fact isn't generally known, but
when Constance Bennett boarded that
small steamer that left Los Angeles har-
bor for Europe, she was on the verge of
a nervous breakdown. The reason she
journeyed on the small boat was that it
carried few passengers and was at sea
twenty-four days, which she used for a
complete rest.

There were only eleven other passengers
besides Connie and her husband. And
among a group of newspaper reporters and
friends gathered to see the star off was
one brave soul who murmured : "What a
great yarn might be had from those other
eleven passengers when that boat docks in
England. It should be titled 'Three Weeks
at Sea, With Storm Effects Outside and
In'."

Miss Bennett announced shortly before
her departure that she will return to com-
plete her present contract, after which
she will retire, to live in Europe and visit
in America.

NOW for some confidential, inside
"dirt" : Helen Hayes-MacArthur's
four-year-old daughter presented Norma
Shearer's baby with a kitten, to which
Xorma's youngster became so attached that
it was almost necessary to take the feline
to Europe when the family departed.

This is the "dirt" : It is whispered that
the very young Miss Hayes-MacArthur is
shining up to the Shearer baby because
Irving Thalberg, Xorma's husband, is a
producer. You see, little Miss Hayes-Mac-
Arthur is said to have movie ambitions.

opposite himself in "The Masquer-
has played a dual role in talkies,
scene, Colman or Colman?

The not -so-terrible Turk! Versatile Ramon Novarro plays a Mohammedan youth
in "Man of the Nile," with Myrna Loy and Ali, who, unless we're all wrong, plays
the part of a Turkish terrier.

SCREENLAND

Ver-ee pret-tee, Maurice! Chevalier and this able young supporting actor,
known in his first picture as Monsieur, play a touching scene in "A Bedtime
Story." Monsieur wants to help the other innocent babe do some of the work!

HOW many remember Betty Blythe, who TT'VERY Monday night is "movie night"
a few years ago was the screen's fore- J—* in Joan Crawford's home. She has her
most "vampire"? Betty returns to the own projection machine and screen, to-
screen in "Pilgrimage," but instead of being gether with complete talkie equipment, and
a vamp, she enacts the role of a charity on Mondays she invites several friends to
worker. dinner, after which they enjoy private

Another come-back is Viola Dana, popu- shows. Joan always rents the latest pic-
lar comedienne-star of a few years ago. tures for these occasions.

The Crawford shows differ from theatri-

OH, THE envy^ of all the stars cal performances primarily in that Joan

who gaze with awe at the and her audiences cheer for the heroes and

automobile license plate on Clark hiss the villains, and throughout the pic-

Gable's car! His number is 1-Y-l, ture advice is shouted to the movie leading

and it is said that the Governor man or leading woman, while the coming

of California honored his favorite of the villain is always hailed with, "Look

masculine star with that particular out ! Here's that man again !"
plate.

Here's a part of the cheering
crowd that greeted Tom Mix
and the bevy of Warner stars
on the "42nd Street" special
train when they stopped at
Denver, Colorado.

Some of the Warner beauties
who made the transconti-
nental trip, photographed with
some admirers. Find Glenda
Farrell, Laura LaPlante,
Eleanor Holm, Claire Dodd,
and Bette Davis.

T'M NOT given to repeating
stories, but the incident that
took place on "The Masquerader"
set must be re-told. It seems that
Ronald Colman was called on to
speak a line that had the tempo
of doggerel. The line was: "The
car's in the drive and your coat's
in the car."

So enchanting were the words'
rhythm that Colman could not re-
sist adding, in precisely the same
tone, "God's in His Heaven, all's
right with the world."

And instantly from elsewhere
on the set, Elissa Landi's voice
rang: "With a hey-nonny-nonny
and a hot-cha-cha!"

POLLY MORAN often drives her motor,
while her chauffeur sits in the back seat
and reads . . . What's become of the or-
chestras that used to be on sets to enter-
tain the stars between scenes? . . . Jean
Harlow is taking golfing lessons from Leo
Diegel, one of the world's greatest pros
. . . Marlene Dietrich adores her red and
white polka-dot beret ; Joan Crawford has
gloves the same color . . . Helen Hayes
caught a skunk in a mouse trap, and oh
dear ! . . . Jack Oakie laughs about the
Scotchman who ran home from the dentist
to shave with an old blade before the feel-
ing returned to his face . . . Vina Delmar.
"Bad Girl" authoress (not bad girl author-
ess) is now a permanent Hollywood resi-
dent, having sold her New York home . . .
Night tennis, on lighted courts, started by
Frances Dee, has now become a fad in
Hollywood . . . Sari Maritza wore trou-
sers long before Marlene Dietrich took
them up.

LIONS seem to be finding their way into
-J these gossip columns with amazing
regularity, but I suppose that cannot be
helped, with half of Hollywood's current
actor roll being made up of members of the
animal kingdom.

At any rate, a scene was being filmed
for "King of the Jungle," and the players
were Buster Crabbe, Frances Dee, and a
lion — a very mild lion, please believe. The
script called for Crabbe to place his arms
about the beast's neck, but just as he pre-
pared to do so, the lights went out. Con-
centrated on his scene, Buster groped—
and grabbed.

Then the lights flashed on and there
was Buster with his arms about Miss Dee,
while the lion stood nearby, frankly grin-
ning. But Buster had the last grin !

(Continued on page 74)

for May 19 3 3

The Truth
Cosmetics

What's what in Beauty Fashions!

By Mary Lee

Sta-Rite's own wave set — col-
orless, odorless, and what a joy
to use! Keeps your wave wav-
ing— and leaves no tiny flakes
to tell the tale.

'UST as fashions are divided into two
groups — the every-day necessities, and

I the frills and furbelows — so can we
mentally group our cosmetics. First
there are those hard-working creams and
lotions that not only help to give us our
skin and hair beauty, but help us to keep it.
Then we have those other beauty aids which
"t6uch up" and "finish off" the work of
that first group — powders, rouges, lipsticks
and perfumes — those final touches that lend
their allurement, as we like it.

Now don't anybody ask me which is the
most important — because there just isn't
any answer to that question ! One group
is as important as the other, and the one
without the other wouldn't be effective.
Just couldn't be. Imagine giving yourself
an hour-and-a-half home treatment —
cleansing packs and plasters and what not,
and massages and masks and manipula-
tions galore — and then just leaving it at
that. Even though your skin did tingle,
and you knew it was spic-and-span clean

Here's a tissue-
builder that
puts natural
oils righ t back
into your pores
where they be-
long. Countess
D' Or say Skin
Food and Tissue
Builder.

and well nourished — well, you couldn't face
the world that way ; you'd feel too naked
for words. But on. the other hand, neither
could you apply all the grandest cosmetics
in the world, luscious lip rouges, and pow-
ders and perfumes, over a neglected skin.
For that's just trying to cover up some-
thing that'll show through anyhow.

So make a hard and fast rule for your-
self that j-ou won't put fresh powder on
a shabby skin, that you won't touch per-
fume to drab, neglected hair, and that
your nails must be manicured before they
are tinted and polished. Then you'll not
only look right from the outside, but you'll
feel right from the inside. And whoever
said that beaut}- comes from within — well,
Fm all for 'em. It's the secret knowing
that we're right, because we did everything
we should to make us right, that wins !

So I'm going to be fair to both groups
this month, and tell you a bit of news about
each. How many of you know that
D'Orsay, the company that's given us so
many marvelous perfumes, also makes
cleansing creams and lotions? There are
three Countess D'Orsay cleansing creams,
as a matter of fact— a liquefying cream for
the normal skin, an "extra special" cream
for dry skins, and a drier cream for oily
skins. That's looking after our wants, isn't
it? Then there's the Countess D'Orsay
Skin Freshener. Also an especial astrin-
gent for large pores, and the Countess
D'Orsay Skin Toning Lotion, and the
Tissue Cream which is one of the best on
the market. But wait a minute — I mustn't
forget their Foundation Cream. It's grand :
leaves your skin satin-smooth, and ready
and waiting for powder and rouge.

Fashion may talk about the smart dull-
ness of fabrics, of hosiery, of colors — we've
even heard about the new dull powders —
but don't let this fashion run away with
you. There's one point certainly at which
it stops. Hair — the exception that proves
the rule on "dullness" in Fashion today.
Only glossy hair is smart. It must shine
and glow like gleaming embroidery- silk.
It must reflect that rich radiance that
comes from healthy hair alone..

Margery Wilson has told vou how to

For toning up — a grand
Countess D'Orsay creation that
makes your skin really feel and
look alive.

achieve such hair loveliness in her article
this month — and let me add a tip, too. If
you've never tried Venida, maybe this will
make you want to. It is a shampoo and
oil treatment combined. Now, doesn't that
sound intriguing? One preparation that
not only cleanses your hair, and thor-
oughly, but gives it a rich oil lustre at the
same time. Apply it to your hair as you
would any other oil, when the hair is dry.
Then add a little water, and behold, you
have a nice foam. Massage it vigorously
in and about your hair and scalp. Then
a rinsing, and you're through. And after
that, you'll be dipping your head around
and about, trying to catch every light, just
to show off the wonderful sheen it has.

And when it comes to setting your hair,
there are several good lotions made spe-
cially for that purpose — whether it's a per-
manent wave you want to fix in place, or
whether you just want to "finger in" a few
soft waves. 'Look for an odorless one, so
it won't fight with your favorite perfume for
predominance. And be sure it won't show
tiny flakes on your hair, as so many wave
setting lotions do when they dry.

And here's good news for those of us
who are "looking to our pocket books."
And I mean it, both figuratively and
literally. Vigny perfumes in purse-size
bottles and at purse-wise prices ! And that
means Golliwogg, and Jamerose. Chick-
Chick, and Guili-Guili. and all their other
grand perfumes. And not just tiny_ corked
bottles either, but each bottle with its own
glass dropper, just like the more expensive
bottles — a perfume for the girl who desires
individuality.

You've probably all seen the new Vigny
lipsticks by now — the one with the little
shutter-opening at the top — the ■ "open
sesame" lipstick, I call it. And it does
work like magic, too. You can hold it.
open and apply this lipstick with one hand —
and that means you don't have to put down
your purse to free the other hand, or drop
bundles or get into the usual lipstick-fix.
And incidentally, the lipstick itself lives up
to the container !

SCREENLAND

Here's Hollywood

Continued from page 72

THE month's heart beats :
Peggy Hopkins Joyce is dividing her
Hollywood time with Grant Withers and
Jack Oakie. Will Peggy find a movie star
husband ?

Do the almost nightly co-appearances of
Ginger Rogers and Lyle Talbot indicate
the end of their respective romances with
Mervyn LeRoy and Wynne Gibson ?

Who said that Kate Smith-Randolph
Scott romance is not serious ? He sent her
six dozen roses the other day.

Lilian Harvey, new foreign sensation, is
being rushed grandly by Gary Cooper,
Maurice Chevalier, and Ernst Lubitsch,
the lucky girl.

Wedding bells are poised to ring for
Geneva Mitchell and Lowell Sherman.

But Madge Evans says she will never
marry in Hollywood, which means what to
Tom Gallery?

Renewal of that perennial Marie Pre-
vost-Buster Collier romance comes as good
news.

Hollywood's youngest puppy love is on
again : Rochelle Hudson and Tom Brown.

But that hovering wedding of Frances
Dee and Gene Raymond has hit a snag,
and Gene was last seen rushing Loretta
Young.

So long, Norma Shearer and Irving
Thalberg — have a nice vacation in
Europe! Mrs. Thalberg wears the
very last word in Spring attire.

SEVERAL Paramount actors were pre-
viewing "Hello, Everybody" in a studio
projection room when a voice spoke out,
"Kate Smith has a definite screen presence.
I can't think who she reminds me of."

"I know," piped Harpo Marx. "She
looks like Garbo, Dietrich, and Crawford —
all in one body."

WHAT a time the director had in per-
suading Louise Closser Hale to mount
a camel for scenes in "Man of the Nile."
All because Miss Hale fell from a camel's
back when she was traveling in Egypt
about twenty-five years ago. She received
injuries that nearly cost her her life.

A FUNNY story, late coming to
light but too good to ignore,
concerns eleven-year-old Jackie
Searle.

It seems that during production
of "The Miracle Man," the direc-
tor experienced difficulty with
little Robert Coogan. At last he
went to the studio head and asked,
"Why must I use Coogan? Let
me have Jackie Searle."

"Searle?" shouted the producer.
"Why, Jackie is established as a
menace!"

ONE newspaper writer will not soon
forget the interview he had with
Katharine Hepburn at her studio. She
was hard at work, so it was necessary that
he talk to her between scenes.

No chairs were convenient, so Miss Hep-
burn sprawled at full length on the floor,
pillowing her head on her clasped hands.
The writer stood eyeing her awkwardly
until she cried : "Don't stand there like a
dunce! Use the floor!" With that he
sprawled, too, and there they talked, while
cameramen and technicians stepped over
and around them.

Katharine is the most impulsive girl
Hollywood has ever known. One day she
went into the studio cafe for luncheon, and
found all the waitresses busy. Instead of
biding her time, Miss Hepburn raced into
the kitchen, selected her own dishes and
then carried them into the dining room,
where she emptied them !

WHEN Benita Hume went to the hos-
pital for an appendectomy, she was
forced to give up a role she was anxious
to play, so her final plea to her studio was
that the part be saved until her recovery.

The first words Benita spoke following
the operation were, "Save the part !" Hos-
pital nurses, thinking she meant the re-
moved appendix, carefully preserved that
ex-offending organ in alcohol.

"Come a-swim-
min'!" Poor
Lona Andre was
marooned when
a heavy rainfall
flooded the
Paramount
studio. And no
Weissmuller to
guide her!

WHAT a prolific author Eric Linden
must be! A friend telephoned his
home on a Tuesday and was told : "Eric
left yesterday for San Francisco where he
will familiarize himself with the locale for
his new book. He will return Thursday."

Why not stay over until Friday and
write tzvo books?

(Continued on page 76)

Keystone

Here are Clara Bow and Rex Bell bound for Hollywood after a perfectly thrill-
ing European holiday. The two youngsters with them are John and Lillian
Bow, twin cousins of Clara, whom she may adopt legally.

May 1933

-__ 27te Beauty Soap oftke Stars

LUX Toilet Soap

^ZursBnentuzng

IF you have seen Jean Harlow on the screen
— and, of course, you have seen her — you
have noticed what an alluring complexion
she has. Smooth. Velvety soft. The kind of
skin men find irresistible.

Do you realize that the right care can do
wonders for your complexion?

No feature is so easy to improve as your
skin. The whole secret is the right care —
followed regularly. Jean Harlow, like most
of the lovely Hollywood stars, has discovered
that secret. Listen to her own words: —

"The great actresses of the stage and screen
take exquisite care of their skin," she says —
"and I have found their secret — regular care
with Lux Toilet Soap."

9 out of 10 Screen Stars use it

Of the 694 important actresses in Hollywood, in-
cluding all stars, 686 use Lux Toilet Soap. Because
of this overwhelming preference it has been made
the official soap in all the big film studios.

Why not begin now to use this fine, fragrant,
white soap for your skin? Why not start to make
your skin smooth, vividly lovely — learn a lesson
from the movie stars?

Get two or three cakes of Lux Toilet Soap today!

SCREENLAND

Una Merkel has an identification tag
attached to a chain ornament on her
purse which bears a tiny picture of
Una and her name and address.

(Continued from page 74)

WALLACE BEERY lost ten pounds
from worry when his wife and his
adorable adopted daughter, Carol Ann,
were snowbound in the family's mountain
cabin.

Wally was able to get to Hollywood in
his airplane, but he refuses to permit Carol
Ann flying privileges. So each morning
Wally flew to work, and each night he flew
back to the mountains, until at last the
snows cleared and he was able to motor
his brood to Hollywood and safety.

Jackie goes
a-strolling.
The cocky
Cooper kid
takes himself
for a walk
about the
home set
while waiting
for the cam-
erastoget set
for his next
scene.

DATHER sudden, Marian Nixon's di-
•tv vorce suit filed against her husband,
Edward Hillman, millionaire Chicagoan.
A friend telephoned the house for Marian
one afternoon, and Eddie answered the
call.

"She's not at home now," he said. "Ring
her around seven; she'll be home for din-
ner."

At that very moment Miss Nixon, un-
beknownst to Hillman, was in her attor-
ney's office filing divorce papers and seek-
ing an injunction to make him leave their
Beverly Hills home.

Is Spanky calling Ihe Hal Roach
studio to tell them he can't appear
for work because there's a big
baseball game on?

HELEN TWELVETREES was that
angry, she was waving her limbs.
threatening to bough out of pictures, and
vowing she'd pack her trunk and take leaf
of Hollywood !

It began when a studio press agent sug-
gested that it would be grand publicity if
Helen would permit her baby to appear
with her in Maurice Chevalier's "A Bed-
time Story." She emphatically vetoed the
idea, therefore imagine her surprise to read
in next day's newspapers that she had
sought to get her child into the picture.

Helen was the more infuriated because
the studio had widely publicized that the
baby given the role would be taken from
an orphanage and would be given a sizable
trust fund, and she felt that public reaction
to the idea of trying to give the part to
her own child would be critical.

FOLLOWING their divorce and the
harsh charges hurled by both, director
King Vidor and Eleanor Boardman have
about-faced and are being seen together . . .
Two detectives accompany Peggy Hopkins
Joyce at all times (to guard her jewels,
silly ; not to protect her from men) . . .
For a full week, Jack Oakie left the studio
by a truck gate to avoid an insurance sales-
man . . . They're paraphrasing that Rudy
Vallee signature song to "I Owe Every-
body, I Owe" . . . Frank Morgan's wife
gave a party to which all women guests
were invited with the understanding that
they wear men's trousers . . . The house
of famous names is the home of the Young
clan — Loretta, Sally Blane, and Polly Ann
Young . . . Following his divorce from
Lola Lane, Lew Ayres has gone into prac-
tical retirement, as far as Hollywood night
life is concerned . . . Nancy Carroll kicked
up quite a fuss when an artist sketched her
picture without her knowledge . . . Elissa
Landi is an actress because she went on
the stage to secure first-hand knowledge
of how to write plays.

CHARLES RUGGLES and
Frances Dee were discussing
nervous breakdowns, so prevalent
in the movies. "The first symp-
tom," said Miss Dee, "is loss of
memory; forgetting what you in-
tended to say right in the middle
of saying it."

"What?" moaned Ruggles.
"Then I've had a nervous break-
down for years!"

UNLESS I tell you, you may never
guess the proudest accomplishment of
Europe's newest star contribution to our
screen, Lil-(only one "l")-ian Harvey. So
I'll tell you.

She dotes on walking the slack wire.
She had to learn the trick for a German
picture, and she became so fascinated that
she has practiced until she is now an ex-
cellent slack-wire artist. She gave several
exhibitions of her talent before friends, but
in the midst of a performance, in walked the
chief executive of her studio. "That's dan-
gerous," he cried. "You might fall and
break your neck, and think what that
would mean if you were in the midst of a
picture."

Now Lilian is permitted to walk the
wire — but with the proviso that it must be
suspended not more than one foot from
the floor or ground.

Helen Hayes and her husband,
Charles MacArthur, are bound for
New York, where Helen may do a
stage play .

NOTHING is more loyal or touching
than the loyalty of fans for adored
stars. This was never more soundly
proven than when Claudette Colbert went
East on her recent New York visit.

A boy approached her in a Chicago
depot and begged an autograph. He
looked weary, and he explained, when Miss
Colbert asked, that he had walked fifteen
miles to see her.

{Continued on page 98)

for May 193 3

And Who are Maud
and Cousin Bill, Pray?

Continued from page 64

Of this she says, "I have intelligent young-
sters to work with and I treat them as
such." She uses stage technique in direct-
ing these radio programs, and even calls
the final rehearsal a "dress rehearsal." She
was amazed to find how calmly radio artists
take their work. No rehearsals for some
of them — they just run over the script once
and then go on the air. She is used to the
strict rules of the theatre and conducts her
program along those lines.

Winifred Lenihan has a very forceful
personality, keen blue eyes, and infinite
energy bundled into her five feet nothing
stature. Little twelve-year-old Bill is al-
most as tall as his directress. I sat and
watched Miss Lenihan work for three
hours and was absorbed right up to the
last minute. Her personality dominates
the entire program — no detail is too small
for her absolute attention. She's a tireless
worker, and her Tarkington programs re-
flect the intelligent treatment she lavishes
on them.

She has loads of patience. While she
was trying to work out some realistic
sound effects, which required silence in the
studio, little Vivian (that's Cousin Maud's
real name) suddenly got a notion to bang
on the piano. Miss Lenihan looked up
and said, "Vivi, I'm trying to get this
sound perfected, and we'll be going on the
air shortly, be a good kid and keep quiet
for a few minutes." Right on the heels of
that, Bill decided to do a solo marathon
around the studio, upsetting chairs on his
rounds. She looked up at him and was
going to reproach him. But Bill pulled
a fast one — he looked at her, grinned and
said, "Okay, Winnie !" Miss Lenihan
burst out laughing. She's very fond of her
young actors.

She goes over the scripts again and
again, adding words here and there to
quicken the pace. She makes the children
understand thoroughly every word and sit-
uation before ending rehearsals. As for
instance, Vivian had to talk about a grand
chocolate sundae with "Chocolate syrup,
whipped cream and nuts !" Miss Lenihan
said, "Vivi, form a picture of that sundae
in your mind — remember you want it so
very, very badly — and let each word come
out slowly and with plenty of emphasis."
Or to Bill, "You have four comedy lines
in that paragraph, and you're not making
the most of them. If you think you can
put them over by taking out a word here
and there — then, let's do it!"

As you know, they broadcast three times
a week — every Monday, Tuesday and
Wednesday. Miss Lenihan always uses real
props in her sketches. When the scene calls
for dogs or bottles or baskets, you can be
sure that those things will be on hand.

Yivian and Bill get a lot of fun out of
their Booth Tarkington sketches. I think
they secretly feel that they are Maud and
Bill. And you can thank Miss Lenihan
for this — she enjoys directing Tarkington's
kid stories and keeps everyone enthusiastic.

The youngsters call her Winnie — no for-
mality here. Bill is an old friend of yours
— he's been on the air for almost seven
years. His full name is Andy Donnelly
and he has appeared on such programs
as "The Goldbergs" and "The Country
Doctor." For eight months he was the
radio "Skippy." Maud is Vivian Block,
and you heard her on "The Lady Next
Door" program.

And now it's time for them to go on
the air — are you listening?

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The Goddess Diana of England

Continued from page 55

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last, the daughter of an English business
man who later joined the Royal Army
Service Corps.

Studio biographers report that "she had
a normal, carefree childhood," but — well,
please listen !

Rather than normal, at least four years
of her youth were filled with terror. When
she was eight years of age, the World War
began, and it did not cease until she was
past twelve. While her father was at the
front, she lived with her sister and mother,
near the Woolwich Arsenal, which was a
constant target for enemy raiding planes.
The dull, incessant booming of cannon
across the channel was often interrupted by
the nearer roar of exploding bombs,
dropped by German fliers in mad efforts to
dynamite the arsenal. Had success at-
tended these enemy attempts, the blowing
up of that arsenal would have erased thou-
sands of lives, Diana's perhaps among
them.

Naturally, children were not permitted
to stray far from their homes. Play was
rare, food was scarce," and sweets were al-
most none. Quiet was so infrequent that
even when the volcanic booming did cease
momentarily, the silence was more terrible
than the noise.

Death stalked constantly with Diana's
thin shadow — and if that was a "normal,
carefree childhood," then her biographers
are correct and I am in error.

After the Armistice — and when human
ears had adjusted themselves so they could
hear despite the silence — she was sent to
private school to study for a career, a
career as a teacher of domestic science.
Perhaps that early training is responsible
for the fact that today she more resembles
a capable housewife than a distinguished
actress.

"A school play was responsible for my
switch in ambitions," Miss Wynyard says,
"but I finished my domestic science course
before I undertook the study of stage tech-
nique under private tutors. Not until I
was nineteen did my parents permit my
first public stage appearance at the Globe
Theatre in London."

From that moment until she faced mo-
tion picture cameras for "Rasputin" her
heart and soul were dedicated to the stage.
But professional love, like Hollywood mari-
tal affections, is subject to change without
notice, and Diana is now as devoted to the
screen as she once was to the stage.

About her physical appearance, Miss
Wynyard is extremely modest. "I was
never interested in motion pictures be-
cause English producers told me I did not
photograph well," she says. "In America
the producers apparently think differently,
but I have seen myself in several pictures
and I am inclined to agree with my English
advisers.

"When I saw my first rushes, I won-
dered if so bad an actress could possibly
succeed. The same reaction, I learned sub-
sequently, occurs to most stage players who
see themselves on the screen for the first
time."

If you would like a few personal details,
let me tell you that Diana of England is
five feet and six inches tall — taller than
Garbo — and she has golden brown, bobbed
hair. She is not pretty ; handsome better
describes her.

She rides horseback English saddle —
(there is patriotism for you!) — and she
swims, but otherwise she is not athletic.
She reads, Diana says, almost everything
except this country's so-called "humor"
magazines, which she thinks are most un-
funny. She declares that the prime dif-

ference between American and English hu-
mor is that people of the United States like
risque stories, which Britishers do not as
a rule relish.

She likes physically big men, probably
because she, herself, is statuesque — certain-
ly there can be little romance between a
tall woman and a man she must stoop to
kiss. With the usual reticence of her na-
tionality, she refuses to indulge in the com-
mon American practice of "designating fa-
vorite masculine stars." Her studio pub-
licity department vainly sought to have her
go into public ecstasies over Clark Gable,
but she fooled the boys and raved about
Jimmie Durante.

This, according to Sari Mar-
it za, is the ideal way to demon-
strate the title of the next pic-
ture she'll appear in. The
name of the picture? "A
Lady's Profession!"

A few months ago, newspapers screamed
the unusual news that Katharine Hepburn,
making her screen debut in a motion pic-
ture with John Barrymore, refused to be
awed by that great star's presence. Inter-
viewers and writers manufactured banner-
lines to describe her poise in scenes with
the Barrymore, who usually frightens new-
comers silly.

If Miss Hepburn deserved praise, Miss
Wynyard should be thrice applauded, for
her debut in "Rasputin" was made with the
three Barrymores, and she regarded them
with utter complacency. Not once did she
display the slightest nervousness in the
company of Lionel, Ethel and John, and
Hollywood greatly enjoyed her unruffled
calm amidst the continual Barrymore
storms.

Perhaps this very lack of awe is greatly
responsible for her progress to practical
stardom in so brief a period on the screen.
Certainly the producers, accustomed to
nervous fear on the part of movie new-
comers, have exhibited respect for this
slight woman who refuses to be frightened
by either great opportunities or great stars.

And that, I believe, may account for the
fact that Diana Wynyard. with little of
Garbo's mystery or Marlene's witchery, has
already achieved pinnacles that other tal-
ented actresses have striven for years to
reach.

for May 19 3 3

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"Cynic" in Love

Continued from page 31

a result became fascinated with the promo-
tion end of the game calling for busted
beaks and cauliflower ears. And without
giving the matter a second thought, he rode
off the ranch and eventually talked a pug
into paying him a salary as manager. For
a while it looked as though our hero would
develop into another Tex Rickard, and
might have, had he not disagreed with his
boss — a disagreement which ended by
Bruce, the cool-headed cynic, knocking the
pug out cold, thereby necessitating his im-
mediate evacuation from the training camp.

"So then I caught myself a job swinging
a sledge hammer," Cabot continued, off-
handedly, as I backed across the room,
"with the State Highway Commission.
After I had been doing this sort of thing
for a month or so, father put his foot down.
For some reason or other he didn't think
I was getting anywhere ; so he shipped me
off to the Sewanee Military Academy. I
went there until I suddenly switched to the
University of the South and back to the
State Highway Commission again."

This time Bruce remained with them for
six weeks before taking a surveying job
with the Houston Port Commission. At
this point he began reading Conrad, and as
a result acquired a terrific yen for the sea.
It was while working his wTay to France
on a tramp steamer that he smacked a
sailor i- the nose and came within an inch
of being thrown overboard : an incident
topped only by his practically wrecking a
hotel in Brittany because the management
objected to the way his pal recited Shake-
speare. His bill for damages added up to
five-thousand francs — just a couple of ex-
amples of how Bruce practices his code of
"never making a move until you've given
the matter plenty of cold, calculating
thought."

Upon returning to New York with three,
cents in his pocket, he decided to become
an oil tycoon, an idea conceived when he
discovered his father was drilling a well in
Artesia, Xew Mexico. Unfortunately our
hero's oil career was nipped in the bud
when he fell violently in love with a Chi-
cago gal who happened to be visiting near
the well. And after giving the matter his
usual thirty seconds of thought he followed
her back to Chicago where she finally con-
sented to be his wife — at a wedding which
the newspapers hailed as being "of nearly
international importance," which is a pretty
swell wedding, indeed ! Even for Chicago.
And suddenly deciding to become another
Jesse Livermore. Bruce began flirting with
the market. So he took the fifty-thousand
— that happened to be all his father had
given him for a wedding present — and
dropped it on the Chicago Exchange — an
incident which precipitated a marital argu-
ment after which Bruce drove alone to
French Lick Springs in order quietly to
consider this funny thing called life.

Unable to stand the separation he wrote
a long letter to his wife, apologizing pro-
fusely and taking the blame for the quar-
rel. His answer was a nice big bunch of
divorce papers. "A few months later,"
Bruce now tells one, "when I returned to
Chicago, her attorney said that if I'd even
wired that I was sorry, my wife would
have forgiven me. 'But I wrote her in-
stead!' I told him. 'A twenty page letter
— and didn't get an answer!' And he
claimed she hadn't received it. That night
upon looking through my trunk I discov-
ered the letter — signed, sealed and ready to
be mailed. Wasn't that a swell break for
the Old Master to get?"

Whereupon this fellow-who-disdains-sen-

timentalism went to New York in a futile
attempt to forget. "I tried hard," he says
as he paces and paces, "but I just couldn't
get her out of my mind. She was divinely
wonderful! And such eyes !" It must have
been a month before he met Marilyn Mil-
ler. And what a flaming, brooding ten
days followed ! Mr. Brucie-Woocie's heart
pounded like the bearings of a worn-out
Ford. "I was nuts about Marilyn," he
told me, as he kicked over a chair. "I
couldn't sleep. I couldn't even eat ! I

Loretta Young introduces
Muggsy, her pup, to the cam-
eras. Muggsy's ambition, ac-
cording to lovely Loretta, is to
be a kid star in animal pictures!

shouldn't have let her know I cared, but
I couldn't help myself. And she gave me
ice. So I decided to be cool and sensible
about it." And his idea of being cool and
sensible was to haunt the theatre at which
she played, and to bury her in roses — until
he met Frances Williams. Much the same
thing occurred. Finally it got to a point
where he-who-knows-about-women went off
his diet completely and had to go west for
his health.

"Yeh," said Bruce, "no woman's going
to make a monkey out of me. So I went
out to Hollywood where I figured I could
turn some real estate into gold." On ar-
riving in Hollywood, however, he changed
his mind and took a screen test by means
of a letter given him. "The test wasn't
worth a damn," he continued, "so realizing
that a movie career wouldn't satisfy me, I
became a promoter." Whereupon he pro-
moted night clubs and cafes, sold cars, sold
real estate, rented houses and handled per-
sonal accounts, and did just about every-
thing but sell the new City Hall, which,
incidentally, wasn't built at the time. But
don't forget he knew what he wanted !
During this period he made himself bit-
ter enemies, and fast friends, and fell in
love regularly once a month.

His first romantic endeavor took the
lush form of Estelle Taylor — this romance
goine; swish some three weeks later when

for May 19 3 3

it came to light that Estelle's marital rela-
tions with Jack Dempsey were a bit un-
decided. . •

After getting back on his food again,
Bruce went to a dinner party where he
met David Selznick who gave him the al-
ready famous screen tests. And Bruce be-
came an actor. "Just what I've always
wanted to be," he told me without cracking
a smile. "Yeah," he added, "if a man just
knows what he wants and sticks to it, he
can't miss !"

Then, in quick succession he flamed the
town's most noted beauties. Each time he
fell like a log, and each time he went off
his diet. First there was Gwili Andre,
whom Bruce rushed up to on the set one
day and inquired intensely: "When do we
have dinner together?" Whereupon Gwili
replied in that cool soft way of hers:
"Were we going to have dinner together?"
Which was Bruce's shortest romance.

However, it wasn't long before he
started trotting with Sandra Shaw, cousin
to Dolores Del Rio, and Lupe Velez with
whom he bonfired for nearly a week. Then
came Claire Windsor, followed by the
charming Patsy Janss, daughter of the
real estate tycoon. Regrettably enough
this latter conflagration fizzled the morn-
ing Mr. Janss read in the paper that his
daughter was "cooing" with one Bruce
Cabot, R.K.O. featured player. "Cooing,
eh!" he snorted at his astonished daugh-
ter. "And right under my nose, too !" And
although Patsy tried to impress upon him
that "cooing" meant nothing but dancing
and dining together, things remain a touch
cool on the Janss front porch. By that
time, however, Bruce had gone head-over-
cinders for Laurie Lisk, Doheny's niece,
and furthermore that young debutante, Bet-
ty Edwards, had come into his life — into
the life of this lad who advocates handling
your women rough ! Of the lad who never
makes a move without giving the prob-
lem "plenty of cold calculating thought."
The lad who considers sentimentalism and
romanticism traits to be abhorred. The
lad who says that if one is to get on in
the world he must be hard-hearted and
cold-blooded and think of himself first, last
and always — and who illustrated his point
by swimming a mile off shore in a heavy
sea to save a prop-boy from drowning.

"Yeah," I hear him drawling, "never fall
for a dame, pal. I can tell you it just
doesn't pay." And it was while listening
to him on that day that a great light
descended upon me and I tingled as I in-
variably tingle when giving birth to a
sterling idea. "Listen, fellow," I said. "I've
just thought of an angle for a yarn on
you. I'll pretend that you're not overly
sentimental and a wildly impulsive guy. In
fact I'll pretend you're somewhat cynical — "
Whereupon Bruce stopped his pacing ab-
ruptly.

"Pretend !" he yowled. "Say, listen, you!
I'm the most cynical guy in Hollywood,
and don't you ever forget it ! You don't
catch me falling for any dames. No sir !
Not the Old Master! By the way, pal,"
he mumbled after a moment of thought,
"do you know Loretta Young? I hap-
pened to lunch with her out at Fox the
other day, and is she swell !" And after
losing himself completely, he added : "I
tell you she's the most feminine gal in
town. I wonder if she'd like to go to the
Grove?" And upon suddenly regaining
consciousness he gave me as wicked a
glare as I've ever received, and stomped
out of the room and slammed the door.
And for the past ten days he's been danc-
ing every night with Loretta's sister,
Sally Blane. "Yeah," says Bruce, "Sally-
puts Cleopatra in the class of a walking
futility!" Thus endeth the saga of Holly-
wood's awful cynic — of the guy who in-
variably knows what he wants !

DRAW
ME!

RULES
FOR CONTESTANTS

This contest open only
to amateurs, 16 years
old or more. Professional
commercial artists and
Federal students are not
eligible.

1 . Make drawing of girl
5^2 or6 inches wide, on
paper61 2 inches square.
Draw only the girl and
not the lettering.

2. Use only pencil or
pen.

3. No drawings will be
returned.

4. Write your name,
address, age and occu-
pation on back of draw-
ing.

5. All drawings must be
received in Minneapolis
by April 25, 1933.
Prizes will be awarded
for drawings best in pro-
portion and neatness by
Federal Schools Faculty.

COMPETE FOR AN ART

SCHOLARSHIP I

. . . Copy this girl and send us your drawing —
perhaps you'll win A COMPLETE FEDERAL
COURSE FREE! This contest is for amateurs
(16 years of age or more), so if you like to draw
do not hesitate to enter.

PRIZES

Prizes for Five Best Drawings — FIVE
COMPLETE ART COURSES FREE, in-
eluding drawing outfit. (Value of each
course $185.00.)

FREE! Each contestant whose drawing
shows sufficient merit will receive a
grading and also expert advice as to
his or her chance of success in the art field.

The quality of instruction in the Federal Course
develops your natural talent to a practical
earning ability in the shortest possible time.
It has been the start for many Federal Students,
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Federal Schools has won a reputation as the "School famous for
successful students". Enter this contest ... a splendid chance to test
your talent. Read the rules and send your drawing to

• FEDERAL SCHOOLS INC. •

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The Latest about Queen Jeanette

Continued from page 28

see Jeanette. Lilian Harvey has cabled,
and Buddy Rogers, and many, many others.
Apparently the star's popularity is world-
wide. But I do not believe that New York,
or even Hollywood, could be more enthu-
siastic than Paris. At the premiere of Rene
Clair's new picture, "July Fourteenth," her
entrance put all that assemblage of notables
into temporary eclipse. At the "Theatre
du Palais D'Hiver Pau" — the Pau Munic-
ipal Casino — the enthusiasts stormed the
doors when the sale of seats was suspended.
And when she sang for the Gucules Cas-
sees, the war veterans wounded facially on
the Republic's battlefields, there was an-
other triumph.

But there is clamor in the corridor — the
door opens — ushers carry great baskets of
flowers — the applause echoes from the stage
— the chatter in French and English conies
closer — and now — enter Madamoiselle !

She is charming ! The excitement, the
enthusiasm, has heightened her color, and
put additional sparkle in her brilliant blue
eyes. Her gown glitters with shimmering
sequins. She waves -away all the retinue
but the secretary — and we three are alone.

"I am here for the 'Screenland Maga-
zine,' " I explain.

"Ah, bon ! Tres heureuse, Monsieur!;
Yenez done," and the interview is begun.
But it is not a simple process, for Jeanette:
bubbles in French with such vivacity that,
my questions tremble unspoken. Her French1
is good — not perfect- — but more fascinating
for its imperfections. Ice is melted, for
instance, when she confuses escargot, which
means snails, with argot, which means
slang.

"But all the errors are not mine," she
explains, "one lady remarked that I seemed:
too gay to be the daughter of the British
Prime Minister! He was the only Mac-.
Donald she knew! But I enjoy their mis-!
takes and mine, too. I am having such a
wonderful experience. They have been
very kind to me on the Riviera, in St.
Moritz, London, and now in Paris.

"My plans? Well, after breaking rec-
ords at the Rex they want me to stay an
extra week. After that — Italy, Austria,
Germany, Belgium, Spain — who knows? I
want to make a great tour and see all that
is to be seen. At least all there is time
for. I have my first British picture to
make at the Elstree Studios for United
Artists. And that must be in production
before the Spring is too far advanced.
Herbert Marshall will appear with me, and
there will be an American director. Just
which one I do not know, but Mr. Marshall
and I would be happy working with Wil-
liam K. Howard, Mervyn LeRoy, George
Cukor, or Harry D'Ariast — and there are
yet others.

"The first picture under the new agree-
ment with the 'MacDonald Unit' is tenta-
tively titled 'The Queen,' but that may be
changed. We thought of 'Bitter Sweet,'
and there was an Austrian story that we
liked. But 'The Queen' will make a good
beginning for various reasons. Yes, it will
be a musical, and I shall sing in four
languages, English, German, French, and
Italian. Samson Raphaelson is working on
the story now, and we have Merrill White,
Lubitsch's assistant, with us.

"Naturally, nothing would please me
more than to have my good friend Ernst
lend his genius to the picture, but it seems
that there are pictures to be made under
his present contract. After that — ! I
think that Mr. Lubitsch agrees with me
that it makes no difference where pictures
are produced provided there is story, direc-
tor, and players. The proper organization

can make good films in Elstree or Join-
ville, or Tiflitz, or Berlin as well as in
Hollywood."

This is all very interesting, but I inquired
from Jeanette into the more personal side
of her activities. That engagement, for
example. And the brave Bob Ritchie. And
the forlorn Mr. Chevalier, who had called
me "silly" over the trans-Atlantic telephone
when I had asked him of a betrothal to
Alam'selle. Finally I muster courage.

"I cannot understand how that rumor
persists," she says, "both Maurice and I
have denied it so often. And Mr. Ritchie,
my fiance, would seem a living, breathing
refutation."

"But," I persist, "is it not so that you
were to stop at the Chevalier chateau in
the South of France?"

"Both are true, but flowers do not mean
an affianccment, and while we called on
Maurice's brother and sister-in-law, time
did not permit acceptance of their charming
hospitality as long as we could have wished.
I explained to M. Chevalier, and I am sure
he understands."

"Well, then, when will you become Ma-
dame Robert Ritchie?"

"Tomorrow, maybe," Jeanette replied,
and then seeing my excitement at a "scoop,"
she laughed and added, "maybe — but very
probably not! One day — but now there is
no- thought of anything but my work. It
is my belief that one can't do two things
at. once and do either well. It is not that
I wish to be an old-fashioned wife, I have
no idea of washing dishes and having ten
children, but I want time to devote to my
husband, leisure to help him. I am very
much in love, and have been for two years.
We would like to get married tonight, but
I do not think it is the thing to do. Careers
and marriages don't merge — not motion
picture careers and motion picture mar-
riages, at any rate. When the time comes
— bien! Until then we shall be patient,
and ask our friends to be likewise."

I do not know what type character Jean-
ette is to portray in "The Queen." Per-
haps, and would not the title indicate it,
she again will play one of the regal roles
so well suited to her. But. nevertheless,
she confided to me that she would like to
be a poor girl for once — on the screen any-
way. A beggar maid, to be exact. And
my protests against such unnecessary hard-
ship met with the response:

"I have been rich so often — in pictures,
of course — that it is becoming monotonous.
Moreover, I prefer to be closer to the lives
of the majority in the roles I play, and in
these days, at least, poverty is more realis-
tic than wealth. Yes, I should like to por-
tray a very poor girl, very much in love.
A deep, enduring, suffering love. It would
be different from anything I have done.
But I know that I could do it."

I recall that Chevalier once said some-
thing of the same sort when he anticipated
abandoning the gaudy uniforms of guards-
men to play a chimney-sweep. So perhaps
Jeanette's remark mirrors the story she has
in mind. Perhaps "The Queen" will intro-
duce her more as a queen of, let us say,
the flower girls, monarch of some such
lowly court, rather than the ermine and
purple to which both she and her audiences
are accustomed.

Meantime it is definite that Jeanette will
make one picture in May and another .in
October. Her present engagements in the
theatre will occupy her time until the
Spring production. Between then and Au-
tumn she may return briefly to America
and Hollywood to make a picture there
that may well be a new version of "The

for May 19 3 3

Merry Widow." It is possible that direc-
tor Lubitsch will have fulfilled his obliga-
tions by then, in which event he will be
free to direct Jeanette in a bright adapta-
tion of the ever-popular operetta, with
additional new music by Franz Lehar.

The star's present regimen is a sane bal-
ance of work, rest and pleasure. In the
morning there is time for a horse-back
canter, or even a secret ride through the
Bois on a bicycle, such as Jeanette pedalled
on the Riviera. Then there is breakfast,
and personal attention to the mail arriving
daily from admirers. The remainder of
the morning is given over to business mat-
ters, then luncheon comes as something of
a reception to which invitations are in great
demand. The theatre occupies her until
late in the evening, after that there are a
few hours for supper and amusement.

An amusing incident occurred recently
when Jeanette was dining at a popular re-
sort and was told that she had won a prize
for her gown in a fashion contest which
was being held by a Parisian fashion paper.

Although she assured the judges that she
had not known herself to be a contestant,
the prize was hers nonetheless, and it en-
titles her to a new gown created by a
Parisian couturiere. Oddly enough, the:
dress that received this honor was not the
model of a fashionable establishment, but
was the product of a collaboration between
maid and mistress — between Jeanette and
her personal attendant !

Another humorous incident which will
now find its way from the Boulevard gos-
sips to those of Hollywood, concerns a
local journalist possessing greater enthu-
siasm than discretion. Through his paper
he circulated the report that the star was
in search of a husband. Needless to say,
the post was loaded with applications for
this desirable position, and each applicant
submitted his qualifications and his portrait.
It is said that the results were sufficient to
bring a smile to the face of the Sphinx.
But I am quite certain that it also increased
the circulation of the paper — and that was
the main idea !

More about Herbert Marshall

Continued from page 29

sighed. "I saw him in 'Trouble in Para-
dise' and he was gr-r-and !"

Walking across town, I met a personal
friend. I told her of my errand. "I don't
suppose you could take me with you ?" she
asked hopefully. "I'd rather meet him than
any actor on the stage or screen. He's
simply divine !"

After eluding her, I decided to take a
taxi the rest of the way. As we halted
for traffic, I called to the burly driver.
"Hurry as fast as you can. I have a date
with Herbert Marshall and don't want to
be late," I told him.

"Oh, him," he eyed me suspiciously. "My
wife's crazy about that guy in pictures. I
don't think he's so bad myself," he added
grudgingly.

So, you can see that I was all set to be
completely dazzled by the correct and punc-
tilious Mr. Marshall when I arrived at the
Paramount offices to keep my appointment
with him.

Instead, the door opened to admit a
pleasant-faced, rather average-looking gen-
tleman with the Briton's typical florid com-
plexion. About five feet ten or eleven
inches in height and sturdily built, there
was nothing of the rangy litheness of a
Gary Cooper or hearty huskiness of a Clark
Gable about him.

He was wearing a gray "pepper-and-salt"
suit of unmistakably English cut, and his
eyes looked as if he had not been awake
over-long. As indeed he hadn't, for he
refused a cigarette with the murmured ex-
planation that he "never smoked before
breakfast."

He sat down, then, and faced me for a
quiet chat. And it was then that he gave
a new meaning to that word — Charm. And
to other words, too, such as Character and
Fearlessness and a Sense of Humor.

"Even now, after too many years to
number, it still seems strange to be inter-
viewed— to be an actor," he began, in his
well-modulated voice, his words short-
clipped and spoken so low that I had to
strain to catch them. "You see, I never
intended to go on the stage. It just hap-
pened to me — in the blood, I suppose."

Herbert Marshall was born in London,
the son of Ethel and Percy F. Marshall,
the latter an actor. There was no boyhood
of living in trunks for Herbert, though, as
his parents sent him away to school as soon
as he was old enough to leave their care.

When he became a husky lad he spent

his vacations touring the provinces with his
father, which experience caused him to
adopt the usual filial attitude of deciding
upon any career other than that of his
fond parent.

As a result, when he graduated from St.
Mary's College at Harlow, England, Her-
bert entered a firm of chartered account-
ants in London, as an articled clerk.

"Not that I really aspired to become a
financial wizard," Marshall admitted. "But
I was eighteen and wanted to earn my own
living. That seemed as good a way as
any."

But his employers decided differently.
He had not been with them long when he
received his notice of dismissal.

"There was a general shut-down and in
deciding who could be dispensed with,
I'm sure they said, 'There's Marshall' im-
mediately— then took long hours to delib-
erate on the other heads to be chopped !"

So Herbert returned to the parental roof
to decide upon his next step. At the time,
his father was absent on one of his tours
so his young son had the pleasure of inter-
cepting a postal card addressed to the
elder Marshall. Which card was to alter
the entire tenor of his life.

It was from Robert Courtneidge, (Mr.
Marshall wrote it down for me with his
own hand, having the necessary paper and
pencil which your interviewer lacked), and
said to Marshall pere : "I am managing a
stock company which is touring the prov-
inces and need a young assistant and handy
man. Why don't you send your young son
to me?"

Herbert responded in person and thus
was launched upon the career which was
to bring him fame and popularity upon
both stage and screen. As well as a lovely
wife in the person of Edna Best — but more
about that later.

"Among my duties were those of book-
keeper and accountant, (my commercial ex-
perience proving of some value after all),
assistant company manager, stage director
— and actor of small parts.

"I was earning the munificent sum of
two pounds — about ten dollars — a week, and
expenses. In those days that was consid-
ered a good salary so I was expected to
save the company money by taking any
small roles that would otherwise have been
filled by a local lad hired in whatever town
we were appearing."

After making his stage debut in a minor

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role in "The Adventure of Lady Ursula"
in Buxton, England, Marshall soon grad-
uated to roles of greater importance. Two
years of touring and he won a part in the
London production of "Brewster's Mil-
lions," which was followed by an American
tour with Cyril Maude.

"All of these things just seemed to hap-
pen to me," Marshall explained. "I never
stood at managers' doors hunting for work.
I didn't really 'go after' a single break I
have had. It has always seemed that they
have come to me.

"Sometimes I stop and wonder how I
could have been so lucky — and I can even
see how unjust it is that so many success-
ful things have happened to one who has
not striven for them while there are so
many persons who work so hard and strug-
gle so heartbreakingly — only to meet with
failure. And a great number of times, the
failure is a result of their not being given
a chance to show what they can do !"

Shortly after his American tour, the war
interrupted the histrionic flight of the
Marshall meteor and Herbert enlisted in
the British Military Service. He served
his country with distinction for the dura-
tion of the war and was severely wounded
in action. As a result of which casualty
he limps slightly today.

After the Armistice, Marshall joined a
stock company in London and for the next
three years played a variety of roles in
that city.

Followed several seasons of alternating
between London and New York and it was
during this period that he met the lady who
was later to become his wife.

"Edna was appearing on the stage in
London and we met at a party one evening.
But we paid very little attention to each
other at first.

"I came to America for a season or two
and when I returned to London, scarcely
remembered the charming girl I had met.

"However, our paths crossed again and
we drifted into a splendid friendship," Mr.
Marshall explained with true British con-
servatism.

It was in America, though, that Cupid
got in his best darts. Mr. Marshall and
Miss Best, appearing on Broadway in "The
High Road," took a day off and were mar-
ried.

"We've been married five years," he
said. "During which we've spent most of
our on-stage hours together as well as our
off-stage ones.

"In this country, we find it possible to
appear in plays individually. But in Lon-
don, the public will have none of one of
us unless the other is present, too.

"For a good while now, over there, the
names of Edna Best and Herbert Marshall
have been associated and that is the way
the public expects them to remain.

"In fact, we dare not appear in roles
which require us to quarrel with each other.
I suppose that is because a happy marriage
is the ideal deep within everyone's heart.

"Our friends in London have come to
believe in the happiness and permanence of
our marriage — and they don't wish to look
upon it in any other light, even for make-
believe purposes. We have just finished
appearing in the stage production 'Another
Language.' And it was not so successful
over there because our roles caused Edna
and me to argue violently most of the
time."

It was while Marshall was appearing in
London in "Paris Bound" that Paramount
signed him to play opposite the late Jeanne
Eagels in "The Letter," which was his first
experience before the microphone.

Followed his stage appearance in "To-
morrow and Tomorrow" on Broadway,
after which he made the picture "Secrets
of a Secretary," with Claudette Colbert.

Upon completion of that film, Mr. Mar-

shall and Miss Best (who had just star-
tled a mercenary motion world by turning
down a lucrative M-G-M contract to ap-
pear opposite John Gilbert in order to re-
main in the East with Mr. Marshall,)
appeared on Broadway in "There's Always
Juliet." It was during that time that Josef
Von Sternberg saw him and signed him
for the lead opposite Marlene Dietrich in
"Blonde Venus."

It was in discussing his work in that
picture that Mr. Marshall's courage be-
came evident. For absolute frankness —
when uncomplimentary — is one of the rarest
phenomena in Hollywood.

"I was very unhappy while working in
'Blonde Venus,' " Mr. Marshall admitted.
"Mr. Von Sternberg and I did not get
along. I could not understand his method
of working and evidently he could not un-
derstand mine.

"It was only by keeping a firm grip on
my self-control — by reiterating to myself
that it really wasn't so important whether
or not I liked working with V on Sternberg
— that I was able to go on. By reminding
myself that no matter how unpleasant were
conditions, they could not last forever."

Mr. Marshall seemed all unconscious of
the fact that he was talking as no Holly-
wood actor has ever dared to speak of a
director. He had no manner of saying
anything startling — he was simply express-
ing his honest opinion. And it never oc-
curred to him to doubt his right to freedom
of speech. As I warned you, it was re-
freshing.

He was just as forthright in discussing
the maestro, Lubitsch, who directed his
next picture, "Trouble in Paradise."

"As a general rule, an actor's greatest
worry is not before he is assigned a role,
but afterward. For upon his work, his
whole future depends. And his work is
definitely dependent upon the direction.

"When a player is cast in a Lubitsch
picture his worries are over. He can be
completely assured that he will be per-
fectly directed and that Lubitsch will bring
out in him a better performance than he
ever suspected himself capable of giving.

"There is not one thing — -not one detail
— about acting, that Lubitsch does not
know. He never wastes words, but in his
soft rather gutteral voice explains quietlv
just what he wants you to do. And he is
always right.

"It is a pleasure and an education to
work with Lubitsch. I hope I may be so
privileged many times again."

Mr. Marshall would like to arrange his
work so that he appeared in pictures for
three months out of the year, thus enabling
him to make two or three films. The other
nine months he would like to appear on
the stage, one year in New York, one year
in London.

He is not especially charmed with Holly-
wood as a place to live but admits that he
has not really had time to judge properly.

"During the months I was on the Coast
I worked so hard that I had little oppor-
tunity to make friends. And it is really
by the people one meets and the friends
one makes that one judges a place."

"Do you think your marriage — or any
marriage — has as good a chance for sur-
vival in Hollywood as elsewhere?" I asked
him.

"Off-hand I would have to say that as
far as I could judge there were many happy
marriages in Hollywood. Most of the
people I met were happily married — and
had been for some time. But it may have
been that I met only the hand-picked con-
servatives.

"I think that in Hollywood, or anywhere
else, a sense of humor is the most neces-
sary requisite for a happy marriage. As
far as Edna and I are concerned — -here's
hoping and believing that we both have

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that. If we have, then we're all right."

"Well, I'll waive asking you any more
questions about Hollywood on one condi-
tion, Mr. Marshall. That is, that after
your next trip out there, you'll be prepared
to answer any and all questions I can ask!"

"That's fair enough," Mr. Marshall
agreed. "When I go out again, I'll col-
lect all sorts of opinions and information

for you. I'll tell you just what I think."

So, there's nothing left but to be as pa-
tient as possible and wait until Mr. Mar-
shall has looked over the cinema capital
again, to hear him express his views on life
and love in Hollywood. For express them
he will ! It isn't every day that one meets
a star who answers queries as thoughtfully
— and as fearlessly — as Herbert Marshall.

"Better-Half" Doublets

Continued from page 33

mental courage could be used as the athletes
used them in the ancient Olympic games
where success in the games meant success
in life.

Our mouths are indexes of our appetites
and how we satisfy them. Constance Ben-
nett's lips are very provocative. The Mar-
quis' lips are larger, fuller, and while
indicative of a friendly expressive nature
are not nearly so suggestive of passion as
his countryman's, Maurice Chevalier's.
There is an ancient Chinese saying to this
effect: "Show me a man's eyes and I'll
tell you what he might have been. His
mouth shows what he has been." Certainly
mouths do reveal our desires and much
about how we gratify them.

However, it's the chins that show how
much of a contest or battle we will under-
go in achieving our hearts' desires. Strong
chins and jaws show the love of conquest
and certainly the Marquis' are not those
of a quitter but of a winner. Constance
Bennett's jaw has its greatest strength at
the back so she will not be so interested
in sports as her titled husband; however,
any ground she gains in the game of life
will never be easily or tamely given up.
Hers is the jaw of grim determination un-
der emergency. When a husband and wife
both have such strong firm jaws, it's best
that they have the same point of view. Or
if they can't see things eye to eye, as it
were, at least agree to reason out their
different viewpoints, for both being so
grimly determined it would be just too bad
if neither agreed to give in !

Since poets tell us "the eyes are the
windows of the soul" and do most un-
erringly reveal our inner natures, let us
compare the souls or personalities of the
Marquis and Constance Bennett as revealed
by their eyes. To begin with they are most
different in size, shape, coloring, and even
in slope or angle on these most interesting
laces. They literally and figuratively see
things differently through radically differ-
ent eyes, temperaments, and understanding.
Her eyes are light, large, arched-browed,
and slanting upward at the outer corners.
His eyes are deep-set, straight-browed,
darker, and tip down at the outer corners.
Since all features speak a universal lan-
guage let's see just how much difference
this would indicate in their natures. Stu-
dents of human nature around the world
would agree with the casting director or
personnel man who cast a man with such
eyes for a part in reel or real life where
he had to be scientific, clear-sighted, direct,
dexterous, interested more in form and ac-
curacy than in color. Constance Bennett
by contrast sees the world through rainbow
glasses as suggested by her exotic, high-
arched brows. There is a similarity in
their mutual love of beauty of form but
with her, color, change, charm are more
essential than accuracy or a scientific view-
point.

Since this difference in eyes is so often
noted in married couples, let's see how it
could lead to misunderstanding if not rea-
soned out. All women who share with
Constance Bennett these high-arched brows,

love color, display, change, and like the
colorful rainbow after the summer shower,
are sometimes hard for the straight-
browed, serious-minded man to understand.
Plodding existence seems very drab to
ladies with such brows ; they have no mar-
tyr complex !

A couple who both look at life through
a rainbow might be too light-hearted and
gay, but whereas in this case one has such
a different, more direct, serious viewpoint
it would be wonderful indeed if they dis-
cuss their points of view and agree on
the things of mutual helpfulness. For in-
stance, women with such brows are seldom
color-blind, yet among men with such
brows as the Marquis four percent are
color-blind ; on the other hand these men
are generally clear-visioned, accurate, dex-
terous, and make good in many fields re-
quiring these qualities. Let's imagine a
couple of these extreme types who love to
drive — but let's say the woman with the
high-arched, exotic brows is so artistic and
exotic that she does not drive well and
hates machinery ; also let's suppose the
husband dotes on driving but is color-blind
or partly so. His observation and accuracy
will make him a dependable and deft driver
which, plus her ability to read the traffic
signals, will enable them both more ably
safely to ride the highways. This, of
course, is just an illustration of compara-
tive natures; for instance, if all the women
of Constance Bennett's type knew how
much color, glamor, and romance they
could add to the lives of men of the Alar-
quis type there would be more happy mar-
riages.

The straight-browed man is often an-
noyed and a bit confused with the quick-
change of mood of his exotic-eyed wife, but
with mutual understanding this can be as
interesting and helpful a team as any ; how-
ever, all too often they spend a world of
time trying to make each other over. I
believe Miss Bennett and her husband have
been wise enough not to attempt to remould
each other.

Fortunately both have eloquent, expres-
sive mouths : neither looks repressed. Some-
one asked how to tell by a man's mouth
whether he was an extrovert or an intro-
vert, and the answer was that an introvert's
mouth looks as though he had been weaned
on a pickle.

When an inquiring lady visited the stu-
dio of the great artist, Whistler, she asked
him how he mixed such wonderful colors
and he answered, "With brains, Madame !"
So two natures can be as colorful and dif-
ferent as the colors on an artist's palette,
but handled with brains or an understand-
ing of human nature they can make their
lives happy indeed.

Constance Bennett and the Marquis are
just as different as they look — both have
rare intelligence and understanding and
have mixed with all kinds of people. Let's
wish them the success of Whistler — that
their life _ together be a wonderful and
colorful picture even though they see the
world through different eyes.

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The Great Jungle Gang War

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DEAFNESS IS MISERY

Many people with defective hearing
and Head Noises enjoy conversation,
go to Theatre and Church because they
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steam-heated, electrically lighted and hand-
somely furnished, as befits a gang chieftain.
And who should be his guest but the Pan-
ther Woman ! )

Lion Man (pouring her a glass of cham-
pagne) : The minute I saw you, Baby, I
knew you were the cat's !

Panther Woman: And did I fall for
you ! You're the toughest lion-man I ever
came across, and I've seen some pretty roar
specimens.

Lion Man: Why do they call you the
Panther Woman?

Panther Woman: Because I'm a danger-
ous gal — I scare little boys right out of
their panth. Honey, will you do one thing
for me?

Lion Man: Anything you say.

Panther Woman: Well, the next time I
dine with you will you invite Mickey
Mouse ?

Lion Man: For company?

Panther Woman: No, for dessert.

(The noise of roaring motors is heard
without. Two big cars containing the Ape
Man and his mob dash up to the entrance
of the cave.)

Ape Man: All right, boys, let 'em have
it!

(The apes poke machine guns through
the car windows and fire a fusillade of
bullets, then speed away.)

Lion Man (emerging from under table) :
Ho, ho, never touched me ! How about
you, sister?

Panther Woman (springing down from
chandelier) : Didn't get a scratch. Now
what?

Lion Man: I'm sick of this jungle — it's
gettin' too civilized. Come on, let's go to
Hollywood, where a brute can feel at
home — ■

Panther Woman: — .and where a lady
can be a cat and still be a lady. Let's go !
The End

What I Think of Bob

Continued jrom page 62

This Woolsey may be a skinny guy, but
I would rather fight a heavyweight. Al-
though he looks frail, he is very wiry. He
is always in good condition and can go
round you like a buzz-saw.

I get a lot of laughs out of Bob. He
reminds me of a banty rooster. Early in
our careers together, I discovered that Bob
liked to boss me around and "mother" me.
And I've been letting him do it ever since.

We like to go vacationing together at
such places as Agua Caliente, Palm Springs,
and Lake Arrowhead. I know that Bob
thinks I am helpless, so I let him make all
the arrangements, pack my bags, and pay
the hotel bills. You ought to hear me give
him the devil, if he forgets anything. I
always borrow money from him on these
trips, and then we argue for hours over
how much it was.

All kidding aside, Bob Woolsey has great
strength of character. He is reserved in
manner and conservative in habits. His
rise to the top as a comedian has been an
example of sheer determination and fight.
Like a bulldog he never gives up. I recall
a pet gag of mine in "Rio Rita." It always
got a big laugh from the audience, and a
bigger one from me, because Bob could
never top it. He did his darndest every
performance for eight weeks, but he finally
wangled it. In my opinion, he is one of
the smartest, fastest, and best comedians
on screen or stage. Any time a comedian
plays opposite Bob, and isn't on his toes
every minute, Bob will run him right off
the stage.

Everybody is familiar with the Woolsey
comedy trade-marks, his cigar and glasses.
He can't work without them. One of the
few times I have ever seen him blow up in
his lines was when a prop man gave him
the wrong pair of glasses. I have to get
credit for something in this team. I am
responsible for the cigar. After seeing him
chew one up by accident in a stage scene,
I persuaded him always to use it, because
it suits his nervous, high-strung, cocky per-
sonality.

As a comedian Bob has a magnetic per-
sonality. He is so full of fire, so smart
and snappy in his style that the moment he
steps into a scene with that machine-gun

delivery of lines, the sparks start to fly.
Despite his smart, cocky character in com-
edy, he more than holds his own in win-
ning sympathy and popularity. At devising
comedy situations, writing lines and timing
laughs, he has no master.

In private life, Bob is not a particularly
good mixer. That's one thing he lets me
do. Neither one of us like to "rib" or play
practical jokes on other people, so that's
in our favor.

Bob has two sports, golf and bridge.
Despite his lack of muscle he can hit a
golf ball a mile, shoots in the eighties and
I can't beat him. He is a bridge shark
and can hold his own in any company.
When we play together we fight worse than
any man and wife combination that has
ever played.

One of Bob's human weaknesses is bet-
ting. He doesn't care for gambling in the
public places for big money. He is too
smart for that. Leaves that to Wheeler.
But he will play bridge for any stakes, and
he'll bet on anything.

' Bob has saved his money. He is a very
shrewd business man. Yet I have known
him to spend a small fortune trying to re-
cover a lost pet dog, and the dog was just
a mutt. Despite his business acumen and
matter-of-fact manner, he is an easier push-
over for a sympathetic touch than I am.
He is really a soft-hearted little guy.

I hand Bob Woolsey most of the credit
for my picture success. If it hadn't been
for him, we would never have stayed up
where we are now. I couldn't be bothered
with all the worries and fighting. But Bob
loves it.

He loves to argue. He loves to fight for
his rights. So I let him fight for our
rights !

I let him take care of our picture stories,
and do all the battling with the studio ex-
ecutives and directors. If he thinks we are
right, he will fight to the last ditch. I let
him take it on the chin, and after one of
those studio conferences, when everyone is
wanting to take a punch at him, I walk by,
and they all say:

"What a swell little guy that Wheeler
is!"

Some time ago we formed the Bobert

for May 19 3 3

Corporation, so that I could be protected
from myself. I am supposed to be very-
dumb about money matters, but I will say
in my own defense that I never opened one
of those peewee golf courses. Bob did. I
was the only customer he had, and I al-

ways charged it. His theme song for the
course was "Three's a Crowd." He hates
to be reminded of that $15,000 he lost, but
he did keep his sense of humor when he
posted that closing notice: "Opened By
Mistake."

What I Think of Bert

Continued from page 63

bad investments, without a squawk. No
one ever hears him mention money. To
Bert, money was only made to give him
and his pals pleasure.

Now, he is going to save his money.
We have formed a corporation, pay each
other a nominal salary, and we are forced
to save the rest. My greatest ambition in
life is to see that Bert accumulates another
fortune, with sufficient income and paid-up
insurance policies, to take care of him com-
fortably in his old age.

Bert was worse than a wife when it came
to knowing his bank balance. He just kept
on writing checks until his banker would
stroll by his table at the Brown Derby
with the jolly greeting:

"Hello, Bert. You're overboard."

Bert is a natural comedian, with rare
talents for commanding sympathy and pa-
thos, as well as laughs. I am a manu-
factured comedian. After seventeen years
in stock companies acting every type of
role, I deliberately adopted comedy to live.
This was necessary because of my lack of
physical requisites for other roles. When
I first met Bert in "Rio Rita," I adapted
my cocky, bragging type of comic to suit
Bert's personality. Possibly the only thing
that saves me as the co-star of the team is
in making myself even dumber than Bert !
Audiences will usually laugh at the smart
guy, who pretends to know it all, when they
know that he doesn't know what he is talk-
ing about.

Bert doesn't know how he gets his laughs,
nor can he explain. But he is sure-fire as
death and taxes. He may not be versatile,
nor have a particular style of comedy. He
doesn't have to. He is Bert Wheeler, and
there is only one.

An author must know Bert intimately in
order to write lines for him. He can't say
bright lines, nor play with tongue in cheek.
But that infectious catch in his voice and
his sweet, sympathetic little dumb-pan
never fails to panic the cash customers.

The little cuss even makes me write most
of his comedy lines, which means that I
always have to give him the best of it.
Maybe he isn't so dumb after all.

Don't get me wrong. Bert knows his
way around. He is just too good-natured
and lazy. He hates to rehearse, but I can
always depend upon him: to bob up with
some excellent comedy lines and business.
No, Bert Wheeler didn't get where he is
today by accident.

Bert has terrific vitality. My hardest
fight is to persuade him to take a rest from
work between pictures. He is forever
wanting to make personal appearances on
tour, or radio broadcasts. He is so rest-
less and nervous that he always has to
take an airplane to wherever he is going,
so that he can get there as quickly as pos-
sible. He claims that he likes to go places
between pictures, because he needs a little
mental relaxation after his hard work on
the story. After what I've been telling
you, go ahead and laugh.

At that, I would rather go vacationing
with Bert than anyone else, even if I do
have to do all the work. He is great com-
pany, ha^ a swell disposition, and a mar-
velous sense of humor. Never talks shop
or business. And his one idea in life is to
keep himself and everyone else happy.

He hates to be alone. He loves crowds.
When he isn't working he never misses
luncheon at the Brown Derby with the
gang, nor dinner at one of Hollywood's
bright spots. He is a familiar figure at all
sporting events from the fights to six-day
bicycle races.

And I'll have to admit that he has a way
with women. As to his choice in girls, he
is a swell picker. (Miss Patricia Parker,
please note advt.)

Bert is an Irish Catholic and I am a
Shriner — but we'll never go to Reno.

I took him for better or worse, so I'll
just have to keep on taking care of the
helpless little punk!

Helena rubinstein

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Camera Magic!

Continued from page 35

when I speak of shooting her 'as is', I mean
that I try to give the audience the illusion
that she is a real girl living in an actual
scene. You mustn't take away illusion, or
all you will have is a set of actors acting
in a compo board room with two walls, or
whatever it is.

"Just as poetry has more force than prose
because it builds up an emotional response
in a reader, so suggestion creates illusion.
The secret of the best shots is what is left
to the imagination."

Mr. Walker is known as a "woman's
camera man."

"I can do men, of course, but they need
less imagination," he says. "You find out
how to light them in the first scene and
use that lighting all through the picture.
With a woman, it's different ; she puts on
a hat, or changes her dress and you must
think out another scheme. It's more in-
teresting. The harder the subject, the bet-
ter 1 like it.

"They send me a pretty young girl.
She's young and she's pretty. You light
her to bring out her best" points and that's
that. What about it? But take a girl like
Barbara Stanwyck or Helen Hayes and
you have something absorbing. You could
work with those girls for ten years and
still think of a new composition, a different
mood.

"When I'm after a certain effect, I tell
the girl I'm shooting just how far she can
turn her head, how many inches she can
afford to move this way or that without
spoiling the shot. I give her as much free-
dom as I can, but I warn her that if she
forgets there may be a bad light across
her nose or a shadow making an ugly line
on her chin.

"Carole Lombard is a good camera sub-
ject. She always listens and seldom forgets.

"Jean Harlow is so very fair that she
needs less light than other girls. I remem-
ber how hard it was to do well by both
Jean and Loretta Young when they worked
together in a picture with me. Loretta
needs more light and when she got it, that
washed Jean out.

"Everybody liked Jean. They used to
say she was the only 'lady' in the studio,
because she was so sweet and quiet and
polite. The other ingenues around there
are nice girls, but they love to cut up and
do the sort of harmless, wild things girls
do now. I suppose if Jean had behaved as
the others normally do, people would have
been horrified. Jean is such a sensational
beauty that she must watch what she does.

"There are tricks to glorify stars, to age
them, to take away years, to wash out
moon faces, to add Oriental cast to their
features and so on.

"In 'The Bitter Tea of General Yen,' I
lit Nils Asther with high lights on his
cheek-bones, which left the lower part of
his face in shadow, and I also threw a
slant shadow down on one side of his face,
the other side being kept soft — this gave a
slant-eyed effect. Chinese eyelids are not
like ours, they have no folds, so I had to
watch the lighting on his lids, too.

"This is all very well when the actor
is standing still, but the grief begins when
he walks about.

"A stiff problem for camera men is a
scene wherein several people need special
lighting. I have a staff trained as a team
to take care of this. On signal, at each
new entrance new lights will be substitu-
ted for old, new softening or sharpening
processes brought into play.

"Say that you have John Barrymore do-
ing a scene in which he is twenty-five, with
a heavy who must seem menacing and a

leading lady who has a double chin or a
nose much too long. There are three prob-
lems all to be worked out simultaneously.
So long as they stay apart, great care will
keep them young, wicked and lovely, but
one or other must suffer if a long shot
prevents all the lightings, or if someone
crosses in front of the light that is re-
sponsible for the leading lady's jaw."

George Robinson, first cameraman for
Universal, gives a few rules :

"To make an older person young, shoot
your lights down on them to sharpen fea-
tures ; put silk over these lights, and the
effect is achieved.

To make a youngster older, shoot lights
directly at her, even with the eyes, enough
light only to outline face and disclose fea-
tures, thus causing lines and shadows, and
you can add ten years without make-up.

"To change an ingenue into a hard-boiled
gangster's moll, light one side of her face
strongly, and the other side just enough to
reveal features ; this sharpens the face and
makes it look hard.

"In 'Nagana,' Tala Birell had played a
sweet and lovely girl for a sequence, then
we had to shoot a scene showing her com-
ing out of a forest where she had gone
through danger, trouble, and fatigue. She
had to look worn and haggard. We put
oil on her face to bring out the high lights
and by use of more light than usual made
her seem glassy-eyed and exhausted.

"To help a character express fear, light
only one side of his face strongly ; this
brings out all the action of the muscles of
the face and you have it.

"To show you how lights can help an ac-
tor express anything, I'll illustrate. Bill!"
— (to an actor seated on a circus bench for
the set of "The Big Cage") — "Give us a
mean look — the best you've got!"

Bill rose and glowered at us, viciously.
A signal to an electrician swept a light his
way and his features became even more
menacing.

"Do it again!" ordered Mr. Robinson.
And this time the light that came washed
away all signs of menace, so that Bill ap-
peared to be slightly miffed.

Joe Walker, Columbia's ace
cameraman, descends to the
ocean's floor in a diving cham-
ber to shoot scenes for "Be-
neath the Sea."

Which

S/r/e of STA-RITE
j should YOU use?J

for May 19 3 3

To Bill Daniels, Metro photog-
rapher, goes much of the
credit for Lionel Barrymore's
strangely gruesome scenes in
"Rasputin."

"This picture needs special lighting be-
cause we are shooting animals in action.
We have to use a long focus lens, light up
the entire scene so as to keep animals in
view all the time, and then shoot hot sharp
lights from one side, thus outlining them
in relief. The odd part of screening this
action is that Clyde Beatty, the young
trainer who plays lead in the picture, is
faster than the animals and it means quick
work to catch all action in proper focus.

"The cameras are placed round the out-
side of the big cage, the face of the ma-
chines stuck through openings cut to fit
them. These well-trained animals pay no
attention to the cameras, but I remember
another picture in which the beasts were
not so well trained. Every now and then
one of them would try to get out of the
cage through a camera lens and spoil our
shot!"

"The best example of aging a player
without make-up happened in 'The Right
to Love,' " said Charles Lang, the camera
man to whom belongs credit for filming
"Farewell to Arms" for Paramount Studios.

"In that picture Ruth Chatterton had to
play a very young girl and her mother, a
woman of perhaps forty. I was used to
working with Miss Chatterton, and I found
that the lighting for her other pictures,
with usual make-up, was sufficient for her
creation of the 17 year old girl; when she
played the part of the mother, we simply
washed off all make-up, including lip rouge,
gave her a gray wig, and shot slightly
downward to exaggerate incipient lines
around her mouth and under her eyes, giv-
ing the effect of added years.

"She looked forty, not seventy, as screen
mothers sometimes do.

"Helen Hayes is an ideal camera subject.
You'd never look at her off the screen and
say, as people used to say of silent stars :
'She looks like a million dollars!' but she's
worth ten times more than the million
dollar girl because she has infinite variety.
You can make her appear lovelier than the
other girl with back-lighting, contrast and
so on, but you needn't do that and your
scene will be very moving.

"They used to think that a leading lady
must always be gorgeous. If she was lying
in a cellar starving to death, her hair must
be back-lighted into a halo, her face must
be lit so that she lost all character lines,

etc., and she must look like nothing that
ever starved in a cellar.

"But now in a scene with a real director,
we use only a moderate amount of light ;
you see the girl dimly, with no light on
her hair except what falls naturally through
the shaft or window of the set; you get
effects as she moves that are far more in-
teresting than the old theatrical lighting
permitted.

"An interesting shot in 'Farewell to
Arms' shows Gary Cooper lighting a cig-
arette in bed; his face is lit up briefly as
the match flares.

"No ordinary match flare would show
against the other lighting ; so we had the
prop department fake a cigarette with
ashes on the tip and fitted it with a tiny
dental light. Small wires went down Gary's
arm and under the bed clothes ; the light
had a dimmer on it and when it was time
for the flare of light on Gary's face, the
operator worked the contraption and we
got it."

To get the hypnotic effect into Lionel
Barrymore's eyes when, as "Rasputin," the
actor is called upon to hypnotize the little
Csarcvitch, Bill Daniels, ace camera man
at M-G-M, used two tiny points of light
from a baby spotlight, one to shine into
each eye. These lights were blue so that
they photographed differently from the or-
dinary yellow lights on the set.

When Lionel used his whirling watch to
mesmerize the child, Bill had one light
casting a flicker on the boy's face, another
focused in pin points on each eye and the
same on Barrymore's eyes. The effect is
intensely weird.

"But if Lionel had had to move around,
I couldn't have kept the hypnotic gleam in
his eyes," admits Bill.

Victor Milner, veteran cinematographer
of 22 years' standing, responsible for such
triumphs as "Trouble in Paradise," and
"Love Me Tonight," declares that a good
cameraman can read light just as some
people can read music. They can look at
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exactly how what he sees will look on the
screen.

"You learn to translate the color before
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"Marlene Dietrich is exotic. Her chief
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"Jeanette MacDonald, for the roles she
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"To make a woman merely beautiful is
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screen even though to the eye she looks
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One of the best-known men in the busi-
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dios.

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eraman's life is to become so interested in

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Critics' reviews of pictures almost invar-
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photography.

"Critics always rave over stuff done in
gorgeous scenic spots," remarked Mr.

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can go out to the Painted Desert or up
into Utah or the Feather River canyon and
come back with fine shots that will get
glowing notices. Of course the man knows
his business, but nobody could help getting
good stuff because there isn't anything else
to get.

"The test comes when a chap has to
take a compo board room and make his
audience think it is a real home with at-
mosphere. That's where a cameraman
simply has to be good!

"In 'One Way Passage,' the camerman
did wonders with Kay Francis walking
down corridors, going up stairs, on decks,
etc., and not one critic mentioned his work.
They probably thought Kay Francis is a
pretty girl and she was on a boat, — well,
a boat's a boat and it can't be hard to shoot
a girl like Kay on one. They didn't take
into account that he got atmosphere, beauty
and variety into shots that might have been
monotonous, dull and perhaps downright
ugly. His space was limited, so were his
backgrounds, — his effects would have been
limited, if he hadn't been great !"

Joan Crawford Confesses

Continued from page 25

was unhappy, but because I wanted an edu-
cation, I overcame my shame of the menial
labor and I studied hard — very hard.
Meanwhile, I determined that I should
some day be wealthy, so that I need not
feel that burning sense of inferiority that
poverty caused me.

"When the time came for me to choose
my life's work, I chose the stage, because
that seemed to hold greater promises of
success. A man is able to achieve wealth
in hundreds of business careers but the way
for women is limited. I went to New
York. Then, for the same reason that I
had chosen the stage, I switched to motion
pictures — they offered an even swifter pas-
sage to fame and fortune.

"When I became a stock actress at
Metro-Goldwyn-Mayer, I was temporarily
happy, for I realized that I was in a po-
sition to advance. I knew that stardom
was certain if I worked hard and studied,
and I have never been afraid of either.

"But I soon became discontented as a
stock actress. When I passed stars on the
studio streets, I was ashamed that they
were stars and I was only a bit player. I
was so ashamed that I worked the harder
to achieve their importance. I was not
envious ; I am never envious. I do not be-
grudge others their success. I was only
ashamed that I was not a star, and I was
more determined than ever that I should
progress.

"Today I have arrived at some of the
goals I set for myself. But now I find new
aims ; other things to reach for. For ex-
ample, I am studying French. When I
visited Europe with Douglas last year, we
went to France. There he talked like a
native, for he was educated abroad. And
as we stood among crowds of people and
he conversed with them and interpreted for
me, I became terribly ashamed that I was
not prepared for just such a moment. I
realized that I had wasted hours that might
have been devoted to study, and I deter-
mined that upon my return to Hollywood,
I would take up the study of French. I
have already engaged a tutor, and when
I return to Europe next year I shall be
able to carry on my own conversations."

I sat without thought of interruption
throughout Joan's confession. She concen-
trates amazingly when she talks. Her
body is like a tightly wound clock spring —
at great tension. A frown forms between

her eyes, her teeth seem to snap off her
words and her lips tighten into hard,
straight lines. Once or twice her fingers
clenched and she struck firm fists against
the arms of her chair for emphasis.

As she talked, I recalled the Joan Craw-
ford whom I knew many years ago — when
she was a stock girl — and I was startled
to find that she has changed very little.
Even then she talked as she does today.
Even then she told me of her great desire
to be successful, and she confessed that
shame motivated her every action.

Writers and critics of today delight in
describing Joan's transitions since those
early days of her career. But there are no
such changes. She is inherently the same
woman in "Letty Lynton" and "Today We
Live" that she was in "Pretty Ladies," the
picture in which she forecast, with an un-
important part, the magnificent success she
ultimately was to achieve.

Joan has expanded, as a woman must in
eight years. She has grown, as a tiny sprig
develops into a beautiful, spreading tree
that reaches upward and outward, groping
among the heavens for greatness. She has
progressed surely and steadily, as a rivulet
gathers power and depth on its march to
the sea.

But nothing she has achieved is any
miracle of transition. Recent pictures may
display more cinema footage of Miss Craw-
ford, but her characterizations are no more
poignant than were her younger and less
important portrayals in "Our Dancing
Daughters" and "Sally, Irene and Mary."

Whatever changes may have taken place
are purely physical and mental — the natural
variations that time brings about. She is
more slender today than she was a few
years ago, but that is because she has
learned that her body photographs better
when underweight. She knows better how
to wear clothes. She has acquired a thor-
ough technical knowledge of screen acting.
She knows the poses most agreeable to
cameras ; the positions that photograph
most gracefully. But these are all physical
alterations and have nothing to do with
the woman inside.

There are no spiritual changes that I can
discern, and Joan agrees that there are
none. Years ago I knew her as a groping,
hopeful, striving youngster in her middle
'teens ; a girl who ever looked upward and
ahead, and never backward except to re-

for May 19 3 3

view her mistakes and guard against their
re-occurrence.

Today she is the same. Time may have
written the story of her struggles across
her face and imprinted the tragedies of her
heartaches indelibly in her eyes, but time
has not altered her soul. Her serious sense
of living and her insatiable yearning for
improvement of mind are plainly stamped
on her features, but no changes have been
tattooed on her soul.

I believe that Joan is the most intelligent
woman I have ever known. I say intelli-
gent; not intellectual. There is a vast
difference. Douglas Fairbanks, Jr., recog-
nizes it, for one day he said to her, "Billie,
(his nickname for Joan), people say I am
intelligent. They are mistaken; I am in-
tellectual. You are intelligent, and I would
gladly exchange with you. You instinctively
know the proper answers to human prob-
lems. Your knowledge is natural. My in-
tellect is trained, and therefore superficial."

Joan is the most honest person I know,
nor do I intend to convey that she is too
frank. I mean that she is honest with and
about herself, as only a rare few of us hu-
mans are. She detests insincerity. She
hates liars and I have known her to strike
from her list of dearest friends one whom
she discovered to treat truth too lightly.
Something inside of her — a sixth sense,
perhaps— draws her instantly to persons
blessed with similarly graceful honesty.

There is an inspirational quality about
her that flames like a torch. It warms
you if you really understand her. After
fourteen years of Hollywood, I have long
since lost all degree of awe in the presence
of the movie greats, yet I find myself awk-
ward and humble when I am with Joan. I
can't explain ; I only know that I have
such a tremendous respect for her.

The longer and the better I know her,
the more impressive I find Joan to be.
One recent day when we were motoring
from the studio to her home, I uttered an
uncommon word in conversation. She in-
terrupted me instantly, and from a com-
partment in the tonneau of the car she re-
moved a dictionary in which she traced the
word's origin and meaning. I shall never
forget the glow of satisfaction on her face
as she replaced the book. A few days af-
terward she reminded me of the word and
recited its precise etymology ! Joan always
keeps that dictionary convenient, and she

never fails to investigate words whose
meanings she does not fully comprehend.

If you do not believe that I so deeply
respect Miss Crawford, and if you think
that all I have written is just so much
writer's poppycock, permit me to inform
you of what happened to me on the day I
interviewed her for this story :

It was one of those "unusual" California
days — the rain was pouring down in tor-
rents. After I left Joan, I walked from
the sound stage towards the front offices.
Rain fell in bucketfuls, and twice I waded
through sudden streams that swirled about
my shoe-tops and sought to sweep me away.
A cold wind whipped razor-edged drops of
water into my face, blinding and choking
me.

And abruptly I said to myself, "You fool,
you're whistling!" Whistling, in the most
damnable weather California has ever seen.
Whistling, in the teeth of a gale that
threatened to fling me bodily into one of
the myriad of temporary lakes formed by
the cloud-burst. Whistling, while my shoes
oozed water with every step, and while my
ears, cold and red and raw, dripped icy
drops inside my collar !

When a man whistles in the face of such
savage outbursts of the elements, he is
drunk, in love, or inspired. I had not
touched liquor and I'd have run away from
love. Ergo, I must have been inspired.

I told Joan I intended thus to describe
her greatness.

"But I'm not," she protested. "Greatness
comes from within. It is not stardom or
wealth or physical achievement. It is a
spiritual motive that may elevate the low-
liest slave above his master."

"Exactly my own belief," I agreed.

And when I call Joan inspiring, I do not
refer to her achievements. I pay allegiance
to her womanly instincts. I offer respect
to a woman who is not afraid to admit that
she is ashamed of her deficiencies and who
is constantly striving to overcom them.

As I left the studio, I paused to show a
member of the publicity department a pho-
tograph I had posed with Miss Crawford.

"Lucky dog," said he, "to have a picture
with such a famous star."

I laughed. "Lucky dog," said I, "to
have shared a photograph with such a re-
markable woman."

As I departed, he stared after me as
though I were crazv.

Keeping in trim! Joan Crawford takes frequent dancing lessons by way
of maintaining that girlish figure. Here she is about to step into a rou tine
under the watchful eye of her dancing instructor.

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Exploding the
Joel McCrea Myth

Continued from page 23

sensation of having had a spotlight at his
heels, it is likely that when he does marry
it will be with a maximum of quiet and un-
obtrusiveness.

"What actually happened was too uncom-
plicated, of course, for Hollywood to con-
sider. I was starting in pictures. I
wanted very much to make a go of it. And
I realized quite clearly that I knew noth-
ing, absolutely nothing. I sincerely wanted
to learn — so naturally I went with women
of intelligence and knowledge, enchanted by
their wisdom and technical experience. By
a lucky fluke for which I am profoundly
grateful, the stars I played opposite liked
me enough to let me hang around and listen
to all the shop-talk. I didn't break furni-
ture at parties, or get drunk or try to
mooch. I was no hanger-on in any way,
which I suppose was a point in my favor.
And people, the right kind of people, are
always kindly disposed toward a real de-
sire for knowledge."

Looking at him, and-considering him, one
really has to question the consistency of
that high intellectual plane. Questioned, he
is undisturbed.

"Oh, naturally I didn't look on them as
school-teachers ! I'm not blind. They are
charming, glamorous — and I love to look
at and listen to glamorous, sophisticated
women. Inevitably I was romantic about
them. I did have a crush on Connie Ben-
nett, for instance. But, for the love of
heaven, whose life doesn't contain pleasant
relationships here and there quickened into
romance ?

"The whole trouble is this cock-eyed
business of magnifying the usual things of
life into terrific, dramatic proportions — a
chronic Hollywood failing."

It is not, however, a McCrea failing.
Joel — forthright, unfooled by anyone or
anything — has as level a head as you will
find under the California sky. That ex-
pertly-publicized sun, the California, has
done no more to Joel than give him an
excellent tan. Around our studios, where
success is often a form of sun-stroke, Joel
is immune even to prickly heat.

"I am no actor — but I have the advan-
tage of knowing it. As long as I play
parts that are somewhere within the range
of my own personality, I get by all right.
I have really studied and worked until I am
not entirely unsure of myself. The spark
that makes great, destined actors just isn't
in the old bean — or heart, or soul, or wher-
ever it is it lights. But I like doing it
anyhow — I like being a part of it.

"Also, since I have a good deal of Scot
in me, I have no objection to the money I
make. If I can keep on for five years
more, I'll have an assured income of five
hundred dollars a month for the rest of my
life. That is a grand, concrete thing to
work toward."

When he recently re-signed with Radio,
friends attempted to persuade him to hold
out for a shorter contract and more money
than the raise the new contract provided.
He is a good drawing-card and his present
status would reasonably warrant such a
move. But their advice was tranquilly
ignored.

"Suppose I put up such an argument and
executives called my bluff. Then where
would I be? It might just happen that
I'd fall into something better at another
studio — and then again it might not. It's
pleasant for me at Radio and I can look
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just want to work my ranch and know that
when I have a bad season there will be an
income to tide me over."

The ranch is a recent acquisition. When
I first met Joel, a couple of years ago, he
spoke at some length about his desire for
a ranch — real, not dude — on which to plant
the roots of his life. It sounded, to a bit-
ter skeptic, like a very pretty conceit fresh
from the mind of a press agent. Well, it
wasn't. That theory was quite brutally ex-
ploded by Joel's brilliance on the subject of
water-mains and fertilizer.

"It's the damndest, most exciting thing
that ever happened to me! This ranch —
my ranch — is part of the ranch I worked
on when I was a kid. When I was a cow-
hand on it, I used to be crazy about this
particular part of the land. And when the
owner, an Englishman, just went back to
England and vaguely left the whole thing
to the air, the foreman remembered my en-
thusiasm for that section and when it came
up for sale gave me first crack at it.

"It is such beautiful country ! Up in the
mountains — cool and fresh even in midsum-
mer. On my ranch there are two springs,
and the richest grazing land in the whole
district. It's covered with magnificent
trees, and green, not brown like most Cali-
fornia country. Yellow poppies and blue
mountain violets as far as you can see, and
the air has a clear mountain smell that
almost makes you drunk."

Already he has planned the modest, but
roomy log house which will go on it. He
now leases his grazing-land to his old
friend the foreman. When the five years
are up, Joel will stock it and run it him-
self. Aided and encouraged by the little
woman ?

"How can I tell now? But probably, I
guess."

One of the glamor girls lured up to the
mountains to preside over a ranch-house?
An unlikely picture.

"Of course not. I'd never marry a wom-
an like that — nothing would be more in-
congruous. I like to go with them, but
not domestically. And I never go with the
kind of woman I'd marry. Which sounds
silly, but I suppose it's a sort of defense
because I feel I'm not ready for marriage
yet. When I marry, it will be a quiet,
sweet, conservative girl with no spotlight
on her."

-Until then, let rumor erupt where it
may, he will be heart-whole, if not continu-
ally fancy-free. He does not lose a ro-
mantic interest, he says, but after a few
weeks realizes that he would be quite un-
shattered if the lady did. When she does —
with both of them continuing amiable and
friendly — Joel is off to his ranch, riding
the trails of his mountain kingdom, plot-
ting a fence here, a well there, happily pic-
turing the house presently to stand under
the trees.

Before he goes up there for good and
all, he would like to appear in one really
fine picture. Preferably "The Wind Blow-
eth" by Don Byrne.

When he says that Byrne is his favorite
author, it is no idle statement. He can
quote practically any requested passage
from "Blind Raftery" or "Messer Marco
Polo" or what you will.

He thinks the movies have been very
good to him — paying him for trips to
Alaska and Honolulu, on location. He has
never had a manager, arranging all his
business and contracts himself, with hard-
headed Scottish logic and determination.
In an argument, he is a tough baby, as ex-
ecutives about town have learned conclu-
sively. His family wanted him to be a
lawyer, but when he found it would require
additional years of college, he abandoned
the idea, since he disliked, anyway, the
prospect of being in any kind of office.
When he decided to be an actor, it was
purely because it seemed to offer an op-
portunity to ride the range on good cow-
ponies — the only example he had considered
being William S. Hart. When he was a
child, his father had instituted the custom
of the children working for the luxuries
they wanted, that they might intelligently
appreciate their value. Joel delivered pa-
pers, worked on road construction, on a
ranch, when he felt the need of a new
bicycle or shot-gun.

"That's one reason I can stand up and
argue with studios about some point of dis-
agreement. I am not dependent on the
screen. I have worked with my hands be-
fore and I can again. It wouldn't be such
a good living, but it would be pleasant and
I am equipped to do it."

Thus, on as good an exit line as any,
we gracefully conclude the explosion of the
the Great McCrea Myth.

A Tail of Two Scotties

Continued from page 31

blooded hero type," added Jill. "You know,
they're always pulling babies out of burn-
ing buildings, or dashing into the scene
to chew up the villain just in time to save
the lovely heroine from his clutches. Those
dogs just aren't real."

"What we'd like to be on the screen,"
continued Jock, "is just a couple of genuine,
honest-to-goodness dogs that like their fun,
enjoy a good debate, and know how to
hide a stocking or a glove so it'll stay
hidden. Personally I don't care much for
burning buildings, but I'm a pleasant fel-
low enough to get along with, and I know
how to be agreeable company to a bonnie
girl Scottie — "

"I suppose you're the soul of courtesy
toward me," interposed Jill with heavy
irony.

"If you keep interrupting me I'll have
a bone to pick with you," said the man
of the family, severely.

"Pick it yourself," she retorted; "I'm not
at all marrow-minded. Besides, any time
you've ever had a bone, I noticed you did
all the picking yourself!"

"Here, you youngsters, none of that

bickering," said artist Dennis, coming over
and joining us. "You see," he explained,
"they're practising up on their tempera-
ment, now that they've become actors.

"But there's one thing Jock and Jill and
I all agree on about this picture work,"
he continued, "and that is, that the pups
should absolutely be themselves when the
scenes are being made. None of this busi-
ness of getting effects by starving or beat-
ing the performers. We're photographing-
Jock and Jill in perfectly natural atti-
tudes— walking around, sitting and talking
things over between them, playing, and
so on. They'll never be conscious that
anything unusual is going on, and that's
the way it should be.

"Some people think it's funny, and some
can't grasp it at all, but I'll stand by my
theory that dogs' thinking processes are
damaged by repression, coercion and
cruelty just the same as children's are.
That's especially true of performing dogs.
To take a couple of helpless animals and
push and pull them around, or strap their
front legs to their bodies so you can
manipulate artificial legs on them for 'cute'

SH-HH"!

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effects, or even to make them work day
after day in a hot studio under strong
lights, is worse than cruel. Besides the
physical cruelty, there's the constant won-
der going on in the little creatures' brains
as to what it's all about, and why they
must be pestered so, instead of being left
free to run about as they ought."

In the "Jock and Jill" series of dog
shorts which he is making, Mr. Dennis ex-
plained, no artificial expedients are used
to make the dogs "act." They are en-
couraged to roam about the studio prac-
tically at will, and as much footage as
possible is taken of them — many times
more than is needed in the picture. In this
way enough suitable shots are always ob-
tained to fit the requirements of Will B.
Johnstone's script; and when the dialogue
is dubbed in by human voices the results
are surprisingly realistic. The leading
human role in the films is played by Mr.
Dennis himself, with the pretty blonde,
Eva Farrell, recruited from the New York
stage, as the feminine appeal.

The official names of Jock and Jill are
Albourne Reveller's Lad and Rarity of
Hillwood — but you'd better smile when you
call them that ! Jock is a veteran of
many dog shows, and has come within an
ace of being a blue-ribbon winner. In
their pictures the pups are supposed to
represent those two alertly attentive Scot-
ties in Dennis' most famous etching, popu-
larly known as "Listen," although he orig-
inally titled it, "When Do We Eat?"
These celebrated pups served him well by
carrying his name throughout most of the
civilized world, first as the trade mark for
a brand of motor oil, then as an emblem
on children's suits, a design for windshield
ornaments, and in a variety of other ways.
It is an interesting paradox, however, that
the actual pecuniary reward which he
reaped from all this popularity was amaz-
ingly small.

Though it is his dog etchings that have
brought him his chief fame, Morgan Den-
nis' interests as an artist are by no means
confined solely to canine subjects. Some
years ago he made a trip to Ireland — a
country that has always fascinated him —
and brought back with him a stack of etch-
ings of the lovely Irish countryside. These
won wide favor, over here as well as in the
country of their origin. Later he became
interested in backstage scenes, whose con-
trasting light and shade effects present
some pretty problems for the etcher's art.
He interested the late Florenz Ziegfeld in
the idea, and the result was a series of
backstage etchings from sketches made in
Ziegfeld's theatre. And so, while dogs
continue to be his chief interest, there is
no telling into what by-paths of his art
his fancy will carry him next.

"Well, we three are going out for a bit
of a stroll now," concluded Jock's and Jill's
custodian. "And don't let anybody tell
you that Jock isn't a gentleman, a scholar,
and a judge of good trees!"

Ask Me!

Continued from page 8

Twelvetrees was "Young Bride" with Eric
Linden, Arline Judge, Polly Waters, Cliff
Edwards and Roscoe Ates.

Lee M. Very few of the important ac-
tresses have achieved sudden stardom. Many
have had years of stage experience, even
beginning as child actresses. Among them
are, Bebe Daniels, Madge Evans, Dolores
and Helene Costello, Mary Pickford, the
Gish sisters, Lillian and Dorothy, and any
number of others. Gilbert Roland is Clara
Bow's leading man in "Call Her Savage."
Others in the cast are Thelma Todd, Es-
telle Taylor, Monroe Owsley and Willard
Robertson.

for May 19 3 3

Happiness in Hair!

Continued from page 67

alive, dry it with your hands and towels.
In salons where the care of the hair is
considered as well as its immediate ap-
pearance no heat is used for drying except
in emergencies.

When your hair is about half dry begin
to brush it. I do hope you have a splendid,
stand-by-you, serviceable brush ! Save your
pennies and get a good brush. You don't
want one that merely slides along the sur-
face of your hair. You want one with long,
firm, but limber bristles that penetrate
your hair and stimulate your scalp.

Julie Haydon, the girl who looks like
Ann Harding, is showing you in her pic-
ture I am using with this article, how to
brush your hair up. This is absolutely the
correct way. Separate it into sections.
Place your brush firmly on the scalp and
give it a complete stroke upward. Brush-
ing polishes your hair until it shines like
burnished metal. It exercises the roots
strengthening your hair and making it
grow. Besides, this brushing makes your
hair fluffy. Brushing upward keeps it from
lying flat on your head in a spiritless way.
Nothing has yet been invented to take the
place of brushing.

A good result is to be had from bending
your head over to brush up — you know,
like Aunt Mary used to bend over to get
her hair gathered into her top-knot. Lean-
ing over brings the blood to your head
which is good for your face, your eyes,
your ears, as well as beneficial to your hair.
Even one such shampoo and treatment as
this will leave your hair gleaming and
silky. Now, how are you going to arrange
this lovely hair to be most becoming to
you?

Tight waves and a complete marcel all
over the head are seldom seen any more
in the smartest places. Antoine, of Paris,
knocked the marcel into a cocked hat when
he gave his show at the Savoy-Plaza in
New York. All of his arrangements had
plain spaces somewhere on the head to
show off the beauty of well-cared-for hair.

Constance Bennett has always been a

pioneer in the matter of hair-dressing. No
actress makes better use of lovely hair
than she. She started the new popularity
of the half-fringe bang. Isn't it true that
when you think of Constance Bennett's ap-
pearance you think of her shining hair
almost immediately? And this in spite cf
her amazing eyes.

Kay Francis is another actress whose
hair one always remembers. She has gone
in for a new softness about her face, in-
stead of the sleek, chic, satiny appearance
of yore. They are both becoming to her,
as you've observed on the screen.

And what do you think of Alice White's
blondeness ? It makes her look incredibly
young. Both she and Mary Carlisle are
cute no end with their saucy, soft little
upward turn in the back. Not for the ma-
ture types !

There seems to be a general renaissance
of the quainter ways of doing up hair.
Dorothy Wilson exemplifies this trend with
her hair brought simply, but softly, back
into low knots behind her ears. A nice
way to show off a lovely contour of cheek,
throat and ear, isn't it ?

No wonder Miriam Jordan seems to
have Warner Baxter completely hypno-
tized ! Just how much of her appearance
of exquisite grooming and feminine beauty
is due to her shimmering, obedient hair ?
Without understanding her other charms
and talents, isn't it her hair that attracts
you ?

All of these picture girls who stand so
prominently before the public use every
means to add to their "illusion of beauty."
Every woman can do the same thing for
herself and reap proportionate rewards in
her own life. We like to believe that
beauty of mind and character is expressed
somehow, somewhere in the physical. When
you can have the tremendous advantage of
beautiful hair so easily, why not promise
yourself, and me, that from now on your
hair will always be at its silken, shimmer-
ing best? That's being smart — in more
ways than one !

It's the Cats!

Continued from page 34

will not make a satisfactory performer.

The ordinary cat cannot, or should it be
said, will not, master a repertoire of more
than four or five tricks. Knowing this,
the trainers do not try to overburden a
cat with countless stunts, and restrict each
cat to a selected group of tricks which it
is taught thoroughly.

One of the hardest tricks for a trainer
to teach a cat is that of stopping and
starting. The difficulty will be appreciated
in connection with sound-pictures for com-
mands cannot be shouted to the performing
animal from the sidelines. Tabby must be
taught to obey silent commands.

At one time Kerr used a cat in a motion
picture scene which required that the cat
enter a room, walk across it, pause in the
center of the room, look back at the
point from which it had entered, and then
proceed to the opposite wall where it was
to jump to a high window-sill.

"King," the prize performer of Kerr's
collection, was taught to perform this
trick. The cat was taught the stunt in
several operations, learning first that once
it had proceeded half-way across the room
and looked back at its trainer who stood
at the point from which the animal had

entered, it would be rewarded with a tasty
bit. Being kept hungry, and knowing it
would not be fed until it had walked to a
designated spot and then looked backward,
it soon handled this section of the stunt
with ease.

The trainer then placed a bit of food
for the animal on the high window-sill to
which it was to jump. Occasionally food
was given to the cat when it reached the
half-way mark on the floor — frequently
enough to cause the cat to pause there and
glance back to see whether or not food was
forthcoming.

When it came time to "shoot" the scene,
no food was placed for the animal. It
slowly entered the room while the cameras
were carefully focussed upon it, walked
half-way across, and then stopped, looking
back to see if the trainer was going to
throw it some food as he had previously.
The trainer, meanwhile, had hidden from
sight. When the cat saw it was to go un-
rewarded, it decided to proceed across
the room to the opposite side, jumping
high to the window-sill in the hope that
other food awaited it there.

There you have it — see how easy it is to
make a cat a good actor!

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FAT WOMAN The Public Be Heard

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Living in
Holly wood9 9

How love and marriage
have gained a new meaning
in MAY

Silver Screen

On Sale April -jth.

WOMEN I Here is
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FAITH WINSTON

Dept. SC-5

122 Fourth Ave. New York. N. Y.

"CLEAN" PICTURES

I'm glad I went to see "The Bitter Tea
of General Yen," for it was a good picture,
well acted. But in the midst of it, without
the slightest provocation and of no assist-
ance to the plot, a bath-tub appeared on the
scene and we must forthwith witness the
charming heroine taking a bath. Recently
I saw "No Man of Her Own," and the
same thing happened. "The Match King"
also had its big bathing moment, and I
could enumerate five other films I have
seen recently in which the bath-tub is hauled
in with no real raison d'etre.

What's the matter with the directors?
Do they consider bathing a novelty? Or
have they a job lot of bath-tubs on hand?
Let's have less "bathos" in our pictures !

Mignon Quaw Lott,

Baton Rouge, La.

"SUPERB" ASTHER

This is my first attempt at a "rave" for
a movie star, but I am going to make up
for lost time.

May the biggest bouquet that ever grew
go to Nils Asther ! His superb perfor-
mance in "The Bitter Tea of General Yen."
a tender, beautiful story, is the height of
fine acting. The diabolical yet charming
General whose fascination shows a human
streak is played to perfection.

I read not long ago that Nils was to
play with Helen Hayes in "The White
Sister," but Clark Gable got the part.
Clark is a grand actor, and all that — but
what's the matter with Nils Asther?

I'm sure I must be one of many who
want to see Nils more often. Wake up,
directors and studios, and give Nils Asther
bigger and better parts. He deserves them !

Kathleen M. Anderson,

Coronado, Calif.

"GREAT"? HE RATES IT!

After having seen that much-talked-of
player, Charles Laughton, in "Island of
Lost Souls," I realize how truly he is called
a great actor !

He makes you forget completely that he
is taking the part of a fictitious character.
Several times during the performance I
found myself thinking that Dr. Moreau had
really lived (gruesome thought!). Laugh-
ton somehow convinced me of it. Nor does
he attempt to "rub in" the drama — he
speaks in a low tone, yet in so compelling
a manner. And, not least of all, Laughton
appears to have a delightful sense of humor.

Kathleen H. Kirwan,

Bronxville, N. Y.

BETTE, TAKE A BOW!

Too little is said of the perfectly natural,
unspoiled Bette Davis.

One can almost feel a certain restfulness
and ease come over an audience when she
appears on the screen. Perhaps it's the
beautiful way she handles that adorably
lanky figure and long neck ! And again, it
may be we are tired of "beauties — just
beauties" ; we want, at times, individuality.
And goodness knows we get it with Bette.
Why, she's actually able to hold a cigarette
without danger of burning herself ! And
as for her manner of speech — well, it is
simply what you would expect from a girl
who is so utterly charming and graceful.

M. Smith,
Cedar Rapids, Iowa.

SHARLIE GOES
HOLLYWOOD!

* With apologies to Mr. Jack Pearl

Charlie: So, Baron, you are going
to Hollywood?

Baron Munchausen : Suah, I'm
going oudt dere to make pitch-
ures for one hundred billion
dollars a veek, directed by Irving
Thalberg, Ernst Lubitsch, and
Frank Borzage, mit script by
Eugene O'Neill, George Bernard
Shaw, and Anita Loos, und
playing extra in my first pitchure
will be Greta Garbo, Joan Craw-
ford, Marion Davies, Mary Pick-
ford, Charlie Chaplin, und
twenty dozen lions, und fifty
elephants, und one hundred
camels, und my Cousin Hoogo,
und Mickey Mouse, und —

Charlie: Ridiculous!

The Baron: I beg your stuff?

Charlie: Why you can't get all
those temperamental stars to
play extras in your picture!

The Baron: Vas you dere, Sharlie?

Seriously, Jack Pearl is going to
Hollywood, and next month in
Screenland you will read all
about him. This magazine has long
been aware of the affinity of the
radio and the motion picture, and
was the first screen publication to
give you a radio department as a
regular feature. Now we will give
you, first, the most entertaining
srory you have ever read about
Radio's funniest man, Mr. Jack
Pearl — in the June issue on sale
April 25.

Tune in every Friday at 4:15
STATION

W O V

MUSIC GOSSIP NEWS

for May 19 3 3

Tagging the Talkies

Continued from page 12

Luxury Liner
Paramount

Things are bound to happen when a ship
carries such exciting passengers as George
Brent, Zita Johann, Alice White, Vivienne
Osborne, C. Aubrey Smith, Veree Teasdale,
and Frank Morgan. You'll watch a domes-
tic triangle unfold; a murder and a suicide,
among other things. Alice White shines,
George Brent scores, but the film doesn't
quite hit the bull's eye of entertainment.

The Secret of Madame Blanche
M-G-M

This smacks of "Madame X," and several
other self-sacrificing mother-love films, but
Irene Dunne's brilliant presence adds lustre
to the old story. The pictures will bring on
the weeps — especially when Irene confesses
to a murder in order to shield her son. But,
rejoice, there's a happy ending! Nice work
by Phillips Holmes and Lionel Atwill, but
the applause goes to Irene.

Face in the Sky-
Fox

A brash young sign-painter from the big
city meets a sweet country girl and —
you've guessed it — they fall in love! It's a
sentimental story, and will make the sophis-
ticated snicker. Spencer Tracy keeps the
film lively when he's around — but he isn't
around enough. Stuart Erwin and Sam
Hardy make the most of their roles. Marion
Nixon is the country gal. Good cast, but
oh, the story!

Ladies They Talk About

Warners

Excellent acting on the part of La Stan-
wyck helps to carry this otherwise implausi-
ble picture. Barbara becomes a "lady of
the big house" when the man she loves and
trusts goes back on her. After her release
she seeks revenge, but her early love for
him triumphs over her hatred. Preston
Foster and Lillian Roth are capable in
supporting roles.

Sailor Be Good
RKO-Radio

Jack Oakie clowns and works hard but gets
few laughs. Don't blame him — there just
aren't enough comedy situations for him to
put over. The story, such as it is, deals with
sailors on shore leave, gals, and gin. Oakie
throws over his square-shooting sweetheart,
Vivienne Osborne, for a dizzy society cutie.
But there's a happy ending.

Nagana
Universal

Anyway, you'll add a new word to your
vocabulary — "Nagana" means sleeping sick-
ness. Melvyn Douglas is a scientist who
goes to Africa to battle the dread disease,
and is followed there by the devoted Tala
Birell. Thrills arise when the suspicious
natives attack them, but Douglas turns
loose his experimental animals — excite-
ment! That nice Onslow Stevens appears
briefly. Encore!

Dangerously Yours
Fox

If you like the "Raffles" type of crook
story this will ring the bell with you.
Warner Baxter plays the gentlemanly burg-
lar with charming manners and taking ways.
Miriam Jordan is the beautiful lady detec-
tive. As you suspected, Miriam falls in
love with Warner, who, of course, reforms.
Despite good work on the part of the cast,
the action is a bit slow.

Blondie Johnson
First National

Just when we thought all the movie racke-
teers had been taken for a "ride" — along
comes Joan Blondell as a "lady racketeer!"
Joan is her usual breezy self, wisecracking
her way throughout the film. You'll welcome
back Chester Morris, who plays Blondie's
partner-in-cinema-crime ; and you'll applaud
Allen Jenkins. It's entertaining

FIRST CROSSWORD PUZZLES
THEN JIG-SAW PUZZLES

NOW

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ONE to B&HT

Smart Hostesses are introducing Hi-
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the exciting new question and an-
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is great fun whenever it's played.
Old and young, men and women,
everyone enjoys it. It's so simple to
play — so amusing that everyone has
a good time.

Plan now to play it the next time
you have company and know that
your friends will congratulate you
on being the first to introduce this
popular New York game. Top off
an evening of bridge with Hi-Jinks.
Not only is Hi-Jinks a riot of fun
for grownups but children love it
too. Many mothers buy Hi-Jinks
for their kiddies. They say it trains
them to think quickly and correctly.

SCREENLAND SAYS "YES"
FOR ALL MOVIE LOVERS

Hi-Jinks is the movie lovers game.
It's your game if you enjoy the movies.
The cost is low — only 25c for the four
games and we pay the postage. Mail
your order today and be the first to
play Hi-Jinks.

Hi-Jinks, Room 1002

45 West 45th Street, New York

I am enclosing 25c. Please send me
Hi-Jinks postpaid.

Name

Address

City State

SCREENLAND

Here's Hollywood!

Continued from page 76

AXN DVORAK, rumored quietly back
IX in Hollywood, is actually in Southern
Italy, from where she wrote cards to Hol-
lywood friends and indicated that it may
be some time before she returns to Amer-
ica . . . Joan Blondell has been made As-
sistant Chief of Police of Fresno, California
. . . Bebe Daniels will go to Europe this
summer to make a concert tour to last
about four months ; she will open her tour
in Barcelona, Spain . . . When the director
of the Culbertson bridge series quit, Ely
said, "It was because we disagreed on the
Culbertson system" . . . Ruth Chatterton
plays chess ; George Brent plays polo.
George agreed to learn chess if Ruth would
take up polo, and at present they're dead-
locked . . . George Arliss, who is very
tender toward animals and living creatures,
refused to permit fishing scenes for "Adopt-
ed Father," and only allowed to show part
of his fishpole bent to indicate he had made
a strike . . . Joe E. Brown went through
high school and college in one week ; on
Tuesday he was made an Honorary
Alumnus of Los Angeles High, and on
Thursday he became an Honorary member
of the University of California of Los
Angeles Athletic Association.

-pjOUGLAS FAIRBANKS, JR.,
* saw a preview sign on a
theatre and stopped to ask what
picture was being given its "try
out."

" 'From Hell to Heaven,' with
Jack Oakie, Adrienne Ames, David
Manners and Carole Lombard,"
informed the ticket seller.

"Hmmmm! With that cast,"
murmured young Doug, "I under-
stand why the title must cover so
much territory."

Henry Garat, imported
from the Paris screen
by Fox, is being hailed
as the new threat to
Chevalier's supremacy.
Be that as it may, he
certainly has excellent
taste in reading matter !

HAVE you wondered what stars do after
careers are ended? Here are a few

answers :

Pearl White, former serial queen, now
lives in Paris. She works in French films,
and is a wealthy investor in several French
night clubs.

Theda Bara, once the screen's foremost
vampire, is now the wife of director Charles
Brabin, and is a social leader in Holly-
wood. She attempted a screen come-back
a few years ago.

Olive Borden, the Fox "girl with the
most beautiful figure" a few years ago, is
now in London, striving for a new career
on English stage and screen.

Carlyle Blackwell, the first matinee idol
of the screen and still called motion pic-
tures' handsomest star, also lives in France.
He habituates the Casino in Monte Carlo
and other popular spas of the Old Conti-
nent.

THE new fun-fad in Brawly-vvood,
started by Dick Arlen and Charlie
Farrell, is the substitution of stars' names
for other words in conversation. Here are
some examples, and you'll find it entertain-
ing to invent others :

"Don't go putting on Ayres around here."
"If I pay you a dime for the knife, who
will be the Gaynor?"

"He's a great man, but he has his short
Citmmings."

You may even enjoy dialect or vernacu-
lar, such as :

"A Boyd in the hand's worth two in the
Busch."

Or you may resort to semi-blasphemy :
"Blondell — she's a bleached brunette!"

BERT WHEELER says he
saw a game of "Bridget";
bridge played by midgets!

BING CROSBY won his first notable
success in Hollywood. He also met
Dixie Lee, his wife, in the film city. And
in addition, he likes Hollywood and most
of his friends live there.

So he and Dixie, at considerable incon-
venience to themselves, left New York and
went to California's most famous city so
that the Crosby heir might be born in the
state its parents love most.

Josef von Sternberg keeps to
his high standards of feminine
companionship. These two
beautiful Teutonic ladies are
Frau Liane Haid and Fraulein
Lui Deyen, of Berlin.

When good Barrymores get to-
gether! Mr. and Mrs. Lionel
and Mr. and Mrs. John Barry-
more made up a distinguished
family party at Palm Springs.

ImanaUuinal

Keyston

No M an can nesist the ALLURE

of a <^^jcSmovihcS&^

'o people regard you as pretty sometimes? Or
bear the reputation for constant loveliness that
with a delicate flawless complexion?

It is so easy for a woman's skin to become
red and rough. Particularly in winter! . . .
Sharp cold and biting winds attack the face.
Destroy its smoothness and charm ... In
door heat saps the natural oils from your
skin. Leaves it dry and old-looking.

Protect your complexion from these
harsh extremes. If your face has a ten-
dency toward redness ... if it often feels
dry and rough . . . begin using Outdoor
Girl Face Powder at once. Dust it on
every day before going out. And again
when you come in.

Outdoor Girl is the only face powder
in all the world made with an Olive Oil
base. It is soft and fluffy in look and feel,
yet it clings longer than any other pow-
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notice a distinct improvement in your
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Try this different face powder today. It
is delicately scented and comes in 7 smart
shades to blend naturally with any com-
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Outdoor Girl Face Powder and other
Olive Oil Beauty Products are priced to
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Outdoor Girl "Introductory Sampler."

do you

goes

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— Liquefying Cleausing Cream and Lip-and-Cheek Rouge.

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I enclose 10c to cover handling and postage. Please send me
your OUTDOOR GIRL "Introductory Sampler" containing
the 5 preparations mentioned in your advertisement.

j^jz exit J^eairriervt

IL is as necessary to the hair and scalp
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The Smart Screen Magazine

AMPLE COPY

Constance
Bennett

June

Joan Bennett Talks about Sister Constance
| Amelia Earhart Looks at the Films ♦ Exclusive !
Why I Married Fredric March by Florence Eldridge March

5 pounds this week with
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Send me 3 packages of Dr. McCaskey's Prescription Tablets with book-
let enclosed. I will pay the postman $2.50 and the few cents postage. It
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NAME

ADDRESS-

DONALD McCASKEY, M. D.

Recognized authority on weight control. His
fine thirty year record as a physician brought
him such honors as Fellowship in the New
York Academy of Medicine, Membership In
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Dr. McCaskey's
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Screenland for / 11 II e 19 3 3

AT A

FOOL

SHE IS!

She gets panic-stricken about a gray
hair — and yet nobody else would
ever know she had one! Scarcely any-
one, however, can glance at her with-
out noticing how gray her teeth look
— how dingy and dull.

If your teeth are dull-looking — if
your gums are sensitive — they need
If ana and massage.

"Pink" upon your tooth brush is
an indication of too-tender gums.

IPANA

And this bleeding of the gums threat- tion they need, and of which they are

ens the sparkle and soundness of your robbed by the soft modern food that

teeth— the charm of your smile! gives themsolittlenatural work. Each

For "pink tooth brush" may not time you clean your teeth with Ipana,

only lead to serious troubles of the rub a little more Ipana directly on your

gums— gingivitis, Vincent's disease, gums, massaging gently with your

and pyorrhea — it may even endanger finger or the tooth brush,

sound teeth. Start it tomorrow. Buy a full-size

Keep your gums firm and healthy tube. Follow the Ipana treatment reg-

— and your teeth clean and bright ularly and faithfully and you need

with Ipana and massage. have little concern about "pink tooth

Restore to your gums the stimula- brush." You'll be rid of it!

*s*- v BRISTOL-MYERS CO., Dept. 0-63

^ Kindly send me a trial tube of IPANA TOOTH

. ' p TO O ^JjB5^v HBr PASTE. Enclosed is a three-cent stamp to cover partly

^^^^^^^^^^C^^^^^^^^^^^^^^^y^y the cost oi packing and mailing.

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

©C1B 188651

The Smart Screen Magazine

Delight Evans, Editor

James M. Fidler, Western Representative

Frank J. Carroll, Art Director

Katharine Hepburn, newest movie
"glamor-girl"

The Last Word in
"Glamor"

VVTELL, maybe not quite the last word.

Such a fascinating subject as
Glamor will never be exhausted. But
we are going to give you the last word —
to date. Why not? We were the first
to tell you about Glamor in its relation
to screen actresses. No — we're not claim-
ing to have invented Glamor. Eve did
that, closely followed by Helen of Troy,
Cleopatra, Greta Garbo, and a few other
girls, or so we've heard. But we do
undertake to give you an entirely fresh
slant on this Glamor business. Clemence
Dane, celebrated English author of "A
Bill of Divorcement," "Broome Stages,"
and other popular books and plays, who
is now in Hollywood writing screen sto-
ries, has been persuaded to give us her
views, and as you might expect, they
make provocative reading. It was as a
Clemence Dane heroine that Katharine
Hepburn, our latest exponent of the good
old art of Glamor, made her first screen
success. Miss Dane should know. She
does know!

See July Screenland on sale
May 25th

June, 1933

THIS MONTH

Vol. XXVII, No. 2

FEATURES:

COVER PORTRAIT- OF CONSTANCE BENNETT ! . Charles Sheldon

ANSWERS TO OPEN LETTERS Delight Evans 15

JOAN BENNETT TALKS ABOUT SISTER CONSTANCE S. R. Mook 16

CONFESSIONS OF CUPID . James M. Fidler 18

WHY I MARRIED FREDRIC MARCH Florence Eldridge March 20

NEWS ABOUT NORMA SHEARER Laura Benham 24

DOUBLE-STAR GAZING AT CAROLE LOMBARD AND BILL POWELL

William E. Benton 26

AMELIA EARHART LOOKS AT THE FILMS Mortimer Franklin 28

PERSONALITIES:

RUBY BEATS THE JOLSON JINX. Ruby Keeler . . . John Carlisle 14

THE PEARL OF GREAT PRICE. Jack Pearl Lester Gottlieb 32

FUNNY MAN— SMART CONTRACT. Charles Ruggles Helen Harrison 51

GOING WEST. Mae West Malcolm Oettinger 52

GOING NATIVE. Buster Crabbe | Evelyn Ballarine 53

BETTE— BEFORE AND AFTER. Bette Davis ! Betty Shannon 54

SPECIAL ART SECTION:

Who Said "Farewell To Legs"'? (Madge Evans). "Come-Back"! (Marlene Dietrich).
" Personal" Appearance! (Joan Blondell). Dots and Dash! (Jean Harlow).
Bored, Beery? (Wallace Beery). Lady of the Legs! (Ruth Chatterton).
My Landi! (Elissa Landi). Lyle Looks Ahead (Lyle Talbot).
Going Up! (Cary Grant). Perturbed, Tracy? (Spencer Tracy).
"Modern Duse"? (Barbara Stanicyck).

On the Beach — 1933: Anita Page, Madge Evans, Johnny Weissmuller, Jean Parker, Mary Carlisle,
Maureen O'Sullivan. Girl About Hollywood! (Claudette Colbert). Smooth Scenery at Malibu!
(Adrienne Ames, Lilyan Tashman). \

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 6

ASK ME Miss Vee Dee 8

OUR OWN LAUGHIES. Cartoons 9

TAGGING THE TALKIES. Short Reviews 10

HONOR PAGE 12

REVIEWS OF THE BEST PICTURES Delight Evans 56

A "RECORD" CONTEST. Radio Evelyn Ballarine 58

SCREENLAND'S GLAMOR SCHOOL Edited by Joan Crawford 60

THE HAND OF BEAUTY. Beauty Margery Wilson 62

HERE'S HOLLYWOOD. Screen News Weston East 64

FEMI-NIFTIES. Cosmetics :' Katharine Hartley 74

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must
be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us weeks in advance of the next
issue. Be sure to give both the old and new address. Entered as second-class matter November 30, 192}, t'- - at New York, N. Y.. under

the act of March 3, 1879. Additional entry at Chicago, Illinois. Cot-
Member Audit Bureau of Circulations .

SCREENLAND for June 19 3 3

M-G-M is proud of John Barrymore! "Reunion in Vienna" is
his new picture and Diana Wynyard is the girl! One night of
reckless romance, risking capture to recapture the love of his
mad days in the Imperial Court. .Gayestof thisyear's Broadway
romantic hits "Reunion in Vienna" from Robert E. Sherwood's
play, produced by the Theatre Guild, becomes another
Metro-Goldwyn-Mayer delight! Directed by Sidney Franklin.

~k The reproduction above of on original painting of John Barrymore by Otis Shepard
is the second of a series of caricatures by famous artists of Metro-Goldwyn-Mayer stars.

SCREENLAND

The Public Be Heard!

The fun has begun! In the April issue we
called for your comments on the following
question relating to present-day movies:

Should the screen stars put their person-
alities foremost in their roles? Or should
they hide their individual characters in the
parts they play?

The answering flood of letters proved that
the picture public is very much on its toes.
Letters have poured in from East, West,
North and South — letters serious and gay,
excited and judicial, on both sides of the
question. Those favoring the subordination
of actors' personalities win the argument by
sheer force of numbers; but there are many
able and convincing arguments on both
sides. Read those printed herewith, and
form your own verdict!

Other movie topics come in for the usual
amount of discussion, not to mention some
enthusiastic "raves** for individual favorites.

And now here's this month's "bone of
contention":

Must a motion picture end happily to be
entertaining? Or should unhappy endings
be permitted for the sake of dramatic
truth?

How do you feel about that? And why?
Do you demand logical, consistent endings
to your screen stories, as in "I Am a Fugi-
tive" and "A Farewell to Arms"? Or do
you insist upon being sent away with a
smile? Write and tell us all about it. The
best letters will be printed in this depart-
ment, and will be eligible for the prizes of
$20, $10, $5, and$S offered monthly. Whether
you prefer to write on the above topic or on
some other movie matter of the moment,
take your pen in hand and win yourself a
prize!

Keep your letters within 150 words, and
mail to reach us by the 10th of each month.
Address the "Public be Heard" Dept.,
SCREENLAND, 45 W. 45th St., New York City.

ACTORS SHOULD ACT!
(First Prize Letter in "Personality"
discussion)

The stars should by all means forget
their own personalities in their roles, and
strive to become the characters they are
portraying.

True enough, I have my screen favorites
whom I try not to miss ; but they are my
favorites less because of some charming
personal characteristic than because I can
depend upon them to give good perform-
ances. Their names have become, as it
were, a guarantee of fine acting. Experi-
ence shows that the popular personality is
apt to have but a short "day," and soon
become as out-dated as a popular song,
whereas the actor can go on indefinitely.

Actors, in briefer language, should be
actors and not mere mannikins.

D. H. Chapman,
1532 Wilshire Blvd.,
Los Angeles, Cal.

HOWEVER —
(Second Prize Letter)

Personality is that magic something that
makes the artist. No actress can afford
to lose her individuality in the characters
she portrays.

Gifted writers and painters can work on
the same subjects, but they invariably ex-
press themselves differently. Should they
attempt to imitate others, their charm is
gone.

It is the same with artists of the screen.
Personality is a gift of the gods. To keep
their popularity and do their best work, the
stars must be their natural selves. A man
by the name of William Shakespeare ex-

pressed it long ago in a few words, which
still hold good today:

"To thine own self be true,

And it doth follow as the night the day

Thou canst not then be false to any man."

Mrs. Joe Miller,
423 North Pine St.,
Charlotte, N. C.

THAT TRACY TERROR!
(Third Prize Letter)

After seeing "20,000 Years in Sing Sing,"
one is compelled to realize that it is through
the efforts and acting of such players as
Spencer Tracy that the talkies have been
raised to their present high place as an art.

One marvels before those last great
scenes of his, and leaves knowing that one
has been face to face with something vastly
greater than merely an -evening's entertain-
ment. Such power, such genuine emotion,
and such true-to-life acting are the in-
dubitable mark of a real artist.

So please let me thank Mr. Tracy here
for his splendid work, and for the study
and concentration he must have put into
that role.

Rhea E. McCann,
Pacific Grove, Calif.

AMAZING MYRNA LOY
(Fourth Prize Letter)

Myrna Loy has gone and done it — she's
got _ herself "discovered" at last ! After
having seen her in "The Animal King-
dom" and "Topaze," there can no longer
be any doubt that she is a lovely and gifted
actress, and not merely a player of exotic
character parts.
_ Miss Loy rose to the top rung slowly,
silently, but surely, and now we all stand
amazed, and wonder why it took us so long
to discover her. Of course, she was typed
too much and cast in unsympathetic parts ;
and one just took her acting for granted.
But just try to put someone else in those
parts, and see what would happen.

Here's to your continued success, Miss
Loy, and your future stardom !

Virginia Perry,
460 W. 24th 'St.,
New York City.

WE CAN'T IMAGINE!

Screen stars should, by all means, put
their personalities foremost in their roles.
Imagine ZaSu Pitts playing a Norma
{Continued on page 86)

Spencer Tracy' s
hard-hitting and in-
tensely human char-
acter izations win
him the bulk of this
month's plaudits
from picture-goers.
See him give one of
his most compelling
performances in his
next picture, "The
Power and the
Glory."

for June 19 3 3

IT WILL MAKE
FRISCO JENNY'

mill
nun

Even Broadway blushed
at this sensational stage
play of a 1933-model Delilah
who had a weakness for
every "strong man" in her
barnstorming medicine
show ... If you liked Ruth
Chatterton in "Frisco Jenny",
youH like her even better as
"Lilly Turner", most lovable
"bad girl" the screen has
ever shown 1

KUTH

(HATMTON

i n

LILLY TM

A First National Picture based on a play
by Philip Dunning and George Abbott
Directed by William A. Wellman

GEORGE BRENT
; Fiank McHugh
Ruth Donnelly
Guy K i b b e e

WARNER. BROS. tu^aln,/

SCREENLAND

Ask Me!

You ask, we answer!

By Miss Vee Dee

Carol Ann. Richard Arlen has a host of
admirers who have watched his work, step
by step, and know he will always give a
sincere portrayal of any character assigned
him. He was born Sept. 1, 1899, in Char-
lottesville, Va., the son of James and Mary
Van Mattimore. He is 5 feet 10% inches
tall, weighs ISO pounds, and has brown hair
and grey-blue eyes. While attending St.
Thomas College in St. Paul, Minn., he en-
listed in the Royal Flying Corps. He
trained in England and after receiving a
lieutenant's commission, served as a pilot in
taking planes to the front. After the close
of the war, he entered the University of
Minn., but other plans prevented his finish-
ing school. He can recall 34 pictures he has
worked in and many more in which he
played very minor parts. First release was
"Vengeance of the Deep" in 1923. His new
film is "College Humor," with Jack Oakie,
and Bing Crosby and Burns and Allen of
radio fame.

Mrs. Ada G. You expect to "wait on
our door step" until we give you a full-
page picture of your favorite, Buck Jones.
Why wait outside — step in and we'll see
.what can be done about Buck's picture.
And in the meantime don't miss Buck's
release, "Unknown Valley."

Virginia A. 'Since making "Delicious"
Raul Roulien has appeared with Joan
Bennett and John Boles in "Careless Lady"
and has been seen in a few minor parts
but his admirers insist on some big parts
in a big way. I do not know of any
phonograph records Ramon Novarro has
made which are for sale. As you undoubt-
edly know, your favorite, John Gilbert, has
taken unto himself a fourth bride, the
blonde Virginia Bruce. They were mar-
ried in his dressing room on the M-G-M
lot, last August 10.

Anastasia Z. Sorry I haven't the cast of
"For the Love of Fanny," featuring Glenn
Tryon. It was a short subject film. Bob
Steele's new picture is "Law of the West"
with Nancy Drexel. "Unknown Valley"
with Cecelia Parker is Buck Jones' latest
offering. Janet Gaynor is 25, Glenn Tryon
is 33, Paul Muni, of "Fugitive" fame, is 35,
and Sylvia Sidney is 22. Marian Nixon and
Ralph Bellamy played together in "Rebecca
of Sunnybrook Farm." In 1917, Mary Pick-
ford and Eugene O'Brien made the silent
film for Paramount of Kate Douglas Wig-
gin's popular book.

Mrs. Gricda L. No one could turn in
more delightful portrayals than Roland
Young and Charlie Ruggles. It was Roland
who was the king in Pola Negri's talking
picture "A Woman Commands." Both Ro-
land and Charlie scored a tremendous hit
in "This is the Night" with Lily Damita.
Willard Robertson was Neivman in "Shang-
hied Love." He was Jackie Cooper's father
in "Skippy" and "Sooky." David Wark
Griffith is very much alive and is still di-
recting pictures now and then. Edward
Earle is also among those present and plays

in an occasional picture. He belongs to the
Masquers' Club and if you look "right
sharp" you may see him in some of their
farces on the screen.

The Hungarian Goulash. I'll take vanilla
in mine. You want the dope, the whole
dope, and nothing but the dope on Maureen
O'Sullivan. She was born May 17, 1911, in
Rascommon, Ireland. She is 5 feet 4 inches
tall, weighs 114 pounds, and has dark brown
hair and blue eyes. She was educated at
the Sacred Heart Academy in Dublin.
First picture experience was with John
McCormick in "Song O' My Heart." You
may remember her in "Just Imagine" with
El Brendel, Marjorie White, John Garrick
and Frank Albertson. You saw Maureen
in "Strange Interlude" with Norma Shearer
and Clark Gable. She has completed a
second "Tarzan" film with Johnny Weiss-
muller.

Mary G. It would mean a lot to you and
countless other fans to see Frances Starr
again. She made her first screen appear-
ance in "Five Star Final" with Edward
Robinson, H. B. Warner, Anthony Bushell
and Marian Marsh. Later she was in "The
Star Witness" with Chic Sale and others.
Frances was born June 6, 1886, in Oneonta,
New York. She was on the stage in 1901,
appearing in a number of stage successes
for several years.

Nina S. There is really a Juliette Comp-
ton and she is neither Joyce, Fay, nor Betty
Compton. Juliette was born in Columbus,
Ga. She lived in England for ten years, and
has been in American pictures about two
years. She is the wife of James Bertram,
an Englishman, and they have a four-year-
old daughter.

Miss F. K. Clark Gable's father was
William Gable of Cadiz, Ohio, and not Max
Gable, the Jewish actor of New York.
Clark appeared in "Strange Interlude" with
Norma Shearer. He first attracted atten-
tion as the "heavy" in "The Painted Desert."
Then in his first films for M-G-M he as-
sumed similar roles, made better for him
because the audience was left in suspense
for a while as to the extent of his villainy.
Remember him in "Night Nurse" with
Barbara Stanwyck ? Bad old meanie ! But
he went tough again in "Red Dust," with
Jean Harlow, and more Gable-ish than ever
in "No Man of Her Own," with Carole
Lombard. Watch for him in "Nora," op-
posite Jean Harlow.

Pretty Polly. You don't want a cracker,
do you? Mary Brian, often called "The
sweetest girl in Hollywood," is about 23
years old and not married. Mary's latest
picture is "Girl Missing," with Ben Lyon.
Ralph Bellamy's releases are "Young
America," "The Woman in Room 13,"
"Rebecca of Sunnybrook Farm," "Air
Mail" and "Second-Hand Wife." Leslie
Howard's real name is Leslie Stainer. His
home life is an ideal one — he is devoted
to his wife and two children and is never
separated from them. Don't miss him in

of beer!" sings that old salt,
Richard Arlen. Dick is Head Man
of this department this month.

"Berkley Square," a picturization of his
Broadway stage success.

Ethel N. P. You'd like pictures of Rob-
ert Montgomery in every issue ! Swell for
you and Bob but how about the three or
four other good actors ? Robert appeared
in "Blondie of the Follies" with Marion
Davies and Billie Dove, who be
derful time on the screen, fig1-
your favorite. Bob was born ■
N. Y, on May 21, 1904. He
hair, blue eyes, is 6 feet tall ;
160 pounds. He was married t<
Allan on April 14, 1928. And— they
married. Watch for Bob in "H

for J line 193 3

Fred Neher

Kid Star: "Father, I've de-
cided to send you to school —
it's abcrut time you learned a
vocation!" v

Our

Own

Laughies

Usher: "Captain, I have to
report three meows and one
P-s-s-s-t during the running
of the Mickey Mouse film !"

Waller Schmidt

Christopher Strong
RKO

Katharine Hepburn's second picture pre-
sents her as a dashing aviatrix with mid-
Victorian romantic ideas. The long lanky
glamor-gal goes love-lorn, scaling the skies
in lonely grandeur and finally ending-it-all
in far from modern fashion. You'll like the
fascinating Hepburn, and the very English
Colin Clive, and charming Billie Burke.
But give Hepburn a better story, pronto.

Sailor's Luck
Fox

Sally Eilers and Jimmy Dunn disport
themselves agreeably in this slightly silly
picture of the sailor's-sweetheart school.
Their love triumphs over many mishaps,
quarrels, and mutual socks in the jaw.
None of it makes much sense, but it's nice
and noisy and everybody has a lot of fairly
clean fun. Sally looks nicer — and slimmer —
than you've seen her in some time.

egging

Talkies

Brief ratings of current
screenplays. Make this
your cinema guide

Delight Evans' Reviews on

Page 56.
More reviews on Page 88.

The Crime of the Century
Paramount

Here's a new idea in murder mystery
films — and it makes for absorbing enter-
tainment. A reputable doctor who feels the
urge to hypnotize and rob a patient confesses
to the police, asking to be restrained. Then
the patient is murdered, and — guess who!
Jean Hersholt is superb as the doctor,
Stu Erwin makes a believable reporter-
sleuth, Frances Dee a pleasant ingenue.

SCREENLAND

Fast Workers
M-G-M

A hard-boiled tale of love among the rivet-
ers, with John Gilbert and Robert Arm-
strong as friendly enemies in pursuit of Mae
Clarke. Mae, however, cries, "Riveter,
stay away from my door!" After Jack is
hurt in a fall, she finally relents and finds
true love. Gilbert, in his last contract
appearance for Metro, does well with an
uncongenial role. Mae performs capably.

Strictly Personal
Paramount

Here you are — you lookers for "different"
story ideas! This concerns a couple of
"on the up and up" ex -convicts who run a
"Lonely Hearts" club. All goes well until
a former cell -mate makes himself a partner
and turns the club into a chiseling racket.
Marjorie Rambeau gives an ace perform-
ance, with Edward Ellis second. Romance

by Dorothy Jordan and Eddie Quillan.

Hell to Heaven
Paramount

Take a little of "Grand Hotel" and mix it
with "Union Depot" and you'll arrive at the
race track where this film unreels. Jack
Oakie, who plays a radio announcer with
crooning ambitions, upholds the comedy
end of the film. This picture is lighter in
treatment than its successors in that the
villain dies; and two romances end happily.
With Sidney Blackmer, Carole Lombard.

Love in Morocco
Gaumont -British

You won't want to miss this Rex Ingram
film, made in Europe. And you won't be
disappointed in the scenic effects, exciting
native battles, and Rex himself as the hero.
But you will be amazed at Ingram for select-
ing such a poor story and cast. Rex plays a
rakish Fi ach ffi ho falls in love with a
Moroccan princess and — but see for your-
self! Rosita Garcia is the femme interest.

Be Mine Tonight
Universal-Gaumont -British

A slight dash of Lubitsbh and a faint

touch of Mamoulian, with of

Cyrano de Bergerac, sec ■ rhusi 3 fids

pretty gay? It might 1 the

sense of showmanship is ;nt,

resulting in some slight pol-
ity. Sonnie Hale and T dmu d Gwenn are

funny; and that glorio M.

Keipura, is worth sprinti < ear.

or June 19 3 3

Durante dresses for dinner, and likes it (the
dinner)! Through years of practice he has
learned how to negotiate a bow tie without get-
ting his nose in the way!

Jimmy grooms his classic face to represent the
well-dressed pan! Notice that scrap book; if
all the clippings were laid end to end they'd be
almost as long as — shucks, there we go again!

The Private Life of

J. Durante, ESq

Gilding :he lily! Jimmy wastes time prettify-
ing that famous "schnoz," which everybody al-
ready knows is the bonniest beak in creation.
Leave perfection alone, Mr. D.!

How a gentleman actor spends his leisure.
Curled up with his books and his cigar, the
Durante lolls in his Beverly Hills home and
meditates the importance of not being earnest.

The "wild man of Hollywood"
is cornered by our cameraman
in his lair ! These sensational
pictures show you how he
lives, breathes and "ferments"

SCREENLAND

ScREENLAND

Honor
Page

C To Lionel Barry more,
star of "Sweepings"

£ To Gregory Ratoff, the
only actor ever to stand
shoulder to shoulder in a
scene with a Barrymore
and emerge with absolutely
equal honors

|f To two great screen
actors, then, we 'award our
laurels— and we know we
are expressing the applause
of you, the motion picture
public

The Great Scene of the screen month: Lionel
Barrymore and Gregory Ratoff in "Sweepings."
Here is the real stuff of which poignant drama is
made. Here is conflict between two men for
the thing they love most. Here is legitimate
pathos, superbly acted. This scene will live in
your memory!

OU in the motion picture audience
are always waiting for fine pictures.
You pay your admissions again and
again for that very reason — hope of
fine entertainment. Too often you are dis-
appointed. But then there are those rare
occasions when a picture more than lives
up to expectations. Such an event is
"Sweepings." It is not light and gay, ro-
mantic and glamorous. Neither is it distasteful, sordid,
gruesome or ghastly. It is Reality. John Cromwell has
directed with rare skill. And thsre is one Great Scene
that will live in your memory. We are showing you a
"'still" of it at the left. It's that scene in which Lionel
Barrymore, as the department-store magnate, humiliates
his faithful old employee, played by Gregory Ratoff —
until the employee, at the breaking point, challenges his
power. This scene has all the perfection q{
short story. It is one of the finest things
encountered in the theatre, or, for that mi
And the two actors are equal to thei ■
Congratulations, Barrymore and I

Acme

A Ruggles outing. Comedian Charlie, director Wes-
ley and actress Arline Judge, the latter' s wife, attend
a Hollywood premiere. Wesley named his little son
"Charles," after the boy's famous uncle.

Camera
Flashes
From the Coast!

Last-minute snapshots of
who's news in Hollywood

G. B. S., literature's "had boy,"
refuses to act his 75 years.'
Marion Davies has all she can do
to keep pace with him as he
tours the M-G-M studios, letting
the quips fall where they may.'

Wide World

George Bernard Shaw, world's most famous drama-
tist and wit, was guest of honor at a luncheon given
by Marion Davies during his round-the-world cruise.
Seated with him are Charlie Chaplin, Marion Davies,
Louis B. Mayer, Clark Gable, George Hearst.

Interne

Another Hollywood miracle —
what the influence of a hand-
some lady can do for Jack
Oakiel Peggy Joy actually
induced him to shelve his be-
loved turtle-neck sweated and
don evening clothes!

SCREENLAND

For years Ruby Keeler's career was just being
Mrs. Al Jolson. She's still at it — and happily,
too. But now Ruby's also a film star in her own
right, after scoring as the sensational show-
stealer in "42nd Street."

Al and his Ruby at the beach. It was in order
to be near her famous husband that Ruby
Keeler forsook a promising career on the stage.
Today she has a brand-new career in films.
Watch for Ruby in "Cold Diggers of 1933."

Ruby Beats the Jolson Jinx

How "Al's gal" leaped into movie fame despite all obstacles

By John Carlisle

yA L JOLSON'S nerves kept Ruby Keeler oft" the
/\ screen for three years !

/ %^ She has almost played leading roles in as
many pictures as Jolson has actually made. She
isn't sorry she missed those chances but she is glad she
finally did accept a part in "42nd Street,'" and a second
in "Gold Diggers of 1933."

In some way or another that seems to have broken the
jinx for her and to have quieted the worries of her high-
strung husband.

Miss Keeler herself is very sweet about it — and very
frank.

"If you have watched Al work," she says, "you know
how nervous he is. lie's the most nervous man in the
world when he's making a picture. I just knew it
wouldn't do to have him worrying about my part as well
as his own."

Xot long after Ruby Keeler married the famous come-
dian, then in the heyday of his screen popularity, it was
suggested that she play a part in the picture "Mammy"
which Jolson was about to start.

It was generally supposed that she considered it seri-
ously for a time. She says now that she never believed
it wise or possible. Her reasons are those already quoted.
Al. she found, became a bundle of nerves during the
making of a picture and when she had definitely said
"No" to the Warner Brothers proposal, she packed up

and went to New York to take a stage part that had been
offered. She gave it up, however, and returned to Al
and to Hollywood when "Mammy" finished and Al's
nerves uncoiled.

Ruby took her months of retirement philosophically.
She enjoyed being Mrs. Al Jolson and she made it her
first duty always. To tentative proposals that she should
make a test for some certain role she never said "No"
immediately but she never quite said "Yes" either.

Officials from the Paramount studios called her by
telephone.

"They wanted me to come to the studio to make a test
for some role — I've forgotte . \ it it was," Ruby recalls.
"I was to call back. The Al / "<?d to go to Catalina,
suddenly, and so I wen' 'hdn't call them at

all. That's the way it w*
mind."

Almost every time
picture Ruby Kc
appear opposh
suggestion,
tion each time to <

it ke^i Ruby

y time. I didn't

r planned to make a
as the logical one to

bination
nerves

She d
de-

suggest

refused to consider that
j used her woman's intui-
unst it. That was the com-
off the screen so long — Al's
Ruby's intuition.

ach but one guesses that Ruby had
ing her screen career in one of her
s. She (Continued on page 77)

for June 19 3 3

Answers to Open Letters!

SINCE I started writ-
ing Open Letters to
screen stars on this
page I've heard from
hundreds of you readers
asking me if the stars ever
answer the letters I have
written them. Yes — they
do! Right here I am show-
ing you Joan Crawford's
letter. And Eddie Cantor's
telegram. And I can tell
you that Ann Dvorak is
taking our advice and com-
ing back to the American
screens. And Harold Lloyd
swore to me he isn't going
to change; and Bette Davis
is trying to get her company
to let her film the book I
suggested. And I'm thank-
ing all of you, stars and
audience, for your grand
interest. And please watch
for another Open Letter
next month.

all -7^-

^ — £-< — *^

"su^Jiul a/ Jc^&c, ^ ....

PATRONS ARE REQUESTED TO FAVOR THE COMPANY BY CRITICISM AND SUGGESTION CONCERNING ITS SERVICE

Class of Service

This is a full-rate
Telegram or Coble-
gram unless its de-
ferred character is in-
dicated by a suitable
sign above or preced-
ing the address.

WESTERN
UNION

J-

- V-

SIGNS

= Day Letter

= Niphc Message

= Night Letter

LCO

= Deferred Cable

NLT

= Cable Night Letter

WLT

= Weefc-End Letter

n on all messages, ia STANDARD TIME.

1933 JAN 25 PM 12 17

The filing time as shows in the date lice on full-rate telegrams and day letters, and the time ol receipt at destination a

Received at 54 West 45th St., New York, N. Y.

• NS64 2 .4= NEW YORK NY 25 12 06? •

MISS DELIGHT EVANS, CARE SCREENL AN D=
45 WEST 45 ST=

I AM NOT ASHAMED TO TELL YOU I CR i ED THIS MORNING WHEN I READ
YCUP. OPEN LETTER TO ME IN SCREENL AN D GOD ELESS YOU-
EDDIE CANTOR . .

The
Editor's
Page

SCREENLAND

Joan says: "7 think Constance exploits herself more cleverly than
anyone I know. And I think she does it instinctively, uncon-
sciously. People say we fight, but it isn't so."

Joan

talks about

When a screen writer
talks about a Bennett,
that's interesting. But
when one beautiful
Bennett talks about the
other, that's sensational!
Read and see what Joan
really thinks of Connie

~^HERE is nothing in the world more glamorous
to me than a Bennett — except two Bennetts. So,
late one afternoon recently, when Joan and I sat
in front of a smouldering fire and she started
talking ahout her sister, Constance, I was all agog — and
that thrilled.

It's seldom the Bennetts discuss each other — even with
intimate friends. They are not exactly a highly strung
family but their tempers — with the exception of Joan's —
are like tinder boxes. A spark is all that's needed to set
them off. No matter what one says about the other, it's
the wrong thing, so they've found the best way to get
along is by saying nothing — and they say it well.

"People,"' Joan observed, "say we are always fighting

with each other but it isn't so. We flare
up and say what we think but when we've
said our say it's over. We don't hold
grudges. They say there is no family
feeling between us — but that isn't so,
either. We're a casual family — if you
know what I mean by that — but we're
. intensely interested in everything pertain-
ing to each other.

"Constance and father are probably the
most casual. The reason there's so much
talk about their fighting all the time is
because they're so much alike. But down
. underneath, they're deeply fond of each
other — and proud of each other, too. Not
long ago father did something Constance
didn't like. She wasn't able to see him
immediately to tell him about it so she
was just biding her time. Before she had
a chance, father took desperately ill. She
went over to see him immediately. It's
true, it was one o'clock in the morning
when she arrived at the hospital, but she
went. And father was so tickled to see
her he didn't even mind being awakened.
She went almost every day after that
until she left and he was out of danger
by then."

Last summer, when Joan broke her hip,
her mother and Barbara flew out here from New York
and Constance cabled from Paris to ask if Joan wanted
her to come back.

"Constance came over here to dinner the night before
she sailed this time," Joan explained, "but I di
down to the boat to see her off and I've only
wire from her in all the time she's been gone,
doesn't lessen the feeling between us."

Joan gazed reflectively into the fire for a i
fore she continued. "When people say Co
I don't get along it makes me furious,
idolized her. You know, she's a few yea
I am and her attitude towards me has al
'older sister' sort of thing. Even now il

for June 19 3 3

Sister
Constance

S. R. Mook

her to realize I'm grown and she's always
telling me what to do — and getting furi-
ous when I don't follow her advice.

"\\ hen she was in boarding school I
was still a little girl and I used to hear
her talk about her good times and envy
her. I'd see her name in the papers and
read about her going to teas and dances
and proms and all that sort of thing. She
was just as glamorous a figure to me as
any star ever has been to a fan.

"And, going back to our casualness as
a family, the first I knew of her marriage
to Philip Plant was when I read it on
the front page of the paper in Paris,
where I was in school at the time. No-
body had bothered to wire me.''

Joan's little girl, Ditty, came into the
room looking for all the world like a
miniature of her mother. Joan stroked
the child's head absently. "There are so
many things I admire about Constance
it's hard for me to talk about her with-
out becoming maudlin.

"I think she exploits herself more clev-
erly than almost anyone I know. And I
think she does it instinctively — uncon-
sciously.

"She has gorgeous taste in clothes. The
thing I like about her clothes is their
simplicity. There is never a frill or a
buckle or a flower too much on any of
them but it's a simplicity that every
woman recognizes as being expensive.
Yet she never boasts about how much she
pays for anything. If she does any boast-
ing it's more apt to be about how she beat
the merchant down on the price.

"I admire her thrift in clothes, too. She never dis-
cards anything until she's had her money's worth out of
it. The fact that she's wealthy has never made her care-
less about money the way it has so manv people out
here."

That's true. I had an example of it one afternoon
when I was visiting Constance. A dressmaker was
shown into the room and Constance pulled out a sequin
evening dress she'd bought in Paris the year before.
"Dresses are so much longer this season," she explained
to the woman, "I can't wear this and it's too expensive
to discard. I thought probably you could make me a
couple of cocktail jackets out of it. I could have one
of them dyed another color."

A nutria coat furnishes another instance of her thrift.

Constance might be saying: "Who, me?" Yes, Miss Bennett —
and we want you to read everything else your sister Joan says
about you in this story.

The first year she came back to pictures she brought it
along to wear on the set between scenes. The coat saw
pretty hard service. The next season it appeared as part
of a reversible coat and the third year it was the lining
to still another one.

"One of the things I envy most about Constance,"
Joan went on, "is her uncanny business -sense. Decimal
points give me a headache but she can do percentages
in her mind without even a pencil and paper.

"And she's so nice about the things she does for
people. Unless they tell it themselves, no one ever knows
about it because when Constance has done something for
a person she forgets it.

"And she's so independent. I think she could be an
even bigger star than she is if (Continued on page 70)

SCREENLAND

Young Master
Cupid takes
aim — and an-
other screen
star's heart is
about to be
smitten!

Wide World

Confessions

if Cupid

The Bow-Boy of Holly-
wood gets confidential
about some of his famous
clients

James M.
Fidler

^ANIEL JOY CUPID, who originated the
nudist fad and invented bows-and-arrows long
before the Indians dreamed of such weapons,
was bent over a grindstone, sharpening arrow-
heads, when I arrived at his modest home.

"My editor has written me a letter bursting with
Junes and moons/' I explained my presence. "She's
gone starry-eyed, and has ordered me to visit you and
plead for the romantic news that is at your finger-tips.
Will you help me out ?"

"Of course, provided that you will pardon me if I
work as we chat," he said. "With the divorce courts
undoing practically all that I accomplish, I must work
ceaselessly to preserve that institution known as mar-
riage.

"Romance is brighter in Hollywood today than it was
a year ago. Turbulent conditions of the country have
drawn human beings closer together. With June ap-

Acme

The little archer always gets his man, even if it takes
years. He pierced Robert Young's and Betty Hender-
son's hearts when they were school chums, ten years
ago. Now they're newlyweds!

proach-
ing with its
promise of moon-
light nights by the sea-
side, I am looking forward to
a flourishing season — the most cheer-
ful since the big heart crash of '29, the
year in which Hollywood set a new low for matri-
monial ventures."

As he talked, I watched Dan Cupid's labors curiously,
and presently I noticed that his arrowheads were of vary-
ing shapes and sizes. "Why?" I inquired.

"The small, dainty ones are for young, tender hearts,"
Master Cupid explained. "Others, larger and heavier,
are for the more hardened. These big, jagged stones
are for use on the hearts of income tax collectors, multi-
divorcees, and such people with hearts of concrete."

I laughed. Cupid is clever. He should be, for despite
his appearance of being only a baby, he is as old as time ;
in fact, he knew Adam and Eve personally.

"Tell me the newest and choicest romantic gossip
about Hollywood," I invited.

"The most sensational accomplishment of my calendar
month is the announced engagement of Catharine Dale
Owen to Lydell Peck, who is still Janet Gaynor's hus-
band— but not for much longer, I expect.

"I am very much pleased that Robert Young married
Betty Henderson. I pierced their hearts when they were
school chums, ten years ago. On the contrary, I am
rather discouraged about Jimmie Dunn and Maureen
O'Sullivan. I am fond of Bonts Mallorv. but I had
planned for Jimmie and Maur
upset my schemes."

for J u n e 19 3 3

IsobeJ Jewel and Lee Tracy have the
little match-maker just a bit worried.
"They've been 'that way' for three
years," he laments, "but they simply
won't he serious about making it a per-
manent match!"

Cupid's having his difficulties with
Estelle Taylor, too. Estelle is a "choosy"
young lady, and she just can't seem to
make up her mind. Still, give John
Warburton credit for trying!

Wide World

"What about Estelle Taylor and John Warburton, the
English actor?" I asked.

"Not too serious," said Daniel. "Estelle is playing the
field. You see, she and John are friends of Sue Carol,
and Sue attempted to interest them in each other. The
truth is, Estelle will have difficulty choosing another hus-
band. She is an admirer of physically strong men, and
when she compares new suitors with Jack Dempsey, her
former husband — well, you can see for yourself that a
man must be a real husky to stand a chance with Miss
Taylor.

"I'll tell you a secret," Cupid whispered. "Evalyn
Knapp and Donald Cook are holding out on the world.
I don't want to violate a confidence and state that they
are married, but I do suggest that you seek for a record

The Charlie Chaplin-
Paulette Goddard ro-
mance is one of Dan's
biggest ''cases" in
years. He's certain he
pierced their hearts, he
confides to our reporter,
and now he's confi-
dently waiting to hear
the sound of wedding
bells. Well, Cupid's
seldom wrong about his
profession!

Wide World

Acme

Rochelle Hudson, Anita Page, Joan Marsh, Mary Car-
lisle— young Brown has a whole orchard of apples-of-
his-eye.

"Mary Brian is equally troublesome. I've arrowed
scores of masculine hearts for Mary, but she spurns
them all. I don't believe the girl knows how to say 'yes'
to a marriage proposal. I was certain she'd marry
Buddy Rogers — and I still have hopes — but Mary con-
tinues to smile impartially on Dick Powell, Russell
Gleason, George Raft and others.

"That fellow Raft is upsetting my plans. Besides
showing attention to Miss Brian, he has also cooed to
Barbara Weeks, Constance Cummings and a few more.
And now that Miss Cummings is in England making
pictures, George sends her telegrams and letters. Be-
tween Raft and Randolph Scott, my nights are filled with
'mares. Like George, Randy has {Continued on page 84)

an event.
Don't let on that
I told you."

A telephone rang, inter-
rupting our talk. Dan Cupid put
aside his work and answered. "Hello,"
he said. "Yes, this is Daniel. Oh, you don't
say? Fine work; I'll chalk that up immediately
Goodbye." He returned the receiver to its hook.

"One of my fellow workers," Dan explained,
reports that Virginia Cherrill and Cary Grant will marry
soon."

After he had recorded this coming event on the "black"
side of his ledger, Cupid returned to the interview. "My
chief source of worry," he said, "is with the youngsters.
Fellows like Tom Brown and Richard Cromwell, and
girls like Rochelle Hudson and Joan Marsh. I've fired
enough arrows into Tommy's heart to maim an elephant.

Jim mie Dunn and Boots Mallory met while playing to-
gether in the cast of "Hello, Sister." Dan sped art
arrow Dunn-ward — and Jimmie and Boots are still to-
gether a good deal of the time — as we go to press!

SCREENLAND

Thanks, Florence Eldridge March, for giving us this
grand story! And now we want you to keep right on
with your own screen career, so the cinema customers
will get to know you as well as they know your husband.

"HY did I marry Fredric March?" Florence
mused in answer to my question. "How
can I tell — except that I happened to be in
love with him?"
"But why," I persisted, "did you fall in love with him?
What was there that attracted you to him rather than to
any one of a half dozen other men you knew and who
were in love with you?"

"It's hard to tell," Florence answered. "I've often
wondered myself about that spark that ignites an in-
tangible something between two personalities so that they
become interested in each other to the exclusion of every-
one else."

Florence, who is appearing in "Shame of Temple
Drake," sat pondering over the question I had put to her.
She is one of the most sophisticated looking, most svelte
women I know. When I heard they had cast her in the
part of a Southern backwoods woman in the William
Faulkner story, I wondered. Yet she is such a con-
summate actress that after watching her do a scene, if I
hadn't known her as she really is Fd never have believed
it possible for her to be the same woman of the world
I've met in the March home.

"Don't look at me like that," she laughed, pulling her
hat down closer. "This wig is horrible. It makes me
feel like one of those old-time grandmothers."

She lapsed into silence again for a few moments.

"I'll tell you," she broke out suddenly, "you can make
out a mental list of all the qualities in a man that would
bar him forever in your eyes as an eligible husband.
Then you might discover just one trait in him that at-
tracted you irresistibly and you'd either forget the ones
you didn't like or marry him anyhow and spend the rest
of your life trying vainly to overcome them.

"In Freddie's case, fortunately, there weren't any I
didn't like. There was just something about him that
attracted me in the beginning and after I'd got to know

Why
I Married
Fredric
March

Florence
Eldridge
March

As told to
S. R. ("Did") Mook

Florence and Freddie as they appeared on the stage in
"Arms and the Man" for the Theatre Guild in New
York in 1927. March played the pai
March, Raina. It was the first yeat :■

for June 19 3 3

Scoop! Lovely actress
wife of famous star tells
all ! Read what she says
about her handsome
husband— you'll like it

FREDR1C MARCH

Miss Delight Evans, Editor,
Screenland Magazine,
45 West 45th St.,
New York, N. Y.

Dear Delight:

I have realized for six years what
a very fortunate husband I am but it took Dick
to drag the reason out of Florence. Had it not
been for this story I might have gone to my grave
without knowing to what to attribute my great suc-
cess.

Thanks for the "break" and for your
many other kindnesses.

With ail good wishes,

Cordially,

him I discovered all those other things I adore."

"Well, what was the one thing that attracted you in the
beginning?" I said, doggedly determined to worm it out
of her.

She pondered again. "There is something child-like
about Freddie in so many ways," she said. "I think
that must have been it. He's just like a kid about de-
ciding things for himself — or working out anything that
perplexes him. One of his family's pet stories concerns
Freddie during his first year at college. He walked two
miles to his brother's house to ask if he should buy a
note-book that opened at the top or at the side !

"When we were first married, whenever he was going
to buy any sort of apparel — suits, sox, ties, shirts, any-
thing— he always a'sked me to go along and help him
select them. I promptly told him I knew absolutely noth-
ing about men's clothes. He's got excellent taste himself
and now he has learned to rely on his own judgment — at
least in that respect.

"When anything comes up regarding his career, he'll
tell the details to, and ask advice, not only of me but of
almost everyone he happens to run across ! And he'll

Thanks, Freddie March, for playing your part in mak-
ing this intimate story possible. It isn't every actor
who encourages his wife to talk about him so frankly.
And you don't mind if we let the folks read your letter
to us, do you?

hang on every word his companion utters as though his
whole future hinged on the advice he was getting. He
makes you feel that if you don't consider his case care-
fully and give him the very best counsel you possibly can,
something terrible is liable to happen to him. While he
considers the advice he gets and digests it, in the end he's
pretty apt to decide things for himself. In college he
took a course in business administration and he applies it
very practically to the management of his personal affairs.

"Another thing that attracted me to Freddie is his
marvelous sense of humor. It's a silly sort of hutnc f
that keeps you giggling all day long. Even now. after
six years of being married to him, I get more laughs out
of Freddie than anyone I know. In most respects, it's
exactly the same sort of humor you find in a child. He
gets a kick out of the same things kids do. The pity of it
is you have to know him so long before you ever catch
any of it in real life.

"One of his favorite pastimes is to read the personal
and want ad columns of the papers looking for misprints
which make the ads ridiculous. I remember once he
found an interview someone had written on Helen Hayes
regarding the trip she planned taking. The type-setter
had put in an extra 'e' that sent Freddie into hysterics.
She had mentioned the fact that during her stage experi-
ence she had only been able to take trips in the summer,
which precluded any possibility of visiting the torrid
regions she planned to take in this time. 'All in all,' the
interview concluded, 'this will be the most thrilling tripe
we have undertaken.'

"Freddie went around showing the clipping to every-
one he met until someone told him one of the monthly
magazines paid two dollars for every one of those they
use and also for silly ads about which they can smart-
crack. So now he reads the papers from the front page
to the last in hopes of finding something like that. Once
he got a check for two dollars for an ad he had clipped

SCREENLAND

Why has Florence Eldridge March
decided to resume her screen career ?
You'll never guess the real reason!
Her story tells you

His wife says, "Freddie will leave home around ten in
the morning saying, 'I'm just going to run over to the
clu-b for a couple of sets.' At six in the evening he'll
come toddling home and admit that he has been play-
ing tennis constantly ever since early in the morning."

from the 'Personal' columns and sent in. The ad,
tfYoung man leaving for Paris will be glad to attend to
kny affairs,' appeared in the New Yorker duly captioned
'Bon Voyage.'

"Another he clipped from the 'Pets and Supplies'
column was also accepted : 'For sale : police puppies.
Very smart. Mother was in the movies.'

"The checks for these come in fairly regularly now
and Freddie gets almost as big a thrill out of them as he
does from his regular salary check.

"He is one of the few players on the Paramount lot
who has always had his option taken up without any
effort on the part of the executives to get him to re-sign
at the same or a lower figure. The last time his contract
was up for renewal, I don't know whether they were
trying to frighten him a little or whether they were only
trying to have a little fun with him but, anyhow, he and
his agent sat there with a lot of executives. 'You know,
Freddie,' one of them said earnestly, 'we'd like to keep
you with us but your pictures don't draw too well. You
haven't any sex appeal. If you and Gary Cooper were
to enter a room together which one do you suppose the
girls would make for?'

" 'Ah,' Freddie countered, 'but which one would their
mothers go for? And,' he finished triumphantly, 'will
you kindly tell me what Gary Cooper's sex appeal has to
do with my contract ?'

"That business of the mothers is no gag, either," Flrj--

In this story Florence Eldridge March tells why she de-
that she was just as well known on the stage as Freddie,
per," you are already interested in her work. You'll see

husband think of Florence's

ence continued earnestly. "When he was little and went
to a party his mother told him always to dance with the
wallflowers who weren't having a good time. And that
lesson still lives with him. Whenever he goes anywhere
even now where there are older women or men he always
finds time to go up and pay his respects to them.

"He has a child's faith in human nature — a child's
ideals — and no amount of hard luck or bumps has ever
disillusioned him. If occasionally, as happens, some
friend or someone he has trusted and respected, faks
short of the standard Freddie has set for that person,
he charges it up to experience or force of circumstances
and then turns right around and trusts the next person
who comes along — to exactly the same extent.

"He's got the easiest going disposition I've ever come
across in my life and it is a disposition that doesn't
ruffle. When we were playing one night stands with the
Theatre Guild Repertoire Company under the most try-
ing circumstances — long jumps, draughty theatres, poor
hotels many times — Freddie kept us all in a good humor.
No one could get out of sorts because Freddie would kid
him out of it.

"When he was making 'The Royal Family' in the
Eastern studio the crew didn't know him well and weren't
used to his kidding. In one scene he was supposed to
start running up the stairs, stop halfway up, turn to say
something and then continue. They rehearsed the scene
a couple of times and prepared to shoot it. The chief
electrician approached Freddie.

" 'Mr. March,' he said, 'which step are you going to
stop on?'

"Freddie surveyed him with a surprised and pained ex-
pression. 'Which step am I going to stop on?' he ejacu-
lated, 'how can / tell? My dear boy, I'm an artiste!'

" 'But, Mr. March,' the juicer protested, 'I've got to
focus the lights on you.'

" 'Ah,' said Freddie dramatically, 'the lights ! That is
different. I'll stop anywhere you say.'

"There are very few people with the absorption he has
in things that interest him. Just now, tennis is his god.
Fle'll leave home around ten in the morning saying, 'I'm
just going to run over to the clu) 5.'
At six in the evening he'll come tottering home. e

1 o r j u n e

19 3 5

\ • T

cided to resume her acting career. You know, of course,
If you saw her in Richard Dix's picture, "The Great Jas-
her next in "Shame of Temple Drake." What does her
ambitions? Read the story.

and drawn with circles under his eyes from the strain and
admit that he has been playing constantly ever since leav-
ing that morning.

"A year ago it was bridge. He simply wasn't interested
in it. Then one week-end we invited Ralph and Cathe-
rine Bellamy down to our place at Laguna. It started
raining and we couldn't go out so there was nothing to
do but play bridge. Freddie started learning and we
played all day. Next morning when we rose Freddie
dashed eagerly to the window. 'Swell,' he chortled, 'it's
still raining, so we can play some more bridge !'

"He became so absorbed in it he wouldn't let Ralph
and Catherine leave. They protested they had dinner
engagements in town. 'All right,' Freddie conceded
grudgingly, 'you can go in and fill your engagements
but you'll have to come right back afterwards.' And,"
Florence concluded, "do you know that for two solid
weeks he virtually kept them prisoners down there while
he learned to play bridge !

"Another thing I never cease marveling at is his punc-
tiliousness about promises. If he promises you something
you can make up your mind it's as good as done.

"And still another thing is our. similarity in tastes.
We both adore having people around us. Most people
out here try to give the impression that they never go out
anywhere. We're on the go constantly — and love it.
When we've gone so much we simply can't go any longer,
we go into seclusion for two or three weeks and recuper-
ate. During that time we go to bed about half past
nine and never see anyone. The beauty of it is that
usually we become fagged out about the same time and
get our pep back about the same time. And, as soon as
we've recovered, we start out again.

"Tie's the most generous husband you can think of.
Recently I decided I wanted a ranch so I started working
again to get the money. Freddie came to me with a
very worried expression on his face. 'You don't have
to work,' he said. 'I'll be glad to buy you the ranch.'

" 'No,' I replied, 'it's just a whim and I'll get it for
myself .'

"'But what do you want with all that money?' he
protested. 'Do you think maybe in a couple of years
you'll be tired of me and just want to have a nest egg

You meet a new arid surprising
Fredric March in these pages. Do
you like him as well as the man you
have met on the screen ?

There are very few people, according to Mrs. March,
with the absorption that Freddie has in things that
interest him. If it isn't tennis it's bridge; if it isn't
bridge, it's a new part; or it's books and magazines.
He plunges into each pursuit with impartial energy.

so you can walk out?'

"I gravely assured him he is the only man in the world
I'm interested in, but he'll go right on worrying until I
quit working again.

"Why did I marry Fredric March ?" she finished,
"why, the more I think of it the more impossible it seems
to me that I could be married to anyone else !"

In the days before Freddie March was a film star! He
was a member of a dramatic stock company which also
included Norman Foster, at left, and Sylvia Sidney,
next to Norman. They're having a whirl on the
merry-go-round!

SCREENLAND

NEWS

V about

Norma
earer!

Hurrell

Here's a new and informal
portrait of the star Laura
Benham calls "the most
grossly misrepresented
woman in pictures today."
Miss Benham reveals to
Norma Shearer admirers
an entirely different girl
than other writers have
ever presented to you.

NORMA SHEARER is the most misunderstood
- — the most grossly misrepresented — woman in
pictures today.

Cold, calculating, materialistic, she has been
called. Affected, insincere, and adjectives of like ilk
have been applied to her.

None of them does she deserve.

Yet it is not difficult to realize why, reckoned by the
standards of Hollywood, she has been misjudged.

Norma Shearer is too normal for the cinema capital
to understand. Her naturalness is incomprehensible to
a city inured to syntheticism and show ; her straight-
forward actions and attitude are ready fuel for misin-
terpretation.

So, Hollywood is still looking for ulterior motives,
still seeking sinister reasons for her staunch willingness
to jeopardize her career by her devotion to her husband.

Today, Norma Shearer is one of the three biggest box-
office stars in pictures. Yet when her husband, Irving
Thalberg, youthful czar of Metro-Goldwyn-Mayer, suf-
fered a nervous breakdown from over-work, she calmly
dropped all thought of self or career for two months and

Why she has left
Hollywood for
three months. What
she feels about her
long screen absence.
How she is facing
the future. The best
Shearer story you
have ever read!

By Laura Benham

devoted herself assiduously to aiding him in his fight to
regain his health. Then, when it was decided that he
needed a prolonged vacation in Europe she unhesitatingly
packed up and accompanied him on a trip which will
mean her absence from the screen for nearly a year.

Such an action was unprecedented on the part of a
Hollywood wife.

True, many cinema wives have declared that if a choice
were necessary, they would choose their husbands in
preference to their careers. But this is the first instance
in which one of them has been called upon to prove the
sincerity of her words.

The fact that Norma Shearer really meant what she
said, and has behaved in the entirely normal way that
any wife, regardless of pomp and circumstance, would
act toward the husband she adored, has been the signal
for a storm of wonderment and conjecture.

Before I met her, I, too, had had my doubts. I had
wondered if this were just another instance of striking
a grand attitude. Such things have been done, you know.

Talking to Norma, spending many informal hours
with her, watching her with Mr. Thalberg and with the
two-and-a-half -year old Irving, Jr., I was impressed by
her sincerity, her genuine realness.
how and why she has been misunde

Norma Shearer Thalberg and her handsome young son, Irving Thal-
berg, Jr., who calls his lovely mother "Bobby." This portrait was
selected by Norma herself as the one SCREENLAND readers would like
best of her baby. Read all about him in the accompanying story.

Norma is a smaller
person than she ap-
pears on the screen,
and more lovely.
There is nothing for-
eign or exotic about
her. She exudes a
glowing, shining
cleanliness, a beauty
of intelligence. You
will like her more
than ever when you
read this fascinating
feature, an exclu-
sive interview ob-
tained just before
the Thalbergs sailed
for Europe.

To begin with, there is an aura of grandeur about her.
But it is real. I'll try to explain what I mean . . .

When the Thalbergs arrived in New York, they en-
sconced themselves in one of the highest tower apart-
ments in the Waldorf-Astoria, with ten rooms in which
to spread themselves and their belongings.

That, in itself, could be interpreted as an ostentatious
gesture. That is how the world at large has been wont
to judge the actions of Norma Shearer.

But the truth is that the Thalbergs needed that space.
Ten rooms — living-room, dining-room, kitchen ; a master
bedroom with an adjoining study in which Mr. Thalberg,
contrary to his doctor's orders, insisted upon transacting
last-minute business before sailing. His two secretaries
(and how necessary they were you could judge if you
spent only a half -hour listening to the telephones ring,
seeing the stream of visitors) had to be accommodated.
There must be a room for the baby, a room for the baby's
nurse, a room for Norma's maid. Ten rooms in all — ten
rooms needed. Could you call that a gesture?

Nor was Norma inclined to adopt a "grand"' manner
or in any way live up to the would-be splendor of her
surroundings. She was serenely calm, engagingly gra-
cious.

"Of course I don't especially like the idea of being
away from the screen for so long," she admitted, in an-
swer to my query. "However, there was no choice in
my mind.

"If ever Irving needed me, (Continued on page 72)

SCREENLAND

What have they in
common? And what
are their differences?
Benton gives you an-
other absorbing analysis
of a pair of mated movie
stars!

Carole Lombard's brow is broad, full,
and unusually high. This, according
to Benton, indicates a careerist ten-
dency in her that is typical of the
modern woman — a determination to
win her own way through outstanding
achievement .

BILLIONS of miles beyond our solar system there
are many Double Stars of great magnitude, that
seem mated for all time.

Most of these celestial couples are very differ-
ent in size and coloring, but it is their mutual magnetic
attraction that holds them thus paired till another greater
star might swing into their field of magnetism and create
a celestial triangle and its consequent tragic separation
or cosmic divorce.

This has happened in the heavens many times, so why
blame our earthly stars of the cinema world if their ro-
mances are sometimes torn asunder?

Let us study this "Duality Doublet" of a pair of
Double Stars, Carole Lombard and William Powell, to
compare the magnetic and other attractions that tend to
keep them double stars. The right side of her face
paired with the left side of his gives us a "Doublet"
picture most complimentary and interesting from a char-
acter-study standpoint.

We may note some differences in their faces and na-
tures, that analyzed, will make them more understandable

CAROLE'S
BROWS: imaginative, eager
EYES: colorful
NOSE: adventurous, excitable
MOUTH: talkative, frank
CHIN: determined, defensive

Double-Star

Carole

By William E. Benton

Wide World

Old Cave-Man Powell! He often finds it necessary, our analyst surmises,
to chide his Carole for her "modernism." Here's an old-fashioned anti-
dote for militant feminism which Bill is applying — but Carole doesn't
seem to mind so much!

as individuals and more interesting as
a pair of double stars. As sure as all
life comes from the sun and we are
all star dust, the best way to know
our natures and probable experiences
is to study other stars that we may
better shine or live a brilliant happy
life in the sphere of life to which we
seem consigned.

You know it used to be said that
"Marriages are made in heaven" —
well, whether we moderns believe
that way or not, we know that di-
vorces are often productive of tor-
tures most hellish.

So whether one is married or single
the study of interesting, many-sided,
brilliant personalities is interesting
and helpful as a means to get or hold
a better half. One glance at this pair
of stars and we realize why they are
so often cast to play sophisticated,
brainy characters.

Both Carole and William Powell
have much higher, 'an
average, and the ( of

for J une 19 3 3

Bill Powell and Carole
Lombard are "Better-
Half Doublets"— cinema
stars who are man and
wife. See what a dual
analysis of their features
discloses!

Bill Powell's tip-tilted eyebrows, Ben-
ton points oat, give his face an alert,
keenly observing look. Yet there is a
dreaminess to his heavy-lidded eyes
that betrays a pleasant element of
sentimentality in his make-up.

BILL'S
thoughtful, exact
changeable moods
constructive
persuasive, fastidious
strong individuality

Gazing at
and Bill!

those who would know as well as feel their way about.
Hers are cooler, more mental ; his quite sensitive and
romantic. As a matter of comparison, though, we might
say that their outlook on life is as much the same as their
well-paired eyes.

Carole Lombard's brow is even broader, fuller, higher
than her mate's. This would indicate the careerist ten-
dency seen so much among the womanhood of this age
— a mental rebellion against the old-time idea that a
woman's place is in the home. Women with such heads
are often so broad-minded, original, and outspoken that
conservative, literal-minded and "goody-goody" people
find them uncomfortably frank. So if you share this
type of brow remember that most people go by their
old established beliefs and habits of thought so you will
be considered not only bold but bad if you express a
broadly evolved idea of your own. There are many suc-
cessful writers, composers, and creators with such im-
aginative brows.

^Yilliam Powell's face is as pyraform or wide at the
temples as his wife's but more angular and backward
sloping, so I have an idea he often chides her for being
too imaginative and modernistic, probably telling her not
to confuse modern theories with facts. His eyebrows
are heavy, rather tip-tilted, giving the face an alert and
keenly observing look, ?rd yet there is a dreaminess to
the heavy-lidded eye that snsjws great sentimentality.

All people with such brows K~>.ve to take a quick cal-

culating appraisal of all that comes within their view.
They are a wee bit suspicious in taking their valuation
of thoughts or things from others. Like Ignatius Don-
nelly, they say shame on my brother if he fools me once
but shame on me if he fools me twice! So Mr. Powell
has the brow of the scientist and sophisticated, while
Mrs. Powell's is of the spontaneous and original ex-
tremist who likes to feel that anything that can be clearly
imagined can and will be created.

The world needs both types of brows and the minds
that they indicate. Hers as a stimulus to even greater
achievement, his carefully to check thoughts and things
lest too much imagination and experimentation lead us
astray.

For a couple who have this {Continued on page 82)

Carole and Bill, in this charming domestic inter-
lude, offer a good opportunity for comparison. Both
have the keen, clear eyes that show superior percep-
tion. Carole's are cooler, more mental; Bill's are
sensitive and romantic.

SCREENLAND

Amelia Earhart

Miss Earhart won the astonished acclaim of
the entire world a year ago when she braved
the untold dangers of trans-oceanic flight and
conquered the Atlantic in better time than
Charles A. Lindbergh's!

MELIA EARHART doesn't think she knows any-
thing about drama !

The young woman flyer whose epic solo flight
across the Atlantic Ocean fired the world's im-
agination doesn't believe she knows what constitutes good
drama in the films. The aviatrix who performed a feat
that no other woman has accomplished before or since,
mistrusts her judgment on what is exciting and what is
all in the day's work ! She insists that dramatic values
in aviation pictures are a closed book to her — that she
can judge them only from the viewpoint of a practical
pilot.

The world's most famous woman
flyer, in an exclusive Screenland
interview, tells some trenchant
truths about aviation and its place
in the movies

Mortimer Franklin

Amelia Earhart, in
her epic solo "hop" across
the Atlantic, achieved what
no other woman has accom-
plished before or since. She is
today an outstanding figure in
the air transport industry. Now
out of an intimate knowledge of
Hollywood and the movies, as
well as of aviation, she says
some well-chosen words
about flying, flyers, and,
particularly, flight films

A Hollywood interlude. Miss Ear-
hart and her husband, George
Palmer Putnam, the former pub-
lisher who is now a story executive,
are the world's only regular air-
plane commuters between Ar~"'
York and Hollywood. He-
are informally at the Pa
studio with Gene Raym'
lah, and Jeanette M

for Jane 19 3 3

Looks at the Films!

Miss Earhart was discussing the aviation film, that
perennially important phase of modern motion pictures,
in an exclusive interview for Screenland. Discussing
it modestly^ diffidently, almost shyly, as though what she
had to say about it were just one woman's — any woman's
— viewpoint, rather than that of one who knows more
about flying than almost any other person in the world.
With pleasant informality and good humor, seated in
the office of her husband, George Palmer Putnam, the
well-known publisher, writer and adventurer, (who is
Chairman of Paramount's Editorial Board in New
York), she answered questions regarding sundry whys,
wherefores and howevers of aviation in the American
cinema.

"Do I think the motion pictures have made the most
of the dramatic possibilities that aviation holds?" She
considered the question a moment, her frank, pleasant
features made pleasanter still by a ready smile as replete
with warmth as it is devoid of affectation.

"No, I don't think they have. But that," she added
quickly, "is speaking only from the viewpoint of a prac-
tical flyer. I'm not going to pass judgment on dramatic
values from the standpoint of the motion picture, because
it's a thing I don't know about."' Here she smiled across
to where Mr. Putnam sat at his desk, as though to indi-
cate that she felt perfectly safe in leaving considerations
of motion picture technique to him.

"Certainly I feel," she continued thoughtfully, "that
there is a great deal of color, human interest and sus-
pense in flying which the films have yet to discover. And
I'm not speaking of the more sensational aspects of avi-
ation such as military or stunt flying, but of regular
transport flying.

"I think it's too bad when aviation movies depend for
their excitement upon plane wrecks, lost flyers, and all
that sort of thing. Perhaps that's good drama, perhaps
it isn't ; but it certainly isn't modern aviation. It's an un-
fortunate point of view, though understandable enough,
that producers sometimes adopt toward pictures : they
feel that they must drag in a few crack-ups to provide
'thrills.' There was a picture based on the air mail, not
long ago, in which planes crashed right and left. But
that's no more representative of the air mail service than

Amelia Earhart goes over some reels of film with Gary
Cooper in Hollywood. Gary, who plays a flight officer
in "Today We Live," knows where to turn for expert
judgment on flying scenes.

a train wreck every half hour or so would be truly rep-
resentative of rail transportion."

I inquired as to whether war aviation pictures did not,
in her opinion, throw the same type of melodramatic
spotlight upon flying in general.

"As an individual I'm opposed to war, anyway," she
replied, "and naturally I think it's extremely unfortunate
that war should be emphasized, and to some extent even
glorified, in any kind of film. Then again, the destruc-
tive possibilities of aviation are its least important at-
tribute from the standpoint of civilization. Therefore,
to put chief emphasis upon the airplane as a weapon of
war would be to distort its true place in the scheme
of things.

"Aviation has grown up, you know. It isn't a plaything
any more. It has become a serious and useful industry,
taking its place in modern life much the same as other
forms of transportation — the railroad and the ocean
liner, for example. And just as these things have their
own inherent romance, so too has aviation — quite apart
from the more obvious 'thrills' of dangerous flying.

"Some day, let's hope, the films will do for the great
epic of the airplane what they've already done for the
prairie schooner in 'The Covered Wagon' and for the
locomotive in 'The Iron Horse.' That's where the real

SCREENLAND

"We mustn't get confused about
the importance of women flyers," she
smiled. "After all, you must take
into consideration the fact that there
are only about 600 licensed women
pilots in the United States, whereas
there are more than 17,000 men.
There are several reasons why that is
so now but I don't see that ultimately
any distinction will be made except
on the basis of individual ability.

"It's true that there haven't been
any pictures centering about women's
part in aviation, while men's achieve-
ments have been glorified over and
over. And" — again that diffidence —
"while I'm not prepared to speak
about dramatic values, it seems to me
the more progressive thing would be
legitimately to feature women in such

Who said that women who do great things in the world must sacrifice
feminine charm? Look at this picture of Amelia Earhart and Marlene
Dietrich, and decide — we can't! — as to who carries off the honors.'

romance of aviation is to be found — in the tale of its heroic beginnings
and its growth and expansion — the way it has spread wings over America
and dotted the country with airports and beacons. From the standpoint
of the everyday flyer — my standpoint — that's a great story. As to
whether it's film drama or not — that's somewhat out of my province,
don't you think ?"

And yet, for all her diffidence regarding knowledge of dramatic values,
she has come perilously close to proclaiming an important truth to which
producers might well pay heed. The great masterpieces of literature —
the great dramas and the most powerful tragedies that have lived through
the ages — contain little of actual violence or sudden death, and nothing
at all of great flying ships being smashed to smithereens. This is, the
stuff of melodrama — that gaudier and more superficial sister of true
drama. The latter concerns itself with the conflicts of men's souls and
their destinies. It is such conflict, rather than "thrill" drama, that the
aviation films have yet to show us.

Isn't it about time, I asked the premiere woman flyer of her time, that
the films, which have repeatedly sung the saga of the he-flyer in all his
wonder and glory, should pay some attention to the ladybirds — those
whose achievements have rivaled in importance and renown the deeds of
the men ?

Not "looking down" on the movies.'
Mr. and Mrs. Putnam are merely
keeping a watchful eye on the
shooting of a scene.

for June 19 3 3

pictures.'

These remarks were made, be it
noted, before the release of Katha-
rine Hepburn's picture, "Christopher
Strong," in which Miss Hepburn
does play the part of a woman flyer ;
but that picture has as its theme the
heart problems of one particular avi-
atrix, rather than the contribution of
women in general to aviation.

Miss Earhart, if she cared to,
might claim more knowledge of the
motion pictures in their relation to
aviation than accrues to her by reason
of her flying eminence and her keep-
ing in touch with the better aviation
films that are produced. She lived
for several years in Hollywood, had
some of her earliest flying experience
there, and numbers some of the most
prominent stars among her close
friends, including Mary Pickford
and Douglas Fairbanks, whose guests
she and Mr. Putnam have frequently
been at Pickfair.

Mr. Putnam's circle of friends is
particularly large among directors
and actors who are concerned with
adventure pictures, on which he is a
leading authority and for many of
which he has been the initiating force.
Not that he attempts to specialize in
this type of film ; but as an experi-
enced explorer his mind is full of
the fascination and excitement to be
found in expedition and animal pic-
tures. Even before he became direct-
ly connected with the films, he was
one of the moving spirits in the
production of ''Wings" and in the
bringing of Admiral Byrd's South
Pole picture to the screen. Para-
mount's current thriller, "Murders in
the Zoo," was entirely his own idea.

Seated before" his desk, a tall, lithe, athletic figure, he
talked about his motion picture ideas with the same en-
ergy one imagines him putting into Arctic adventuring.

"I thought it logical," he explained, referring to "Mur-
ders in the Zoo," "and incidentally a whale of a good
stunt, to combine the natural excitements of the 'zoo'
type of picture with a murder mystery. Two exciting
themes, and incidentally more than ever popular at the
moment, which together can't fail to provide the maxi-
mum of entertainment."

That, primarily, is his province — the evolution of ideas
— special projects for stories, things out of the ordinary
run of motion pictures. One of his most spectacular
recent story "stunts" was the bringing together of ten
nationally famous authors to write the story of "The
Woman Accused," with the resultant variety of interest
and great possibilities of exploitation.

Mr. Putnam, one learned with the refreshing feeling
of discovering something new under the sun, is one story
executive who is willing to concede that other depart-
ments of the film industry are important as well as his
own. In answer to the question of whether he considers
the scenario of chief importance in turning out good
pictures, he drew this amusing parallel :

"It reminds me of that good old argument, Who won

George Palmer Putnam and Amelia Earhart Putnam in a striking camera
study by Hal Phyfe. Mr. Putnam, whose chief hobby is exploring and ad-
venturing, is an authority on "thrill" pictures.

the war? The infantry, the artillery, the air corps, the
navy, even a few bumptious fellows in the Military Po-
lice, all claimed the credit as their very own. And we're
apt to run into the same situation in the movies. Ob-
viously, no single factor of a fighting force can win a
war without adequate co-operation from the others. An
excellent story can be spoiled by poor casting, poor di-
recting, inferior acting. By the same token, a poor story
can be vastly improved by admirable directing, supreme
acting, casting, and so on. But you can't get the maxi-
mum results unless the Big Guns who are the movies'
artillery, and the infantry who are the rank and file of
actors, and the intelligence department composed of the
writers, and the general staff comprising the directors,
each contributes its full share. Even the air corps, which
we might compare to the actors who habitually 'go up'
in their lines, has to do its bit.

"In many years of book publishing I have had any
number of story ideas brought to me. My answer would
always be, 'Well, write it down.' And too often, when
it had been written, what had started out as a good idea
turned out to be a poor story, for any form of drama,
whether written, acted or photographed, depends as
much upon its presentation as on its central idea, or story.
This holds true particularly (Continued on page 76)

SCREENLAND

Question: When is a radio comic really good? Answer: When he can make the orchestra laugh! Note expres-
sions of the music men as they listen to Jack Pearl and Cliff Hall, as Baron Munchausen and Sharlie, broad-
casting. They're all amused — except the doubtful fellow in the last row, who looks as if he has heard that

one before.

Jack Pearl — Baron Munchausen to you — will
soon star in a motion picture. We'll be there,
Sharlie! Read all about "Radio's funniest man"

By Lester Gottlieb

for June 19 3 3

The Pearl of Great Price !

WHILE presidents, senators,
economists and industrial leaders
have been racking their brains
for a "way out," their candles
burning into the wee hours of the night,
along comes a comedian with the most potent
and reliable of cure-alls — laughter. Fifteen
million people look forward to Thursday
nights as the time to forget their immediate
cares, to relax and roar at the preposterous,
but ever amusing fabrications of Jack Pearl,
Baron Munchausen to you.

Now he's going into the movies to take his
rightful place along with the mad Marxes,
Jimmy Durante and Eddie Cantor. He has
signed a contract with M-G-M with a salary
of $100,000 a picture, thus starting one of
the biggest exploitation campaigns ever ac-
corded a son of Broadway. And that's what
Jack Pearl is, a funny man with a guttural
accent that brims over with Dutch and New
York flavor. He's going westward around
July 1st, with his erstwhile and ever-correct-
ing friend Sharlie, and his creator, the idea-
a-minute man, Billy K. Wells, to make more
people laugh.

Screenland, anxious to get a preview of
Jack Pearl, who recently won a popularity
contest polled by 127 radio editors, as the
funniest man on the air, cornered him at a
recent broadcast. Midst the noise and tensity
of a radio program being relayed through
fifty stations in the United States and
Hawaii, we tried to talk to the Baron about
his screen future. We call him by his title,
because he answered our questions without
stepping out of character.

"Baron," we asked, "what do you think of
your chances in the movies ?"

"I will be bigger than Garbo, Gable, and
Mickey Mouse," he answered with a straight
face.

"That's a large order."

"Not for the Baron."

"Have you had any previous movie ex-
perience ?" we asked cautiously, never having
seen his familiar face on the screen, except
in a few shorts.

"I doubled for John Gilbert," he answered,
his eyes popping with eagerness to continue.

"Doubled for John Gilbert?" we asked in-
credulously.

"Yes, the director wanted him to jump off
a cliff two hundred feet below and I jumped
it."

"Baron, that's incredible !"

"Come again, please?"

"That's exaggerated, implausible, absurd."
We shrugged our shoulders, and then like
a flash we fell into the trap, inveigled into a
retort that's stopped many before us — we
waited for what would be the death strike.
Then it came between gasps and raised eye-
brows :

"Vas you dere, Sharlie?"

No, we weren't there !

"I not only jumped down, but jumped

^^^^

Baron Munchausen
himself

Sharlie thinks he's
lying

But Munchausen
can take it

And he can dish
it out, too!

back and finished the picture !"

"Will your fan mail as a radio performer
compare with that of a movie star?"

A wave of his hand blew that question to
the winds. This was too easy for the Baron.
It would take bigger and better questions to
stop this greatest liar of them all.

"I get two million letters a day."

"Two million a day, why, that's terrific —
even more than Joan Crawford."

"Not only that, I answer every one !"

A warning bell sounded and the excitable
Mr. Pearl was once again whisked away
from us; he had to go on and finish the
broadcast. We stood in the little ante-room
back of the wings, where the three or four
gag-men sit "at a table clocking every snicker,
grin, and belly-laugh that comes from the
seven hundred guests in the spacious Times
Square studio, the weekly representatives of
the huge unseen audience.

Mrs. Pearl sits close to the radio in the
room, which is a throw-back from the mike
her husband is sputtering into, smoking cig-
arette after cigarette of the brand that is
paying for all this fun. Wells, the chief
writer, taps his pencil nervously on the table,
waiting for expected lines that are bound to
go over. A smile a mile-long spreads over
his creased face, as one of his creations
brings forth a salvo of applause.

The dialogue is over. Everyone heaves a
sigh. Sharlie comes in, nattily attired.
You're going to see a lot of Sharlie — in
private life Cliff Hall, Jack Pearl's "feeder,"
a rather good-looking fellow with a perfect
radio and talkie voice, who is able to reel off
the long vocabularies that excite the Baron's
temper ever so often. Pearl comes in, anx-
ious to hear the verdict from these people
who know when he's good, when he's fair,
when he's — missed. His face is red. Jack
Pearl works harder in fifteen minutes than
most actors do in eight reels. He takes off
his costume. The night we were there he
was all set to go deep-sea diving at the home
of his friend who got himself in deep water,
thus he was attired in an authentic diver's
suit.

A cigarette is placed between his dried
lips. He is given a towel, and a stack of
telegrams from admirers. Let's take a look
at his excellency, the Baron, with the grease-
paint off, the mad costume stored in the
closet, and the excitement over, as we joined
him in his dressing room.

He's thirty-seven, about five foot seven
with curly black hair, and a broad smile that
is sincere and warm to everyone he meets.
No temperamental outbursts or dogging of
people that work with him. He's like an
excited child that has just captured the heart
of a school audience at his first recitation,
happy because he can make others happy,
successful because he knows his own powers.
He doesn't want to play Hamlet, an aspira-
tion which he (Continued on page 75)

o ne real kiss

gave her new ideas on life!

In this picture it's
the women who do
the chasing— the
men who are
chaste!

She could lick an army! Swear like a trooper!
Drink any man down! What a man-eater she
was! Until a real man came along and gave her
new ideas on life. From then on things were
certainly changed! . . . This is the "different"
picture you've been longing for. So gay and
merry you'll laugh yourself sick when you see
it — and laugh a lot more every time you think
about it. Ask the manager of your favorite
theatre, now, when it is going to be shown.

*T44E
•HUSBAKltf

A Jesse L Lasky Production

with

ELISSA LAND I

MARJORIE RAMBEAU
ERNEST TRUEX
DAVI D MAN N E RS

Directed by Walter Lang

FOX

PICTURE

Who Said
"Farewell
To Legs"?

Dietrich started it! Now
Madge Evans follows. But
— turn the page and see
what the fickle Marlene
and some other screen
beauties are doing now!

The charming little Evans girl, who seems
to grow more lovely in each picture, dons a
comfortable _jpair of slacks at the beach.
Madge's next appearance will be in ' 'Dinner
at Eight," the George S. Kaufman-Edna
Ferber stage hit.

"Come-Back"!

HERE'S one of the greatest "return engagements" of the
season — the celebrated Dietrich legs reappear in public!
They're looking well, too, don't you think? Marlene looks like
this in her new vehicle, "The Song of Songs."

ARY GRANT is another likely movie lad
I who's rising fast in the world. In fact, he
•s 'way above the clouds in his next picture,
be Eagle and the Hawk," in which Cary plays
a daring, dashing aviator.

Going Up!

Max Munn Autrey

Perturbed, Tracy?

WHY the glum look, Spencer? Mortified because the
lovely Stanwyck over there is giving you the cold shoul-
der, et al? But you'd cheer up pretty quickly if you could see
our mail and read all the nice things our readers have been
saying about you and your screen performances!

mooth Scenery

MaUbu

Gorgeous girls in gay attire herald
a colorful season

She pulls the wool over her eyes! Adri-
enne Ames is keen about this shell-pink
pull-over sweater with thick ropes of
twisted yarn at neck and shoulders.
Combine them with a pair of jaunty
white jersey slacks and a beret, and
you've achieved the ultimate in beach
beauty and comfort.

Eugene Robert Ricbee

at the beach! Adrienne
t, above, introduces the
it thing in beach togs
zntly colored bathing rug
; large squares are practical
11 as ornamental — the rug
bs the water from wet
ng suits. Incidentally, note
Adrienne' s beret matches
her suit.

Stagg

Mac Julian, Warner Bros.

The Most Beautiful Still of the Month

Douglas Fairbanks, Jr., in "The Narrow Corner"

Here's Ruggles in his charac-
ter (right), as one of the
screen's hilarious laugh-rais-
ers. Left, Charlie the weary
business man, seeking an
evening's entertainment at
the fights.

Helen
Harrison

Charlie Rug-ales
may play the fool
—but only on the
screen

Funny Man — Smart Contract!

WHY is it that all the down-at-the-heel actors
and actresses who die secluded, pathetic, im-
poverished deaths are always the Hamlets
of the stage or screen ?
I don't know. I was wondering whether you had some
theory. I know, however, that it invariably is true.

And I know, too, that the men who make people laugh
in a Great Big Way have great big incomes. I guess it's
the good old Law of Averages giving comedians sub-
stantial confirmation that making people happy and mak-
ing people laugh is a real Mission — one that deserves
singular reward.

It's the Harold Lloyds, the Chaplins, the Fairbankses,
and the Cantors, (when they keep away from Wall
Street), who roll up fancy grosses. It is our. comedians
who manage to reach middle age, or almost', so "inde-
pendent," that if they don't care to go on in pictures or
on the stage, they may travel, write their memoirs, or
turn sophisticate.

Add to this list Charlie Ruggles — Charlie who has
made people enjoy life in varying degrees from chuckles
right on down to abdominal guffaws — and who is now
"sitting pretty," if I don't miss my guess. While some
of our leading screen personalities (dramatic) are all
agog if they turn in six performances a year, Charlie has
managed fourteen in twelve months !

Charlie loves the screen — and more particularly, the
stage. He gave up the prospect of being Los Angeles'
chief dispenser of pills — and continued on to dispense
with them, in the movies. The Ruggles clan had always
been engaged in the wholesale drug business, and the
thought that Charlie would turn from nux vomica to nux
cinema just couldn't occur to them. But it did to Charlie,

and when, at fifteen, it was decreed bv family edict that
be should be a physician, Charlie revolted. He traveled
to San Francisco, drugged only with the glow of the
footlights.

That was about twenty years ago — and he's never
come out of it !

Since then he has appeared in stock — playing old men
and character roles, for eight years — and then, after this
absurd apprenticeship, he finally graduated to juvenile.

He appeared, subsequently, in comedy and musical
comedy in the typical Morosco casts — whatever that
meant — which included Lenore UTric, Elsie Janis, Cyril
Maude and Agnes Ayres. His first screen appearance
was gained in the Morosco Productions which were
filmed in Hollywood and released through Paramount.

In his role of the drunken reporter in "Gentlemen of
the Press," you will recall he scored over-night. But he
was never allowed to sober up. This worried him. The
business bump was developing. He realized that if he
went on playing drunks indefinitely his popularity would
peter out. He rebelled in a dignified way. He just let it
be known in the Ruggles manner — which, girls, is more
charming than a comedian has any right — that his stand
was definite and final. He won his point.

He definitely wants to "last." He wants to go on and
on and on. And on. And what do you think he broke
down and confessed to me that he wants to be? A movie
executive, no less ! This, undoubtedly, must be where
his sense of humor serves him well.

He means it! And I'm perfectly willing to wager
that what he wants to be he will be. For he is serenely
willing to wait, and work hard while he's waiting. And.
as T said before, he lias a highly (Continued on page 78

SCREENLAND

TIDAL wave has en-
gul fed the movie
temples from coast to
coast.

East is West, and South is
West, and the whole country
is West since Mae rolled in !

She is the newest sensation
in Hollywood, New York and
points between.

She is a star on Broadway,
but a personality anywhere.

She knows her public, which
threatens to be universal, and
she knows precisely how to
feed it what it wants.

In New York she drew
twice as many people to see
her as Ed Wynn drew to see
him, both appearing the same
week at different theatres, in
conjunction with a picture. In
Brooklyn she drew exactly
twice as many people as the
radio star. New Orleans re-
ports smashed attendance
records on "She Done Him
Wrong" (the first West star-
ring picture) and in Scranton,
Pa., they stood up ten deep to
see it.

Meeting Mae West is like
attending a convention. You meet people going, coming,
waiting, and there is an air of confusion strewn thickly
about. She was in her Paramount theatre dressing-room,
resting between two of her five performances daily.

You would hardly recognize the lady off-screen. She
looks smaller, less spectacular of course, and lacking in

Mae West ac-
quired that
hour-glass
figure espe-
cial ly for
"She Done
Him Wrong . ' '
Her next film
is "Rings on
Her Fingers, "
and it will be
a jewel, or we
miss our
guess.

Going
West!

She broke box-office records—
and now they are hailing her as
Queen of the Maes!

Nlalcolm H. Oettinger

that peculiar magnetism with
which her stage personality is
so richly endowed. She is
blonde, fortyish, and informal.

For her stage appearance
Mae bolsters those hips and
pads that corset until she re-
sembles a calendar girl of the
'90s. Then she adjusts her
"Merry Widow" hat to a rak-
ish angle, and sweeps onto the
stage, where she is nothing less
than dynamic.

"I have that certain element.
I guess," said Mae. "People
like it, and I give it to 'em."

No one knew about Mae
West when she was singing
and dancing in vaudeville, in
revues with Frank Tinney and
Ed Wynn, and in cabarets.
No one took heed of her until
the night "Diamond Lil" was
born, with free beer between
the acts. "Diamond Lil" was
an old-fashioned melodrama
with the new freedom from
inhibitions and it clicked from
the start. Standing room only
was the rule at all perform-
ances, and at every perform-
ance Mae West panicked 'em.

Then there was "Sex," a
less than scientific approach to
the subject, and Mae began
touring the provinces as Dia-
mond Lil. Her success hither,
thither and yon was universal.

At this point Hollywood be-
gan to think of celebrating
After several conferences and
caucuses she was signed by Paramount. A trial spin in
"Night After Night" was quickly followed by the phe-
nomenally successful "She Done Him Wrong" which
represents what the purists have left of "Diamonrl I il
It is the West manner of (Cont

Mae West in pictures.

for June 19 3 3

Going
Native!

The Jungle Boy, Buster
Crabbe, is making audiences
answer the call of the wild

Evelyn Ballarine

Buster
(W h a t - a -
phy siq ue!)
Crabbe is
giving him-
self just a
year in which
to make good
in pictures.
His next film
is "Under the
Ton to Rim."

j4AH, Adventure !

/% We were on
/ our way to

meet "The
Lion Man." We had
already met "The Ape
Man" ; seen "The Pan-
ther Woman" ; gazed
upon "King Kong." So
we knew our way about
the jungle.

Buster Crabbe was
appearing "in person"
at the Paramount The-
atre, New York City.
A tea in his honor was
in progress back-stage. We were
about to enter "The Lion Man's"
den when a man accosted us and
said, "If you're afraid of lions,
better not go in there." Thinking
it was just his bright idea of how
to frighten femmes, we ignored
the warning — and imagine our con-
fusion when we walked in and
found Buster fondling Hvo lion
cubs ! "They're cute tricks, aren't
they?" grinned Buster.

This "Lion Man" is a hand-
some and robust lad, six feet one
inch tall. And you know, of
course, that like Johnny Weiss-
muller he's an Olympic swimming
champ, having twice represented
America in the Olympic games.
He holds five world swimming
records, thirty-five national cham-
pionships and countless inter-col-
legiate honors. Yet with all this
glory to his credit, he's still a very

modest young man. (Incidentally, his last name is pro-
nounced "Crab," and not Crab-be.)

Buster is going to give himself one year to make good
in pictures. "By that time I should know whether I have
a future in films 31" nol " 1 iced. "At any rate, I

shall have some motley sav< d and I have a scholarship

i-S».,t.

to Harvard, where I intend to study law.

"But just the same, I'm serious about
pictures — I really want to make good. I
- \ wish I could make 'King of the Jungle'
I over again ; I know I could be better

\ I m it-"

Frances Dee, said Buster, was a great
J help to him in making the picture. She
W taught him camera tricks and showed him
¥ how to get the most out of his scenes.
He's studying voice culture now — not be-
cause he thinks he can sing, but because
it helps his speaking voice. "When I first
spoke for the screen my voice was all
wrong — I talked through my nose or
something ; anyway, it didn't sound right.
But now you should hear my broad-A!"

We asked Buster what his real name
was — and you should have seen the rosy
glow radiate from his sun-tanned skin!
"Must I answer that, teacher?" he said.
Then he assumed an "I-can-take-it !" ex-
pression and said, "I was named Clarence
but I had nothing to do with it ! My
father nicknamed me Buster, and I've
answered to that name every since I can
remember."

"Don't you think the name 'Buster' is
rather juvenile for the screen — remember
what happened to 'Buddy' Rogers," we
reminded him. "I've been thinking very
seriously of getting myself a new screen
name," he admitted. "But, you see, I
was publicized as Buster Crabbe, the
Olympic swimmer, for my first picture."

When Buster was two years old his parents moved to
Honolulu and lived there until he entered college. He
learned to speak the Hawaiian language from the natives.
He credits the Hawaiians with teaching him to swim.
Buster would like to live in (.Continued on page 83)

SCREENLAND

WHEN I hear some wise one sitting behind
me at a Bette Davis picture repeat the widely
circulated fable, "That Davis girl was only
a little brown wren when she went to Holly-
wood. They say she was nobody. She didn't know how
to act, and it took some extra girl to tell her to bleach
her hair before she got a break !" I laugh and yawn and
give my program a bored rattle.

To be sure, the golden-skinned, golden-haired Bette
Davis, motion picture star, who arrived in New York
via the famous "42nd Street Special," is more ravishing
and glamorous than the blue-eyed ingenue who lived in
the same old brownstone house that I did on West 48th
Street in New York not long before Universal signed
her for her first Hollywood venture two years ago. The
venture that was made up of gingham and sad little
second parts, and ended with the dictum that "Davis is
through in pictures. She has no allure." Till George
Arliss gave her a chance to change this in "The Man
Who Played God."

But Bette Davis did not have to go to Hollywood to
become beautiful, though the Hollywood grooming has
had a devastating effect. She was always lovely. No

one who has ever seen her world's-biggest blue eyes could
ever forget them. And she has always had distinction.
The reason her mother took her to New York for dra-
matic training in the first place was that a famous pro-
ducer urged her to. He said that it would never make
any difference whether or not Bette had a line to speak
in a play — she would always be looked at because she
was so unusual.

I remember how pretty she looked when I used to see
her dashing in and out of the old high-ceilinged house
where we both lived while she was doing the ingenue
in "Broken Dishes" — usually with a string of juveniles
who looked as if they had just made, or were about to
make, a raid on the larder. I must admit there were
usually more young men than girls in the crowd. Bette
made no bones of the fact that she preferred boys to
her own sex.

I lived in the old remodeled dining-room opposite the
front entrance, where I could hear Bette call up to her
mother to stand at the head of the stairs while she came
up through the deserted hall, when she came home from
the theatre alone at night. It was an excellent place for
a gossipy old meany to gather the material for an article

for June 19 3 3

5 5

So Bette Davis was just "a
little brown wren" before
Hollywood transformed
her, was she? Well, read
what a friend "who knew
her when" says about it!

By Betty Shannon

full of reminiscence like this !

Bette was wearing that winter
a smart little brown suit with
a fox collar. She called it her
first "real suit." Though she
had by no means achieved the
flair for wearing sophisticated,
high-powered clothes which she
proves she possesses in her first
starring vehicle, "Ex-Lady,"
she had a little way of her own,
even then, which was not at all
like a wren.

No, Bette Davis was never a
little brown wren. Never ! A
wren always stays a wren. It
never grows the brilliant plum-
age of the gold-finch that is to-
day's Bette Davis, movie star —
flashing about serving tea, an-
swering telephones, receiving
homage and callers in golden
silk lounging pajamas to match
the new gold of her hair.

But underneath the more
glamorous exterior she is still
the same natural, intelligent,

Bette is a very blonde Hollywood
star now, posing for pictures like
this one. But at heart, has she
changed? The story will interest
you, you and you!

Movie star at home? Yes, except that Bette is a differ-
ent sort of "movie star," and it's a simple, unpreten-
tious home. This is Bette's favorite corner, where she
curl-, up in the sun on her rare days off.

Here's the little white house built
on a hill where Bette Davis lives.
And her car that's almost as big
as the house.' And the little star
herself standing at the gate.

witty, outspoken girl that she al-
ways was.

She likes pretty-clothes pic-
tures. She thinks the public does,
too, and she never wants to do
anything but well-dressed films
again. "Squalor isn't entertain-
ing," she says. "Why should it
be thought to be?"

She is glad that she did not
start off dazzlingly in pictures.
She feels that it is much sounder
to build up than to uphold a
standard you are not yet up to
maintaining. She hopes, how-
ever, that she will not become so
engrossed in pictures that she
will not have sense enough to re-
turn to the theatre in two or three
years and do "Barrie" parts.
But everybody tells her she will
not.

She thinks her new husband,
"Ham" — as she disrespectfully
calls Mr. Harmon O. Nelson, Jr.,
whom she romantically married
last summer — is perfect, and
more fun than any one else in
the world. They are interested in all the same things,
and have a grand time together.

She wants to do "Alice in Wonderland" — which, of
course, is a well-dressed picture in a marvelous way of
its own.

She became aware of the yearning to do "Alice" on
the afternoon of the golden pajamas and tea, the day
after she arrived in New York. There were several
"knew her whens" present. One of them was Miss
Florida Friebus, author with Miss Eva Le Gallienne of
the Civic Repertory version of "Alice in Wonderland"
which has been making such a stir in New York this year.

Miss Friebus and Bette had played together with Miss
Blanche Yurka in Ibsen's "The Lady From the Sea."
They had not seen each other since Bette had gone into
pictures.

But the amusing thing was, that Bette, out on the
coast, had not heard about Florida's "Alice." And
Florida, on the other hand, had not heard a word about
Bette's marriage to the incomparable "Ham" whom she
had known since school days at {Continued on page 80 I

SCREENLAND

Screenland's Critic Really Sees the Pictures!

The
Masquerader
United
Artists

ionald Colman's last picture? NO! It can't be; it's too
ood. When you have all seen it you'll be writing Ronnie
o many ardent letters that he'll have to hurry back to
/ork in self-defence. "The Masquerader" is a good, hearty
:sial picture, not the conventional Colman starring piece.
:re; are two Colmans — one, the heroic Englishman he plays
ally; the other, a character creation of a brilliant, un-
Mr. Hyde of a man. Both are fascinating figures. You'll
,;ood time watching Colman the Good masquerading as

Colmi ;he Bad; you'll enjoy the double-exposure tricks; and how
ill — I hope — to the scenes in which Mr. Hero nobly resists
tin's wife's charms. She's Elissa Landi, and never lovelier,
asquerader" does right by Colman the good actor, and at
: time satisfies his regular, dyed-in-the-wool, simply silly
s, including this reviewer, who'd be content to watch

rconnie in a series of close-ups. Ah, me!

Ex-Lady

Warners

Smart and sophisticated — naughty, to you — is this new
number which brings Bette Davis to you in big electric
lights for the first time. I'm glad to report that Bette bears
out SCREENLAND'S predictions for her. The picture isn't
as good as her performance, nevertheless it's worth your while.
A few years ago this might have been taken seriously as a problem
play about our flighty younger generation, but now rather bright
dialogue deadens the sound of that cracking of thin ice upon which
our heroine and her gang are skating. Bette, the veddy, veddy
modern gel artist, is in love with Gene Raymond but fears that
marriage will spoil everything. Against her will the wedding bells
clank, and then, sure enough, troubles pile up, proving to Bette that
she was right all along, but proving to the audience nothing in
particular. Fortunately Miss Davis is extremely decorative in her
spectacular new clothes; Gene Raymond is nice, and Frank Mc-
Hugh is, as usual, pretty funny. Monroe Owsley menaces.

REVIEWS

of the

Best

^ - SEAL- OF; ::

Pictures

"By

Private Jones
Universal

Cheers! Here's a picture! First, it stars Lee Tracy. Second,
it debunks War. Third, it's lusty, down-to-earth enter-
tainment. No more cracks from the cinema's critics if this
sort of thing goes on. For "Private Jones" is no hero; he's
a thoroughly commonplace young man who didn't want to go
to war, anyway, and who, once drafted, proceeded to spend most
of his time fighting everything and everybody except the enemy.
Tracy, as the soldier-in-spite-of-himself, charges through his scenes
with grand gusto, compelling your attention, amusement, and even
sympathy. His "Private Jones" will do more to end war than all
the pacifist propaganda ever collected. But whether you are paci-
fistic or militaristic you'll enjoy "Private Jones," because it is al-
ways swell entertainment. Donald Cook, Gloria Stuart, and Frank
McHugh are splendid. As for Tracy, the Great Debunker — well,
I can't give him the Honor Page every month, can I? But I don't
mind admitting that there's no other actor I'd rather give it to!

You Can Count on t h ** c e r~*+:

June 19 3 3

V IV YV <J

„.Jiout Prejudice, Fear or Favor!

A Month of Fine Performances!
Here Are the Best:

Ronald Colman in "The Masquerader"
James Cagney in "Picture-Snatcher"
Helen Hayes in "The White Sister"
Alice White in "Picture-Snatcher"
Lionel Barrymore in "Sweepings"
Jack Oakie in "Hell to Heaven"
Gregory Ratoif in "Sweepings"
Lee Tracy in "Private Jones"
Helen Mack in "Sweepings"
Bette Davis in "Ex-Lady"

The
White Sister
M-G-M

Another Helen Hayes triumph! I can't think of another
actress who could have played this role so beautifully. In
fact, I can't think of any other actress who would be even
bearable. You'll leave the theatre raving about the Hayes
histrionics rather than the picture. You'll like Clark Gable as the
Don Juan of the Italian army who falls in love with Helen. But
in spite of the Hayes-Gable combination, the silent version with
Lillian Gish and Ronald Colman still holds the honors — or were
we over-sentimental in those dear, dead days? For those who missed
the first screen transcription of F. Marion Crawford's romance —
it's the thwarted love story of a dashing officer and a daughter of
the nobility, a heart-throbbing tale of the old school, in which the
lovers are kept apart by an unsympathetic father, a cruel war, and
finally by fate, for the heroine, having become a nun, has taken
her final vows by the time her lover returns. Advice to girls:
bring extra eyelashes — it's weepy!

Picture-
Snatcher

Warners

Sweepings
RKO

Welcome back, Jimmy Cagney. Oh, yes, I know you made
a picture called "Hard to Handle." But here's your real
come-back, in which you're bold and bad and altogether

^'Fr irresistible. Just what we've been waiting for! As an ex-
crook who tries to go straight in the newspaper racket, stealing and
snatching pictures for the front page of his very yellow tabloid,
Cagney is as we desire him — fists flying, girls dodging, sinning with
a smile. There's so much action you won't stop to wonder whether
it's all believable until later, and then it doesn't matter, when
you've had more than your admission money's worth of excitement
and suspense. And before I forget it, I want to pin a medal on
Alice White for being the gamest and cutest target Cagney has
ever had. Patricia Ellis is sweetly pretty as the picture's legitimate
love interest. But don't miss Jimmy snapping the garter of one of
his admirers. (Wish / could have entered that "Visit Cagney
in Hollywood" contest!)

See this screen drama by all means. It is one of the finest
fS^aj ever produced. See it when you are craving full-flavored,
^^Sgirich entertainment. "Sweepings" has power and strength
W and splendid performances — but it is hardly sparkling or
cheery. You should not select it when you're in a "42nd. Street"
mood. Lionel Barrymore and his supporting cast, directed by John
Cromwell, have been inspired to heights in interpreting the story
of a department-store owner and his family, through the years from
the Chicago Fire to the present. Barrymore, as the father, watches
his children, three sons and a daughter, grow up with great hope in
his heart, for he is building his store as their heritage. The chang-
ing fortunes of the family and the store provide the drama. The
acting is superlative. Among the younger players Helen Mack
stands out as a vital, rather thrilling new personality. Watch this
very real little girl. She has something of Clara Bow's untamed
intensity. For the rest, see Honor Page!

T~* 'ru r" ° ride You to the Good Films

SCREENLAND

ere s a

Record Contest!

Strike up the band, Paul Whiteman! Here's "The
King of Jazz" conducting his orchestra. And if you'd
like his autographed record then enter our contest!

I'M GOING to deviate from my usual radio chatter
this month and proposition you ! I want your an-
swer in writing, too !

You see, it's like this: Your ether friends want
to thank you for listening in on their programs and for
the many kind and constructive letters you send in about
their work. They have asked Screenland, RCA-Victor
and Brunswick recording companies to co-operate with
them. Being all pals together, we went into a huddle ;
and when we emerged I had autographed records from
the following fourteen famous radio orchestra leaders:
Paul Whiteman, the King of Jazz. Guy Lombardo, the
Canadian boy who made good in America. Eddy Duchin,
the piano-playin' fool. Ben Bernie, the lad who made
"Yowsah!" famous. Don Bestor, the song writing con-
ductor. Rudy Vallee, king of the crooners. Cab Callo-
way, Harlem's jazz hound. Collegiate Ozzie Nelson, the
musical ex-gridiron star. And I sham Jones, Leo Reis-
man, Wayne King, Nat Shilkret, Ted Weems, and Gus
Arnheim.

And now here's where you head in. You undoubtedly

Wayne King

Radio "records" not to
be broken! Get aboard
SCREENLAND'S record
contest special — win a
phonograph record auto-
graphed by your favorite
radio orchestra leader.
Choose him from among
these fourteen head-
liners— then read and find
out how to win your disc

Evelyn
Ballarine

Eddy Duchin

'•All rit
sweet

as George Busn
'->r the SCREENl
[fan whu wf

f X

for June 19 3 3

Rewards from Radio M^aestros!

RULES

For SCREEN LAND'S Auto-
graphed Record Contest:

1. Select your favorite orchestra
leader from those mentioned
herewith.

2. Write him a letter, not more
than 150 words, telling him
the reasons why you tune in
on him and, if you like, offer
constructive criticism.

3. In case two letters are con-
sidered of equal excellence,
the tying contestants will both
receive prizes.

4. This contest is not open to
any persons connected with
SCREENLAND Magazine or their
families.

5. This contest will close at mid-
night on the 24th of May,
1933.

6. Address your letter to Radio
Contest Editor, SCREENLAND
Magazine, 45 West 45th
Street, New York City.

Nat Shilkret

Ted Weems

Guy Lombardo £s telling his boys to make it
contest. The record goes to the Lombardo
letter about that Guy!

Portrait of Rudy Vallee giving an imitation of Maurice
Chevalier giving an imitation of Vallee imitating
Chevalier — well, anyway, Rudy's giving a record, too!

have a favorite in that thar list of orchestra leaders — pick
your man ! Then write a letter, not more than 150 words,
telling the reasons why you tune in on your favorite
bandsman. The best letter about each of these fourteen
radio musicians will win for its author a record auto-
graphed by his or her favorite conductor.

W hat is there about Rudy Vallee's music that makes
your feet dance? What makes you want to tune in on
Don Bestor's orchestra? Why is Paul Whiteman head-
man on your list of radio raves? Or perhaps it's Ye
Old Maestro, Ben Bernie ; or Gus Arnheim, Eddy
Duchin, Ted Weems, Isham Jones, Wayne King, Cab
Calloway, Guy Lombardo, Ozzie Nelson, Nat Shilkret,
Leo Reisman? Whoever he is, he wants to be as much
"in person" in your home as possible and this is his way
of achieving a semblance of it.

Now get inspired — get that rhythm ! They'll supply
the music — you write the words !

And — surprise ! A similar contest will be announced
next month. Wait until you see the galaxy of radio
stars we have lined up !

SCREENL AND

Screenland's

Joan Crawford

gives you her
Glamor
Secrets!

Joan's first rule of
charm: Be your
most decorative!
All American girls
may thank Miss
Crawford for lift-
ing them right
out of the fash-
ion doldrums.
Joan believes in
colorful clothes.
Exaggerate your
good features,
minimize those
not-so-good.
Joan collaborated
with Adrian in
designing this
dashing black
velvet costume
with pleated
white organdie
trimming. The
ruffles adorn the
short sleev es ,
make a flattering
Jabot effect at the
neck, and there's
a separate shoul-
der-cape with
stand-up or-
gandie collar.

Can your eyes stand
the close-up test? See
that small picture of
Joan to the right, and
note how carefully the
star has enhanced the
value of every eyelash!
Study the clean-cut
eyebrow arch — Craw-
ford scorns those hair-
line eyebrows, prefer-
ring the more natural
effect.

We picture girls must be always well-groomed,
says Joan, always immaculate. And how do
you like the matching linen gloves Joan wears
with her red linen frock?

Glamor Editor-

Linen for ladies, says Joan!
You're cool and correct in
linen for sports, and even for
more formal appearances.
Joan enjoys the linen dress she
is wearing at the right. It's
bright red, my pets, with
white embroidered dots! One
of those frocks, in which a gal
may be at once demure and
devilish!

Joan is a jacket fancier! In the
picture at the right across the page

she shows you one of the tail f

linen jackets of which she ha&
quired a selection this season.

for June 19 3 3 61

Glamor School

Photographs of
Miss Crawford
posed exclusively
for SCREENLAND by
Clarence Sinclair
Bull, Metro-Cold-
wyn-Mayer .

Elbows are important! Joan Crawford never
neglects a detail of exquisite care and fastidi-
ousness. She has what they call "artists' el-
bows": positively perfect.'

Here is Joan wear-
ing her pet "pep-
permint candy"
dress! Red and
white stripes, and
pretty dazzling,
but part of Joan's
colorful program.
The ruff led-or-
gandie shoulder
cape is just one of
Joan's many ideas
for topping eve-
ning ensembles.

Your smile is
only as dazzling
as your teeth .
Joan's a lovely
illustration. So
don't forget all
those good old
dentrifice rules.

SCREENLAND

The

Hand
Beauty

Margery Wilson

AT A Hollywood party a great director

/ % said that a woman's age and tempera-
/ \ ment showed more in her hands than
in any other feature. Some one sug-
gested that we try out the idea in a game.
The women were to go behind a screen, take
off their rings and extend their hands into
view. The men were to try to identify them,
to guess their ages and to describe their na-
tures. The age guessing was embarrassingly
accurate, though none of the stars would ad-
mit it, and the game died of unpopularity.

Standards of beauty in hands have changed.
The soft, dimpled hand that used to be the
hope and envy of every woman is today con-
sidered uninteresting. A hand must now
have some indication of strength in it to be
considered beautiful. What with cars to
drive, tennis rackets to wield, and careers
to shape, a boneless, useless hand is outmoded.
The successful woman has a crisp, capable-
looking hand that can very well grasp the
reins of big business, manage a husband, and
hold her own emotions under control.

These modern hands tell an interesting
story of the metamorphosis of women. Their
diary would be a breathless record of all
manner of activities. The same hands that
carry a gun to shoot lions in Africa may
gracefully light a cigarette on a moon-
drenched balcony in Venice; only to return
home to plant a row of iris in the cool, rich
earth on the shady side of the house ; later
to be seen in the lap of a smooth and lovely
white satin frock.

Consider the hands of Claudette Colbert,
among the most interesting in Hollywood.
Her hands show her to be impulsive, restless,
therefore it would be folly to try to hem her
in. It has been tried unsuccessfully. Her
hands are dramatic, pictorial, yet never more
important than her face.

Speaking of hands that indicate control,
have you ever noticed Constance Bennett's?

Modern hands tell a woman's intimate storv of
success or failure? C
Her hands are dra

impoi tant than her face. «

for June 19 3 3

Restless hands, soothing hands, greedy hands, generous hands, strong hands,
weak hands, successful hands, uncertain hands! See them everywhere,
more expressive than faces. Your hands express the real You!

Every movement is so sure, their direction so positive,
that you know her brain dominates her life. It is very
hard for her to make her hands look helpless even when
her parts require it. The little blonde Marquise has
"Everything under control," thank you.

ZaSu Pitts' fame was originally built with her eloquent
hands. In the hands of Gutzon Borglum. the great
sculptor, you see the terrific energy and undaunted cour-
age that would send a man to carve a mountain. Mary
Pickford's hands are truly executive hands, but one sel-
dom notices them, it is so difficult to pull your eyes away
from her magnetic countenance.

The popularity of Clark Gable as a cave-man was ac-
cented by his rather barbaric hands. Valentino had bar-
baric hands with a thin veneer of artistry and civilization
overlaying them. They added greatly to his fascination.
One might go on and on with an absorbing pageant of
famous hands. But we have practical work to do here
as well. How are you and I going to make our own
hands attractive and expressive?

To begin with, we should see that they look well cared
for. Xo matter how you use or abuse your hands you
are not forgiven lack of grooming for there are ways of
keeping them nice under all conditions. It is so easy to
tell you to wear gloves when you are doing unusually
dirty work or play. But I know, and you know that I
know, that it is hard to work in gloves and few women
will wear them more than once or twice. So under these
conditions protect your nails by putting soap under them
before you begin. If you are going to tinker with your
own airplane motor, dig in your garden, or what-not,
just scratch a cake of soap and leave it caked under your
nails. 'When your job is done take a brush to your nails
and they will be cleaner than when you started !

Most of us hurry through the washing and caring for
our hands. Xo wonder they get dry and red. Xo wonder
the cuticle gets ragged. Take a little more time to dry
your hands carefully and while they are still damp push
the cuticle back from each nail with the towel. If you do
this regularly every time you wash your hands and put
a touch of oil or cream on the cuticle at night it will
never require any additional treatment to keep it nice and
smooth. (Please don't cut it ! )

Another little stunt to keep your hands from getting
red and to avoid that shrivelled look is to rub your hands
as though you were putting on a pair of tight gloves. Do
this when you are applying hand-lotion in the day-time
and hand cream at night. Begin at the tips of the fingers
and stroke toward the wrist. If your fingers are spatu-
late — that is, spread at the end — you can help to make
them pointed by pinching them.

Your hands are washed so much that you must use
something to restore the natural oil to the skin or it will
age too quickly. Be sure your hand cream is really
nourishing.

It really doesn't take much time to keep your hands
lovely and it is so important ! If your time is limited you
can learn to give yourself a very expert manicure in
fifteen minutes. Do it right after your bath, having filed
your nails before you stepped into the tub. It takes a
steady hand to apply the colored liquid polish. It is best
to practice on the colorless variety. Any slips in the
application are not so easily detected. The battle is still
on between the bright colors and good old dependable
"natural" or clear. Many well-groomed women vary the
color of their nails for different occasions. If it is well

applied and appropriate to your type and costume, there
is no reason why you should not follow your fancy in the
matter of nail-coloring.

The length of the nails is something else again. Ex-
tremely long ones are an affectation as unpleasant as
curling your little finger over a tea-cup. One's hands
should, after all, carry a fine interpretation of oneself,
rather than take attention away from one's personality,
one's individuality.

To use your hands well in an occasional descriptive
gesture that aids conversation is fascinating if it is not
overdone. The dramatic pose of Miss Colbert's hands is
a prerogative of the actress. Xeither she nor any other
well-bred person keeps her hands on her face as she goes
about in normal living.

The lovely hands of Claire Dodd bespeak fastidious-
ness and a fine determination. How nice it would be if
we would all determine to express our fineness in our
appearance so that we would get the credit for it and
others would enjoy it ! Use your hands to grasp the last
measure of effectiveness.

Standards of beauty in hands have changed. The soft,
dimpled hand that used to be the hope and envy of
every woman is today considered uninteresting. See
Claire Dodd's hands, expressing character and
strength, as well as beauty.

SCREENLAND

Consulting Mother Nature's mirror! Boots Mallory and Irene Ware, two of the prettiest youngsters in
Hollywood, keep tabs on what the sun is doing to those fresh young complexions by rolling over in the sand and
gazing into this convenient little pond. And they can depend on Nature not to lie to them!

By Weston East

CLARA BOW returned from Europe
fifteen pounds overweight ; she retired
to her ranch, where the extra poundage
was taken off . . . Allen Jenkins suffered
an attack of neuritis so severe that he was
taken to a hospital . . . Arline Judge ab-
sent-mindedly invited friends to dinner on
cook's night off, so she prepared the meal
herself . . . Sari Mantza wore trousered
suits before Marlene Dietrich, but nobody
said anything about it . . . "What kind of
man will I marry? Why, I am married,"
and thus did Phylis Barry first acquaint
Hollywood with the fact that she has a
husband . . . Will Rogers and Warner
Baxter offered to donate their salary-
checks to the needy during the bank holi-
day . . . Nancy Carroll, incidentally, had
the laugh on the studios ; on the day of
the salary cut, her contract with Para-
mount ended.

AND from whom do you think came of-
l ficial information that Greta Garbo
will return to Hollywood? The studio?
Her manager? Wrong in both instances.

Greta's Swedish cook was the first to
know the truth, and is the only one who
knows the actual date of the star's arrival.
Greta wrote to her cook and gave her all
the details. And if you think Miss Garbo
is uncommunicative, you should attempt to
get information out of her cook!

'"PHE rumor is that Sue Carol
and Nick Stuart will separate,
with the probability of a divorce.
"Incompatability" will be blamed,
and Sue will retain custody of the
baby, Carol Lee. Sorry, folks —
'twas a happy union while it
lasted! You may be seeing Sue in
personal appearances before long.

IF SHE were Irish, you might say that
Carole Lombard was born with "the
luck of the Irish." At any rate, Carole lost
the perfectly gorgeous star-sapphire ring
given to her by hubby William Powell.

She was on the point of hysterics, when
in walked a newspaperman and returned
the ultra-valuable stone. He had found it
in the gutter outside the studio.

How did he know who owned the giant
sapphire? Listen, there is only one stone
like it in all Hollywood, and all newspaper
men know who owns it.

IN ANSWER to a query as to
what are her favorite musical
selections, a beautiful brunette

Star"1 "'^enl-ly an?wprPH • "Amrv^ar

otherSf^he compositions of Chop-
lin.

Choplin, that funny fellow?

for June 19 3 3

THIS month's biggest screen close-up
goes to Joel McCrea as a reward for
one of the nicest deeds to come to light
within recent weeks. Let me tell you the
story :

The mother of a girl who occupies a
small position at the RKO Studios, where
McCrea is under contract, has been a hope-
less cripple for months. Only by means
of a wheel-chair, doctors declared, was it
possible for her to move about.

Now wheel-chairs are expensive affairs,
as the daughter of the stricken mother
learned on inquiry. However, in order
that she might give her mother as much
comfort as possible, the girl commenced
to save her pennies and nickels toward pur-
chase of a chair. Denying herself every
sort of pleasure and even a few necessities,
she hoarded carefully. But she receives a
small salary, therefore the fund grew very,
very slowly.

Then McCrea heard of the little tragedy
— a big tragedy to the mother and daugh-
ter— and without speaking a word to any-
body (and particularly not to a member of
the studio publicity department), he went
to a surgical supply house and purchased
a wheel-chair, which he sent to the afflicted
mother.

And that is why I award the month's
biggest screen close-up to that modest good
fellow, Joel McCrea.

WHEN Ricardo Cortez was confined
to a hospital for a month with Holly-
wood's worst attack of influenza, he studied
carefully the institution's internes, nurses
and attendants, for he was scheduled to play
a young hospital doctor in a picture titled
"Dead On Arrival." Wasn't it a fateful
twist that a few days after he started work
in the picture, Cortez had a relapse and
was forced to return to bed?

James Dunn, who has never been in a
hospital and probably doesn't know a nurse
from a nun, fell heir to the Cortez role.

ONE of the strangest parallels in motion
picture history occurred when, on the
very day that "The King's V acation" was
released, President Roosevelt was fired
upon in Florida.

The screen situation involving George
Arliss was exactly similar to the circum-
stances of the Florida affair, even to the
action of both President Roosevelt and
Arliss, who rose and assured the real and
the movie mobs, "I am not hurt."

Their attention drawn to the film by the
likeness of real and imagined situations,
lecturers have seized upon the motion pic-
ture and are vowing that it points the only
return to normalcv.

Council of war? Two of the
toughest hombres on the screen,
Eddie Robinson and James Cag-
ney, meet on the Warner lot.
Congratulations on Edward, Jr.,
Mr. Robinson!

WHEN this appears in print, Ruth
Chatterton will be in Ireland, meet-
ing husband George Brent's "ould folks."
After a brief stay on the Emerald Isle,
where Brent was born, the couple will visit
Spain, Miss Chatterton's favorite country,
France, Germany and Italy.

The Brents expect to be away about
three months, and to return to Hollywood
and pictures about June first.

NORMA SHEARER'S three-
years-and-six-months-old son
threw an afternoon party into a
panic, and the story bears telling.
Guests were enjoying highballs,
and the youngster wanted one, so
he was supplied with a glass of
orange juice. "Now what do you
say?" hinted Norma. The Thal-
berg juvenile lifted his glass and
said, "Here's mud in your eye!"

ANN HARDING has apparently suc-
ceeded the late Rudolph Valentino as
the screen's greatest lover of horses. The
blonde star owns a stable of mounts, among
them two priceless Arabian steeds, and is
considered Hollywood's finest woman rider.

Returning from her vacation near Palm
Springs recently, she brought back several
horses. These, added to her previous few,
provide Ann with what racetrack devotees
term "a string."

THE annual trend Malibu-ward is well
under way, and already many of the
actors and actresses have opened their
summer homes beside the Pacific.

Fay Wray, Joan Bennett, Lilyan Tash-
man and Edmund Lowe, Louise Fazenda,
Arline Judge, Miriam Hopkins, Wynne
Gibson, Bette Davis, Laura LaPlante and
any number of lovely young bathing suit
models may now be seen every week-end,
and often during the week-days, sun-bath-
ing and otherwise enjoying the glories of
the ocean side.

Miss Wray resumes her position of last
year as ping-pong champion, and George
O'Brien again shares water prowess with
Johnny Weissmuller, with Joel McCrea
offering competition. On the tennis courts,
Fredric March and Theodor Von Eltz
reign supreme among the men, while Dor-
othy Lee and Elissa Landi are early season
champions among the women.

Missing this season are Barbara Stan-
wyck and Frank Fay, whose home burned
down and has not been rebuilt. Constance
Bennett, in Europe for several months, ar-
rived late, as did Lilyan Tashman and
Evelyn Brent, who were making stage ap-
pearances in other parts of the country.

AFTER fifteen years in motion pictures —
l\ six of them confronting a sound mike
— Richard Barthelmess had an attack of
stage fright when he was called upon to
broadcast over the radio.

Dick was bold enough until he reached
the microphone, but when he received the
signal that the current was on, he became
tongue-tied. A radio announcer saved the
situation by rushing to Barthelmess' side
and plying the star with questions.

In explaining his frozen tongue after-
wards, Dick said, "I suddenly realized that
millions of people were listening, and I was
simply scared."

WHEN Mae Clarke's jaw was broken
;in an automobile crash, physicians had
to re-set the member. Medical wire was
used to hold it in place. While her jaw
was thus bound, Mae could neither chew
nor talk.

Among her callers at the hospital was
Billy Bakewell. He took one look at the
jaw and said, "I have visited hundreds of
theatres that were wired for sound, but
you are the first woman I have seen wired
for silence."

BY THE time this is in print, Ronald
Colman and Walter Byron will be in
England. Yes, like Gloria Swanson, Boris
Karloff, Constance Cummings, Esther Ral-
ston and others, they will make at least one
British motion picture.

Wide World

Karen Morley and her h'-^and, director Charles Vidor, whose marriage surprised Hollywood a few months ago, sit in the
cheering section at a poio match arranged by Will Rogers, that demon mallet-swinger, between two teams of movie actors.
Seems like an exciting game, to judge by the expressions of Karen and her spouse.

SCREENLAND

"Prince John" revels in a good old-fashioned Barrymore role as a slightly mad
Hapsburg Prince in "Reunion in Vienna," picturization of Robert Sherwood's
stage hit. Diana Wynyard and Frank Morgan complete a trio of expert performers.

GEORGE RAFT, who refused to play in
"Shame of Temple Drake," was the
first to congratulate Jack LaRue, who fell
heir to the role intended for Raft.

The strange thing about that part is this :
It might have ruined Raft, but it is likely
to boost LaRue to feature roles. The rea-
son is simply that the role is that of a
heavy, and Raft has been heretofore built
up in semi-sympathetic parts. His follow-
ing, according to George, would not have
liked him in the picture. But because of
the widespread publicity that followed
Raft's refusal to play the role, LaRue be-
comes prominent merely by accepting it.

SLIM" SUMMERVILLE
opines that the reason the
Friday night prize fights are no
longer popular in Hollywood is
that people have taken up bridge
— now they do their own fighting.

DOROTHY MACKAILL'S husband,
'Neil Miller, works in the advertising
department of a Los Angeles department
store . . . Chester Conklin, screen funny
man, and his wife have gone to the divorce
mill . . . Clara Bow has never been up in
an airplane and vows she will never fly . . .
Joan Bennett may enter a new business,
interior decorating ; if so, it is to be a
sideline to her movie career . . . Janet
Gaynor still owns a pair of white rabbits
given to her by a fan at Easter, 1929 . . .
Ann Harding took a voluntary 90-day
salary suspension, giving the studio that
long to find new stories for her next screen
appearances . . . Popularity of Jean Har-
low and Clark Gable in "Red Dust" calls
for an encore ; they will co-star in "Nora"
. . . Following salary cuts, a surprising
number of stars ride in small cars, leaving
expensive limousines for special occasions
. . . Buster Keaton is on a personal appear-
ance tour in Mexico.

International
Gloria Swanson and her hus-
band, Michael Farmer, arrived
home from Europe, where
Gloria's latest picture was made.
"Mike" had a part in the film.

IT WOULD be cruel to mention her
name, but she is an exotic star who ha
the past has played vamps but more re-
cently is seen in sympathetic roles.

With her new fame, this actress, who is
not so young as she once was, has acquired
a "stand-in" — a double to stand for her
while lights are adjusted.

This "double," unfortunately, looks very
much like the actress, except that she
is younger and prettier. At the beginning,
the star was pleased with the idea, but
gradually it dawned on her that the lovelier
young person was winning all the eyes on
the set. The climax happened one day
when she overheard two electricians talk-
ing. One man said, "The double should
be the star of this picture; she's much
prettier than Miss X."

Now a new stand-in has replaced the
first, and this new person is older and
slightly homely.

EL BRENDEL'S classic re-
mark that rollicked Holly-
wood is: "For Lent, I gave up
four weeks' pay."

(Continued on page 68)

Karen Morley and Walter Huston indulge in some prophetic
acting in "Gabriel Over the White House," an unusual
drama of American politics fifty years from now. Huston
plays the President of the United States, no less!

Ben Lyon joins the ranks of screen newspapermen, with
Claudette Colbf

Cover the Watf fe»n - Max

Miller, with Earnest Torrence in a supporting role.

for ] h n e 19 3 3

From
Aileen
Pringle's
Fan Mail

W " I » fie M^'

Aileen
Pringle's
Answer:

' "And yet, you know, I'm over
thirty. Youthfulness is partly a
matter of keeping young in
spirit, but it's very much a mat-
ter of keeping your skin young.
We Hollywood stars, almost
without exception, use Lux
Toilet Soap, because it's mar-
velous for giving your skin a
perfectly morning-glory fresh-
ness and youth."

Use the Beauty Soap of the Stars

LUX Toilet Soap

✓~\F the 694 important Holly-
wood actresses, including
all stars, 686 use Lux Toilet
Soap. Because of this over-
whelming preference, it has
been made the official soap in
all the great film studios.

Since the loveliest stars of
Hollywood trust their priceless
complexions to this fine, fra-

grant white soap— why not be-
gin today to use it for your skin?
Why not make your skin as
smooth and radiantly lovely as
a movie star's?

Get two or three cakes to-
day! Use it regularly for a
month. Learn how wonderful
it is for giving you a smooth,
youthful complexion.

SCREENLAND

Janet going Gallic? Or Teu-
tonic? Here's a German beer
garden scene with the French
Henry Garat in "Adorable."

(Continued from page 66)

A NICE movie close-up to Jean Harlow,
who took a big salary cut without a
murmur. Later Jean said to friends, "All
I have, I owe to the motion picture indus-
try. If half of my salary will help the
business even a little bit, I am glad to
oblige."

But the longest long-shot — and the back
of his ears at that — to Charles Bickford,
who not only refused to take the cut but
refused to listen to reasons why he should.

And a nice close-up to Dorothy Wilson.
Learning to skate, for reducing purposes,
she was rolling along a sidewalk when she
noticed a little boy watching her sadly.
She stopped to talk, and discovered that
he had never owned a pair of skates be-
cause his family was too poor. Dorothy
removed her new pair and gave them to
the boy then and there.

Another long-shot, with bad lighting, to
Sidney Fox, who left a Los Angeles boy
with the impression that she would marry
him on her return from Europe, but who
married a New Yorker without so much as
a telegram to warn "the boy back home."
He learned of her marriage through news-
papers.

Also, a lovely close-up for Anna Q. Nils-
son, a former star now on the stage. As
star performer in "Hedda Gabbler," Miss
Nilsson donated the entire proceeds of one
of her opening performances to the fund
for California earthquake victims.

THAT Joan Crawford-Douglas Fair-
banks, Jr., separation? Well, some say
it's temporary ; others hazard the guess
that it will prove permanent. From this
watchtower we're inclined to subscribe to
the latter opinion.

WELL, the much-heralded Robinson
baby, to greet which Eddie rushed
through a picture in record time and sped
to New York, arrived safely. It's a boy,
and the Robinsons have duly named him
Edward, Jr. Mrs. Robinson is Gladys
Lloyd, film actress, who has played support-
ing roles in her husband's pictures.

WHEN "King Kong," the giant ape
picture, was previewed at a Los An-
geles theatre, members of the audience
stared aghast at the huge beast that paraded
the screen and desolated cities there.

At last a too-smart boy in the front
section of the theatre voiced a lowly opin-
ion of the entire proceedings. "Aw, that's
another of them movie fakes," he said.
"There ain't no animal like that !"

MANY odd situations arose as a con-
sequence of the bank holidays in
Hollywood and Beverly Hills, home cities
of the stars. Because many of the screen
famous are accustomed to earning and
spending money quickly, they were particu-
larly bewildered when they found them-
selves unable to put their hands on ready
cash.

Gary Cooper had a hundred dollar bill,
but could not get it changed. He there-
fore had to sign checks everywhere, or do
without.

Fredric March, driven to desperate meas-
ures, opened the bank of his newly adopted
son. Ben Lyon opened the bank of Bar-
bara Bebe, his daughter. Both men, ac-
cording to reports, prospered as a result
of their "bank robberies."

Ely Culbertson. two days before the bank
closings, gave an autographed one-dollar
bill to his favorite waitress at the R-K-0
studio cafe. A few days after the bank
closing he recalled the gift and offered the
girl a check for the bill. Alas, she had
also felt the need of money and had spent

her autographed souvenir!

Several screen stars who had planned
extensive train or boat trips were forced
to forego their plans because of a lack of
cash. One star with nearly forty thousand
dollars in one bank was caught with less
than two dollars in his pockets.

Hollywood never fails to supply a laugh,
even for the most serious situations. Tom
Geraghty, writer, commented: "Now I un-
derstand why so many folks adopted babies
— it's a cinch to rob a baby's bank, and a
baby seldom knows how much he has !"

NO FEATHERS flew when
Janet Gaynor, Fox starlet,
met for the first time Lilian Har-
vey, English star now with Fox.

They were, in fact, like a couple
of kids. They took off their shoes
and stood back to back, measur-
ing heights. They are identical in
that respect — five feet and one
inch small.

Even a director gets tired! ThatV \0 envied Joan Blondell,

Ruby Keeler, and Aline McMahon in ; se while making "Gold

Diggers of 1933," and decided to rest i dio picture shows the

important part played by the lights, is "angle" shots.

for J u n e 19 3 3

CROSS-WORD puzzles and jig saws
having had their run of popularity in
Hollywood, new games are now the fad —
and unless I tell you, you would never
guess what these games are.

Lotto and Keno ! You played them when
you were very, very young. The only dif-
ference is, Hollywood has turned them into
betting games — a nickel a game. At that
figure, not much can be won or lost dur-
ing an evening ; in fact, the record winning
appears to be Joan Bennett's mark of three
dollars and ten cents.

SO MUCH has been said pro and con
about the salary cuts taken at the stu-
dios, I think it time the real facts be stated.

The slashes were done on a systematic
basis. All studio employees receiving less
than $50 per week were not affected. Those
formerly being paid $51 to $75 weekly
were cut 25%, but in no case to less than
$50. Salaries of from $76 to $100 weekly
were slashed 35%. but to no less than $65.
All workers receiving more than $100
weekly (including stars, directors and
players) were cut 50% with a $75 mini-
mum wage.

The magnitude of such reductions in
weekly checks is more easily understood
when star salaries are taken into considera-
tion. At one studio, for example, several
stars receive more than $5000 weekly, and
each accepted a cut of at least $2500 a week.

As this is written, the wage cut is for
only eight weeks, but there is every expec-
tation that producers will attempt to bring
about a general salary reduction, not so
drastic as the above-quoted figures, for the
future.

AND did Ely Culbertson, on the eve of
l his departure from Hollywood, em-
barrass Nancy Carroll !

Said Nancy, in the presence of a group
of people, "I think bridge is a waste of
time."

Responded Culbertson, with the same
group listening : "Bridge is a waste of
time — for some people."

OUT OF MY ENVELOPES: "The
latest pictures are full of fine per-
formances by lesser players," writes Lee
Hargrove of Los Angeles, Cal. "Ruth
Donnelly in 'Hard To Handle,' Aline Mac-
Mahon in 'Silver Dollar,' and Jobyna How-
land in 'Rockabye,' for examples."

Rose Badali, president of the Dolores
Del Rio Fan Club, 4418 W. Jackson Blvd.,
Chicago, 111., writes : "Our local club
members attended 'Bird of Paradise' in a
body, and did we like the picture ! Most
of us saw it several times more. We love
Dolores, and she has done many nice things
for her club and its members."

Writes Blanche Svehla, president of the
"Galaxy of Stars Club," 3215 S. Ridgeway
Ave., Chicago, 111. : "The arrival of War-
ner Brothers' special train which brought
Bette Davis, Bebe Daniels, Tom Mix,
Glenda Farrell. and others was amazing.
The stars paraded, and believe it or not,
it was impossible for them to step from
their cars, because the crowd was so great."

"There are many actors who appear in
a great number of pictures and usually
in small parts, who become familiar to, and
liked by regular moviegoers. Evidently
these players remain too unimportant for
notice in magazines." So laments "Nyki"
Werle, president, Jean Harlow Club, 217
Ralph Avenue, Brooklyn, N. Y.

Bill L. Welch, president of the Una
Merkel Fan Club, 659 S. Nettleton Ave.,
Springfield, Mo., writes : "Every fellow
has one actor on the screen whom he would
like to be like. I prefer Joel McCrea. He
has personality, appears to be clean-cut,
and gosh! — is he built?"

(Continued on page 8'?)

Isn't lie t/i rilling?

A new batch of snapshots is a package full of excite-
ment . . . "Let me see" ... "I must have this one" . . . Plenty of fun
when the pictures were made. But what sport when the prints are
passed around!

Millions are finding new possibilities in snapshots — they use Kodak
Verichrome Film. It has really made picture-taking quite a different
thing. Easy positions — natural expressions — you get them with Veri-
chrome. Because nobody need pose or face the sun. Dull days or bright,
just snap what you want. The pictures will turn out right. Try a roll of
Verichrome today ! Eastman Kodak Company, Rochester, New York.

how kodak verichrome film
double- guards snapshot success

• Verichrome is the double-coaled film. Two
sensitive coatings instead of one. One coat-
ing for dull light, another coating for bright
light give Verichrome its amazing picture-
taking range. In sun or shade, bright days
or dull, it double-guards your snapshots.

KODAK VERICHROME FILM

; -' ■ ■ -

SCREENLAND

ram*

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Be Your Own
MUSIC

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Joan Talks about Sister Constance

Continued from page 1 7

she'd red-apple people — but she won't. She
never asks producers and directors to her
parties for what they can do for her. Most
of the executives with whom she's friendly
are people not even connected with her
company."

Joan thought about Constance some more
and then burst out enthusiastically. "Of
course, the greatest asset Constance has is
her charm and personality. She has a
faculty for creating an aura of glamor
about her wherever she is. And her per-
sonality is so pronounced that she auto-
matically becomes the centre of attraction
—no matter where she may happen to be.

"Then, there is that perfectly gorgeous
sense of humor. I don't know anyone who
caii see humor in a thing as quickly as
Constance."

Twilight fell and the shadows lengthened.
The fire cast a ruddy glow over the room.
It was the most beautiful time of the day.
Work was over and the night's gaiety
hadn't started. It was the hour when peo-
ple relax and rest and dream.

"I think," Joan said softly, "if you were
to ask me to name the one thing about
Constance I love most I'd say it is her
sense of sympathy and understanding.
Once, before Gene and I were married, I
was in love with another man. We fought
and made up until I was ashamed. My
friends used to kid me unmercifully about
it. And every time we'd have a tiff they'd
pull that wise smile and say, 'Oh, you'll
make up with him again' and I'd feel
humiliated over having to face them when
we had become reconciled. So I used to
meet him in places where my friends
wouldn't see us together and all that sort
of thing.

"But Constance understood my feelings.
Once she said to me, 'Darling, don't cheap-
en yourself that way. If you love him
that's the only thing that matters. And

don't you care what people say or think.
It's immaterial how many times you quar-
rel. After you've been apart if you find
you still care for him, go ahead and make
up with him. It's nobody's business but
yours. And these friends of yours who
tease you about it — they're not the ones
who go around carrying an aching heart.
If they were, they'd be singing a different
tune.' "

Joan's voice trailed off and a silence fell
over us. The fire made dancing shadows
on her face — in her hair. Joan sitting
there made one of the loveliest pictures
I've ever seen. I wondered vaguely how it
is possible for two sisters to be as glam-
orous as those two and yet be so totally
different.

Where Constance is a shrewd business
woman, Joan is practically helpless. Where
Constance dominates any group in which
she happens to find herself, Joan with equal
looks, intelligence, wit and charm, shrinks
into a corner, and her mots, which fre-
quently top Constance's, are either lost or
fall on the ears of only the people imme-
diately around her.

Constance receives credit for starting
many fads. Joan has started just as many
but, being retiring by nature, says nothing,
and other people copy them and receive
credit for the innovations.

It's amazing that two people can exert
such a charm in such different ways.

Irrelevantly, a verse of Service's popped
into my head :

"Now, suppose you must wed and

make no blunder,
And either would love you and let

you win her,
Which of the two would you

choose, I wonder — "

I wonder, too. I think I'd be a Mormon !

The busy Morgan brothers, Frank and H ther for a session

at backgammon. Both are stage actors and oth have already

done outstanding work in films. Frank hallelujah, I'm a

Bum"; Ralph's latest is "The . Heaven."

for June 19 3 3

SCREENLAND

News about Norma Shearer!

Continued from page 25

he needs me now when he is not well.
It would never occur to me to do other
than be with him.

"Naturally I hope that my career will
not surfer. I left the screen once before
for nine months, you remember. Then I
had a baby to show for my absence. I wish
that I would have one to show for this
absence, too.

"Unfortunately, that will not be the case.
But I hope to bring a well husband back
with me.

"I'm afraid I've grown rather philosoph-
ical about the things that affect my career.
Theoretically, it is splendid for a woman
to combine marriage and a career.

"But practically, it is impossible for either
not to suffer somewhat because of the other.

"I think I have been a good wife and
mother. Yet I know that I have not been
as good a wife and mother as I could have
been had I not had my work.

"On the other hand, I have been lucky
in achieving success on the screen. But I
realize that I have neglected some phases
of my work because I have been working
at a successful marriage, too.

"For instance : When I am making a
picture, my marriage suffers. I have to
leave the house early in the morning and
it is late in the evening when I reach
home. I have time to catch only a glimpse
of the baby before he goes to sleep and I
am usually too tired to be much of a com-
panion for Irving.

"Between pictures, I become completely
the wife and mother. I don't go to the
studio for interviews, I don't have photo-
graphs made, I don't start fitting costumes
for my next picture until the last minute.
My work is neglected because I am being
a wife !

"Women have become far more facile
than they used to be in handling both mat-
rimony and a career. But it is not true
that they can be perfect in both at the
same time."

Smiling as she spoke, at that moment I
think she was more Mrs. Thalberg than
Miss Shearer. She is a smaller person
that she appears on the screen and more
lovely. She is not beautiful in the accepted
sense of the word — yet I think that she,
more than any other actress (with the

Here's dainty little Heather Angel, English ingenue who makes her Amer-
ican film debut in Fox's "Pilgrimage." Heather plays a French girl in the
picture — which makes it, all in all, quite an international event.'

possible exception of Garbo), has created
a new standard of beauty.

With few of the stereotyped, chiseled at-
tributes of traditional beauty, she has edu-
cated the motion picture public (and that
means all of us, doesn't it?), to an ap-
preciation of flawless skin, of lustrous,
meticulously-groomed hair, of correct car-
riage, of grace. There is nothing exotic
or foreign about her. She exudes a glow-
ing, shining cleanliness, a beauty of intel-
ligence— and so has come to be acclaimed
one of the most beautiful women of this
generation.

On the day of our long talk, she was
wearing red pajamas with tiny white dots,
a long matching coat, an Ascot tie folded
trimly beneath her chin. She wore very
little powder, no mascara or eye-shadow
but lots of lipstick. Her finger-nails were
tinted a pale conventional pink but her
toes, which twinkled through the straps of
white sandals, were tipped in bright ver-
milion.

I remarked the contrast.

"Contrasts are what make life interest-
ing," she explained. "My life has been a
series of contrasts — I like them.

"Look out that window," she commanded,
gesturing toward the broad vista of Central
Park spread out so far below. "Over there
on Ninth Avenue and Fifty-Seventh Street
is the furnished room in which my mother,
sister and I lived when we first came to
New York from Montreal.

"Quite different from this — but it's only
a mile across the park.

"Last night I could hear the elevated
trains rattling in the distance, as in those
days they used to screech just outside our
windows. The underlying currents of life
are the same whether we have much or
little. I can never forget that some day
that mile across the park — that difference
between that life and this — might be
erased."

She spoke seriously yet there was no
shadow of fear in her eyes. Not because
her words were idle prophecies of a future
she considered impossible — rather, because
while not really expecting such a catas-
trophe, should such a fate be in store for
her Norma Shearer would meet it with
courage and strength — and a smile.

For it is her courage that has been
mistaken for calculating materialism. She
has had the strength of character to work
for those things she has desired. And she
has been misunderstood.

Just as her dignity has earned for her
the accusation of being cold. Norma
Shearer is innately well-bred. One would
never think of asking her the personal in-
timate questions that may be addressed to
some stars. Because one realizes that she
would turn the trend of the conversation
into safer channels — courteously but firmly.

Not because she dared not answer. But
because she would consider it ill-bred and
in poor taste to discuss with anyone her
personal affairs.

She is aware of the fact that even her
marriage to Irving Thalberg (a love-
match if ever there were one), has been
thought a triumph of acumen, the result of
careful planning. On the whole, this
amuses her, because she is the first to ad-
mit that her career lias been characterized
by lucjgy breaks as well as by hard work.
She considers her marriage the most for-
tuitous circumstance of all, though many
are apt to forget that at the time of her
union with Mr. Thalberg she was already
a star in her own right.

for June 19 3 3

Further discussion was interrupted by a
commotion in the hall, and a trimly-garbed
nursemaid brought in the son and heir of
the house, red-cheeked and starry-eyed
from a ride on a pony in the park.

"Oh, Bobby, I was on a pony and a
merry-go-round, too," he threw his arms
around his mother's neck. She looked at
me over his head. "Bobby is his name
for me," she explained.

"Can I have some champagne now?"
Irving, Jr., inquired. Miss Shearer nodded
to the nurse, who promptly withdrew and
returned bearing a bottle of White Rock.
This was poured into a champagne glass
and young Mr. Thalberg clasped his sturdy
fingers around it and lifted it to his baby
mouth.

Strong, husky, with fair blonde hair and
blue eyes, he looks just as Norma looked
when she was a baby. He adores his
mother whom he considers a great athlete.

"His father is a much better story-teller
than I am," Miss Shearer explained. "So,
realizing that I could never hope to hold
my son's respect along intellectual lines._ I
decided that I would have to make him
think of me as great in some other accom-
plishment.

"So, I turn cartwheels for him and walk
on my hands. He thinks I'm a wonderful
acrobat now — but I'm worried about how
I'll retain his respect when he grows old
enough to appreciate the exact extent of
my skill !"

Another noise in the hall proclaimed the
arrival of Charles MacArthur, the play-
wright and husband of Helen Hayes, come
to call upon Mr. Thalberg.

"Oh, is that Charlie?" young Irving
noted the familiar voice, having become
quite friendly with the MacArthur family
during the cruise from California, on which
both families were present.

"What's Charlie's other name?" his
mother reproved him gently.

Young Irving thought for a moment.
Then, his face brightened. "Charlie Old
Kid !" he announced with a triumphant
smile.

Miss Shearer managed to maintain a
frozen countenance until the nurse could
take the child from the room. Then she
broke into peals of laughter.

In her relation toward her son, Norma
is strictly normal, adopting neither an at-
titude of gushing sentimentality for pub-
licity purposes, or strained reticence and
non-communicativeness — for the same rea-
sons.

She seeks neither to capitalize her
motherhood, nor to shrink from discussing
it. Her love for her son is obviously deep
— but she does not go through motions of
adoration for the benefit of any who may
observe.

On the other hand, she does not try to
keep him in the background nor make a
secret of her affection. In other words,
she acts just as any normal mother with
a small and only son, would act.

But about this, too, she has theories.

"I do not think a wife should cease to
be a wife and become all mother. Irving
and I both adore our child. But we do
not talk about him all the time. We still
like each other, too, you know.

"When evening comes and the bahy is
put to bed, I try to become the wife of
Irving Thalberg, not just the mother of his
child. In fact, that is the most important
thing in my life — being the wife of my
husband.

"I suppose one of the reasons I can so
readily reconcile myself to mv vacation
from the screen is that for the pa five
years, Irving has been my greatest inspi-
ration and incentive to work," she reverted
to the topic of our original conversation.
"It would seem strange working without
his advice and assistance, now."

Right ahead, now, lie the wel-
come months of outdoor living,-
days of sunshine, nights of
great stars. Make it a happy

season. Maybe long, quiet trails will lure your roadster into a new land.
You'll study travel maps and little inn folders,- you'll adore the gay new
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News and views of feminine
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the truth about cosmetics!

By Katharine Hartley

"Arms and legs must be
neat as a pin — and
just as hairless."

OW would you like
to have your skin
examined under a
miscroscope ■ — the
"Dermascope" they call it
up at the Marineflo salon.
You can't hide a thing
from that gadget, what
with its little electric light, and the keen
observing eyes of a trained operator going
over you like a fine-tooth comb. I fidgeted
when they submitted me to the examina-
tion. I might fool some of the people some
of the time, but that Dermascope spotted
more dirt, and more defects, than my mir-
ror ever told me about.
But when it was all over
I was glad to know the
worst. For if you know
what you're up against, you
know what to do about it.
At least the Marinello girl
told me. She wrote it all
out for me, just like a doc-
tor making out a prescrip-
tion.

My pores were quite
clogged — (in spite of the
three or four daily cleans-
ings I give my skin) — and
the "doctor" said I needed
an actual scrubbing. Soap
and water and a real
honest-to-goodness brush.
Well, I've tried it, with a
special little facial brush.
And it's working. Already the pores are
beginning to look cleaner, and smaller. Of
course not every skin could stand the brush
business, but it's worth looking into, if your
skin is not too tender. It gives you quite
a tingly feeling, and makes you look layers
cleaner. Incidentally, this "Dermascope"
examination, and a beauty prescription, are
free at Marinello salons.

it along with a brisk pat-
ting motion, slapping the
chin lightly, rhythmically,
with the back of your
hand. A pat in time saves
a double chin line !

' You can't hide a thing
from that gadget."

Well, summer's rolling
around again, and with it
that old problem, "I've
simply got to do some-
thing about my hair."
We go without hats,
sometimes without a wave, even — if time's
short between dips in the sea. Summer sports
and activities play plenty of havoc with
sleek coiffures. You've just got to depend
more on the natural beauty of your hair.
And if that natural beauty is there but hid-
ing, try Olea Combined Oil Treatment and
Shampoo to coax it out in
the sunlight again. It not
only cleanses beautifully,
but leaves your hair
glossy and satin-smooth.

"A pat in time saves
a double-chin line."

And say, that summer
problem of having to do
something about hair, has
two meanings. Hair on
arms and legs is simply
taboo these days. Lolling
on the beach, or dashing
around and about tennis
courts in the smart new
shorts is no fun at all, if
arms and legs aren't neat
as a pin — and just as hair-
less. X-Bazin depilatory
is an old favorite in Hol-
lywood — any place, in
fact where smart women gather. It's blos-
soming forth this year in a brand new
package. A swell product — and inexpensive !

It's surprising how many
really young women are
troubled with loose flabby
skins these days. It's the
sad result of strenuous diet-
ing, too much fussing with
the face — improper mas-
sage, nervous pulling of the
face muscles, twitching, etc.
There's an excellent Muscle
Tightener made by Helena
Rubenstein that will help
overcome this. And even
you "drys" can use it with
safety — for it's not the
least bit drying. It's very
effective for that under-
chin droop, too. And help

Am I tickled? I've always liked to have
several different perfumes on hand, so I
could change from one to another as often
as my fickle nose desired. But it -was sort
of a problem — one of
those well-known budget
problems — until Roger and
Gallet came out with
their 50<f purse-size bot-
tles. If you're a Feu
Follct fanatic — you can
buy it now in this con-
venient small size — as well
as all the other distinctive
Roger and Gallet fra-
grances. Is that
news ? I'll :

rood

"Rub and rub till you
work the lather in."

You wov'dn't believe
that such a
a lipstick coult
furore. Bu. hese's one
that has. I -
{Continued on

for June 19 3 3

The Pearl
of Great Price

Continued from page 33

claims is the downfall of most comedians,
and he will never get over the thrill of
acting.

Jack Pearl has had good times and bad,
experiencing all the adventures of any
actor : tank towns, dismal failures, the
death of his mother on the eve of one of
his "Follies" performances. He went on,
funnier than ever, with only two people
out front knowing what was going on in-
side. Those two were Norma Shearer and
her husband, Irving Thalberg. When the
final curtain went down, Norma blew him
a kiss.

Gus Edwards, the man who trained
Walter Winchell, Eddie Buzzell, Georgie
Jessel, and Eddie Cantor, gave Jack Pearl
his first offer in a chorus of boys' voices at
$12 a week. At that time Jack, who was
fifteen, thought dialect was something you
did to lose weight ! His only talent was a
squeaky soprano voice that was due to
change to baritone any day. Jack held out
for $15. Edwards decided he had too many
young tenors anyway, so Jack went back
to the stock-room of the Shapiro publishing
company.

A real chance came when Herman Tim-
berg was organizing his "School Days"
unit. With not a little persuasion and
exaggeration of age and ability ( that old
Baron instinct must have been born in
him), he got a "bit" part, and then the
German comedian took sick. Pearl, who
had been understudying every one's lines,
with the hope that some day the break
would come, stepped into this part with an
extremely overdone accent. Since that day
Jack Pearl has become a character come-
dian able to speak several different tongues.
Vaudeville followed and then engagements
in several Ziegfeld shows.

In a breathless interlude between per-
formances of "Belle of New York," he met
Winifred Desborough, fell in love with her.
Today when someone calls for Mrs. Pearl
at the studio, a slim woman turns her head,
and reveals a pretty face and a contagious
smile. Winnie Pearl, from the day she
married Jack, has stood behind him.
pushing, plugging, urging, understanding,
cheering him when he gets melancholy, en-
couraging his ambitions. She is his sole
confidante, through good times and bad.

"Whatever I go into, whether it's the
stage, the radio, or the movies, I reach for
the top," Jack answered frankly to our di-
rect question about his own Hollywood
prospects. "Please don't think I'm con-
ceited or anything like that, but since I've
been a boy I've always wanted to do the
best, be the best. I don't want to make
a lot of money on a picture by just living
on my reputation. That's happened to
others many times, and from there they
went down. The movies will be another
adventure, another phase of success or fail-
ure, and I've had my share of each. I
would rather start inconspicuously with a
few small pictures than one large flop. If
I can make good pictures, then I'll stay in
Hollywood indefinitely, with occasional ex-
cursions to the stage, my first love."

With this grim determination, and the
warm heart that Jack Pearl possesses, we
feel he'll make good. When his first pic-
ture is shown, we'll be there, Sharlie, we'll
be there !

At this writing it looks as if Pearl will
leave for Hollywood about May 1st to take
part in the "All-Star Hollywood Revue,"
directed by Edmund Goulding.

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Little Jean Parker made her small role of the Czar's daughter in "Raspu-
tin" stand out with her fresh, girlish simplicity of acting. You'll see
her again before long in "Made on Broadway,'9

Amelia Earhart Looks at the Films

Continued from page 31

in film-making.

"One experience I had with the develop-
ing of story ideas I shall never forget. I
was quoted in an interview in a California
paper as saying that this is the Golden
Age of ideas in the films, and that ideas
were what I was pre-eminently interested '
in. Well, I did say that, and I meant it:
but it seems that every single person who
read it must have taken it to heart, for I
was immediately deluged with a daily flood
of letters of such proportions that my
greatest problem was how to stick to my
rule of answering every letter I receive.
People are that way about the movies —
always ready and eager to help, bless their
little hearts ! While practically everybody
intends some day to write a stage play,
everybody docs actually write down what
he, she or it thinks is a marvelous movie
scenario."

Mr. Putnam then turned his attention to
that popular American folk legend of the
misused author in Hollywood. Himself
the author of four books and numerous
articles and short stories, as well as being
a film executive and formerly a publisher
of books, he is well qualified to view the
matter from all angles. View it he does,
and he knows what he thinks about it.

"I came into the movies from a world
of writers. In fact," he added with a mis-
chievous grin, "some of my best friends
are authors. And the idea that authors
are a temperamental, unreasonable race is

grossly exaggerated. I think the modern
author is quite as sensible, well-organized,
and co-operative as any other type of
craftsman.

"On the other hand, it's a lot of hooey
to say that Hollywood production execu-
tives are a pack of tyrants who misunder-
stand and abuse the sensitive writers. Most
of the picture people are honest, able and
businesslike, strictly concerned with get-
ting their jobs done and trying to make a
dollar do a dollar's worth of work. They
are tending more and more to squeeze ec-
centricity out of the industry and make
production a common-sense business as
well as an art. I am increasingly impressed
with the earnest effort everywhere to get
the production end of picture-making on
a business basis and keep it there, come
what may."

Mr. and Mrs. Putnam possess the dis-
tinction of being the only regular airplane
commuters between Hollywood and New
York. Every two months or so they make
the trans-continental flight in Miss Ear-
hart's Lockheed- Vega plane — the same one
in which she made her historic solo flight
to Europe — and with the same pilot ! Mr.
Putnam goes on business ; Miss Earhart
because she likes to.

"No, I'm not planning to act in any
aviation pictures, or any other kind," she
summed it up. "It isn't my sort of thing.
I'm a transport flyer, and I'd better stick
to my plane !"

for ] u n e 19 3 3

Ruby Beats the
Jolson Jinx

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Continued from page 14

continued to be considered for this role and
that, however, but every time some offer
seemed about to be forthcoming Al would
be off for New York or Europe and Ruby
would go happily along, content to be with
him and to let her career go hang.

So three full years went by with Ruby
Keeler getting no nearer the screen than
her infrequent visits to Al's increasingly
infrequent productions.

There was talk of signing her to a con-
tract to play a leading role in "Reaching
for the Moon." That thrilled her a little
because she still has an almost child-like
awe of motion picture stars and the idea
of working with Douglas Fairbanks was
not to be dismissed lightly. Nothing came
of it, however, when she and Al went off
some place together again, leaving Holly-
wood to struggle along as best it might
without the service of either of them.

Perhaps the chance to play in Jolson's
only recent picture was the greatest tempta-
tion that came to Ruby before the "42nd
Street" opportunity presented itself.

"I thought seriously about that part,"
Ruby says, "but I really knew all the time
it wouldn't do. I would have been the only
girl of importance in the cast. Al would
have worried about me and I would have
worried about me, too, for fear I couldn't
do the part justice and so might spoil his
picture.

"It just wouldn't work. Al is so nervous
when he's making a picture. You've
worked with him. You know how it is."

A proposed role in a Fox picture, the
name of which Ruby has already forgot-
ten, really paved the way for her eventual
appearance on the screen. For that role
and for a United Artists studio role, Ruby
had made recent tests although she had
finally turned the offers down. She men-
tioned this fact to Darryl Zanuck, an exec-
utive of the Warner studios, when she
found herself seated next to him at the
fights. It was the night of the day in
which she had rejected these opportunities.
Zanuck, who was just then planning the
production "42nd Street," asked if he might
see the tests and said that he might have
a part for her.

Somewhat to Ruby's surprise, Al, who
had always seemed willing to have her play
a screen role, actually was willing this
time and almost before she knew it she had
signed a contract for a part in the "42nd
Street" picture. In fact the contract was
signed at a dinner table.

Although she knew nearly everyone in
the film colony, Ruby knew almost nothing
about studios. She had visited Al on the
set occasionally when she first came to
Hollywood but she never stayed to watch
him work after she learned that her pre-
sence made him nervous before the cameras
and microphones.

She came to the studio that first day
strictly "on her own." She entered the
front door — all contract players ordinarily
drive on to the lot — and started out cour-
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about. She looked frail and a little fright-
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has ever thought of being.

She was nervous throughout the first
half of the making of the picture, too. She
was shy and apparently entirely over-awed
by the celebrated members of the cast who
worked with her. They tried to be friend-
ly but it was several weeks before they
could make much progress.

Al, whose own temperament had kept

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Ruby off the screen so long, proved himself
a real trouper in this instance by staying
away most of the time. He gave no advice
and paid few visits to the "42nd Street"
set. Even "Jimmy," Jolson's friend and
driver, probably gave the scared little
actress more suggestions than did her
actor husband.

Jolson was in Hollywood all the time
Ruby was at work on that first picture.
When the company worked at night he
called for her. At all other times one of
the big Jolson cars was just at hand for
her use. But aside from these attentions
Ruby was just Miss Keeler, not Mrs. A.
Jolson, to everybody concerned with the
picture.

When Ruby came west again to make
her second picture, "Gold Diggers of 1933,"
Al Jolson stayed behind in the east to com-
plete a series of radio broadcasts for which

he had been contracted. Two of Ruby's
four sisters came with her this time and
kept her company, both at home and at the
studio.

But Ruby had lost much of her nervous-
ness and all of her awe. She made friends
with this second all-star cast rapidly. She
ate no more lonely lunches, such as she
had eaten so often during the making of
"42nd Street." If her inferiority complex
was not gone it was at least materially
reduced.

Al Jolson's nerves would no longer keep
her off the screen. The girl who valued
her married happiness too highly to risk
even a little bit of it by starting her screen
career in her husband's pictures, had finally
made good on her own initiative and in her
own name.

Her three years of voluntary retirement
had not been in vain.

Funny Man — Smart Contract

Continued from page 51

developed business bump. What proves
that beyond the question of a doubt is his
contract. It's one of those trick contracts
— but, just for once, the tricks aren't stacked
against the player. Paramount has jumped
a few hurdles.

For one thing — while nearly everyone has
a thirty-day option, Charlie has a ninety-
day option. If something's about to happen
he'll be on his way to bigger and better

things before anyone else even knows that
Santa is sick.

And then, my children, I'll let you in on
a funny one. Every biography released by
Paramount calls attention to the fact that
not the least of Charlie Ruggles' many
charms is the fact that he is an "immacu-
late dresser." At times he is alluded to
as "among the best dressed men in Holly-
wood," or one is told, with great intensity,

Benita Hume, beautiful actress from England, has been signed to a long-
term contract by Metro. She'll appear with Lionel B ~- Co
Clive, and Elizabeth Allan in a picture tentatively c< ice.

for June 19 3 3

by the Paramount staff, that he "sets the
pace for fashions in Hollywood."

I mentioned this little fact to Beau
Brummel — who smiled his nice, rather
wistful smile, and then let go into rather
more robust mirth. He confided that he
wore a dress suit in a picture recently for
just a split second. The director men-
tioned the fact to him the night before
"shooting," and asked that he wear it in
the next morning.

Charlie didn't say "Oh, yeah?" He just
said — "If you want me to wear one you'll
have to buy it for me." And, of course,
they did. You see one of Charlie's many
little clauses reads : "All wardrobe fur-
nished by Paramount." Paramount pays
and Charlie wears. They get their money's
worth by letting it be known just what a
snappy dresser their head comedian is !
But Charlie, remember, wears the clothes.
He's funny — but his contract isn't !

Perhaps Eddie Cantor, who played in
support of Charlie so many years ago, had
something to do with all this. I think
Charlie learned from the droll Cantor that
keeping at a thing will get it for you.
Charlie recalled Cantor's utter faith in
himself — when there was nothing to believe
in but work.

"I had the darndest, funniest car," Char-
lie reminisced, "it was one of those high,
low-powered gadgets that made one feel
prosperous— and, above all, so sedate. I
would cross the pavement from the stage
door to the car with great dignity — which
was pretty hard for me — and, with a flour-
ish, I would open the door and climb into
the seat. No laughing now — everything
must be very serious and very grand. I
would keep my eyes discreetly front as I
waited for Eddie to jump in the open door
and sit beside me so that we might regally
drive off. With a great to-do his legs
would flash past my face and he'd slide
down, in some inexplicable manner, from
the back of the car, right into his seat.
Then he'd roll those famous eyes and slam
the door. What was there to do but to burst
out laughing — with all the grandness gone !
Eddie's greatest joy would be to stand on
the tracks in front of street cars. After
ringing the bell frantically the conductor
would get out to talk to this mad man who
was waving his arms and making wild
gestures. When traffic was thoroughly
congested and the conductor approached,
Eddie would pocket his weaving hands and
proceed quietly on his way — to everyone's
bewilderment.

"But there was never a moment in Ed-
die's really many serious talks with me,
when he didn't believe, militantly, that he
was going to be somebody. That thought
has never left me. His complete faith in
his ability was infectious and memorable."

You probably know that he's the hand-
ball champ of the United States, that he
played his last role on the stage here in
1928 — and would love another engagement
— in fact, three or four New York pro-
ducers wired offers to him this season —
among them the comedian's role in "Flying
Colors." But his Paramount contract won't
permit. He loves the screen — but his heart
is with the stage. He is delightfully hail-
fellow-well-met, disarmingly frank, and ex-
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them. He is fanatical in his belief that
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have any — should be kept out of profes-
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debunking — and he doesn't attempt to de-
bunk. He's a natural optimist, with his
tongue in his cheek; he's the wide-eyed
innocent who casually drops a bon mot
worthy of Oscar Wilde — and, above all,
he's a "dumb actor" who has the swellest
contract in Hollywood!

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Bette — Before and After

Continued jrom page 55

Cushing Academy in Massachusetts, and
had been in love with ever since.

This gave both girls a chance to tell just
what had happened all over again, without
repeating. Just how Miss Le Galliene had
looked in vain for a suitable dramatization
of Lewis Carroll's "Alice," and Miss Frie-
bus had suddenly thought to herself, "Why
shouldn't I do it?" and had sat down and
done most of it. And just how "Ham"
had come out to Hollywood to see Bette
after all these years, just as she was being
sent away on one of these personal appear-
ance tours. And how she had rushed back
and swept him off his feet and married
him, in spite of all objections. And had
been happy ever since. And how they live
in a house in North Hollywood, and have
a maid named Celestine, and a chauffeur
who now has a cap to show his office, and
whom they hope soon to provide with a
complete uniform. Bette's business mana-
ger allows her $25 a week spending money,
so she hopes soon to have the uniform
money !

Celestine watches her mistress' figure
like a cat to see that she does not put on
an extra pound. When there is company
and she passes the bread and potatoes and
dessert a second time, she goes right by
Bette without offering her any. So you
can see there is a household without a ser-
vant problem.

"I want to do 'Alice.' What is my long
neck for — if not to do 'Alice' ?" it dawned
on Bette as she sat in the spotlight in the
center of a huge divan. And who, I ask
you, would make a better "Alice in Won-
derland" than Warner's new star? It has
never been well done for pictures.

It might be interesting to note that with
Bette's Hollywood experience has come
more poise, a greater ability to carry off
a big scene in life brilliantly, than she had
in the cozy little sitting room of the fourth-
floor front at "47 West 48." There, if
there had been interviewers, she would
have probably have let her mother do most
of the managing.

No girl on the screen, probably, has had

a more devoted mother than Bette Davis.
Nor has been better "conditioned" for
success.

Mrs. Davis began when her daughters
were little girls to make opportunities for
them. She sent them, when Bette was ten,
to the famous Crest Alban School in the
Berkshires, which was in the home of Ab-
bott Thayer, the painter, and where she
was taught to mend her stockings and cook
as well as to appreciate art and spell. The
children here were required to play out-
doors two hours every day, no matter what
the temperature. This, Bette says, pre-
pared her to stand the beating she met in
Hollywood. Later they went to other
schools including Cushing Academy, which
was a sensible, wholesome country school.

Mrs. Davis was on the staff of the fash-
ionable Bennett School for a time. Later
she learned photography, and used it as an
entering wedge into a summer camp where
Bette could study dancing with Roshanara.
And it was she, as I have said before, who
marched Bette to the office of a dramatic
school in New York. In this case it was
the school of John Murray Anderson.

"I haven't any money now, but you'll
get it every month," she said. Mr. An-
derson agreed to take Bette.

Mrs. Davis was working in a photo-
graphic shop in South Norwalk, Connecti-
cut, at the time. And, as it worked out.
she only had to pay for lessons for six
months. At the end of that time Bette was
awarded a scholarship that covered the rest
of her year's lessons.

Mrs. Davis always had a deep intuition
that Bette would some day make a name
on the screen. When they lived in the
house I did Mrs. Davis would often say
to Bette as they passed a motion picture
lobby display, "Some day your picture will
be there. I know it will." And yet when
Bette first went to Hollywood, they could
not really believe it was true.

Bette's mother was just as much like an
excited child about everything in New
York as was her daughter. She was hav-
ing more leisure than she had had for

On the up-and-up! Few young actresses have risen to picture promt-*
nence in so short a time as has beautiful blonde Gloria Stuart. She's*
prettier than ever in "Private Jones," with Frank / :cy

Carroll.

for June 19 3 3

Summer incarnate.' That's Betty Furness, in her knitted sports suit, her
white sailor hat, her tennis racquet and her sunny smile. Watch for
Betty in "Emergency Call," with Bill Boyd.

years, and she was thrilled with the big
city.

The house was not at all the ordinary
"boarding room" house. It had once been
a luxurious dwelling, and had been remod-
eled by an interesting woman with social
background and a family tree, into small
apartments, furnished with really decent
antique furniture.

While Bette was at work and busy with
her friends, her mother and the "landlady"
went gadding around, eating up movies,
and pancakes and culture for which both
of them had a great appetite. They joined
a gymnasium class at Dr. Fosdick's church
on Riverside Drive, and searched for bar-
gains in clothes for "their child." When
they found something nice, Bette went to
look it over next day.

Bette was a good bargainer. But she
did, I remember, have one burst of extrav-
agance which kept her worried for days.
She bought the article of clothing which
she desired more than anything else — a
double-skinned silver fox neckpiece. It cost
$350 and the edge of her joy in it was at
first taken off by the thought that she
ought not to have paid so much for it. Her
mother consoled her, though, as she always
did — and Bette, persuaded that everything
was all right, named her twin foxes "Ro-
mulus and Remus."

(And when just the other day I looked
through her wardrobe to see what dresses
she had brought with her on the "42nd
St." trip, I found my old friends, "Romulus
and Remus," hanging on a hook, beautiful
still — though worn down in spots like a
beloved and comfortable armchair!)

There was always something good to eat
in the Davis' fourth floor front. Tea was
an everyday ritual. And Mrs. Davis al-
ways had something hot to eat for Bette
when she came home from the theatre.

At first I thought that there were chil-
dren in the house, by the way the street
door would burst open every now and then
and a young tornado would rush the stairs,
which went up athwart my door. They
squeaked terribly, those stairs. We used
to grumble about them, but it did not do
any good to grumble because Mr. John D.
Rockefeller, Jr., had bought the building
for Radio City, and it was going to be torn
down to make room for Roxy's new Radio
Ciiy Theatre very soon.

But of course I later learned that they
were young theatrical people — Bette was

looked upon as one of the most promising
young ingenues and knew many stage
celebrities, as well as budding singers,
brokers, fledgling lawyers, and the like.
They would not have been at all pleased,
I am sure, if they had known I had thought
they were mere children.

They were a wholesome set of young
moderns — absorbed in themselves, crazy
about their work, so sure of their opinions !

As I said before there were always more
boys than girls. Bette felt that most girls
her own age were silly about boys, and it
bored her. She herself could see that she
would have to earn her living and carve
out a career for herself. Boys understood
that. She liked them but didn't want to
marry every one she met. She didn't care
a rap what they looked like — just so they
were interesting and amusing. Anyway,
she was in love with "Ham."

Bette's "gang" were especially fond of
barging in for tea, because then Mrs. Davis
would read their tea cups. It was mar-
velous, truly, what she could "see" — es-
pecially for Bette. She seemed to have
extraordinary intuitions where her daugh-
ters were concerned. She used to say that
she "saw" with her common sense — the
teacups at least made it possible for her
to give out a sound piece of good homely
advice in the name of "fortune."

The game of tea-leaves gave Bette a
great deal of entertainment, and kept her
and her mother close together in many
ways. Xow that the sort of days have
come to Bette that they used to dream of,
they no longer have time for the tea-cups.
Bette is usually busy in the afternoons, and
Mrs. Bette and Bobby have returned to
Massachusetts to live.

Before I close, I must tell you about the
new gold hair of Bette's. The platinum
shade she first achieved did not suit her.
So she experimented and has now arrived,
by the aid of a little henna, at a much more
becoming color which she talks about with
a lack of embarrassment which would
doubtless have horrified those New Eng-
land forebears.

And by the way — it was a famous direc-
tor, not an unknown extra girl, who told
Bette that if she ever wanted to make a
dent in pictures she would have to change
the subdued and refined tone of her natural
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Double-Star Gazing

Continued from page 27

combination it is well to know they need
each other and can be of mutual help. For
she is high-strung, nervous, and alert, and
needs his friendly comforting influence.
For instance, a woman of this type might
write a wonderful story, but he would in-
sist on its being plausible ; and if good,
insist on its being copyrighted and pro-
tected. William Powell has often been
cast as a lawyer or detective, simply be-
cause he has that "look-before-you-leap"
quality of mind and body. His eyes are
well paired with his wife's in general color
and apparent ability to see clearly and
reason out the meaning of what they see.
Hers show the greater love of color. The
fact that they both have eyes that tip up
at the outer corners in a somewhat feline
manner and show a bit of the white of the
eycftfcJeac -.^-^.Jsdi „v£ps . that they both
have that cat-like quality of loving to hick
their real feelings while teasing and haras-
sing the feelings of others just for fun.
Their noses are both the well-shaped, wide-
winged noses of people whose minds are
ever hungry for new " knowledge. Many
great travelers have such noses, so I ven-
ture to say the Powells could and probably
will travel a great deal and take a mutual
delight in the bizarre and unusual things
off the main routes of travel. Most actors
and actresses have full, well-shaped mobile
lips, and this talented couple illustrate this
to perfection.

These are the mouths of eager, expres-
sive, enthusiastic, convincing -speakers who
can sell themselves or their ideas to one
or a multitude. There is nothing repressed
or inhibited about this expressive Powell
pair.

Of the two, her lips are the most sug-
gestive of the extrovert. His lips are not
quite so full so he probably enjoys his
periods of quiet introspection and reflection
with pipe and book quite as much as ani-
mated conversation. A somewhat darker
complexion would confirm this delineation
of his somewhat more angular features. If
your better half shares this alternating
personality, part of the time acting like
an extrovert, and then again a studious

introvert, try and synchronize your moods
and double all possible companionship.
Both these stars of the cinema world have
the firm, well-set jaws to play the parts
of most determined individuals with life-
like conviction because they really have
much more than average determination. If
there is a difference, her back jaw is more
angular so she is probably very hard indeed
to coerce into any situation against her will.

Some highly sensitive people of Mrs.
Powell's type are given this as a highly
efficient defense mechanism. Just as some
very large people stoop to be nearer the
average and small people do everything in
their power to appear taller so by the same
token many highly nervous sensitive people
act most obdurate for fear they will be
over-ridden and ruled by brawnier, more
lit people. If you share this firm trait
0S lots of diplomacy, for others may feel
you are merely being stubborn.

Certainly if every married couple could
see life as nearly through the same eyes as
this pair of double stars there would be
much more happiness for all. Like all
clever people who are forced to live a very
vivid active life, they have learned to ap-
pear much more sophisticated and uncon-
cerned than they can really be at heart.
My guess is that they both love to relax
with their chosen few real intimates and
be themselves.

At these times she probably loves to call
a spade a spade with a most disarming
smile. He is probably happiest when left
most to his own resources. Certainly they
are a most interesting modern couple like
so many others with about as much avail-
able privacy as a pair of gold-fish.

Hollywood and all that it means is a
veritable crucible of fusing and disfusing
forces, so that couples that endure as
couples and can continue to refer to each
other as "my better half," have not only
unusual minds but much heart and soul as
well. Lovers will go on falling in love in
Hollywood as in the rest of the world, but
a little thought about their different na-
tures might help both stars and star gazers
to keep from falling out.

Going West!

Continued from page 52

sinning with a smile that has catapulted
her into public favor. She sees the funny
side of sex. She put -the giggle in gigolo.
And she is cashing in on it.

She gave me a vivid idea of how her
plays were composed.

"I get an idea, see, then I get together
a cast of actors, then we rent a rehearsal
hall and rehearse. We go through the ac-
tion the way it'll be after I get all the
lines filled in. My secretary makes a note
of everything, and before you know it, an
act's set. Then we do two more and we
have the show ready."

She thinks Hollywood is a nice place to
hibernate, but she decries the absence of
night life in the film belt.

She purchased the famous golden swan
bed from Diamond Jim Brady, and when
she can't find a spot for it in a play Mae
keeps the bed in her country house. She
has surrounded it with a roomful of gold
furniture. "I never use that room," she
said, "but it certainly looks swell."

Mae is not interested in matrimony. "I

want to keep my mind on myself!" she
explained succinctly. "Let them fall in
love with me if they want to, but I don't
fall in love with them. I got plenty to
occupy me. Pictures, personal appearances,
stage plays, books. I'm too busy to be in
love with anybody."

While there will unquestionably be those
who will look askance upon Mae West's
advent into pictures as a minor blight, it
is my belief that she will have a salutary
effect upon films overdosed with the eter-
nal sweetness and light dispensed by the
Gaynors, the Novarros, and the Hardings.
The West cycle of films promise to be
lusty, forthright, rowdy productions aimed
■at the risibilities, and if "She Done Him
Wrong" is any criterion, destined to wreck
box-office records as they have rarely been
wrecked heretofore.

As this is being written, Miss West has
started to work on her third Paramount
picture. After completing this and one
more, Diamond Lil will be open for offers,
first among which is RKO's princely bid

for June 19 3 3

of $100,000 for a single picture. This is
not publicity money : this is the good round,
sum RKO offers Miss West for the priv-
ilege of photographing her lavish charms
in a series of poses designed to react vig-
orously upon the box-office.

Personally Mae is naive, proud of her
drawing power, (as well she may be),
anxious to please. She is childlike in some
respects, age-old in her knowledge of the
world. To her colored maid she is a mas-
terpiece of all the virtues ; to the stage-

hands she is regular ; to her public she is
all things to all people. She has the mag-
netism over crowds that Texas Guinan has,
that Aimee McPherson once had, and that
Billy Sunday surely had in his palmiest
days.

Mae met Billy while making "She Done
Him Wrong." They posed at a property
bar drinking property beer. And it is not
unfair to guess that Mae was saying to
Billy, "We've both done well, according
to our lights."

Going Native!

Continued from page 35

Honolulu but thinks California a good
second choice. Crabbe is a self-made col-
lege man — worked in a clothing store in
the winter, and as a life-guard on a Cali-
fornia beach in the summer.

Buster had to fight any number of handi-
caps on his first film venture. In one of
his scenes with wild animals he was bitten
severely by one of the beasts. Toward
the end of the picture his appendix started
acting up and caused him considerable
discomfort and pain — to have paused for
an operation would not only have delayed

the picture, but would have caused Buster
to appear in the later scenes with a scar
that wasn't visible in the first scenes. So
he went through with the job, as a good
"Lion Man" should, and when the picture
was finished he was allowed to have a nice
operation for being a good boy.

Not only the public, but Paramount of-
ficials as well, liked Buster's first picture.
Just to prove it, the company took up his
option, and you'll be seeing his second pic-
ture, "Under the Tonto Rim," before long.
Looks like he's here to stay.

Here's that famous huntsman, Gary Cooper, in his trophy room. Th
head which you see over the fireplace is that of an African reed-bucl
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Confessions of Cupid

Continued from page 19

wooed many. He has poured love mes-
sages into the pink ears of Martha Sleeper,
Frances Dee and Sally Blane. He was
serious about Kate Smith for a while, and
sent her six dozen roses at once, but that
seems to be over. That fellow shouldn't
be named Scott; his name should be Scoot.

"Jack Oakie is pretty well tied up with
Peggy Hopkins Joyce; she even has him
wearing dress clothes. When Jack was
rushing Mary Brian, he managed to find
time for occasional dates with other girls,
but Peggy keeps his hands entirely filled.
He has completely erased Grant Withers
from Miss Joyce's life.

"Another tri-cornered romance seems to
involve Lilian Harvey and her two most
ardent suitors, Maurice Chevalier and
Ernst Lubitsch. This is a sort of League-
of-Nations triangle — an English girl, a
Frenchman, and a German.

"Sylvia Sidney will probably eventually
middle-aisle with B. P. Schulberg, the
producer, but not, needless to say, until
his divorce is final. As for that Sandra
Shaw and Bruce Cabot romance, which
I was certain would end at the altar —
Loretta Young has been cutting in. Geneva

Mitchell has said the glad word to Lowell
Sherman, but no date has been set. I'm
positive Carl Laemmle, Jr., would love to
I-do Eleanor Holm, but Papa Laemmle
won't agree. However, there are no dis-
senting parents to throw cold water on
the love between director Clarence Brown
and lovely Alice Joyce, and they may be
one before long.

"Frances Dee's torrid love for Gene
Raymond struck ice, and lately she has
been making eyes at Buster Crabbe. But
Gene's no fool — he has been taking up
the Loretta Young evenings that have not
gone to Bruce Cabot.

"Lupe Velez and Johnny Weissmuller
may vow that they're not really in love,
but their New York-to-Hollywood tele-
phone and telegraph bills would do much
to pay the national debt.

"With the Countess Frasso away, Gary
Cooper wooed the popular Lilian Harvey
temporarily, but he was frozen out by
Chevalier and Lubitsch. Lately Gary has
been rushing Wera Engels, but you need
not get seriously excited about that. Gary
is a play-boy.

"Among early weddings I anticipate

->b and Madge together again! Good news for the legions of moviegoers
•o saw the Montgomery-Evans team perform so beautifully in "Lovers
irageous" a season ago. Now they're co-starred in the submarine epic,

"Hell Below."

for June 19 3 3

CLAUOIA DELL
POPULAR STAR

Irene Rich and her two daughters, Jane and Frances, come up the com-
panionway to salute you while On a cruise on the good ship Fella. Miss
Rich has been making a series of personal appearances during recent
months — -but watch for her return to the screen before long.

are those of Dorothy Jordan, who threw
Donald Dilloway over, to Merian C.
Cooper, the producer ; and Lila Lee to di-
rector George Hill. Lovely Benita Hume
is engaged to marry Jack Dunfee, the Lon-
don publisher and sportsman. I am hop-
ing I may bring out my wedding chimes
for Bert Wheeler and cute little Patsy
Parker, and I have not ceased counting
on a marriage for Charlie Chaplin and
Paulette Goddard."

"Why hasn't Myrna Loy ever fallen in
love, Master Cupid?" I asked.

The naked archer smiled wisely. "Have
you noticed how often she and Ramon
Novarro have been seen together lately?"
he said. "Watch out for those two. And
if I'm able to make Bill Bakewell serious
for a few minutes, he may whisper the
divine words into Julie Haydon's ear.

"Wynne Gibson and Lyle Talbot are
still playing the night clubs until the
dawning hours. Right now Ginger Rogers
is going places with Howard Hughes. For
three years Isobel Jewel and Lee Tracy
have been that way, but they simply won't
be serious about making it permanent.
What can I do with a couple like Isobel
and Lee?

"I am not sure whether Madge Evans
and Tom Gallery will be married before
you can pass the good word along, but if
they're not, it won't be long now. If you
think that Gallery's ex-wife, Zasu Pitts, is
carrying the torch, you are just crazy, for
she may marry Frank Woodal, the tennis
professional, before Madge and Tom can
hasten to the altar.

"Glenda Farrell and Allen Jenkins may
be hard-boiled on the screen, but together
they are as soft and mushy as honeycombs.

I am positive they'll marry. But then,"
said Cupid, sighing, "I was equally certain
Alice White and Sidney Bartlett would
wed, and look at them — split wider than
the Grand Canyon, right now. I wish
they'd make up.

"I am happy to report that Marie Prevost
and Buster Collier have patched their
troubles. Dorothy Lee has been rushed
from her feet by that New York banker,
L. LeMaistre, and something may come of
their romance. I think you may expect
wedding bells for director Gregory LaCava
and charming little Dorothy Wilson, too.
However, I don't believe the affair be-
tween Susan Fleming and Harpo Marx is
actually serious."

With, these last few remarks, Cupid
closed his record book and shrugged his
shoulders.

"That is practically all of interest today,"
he said, emphasizing the last word. "Things
happen so suddenly in Hollywood that to-
morrow I may have a dozen new loves to
report, and as many old ones thrown into
the discard."

"Hollywood romances are unstable, I
agree," was my answer. "Tell me, have
you any advice for young romancers of
the film capitol?"

"Just a few words," answered Daniel Joy
Cupid. "Tell the girls that careers and
marriages will not mix — that they must
be Janet Gaynors and chance divorce, or
else be Jobyna Ralstons and do as she
did when she married Richard Arlen —
retire and become wives."

"What advice for the men?" I begged
him.

"None," laughed Cupid. "The women
run the men."

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SCREENLAND

Autobiography

creen s

n I

VERYWHERE he goes he is hailed as
"Little Caesar." No matter how many
other roles he plays, he is destined to be re-
called and applauded as the original "gang-
ster menace." Wherever motion pictures are shown, his face is known — yet
Edward G. Robinson, of all actors on stage or screen, is perhaps most
genuinely retiring. Few, except his personal friends, know the real man. We
know you'd like to meet him, as he really is. And so in the July issue, on sale
May 25th, we are giving you the FIRST authentic life story of this outstand-
ing screen artist. Robinson, most modest and retiring of all the Hollywood
celebrities, has never before been induced to tell his own colorful story. He
tells it for Screenland — just one more scoop of the Smart Screen Magazine
that's FIRST with fascinating features you enjoy reading because you know
they are interesting, accurate, cleverly written and exclusive.

I^flJL 32 Famous
\HT*^A Screen Star

llP ^ ^11 Miniature Portraits

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Screenland, Dept. M-6. 45 West 45rh Street, New York, N. Y.

Please send me a complete set of 32 Movie Star Miniature Portraits, including short biography.
I enclose 25c in coin or stamps.

Name

Address

City State

The Public Be Heard

Continued from page 6

Shearer role! Even if she were fairly
good, the public wouldn't recognize it, for
what they want from ZaSu is the unique
personality that she has to give. Or im-
agine Janet Gaynor in a Lilyan Tashman
role, or vice versa.

I like my stars as I really know them,
and, I hope, as they really are!

Juanita Paulk,
710 South 5th St,,
Lamesa, Tex.

STANWYCK— A REAL ACTRESS

For me, at any rate, there is no com-
paring Barbara Stanwyck with any other
actress on the screen. Her acting is more
subtle and truer to life than that of any
other it has been my privilege to see. And,
thank heaven, she has not permitted her-
self to be "typed" !

Three cheers for you, Barbara! I'll al-
ways be sincerely for you, whatever the
future may bring.

C. Marie Gipsan.
Lovalhanna, Pa.

DON'T BE YOURSELF!

It's the easiest thing in the world to be
yourself. To "be" someone entirely dif-
ferent— that's what requires real acting
ability.

So it should be the aim of every screen
star to hide his own personality — forget
all about it until the picture is completed.
In fact, it would spell disaster for them, in
my estimation, if they were unable to do so.

Evelvn M. Marcille,
1848 State St.,
Bridgeport, Conn.

FREE-FOR-ALL!

If the personality of a star is thrust
forward, the result is as unconvincing as
kids playing show in a barn for two pins
admission.

Fred B. Mann,
Chicago, 111.

To be a real actor, worthy of the name
and proficient in the art, a star must sac-
rifice his peculiarities of persqn for those
of the role to be played.

Lewis D. Fackler,

Roanoke, Va.

Let the stars submerge their personali-
ties ? Never ! "Emma" would have been a
flop without the Dressier personality. "Call
Her Savage" is Bow Personality from start
to finish. And don't forget ZaSu Pitts !

D. B. Palmer,
Englevale, N. D.

Maybe in the celebrated Bard's day the
play was the thing. But today is the day
of the movies. The star's the thing now !

Barney O'Donnell,
Columbus, Ohio.

The greater the player, the more he sub-
merges the individual. To me that is what
makes Garbo an exceptionally fine actress.
Glamorous and distinctive as she is, she is
able to become in turn, a love-starved wife,
a distraught mother, a fading danseuse —
and each convincingly.

Mary Miller,
Cortland, N. Y.

for June 19 3 3

Femi-Nifties

Continued from page 74

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quick as a flash. It's a liquid — and just a
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up. We're all for you !

Francis Lederer, in that well-known
Broadway hit, "Autumn Crocus," tells
Dorothy Gish, in the role of the pale and
pathetically lovely English spinster, that
she reminds him of those light lavender
flowers that bloom in the Austrian Tyrol
in the Fall. Well, as Dorothy Gish sat
on the mountain side, against a back-
ground of those purple-pale crocuses, we
noticed that there was a resemblance. But
more than that. . . . the lazy lavender of
the flowers did something for Dorothy
Gish. They gave her a glow — a warm,
purplish tint — that reflected the growing

light of the sun.

Ah-ha, we thought to ourselves ! Now
we understand a little more about what
this new orchid powder creation will do
for us. We've been hearing a lot about
them, you know. Kathleen Mary Quinlan
has blended a pale lavender face powder
for evening wear. There is another
known as "Orchid" by Dorothy Gray. So
instead of just thinking about them, and
wondering, we rushed out and bought some
to try.

Well, to try was to triumph — in this
case. I found that after I had put on my
regular powder make-up, I could dust on
a little of the orchid powder over it, and
get a really very glowing effect. You see,
stage stars have long used the bluish
lavender powders behind the footlights, be-
cause it has a certain something that
"picks up" all the warm lights around you,
and reflects them in twice their glory.
You've noticed too, how so many of our
finest magazine cover artists shade their
lovely ladies' faces with bluish-lavender.
When you stop to analyze Connie Bennett
on this month's cover of Screenland, you
can see the lavender glow that adds so
much to her allure. Well, we can all be
magazine-cover ladies now . . . with these
new powders.

My ma Loy simply couldn't afford to risk spoiling those elegant accordion
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The GRISWOLD

on Long Island Sound, New London, Conn. — midway between
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NEW OWNERSHIP AND MANAGEMENT

Mr. William F. Ingold

Manag&r of The Mansion House on Fisher's Island for many years, will also manage
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At the Griswold facilities for a summer of pleasure are all-inclusive — 400 rooms
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Daily rates for 1933, according to the rooms selected, are
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WILLIAM F. INGOLD. Manager

THE JULY ISSUE OF SCREENLAND WILL BE ON SALE MAY 25

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SCREENLAND

Tagging the Talkies

Continued from page 10

A Lady's Profession
Paramount
Alison Skipworth and Roland Young,
two swell comedians, are enough to guaran-
tee you your money's worth in any picture.
Separately, each is a wow; together they're
a riot! Here we find them involved in
the bootlegging racket. The story is flimsy
but the Skipworth- Young team disguise the
J fact. Sari Maritza and Kent Taylor provide
the romance and do it nicely.

Pick Up

Paramount

This begins in a nice sprightly fashion,
: then suddenly becomes as melodramatic
as a moratorium. Sylvia Sidney and George
Raft, in the principal roles, stimulate your
interest, however. Raft plays a taxi driver,
and Sylvia plays the penniless and homeless
gal he "picks up." The story is from the
pen of Vina Delmar of "Bad Girl" fame.
Lilian Bond is the femme menace.

Broadway Bad
Fox

Joan Blondell has gone serious on us —
and we hope it's only temporary because the
customers want their Blondell nice and
flippant. She plays a misunderstood chorus
girl in this one. There's a melodramatic
court-room scene in which Joan fights for
her chee-ild! Joan's good, but she's better
in lighter roles. Nice work by Ricardo
Cortez and Adrienne Ames.

The Woman Accused

Paramount

Or how to get away with murder! In
fact, ten famous authors, who collaborated
on this story, turned their talents toward
getting an acquittal for Nancy Carroll.
Nancy kills Louis Calhern, an ex-lover,
when he threatens to have her fiance, Cary
Grant, murdered. The story is somewhat
j disjointed — but Nancy, Cary and John
Halliday help considerably.

Irene Dunne, wearing this jaunty
hat and severely tailored coat,
goes modishly militaristic as
to clothes !

for ]une 193 3

Here's Hollywood

Continued from page 69

TILIAN HARVEY, diminutive English
' actress, brought with her to Holly-
wood all of the old-time, glittering equip-
age common to Hollywood's stars of a few
years ago.

She travels about Hollywood in a huge,
milk-white automobile every bit as showy
as Roscoe Arbuckle's chariot of 1925. The
lamp-shades in her dressing room are
trimmed with ermine, and are as sensa-
tional as the expensive silk draperies and
window curtains that once signalized Gloria
Swanson's studio bungalow. Miss Harvey
also wears bizarre clothes and jewels on
all occasions.

PEGGY SHANNON, still confined to her
home following a tonsilectomy, was not
too ill to write a letter to her fan club,
begging the members not to send her a
birthday gift.

". . in such times as these," wrote
Peggy, "I would be happier if you would
devote the money to a worthy cause, or
perhaps to a member of the club who may
be in need."

And in such times as these, or any time,
such thoughtfulness will endear Miss
Shannon to her fans, who are even now
engaged in a campaign to bring her more
often to the screen.

NOW guess who they are saying is ef-
feminate? None other than our cur-
rent male sensation, George Raft

George, it appears, uses perfumes pro-
fusel}', enjoys a vibrator massage before
going to bed, and dresses in the fanciest
possible pajamas.

Despite these light touches, Raft also
handles his fists like a ring champion, and
has a punch comparable to the kick of a
mule; therefore, people who are whisper-
ing that he has his touch of effeminacy
are making sure George isn't within hear-
ing range when they talk.

THE one time when it is not dif-
ficult to get Joan Crawford in
person on the telephone is during
the dinner hour.

Joan never takes her place at
the table until the 'phone exten-
sion has been placed on the floor
beside her, and the lovely voice
that answers calls during dinner
hour is invariably Miss Craw-
ford's. Try it some time — if you
can discover her number!

"f* ULLIVER'S Travels," is being brought
vJ to the screen by trick photography
. . . Betty Blythe, former star-vamp now
returning to screen, spent the past two
years on a ranch, where she "polished
eggs" for marketing ... El Brendel, com-
monly believed to be a Swede, is actually
a Pennsylvania Dutchman . . . After years
of practice with the implement, Peggy
Hopkins Joyce burned her face so severely
with a curling iron that temporarily she
could not don make-up . . . Bert Wheeler
pulled a faux pas. when a stranger men-
tioned that "he followed the horses," by
asking, "Where is your white suit?" . . .
After betting together on their golf game
for almost two months, Richard Dix and
his director found that Dix was two dol-
lars ahead . . . Cary Grant was painfully
but not seriously injured by a bomb ex-
plosion on a set . . Competition for Bing
Crosby: Phil H<»i-ris appears in the lead-
ing role <>1 a picture called "Maiden
Cruise."

FIRST, M-G-M produced "Grand Hotel"
with Greta Garbo, Joan Crawford,
Lionel and John Barrymore, Wallace
Beery, Lewis Stone and others. Then Fox
produced "State Fair" with Janet Gaynor.
Will Rogers, Lew Ayres, Sally Eilers,
Norman Foster, Louise Dresser and a few
more featured players.

Now M-G-M is going Fox one better.
The cast of "Dinner At Eight" is the most
astounding in film history. As this is
being written, the cast, subject to changes,
includes Jean Harlow, Marie Dressier,
Wallace Beery, Lee Tracy, Lionel and John
Barrymore, Madge Evans, Karen Morley,
Franchot Tone, Jean Hersholt, Louise
Closser Hale and Billie Burke.

Everybody in the cast but the studio cat,
it seems — and maybe, following the flood
of animal pictures, absence of the cat will
come as a welcome relief.

JANET GAYNOR, certain critics
have hinted, is losing her popu-
larity. But according to the 300,-
000 members of the National Girl
Scouts, the critics are as wet as a
duck in a rainstorm.

In a movie star popularity con-
test, participated in by members
of the Girl Scouts in all parts of
the country, Janet won a landslide
victory, polling more than fifty
percent of the total votes cast.

SO SEVERE have been the criticisms of
Ely Culbertson as a consequence of his
refusal to fulfill that bridge engagement
with two of the Marx Brothers, that I feel
something should be said in the bridge
expert's behalf.

When the challenges were first hurled
by the Marx Brothers, Culbertson accepted
them as jokes and publicity stunts. But
when the comedians crossed signals and
ballyhooed the contest as a serious affair,
with the championship of Hollywood at
stake, Culbertson balked.

Newspapers promptly criticized him for
his failure to go on with the match, but
to have doae so would have been folh- for
Culbertson. Had he won the match, which
is likely, the public would have said, "He
should have won ; he is a champion." But
had the cards run overwhelmingly against
Culbertson and his wife — and they might
easily have done so — the Marx Brothers
would have won and the reputation of Cul-
bertson would have been done immeasurable
harm.

In comparison, would Jack Dempsey,
when he was world's champion heavy-
weight fighter, have agreed to battle a dock
worker or some other tough bruiser for a
purse of a few thousand dollars ? Dempsey
would not have risked his crown, and
neither would Culbertson do so.

I place these facts before readers who
are also bridge players, because I feel that
they deserve to know the real truth about
Culbertson's refusal to go through with a
contest that had all the aspects of being
a farce comedy.

DO YOU know that Randolph Scott
and Cary Grant, who live together,
also have the same birthday, January ISth?
. . . Betty Furness recommends a delight-
ful breakfast dish : anchovies on scrambled
eggs . . . Joan Blondell and Ruby Keeler
join the Won't-remove-their- wedding-rings
wives ; in scenes where the rings must be
hidden the}' are taped and painted with
make-up . . . Marjorie White wears dark-

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WOV

Music ■ Gossip ■ News

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SCREENLAND

Columbia Pictures

Make up your mind, Evalyn! Pretty little Miss Knapp has us just a little
bewildered with this contrast of a demure, high-necked, puff-shouldered
blouse and very modern silken legs below. See her in "State Trooper."

glasses in sunlight to prevent wrinkles . . .
Betty Bronson's (remember her?) brother
guards the door at one of the studios . . .
Henry Ford, who asked for a Greta Garbo
autographed photo, has repeated his re-
quests to Marlene Dietrich, Fredric March
and Maurice Chevalier . . . Buster Crabbe,
"lion man" of "King of the Jungle," was
once a life-guard and saved twenty-two
lives in one year . . . Sylvia Sidney admits
her favorite "hate" is to be surprised by
"candid camera" wielders outside restau-
rants and theatres . . . Robert Montgomery
is, of all things, an expert marble shooter
. . . Benita Hume had an annoying appen-
dix removed ... Joan Crawford and
Claudette Colbert bicycle together daily
when they're not working . . . Anita Page
has a baseball autographed by members of
the New York Giants, who trained near
Los Angeles.

STRIFE that threatened the happiness of
John Gilbert's marriage to Virginia
Bruce has apparently been sidetracked, per-
haps by the fact that Virginia's baby will
arrive soon.

At any rate, John will not lunch at the
studio daily until he has talked to Virginia
on the telephone, and invariably he
wreathes his face in smiles after those con-
versations. Of course, Gilbert is famous
for lightning changes, and before this can
appear in print he may show a complete
reversal of his present form.

PARADOXICALLY, Buck Jones, prob-
JL ably most popular of the current West-
ern cowboy stars, is the only one of that
group who has always lived in city apart-
ments or houses.

Only recently did Jones decide really to
"go Western," and -with that in view he
purchased a ranch near Hollywood. Of
considerable interest is the fact that the
Buck Jones Rangers Club has a member-
ship of more than two million. With head-
quarters in theatres throughout the world,
this club has become a powerful factor in
popularizing Buck's pictures.

A NICE prize to the person who con-
vinces William Gargan that it really
pays to rescue dogs.

Gargan passed the Los Angeles city
pound one day and was attracted by the
sad eyes of a hound already sentenced to
the gas house. The actor went inside, paid
the pup's fine and emerged with a new pet
— and no place to keep it.

Bill took the dog home and temporarily
loosed him in the house. Meanwhile, Gar-
gan went to the studio. On his return, he
discovered that the dog had opened a pack-
age of laundry and completely ruined half
a dozen fine shirts.

A SHARP retort, that of Douglas Fair-
banks, Jr., to the writer of his most
recent script. It followed the preview,
when the writer said to Doug, "What be-
came of that dirty gag I put in?"

"You'll find it on the cutting-room floor,"
said Fairbanks, Jr., "along with the mud
and tobacco juice."

COMES now the question: Does a baby
grow up to be a better man or woman
if its earliest years are spent in a nursery
whose walls are decorated with animals or
Mother Goose characters?

Jobyna Ralston and Richard Arlen think
not, and the room they added to their home
for their first child is ultra-modern. Sim-
plicity is the keynote, and is abetted by
light, ventilation, and sanitation. If you
think the room isn't the last word, please
be advised that a physician as well as an
architect aided the Arlens in drawing up
the nursery plans.

XJEWS IN NUT-SHELLS: Director
IN William Wellman property-settled
$30,000 on his divorced wife . . . Roscoe
Arbuckle's first series of short comedies
were hits ; he has signed for a new group
. . . Sally Eilers, following Marian Nix-
on's example, has parted company with
her husband, Hoot Gibson. The two girls
are chums . . . Income tax liens against
Gloria Swanson charge the actress with
owing $49,426 on her 1931 income tax . . .
Practically all stars and featured players
signed agreements for a 50% salary cut
. . . Barbara Stanwyck and Frank Fay are
co-starring in "Tattle Tales," musical com-
edy now on road . . . Anna Q. Nilsson,
famous years ago as "Anna Q." is making
a stage come-back . . . Janet Gaynor filed
suit for divorce from Lydell Peck, charg-
ing cruelty . . . California orphanage really
took Marian Nixon's adopted child from
her following her filing of divorce charges
against her husband.

WHEN Paramount actors and actresses
are discovered to be absent from their
sets during late-afternoon hours, calls are
put in for Carole Lombard's dressing room.

Carole serves tea about five o'clock daily,
and among those who may usually be found
scattered about her dressing rooms are
Gary r — Gary r-«"t Wvnne Gibson,
Jack (

or so . lerstj.

NOW I understand why the walls of the
sound stages hi the studios were con-
structed so thick. Wandering onto the
Paramount lot, I was startled to hear the
most raucous music in the air. The sounds
emanated from Dressing Room Row, and
investigation proved that Marlene Dietrich's
phonograph and records were responsible.

Marlene has a penchant for German
records, and when she is in her dressing
room, the toots and blares of German
horns may be heard throughout the studio.

THE fun-feud between Jack
Oakie and Stuart Erwin seems
to have no ending. One day not
long ago Jack mentioned that he
intended to have a sculptor model
him in clay.

"I don't see why," murmured
Erwin, edging for the door.
"You're a big bust already."

TN FORTHCOMING pictures, by the
i- way. Fay Wray and Kay Francis depict
what we may expect in the womanhood of
future years.

Fay plays a woman lawyer in "Rules for
Wives," and Kay enacts the role of a
woman physician in "Alary Stevens, M. D."
Misses Wray and Francis respectively spent
days in court and local f.-^rMtals in efforts
to gain keener insights Into i-Vcir "screen
characterizations.

ilillEO MES-, INC., CMICAG*

about YOU? shall men say "SHE IS LOVELY —

SO EXQUISITE!"

BY PATRICIA GORDON

The Music ends — softly. A momentary hush. A throng; but you
seem mysteriously detached. It is your moment. Something
portends. Born on the strange silence, a remark — about you.
Some one says, "She is lovely!" No conscious flattery this —
not meant to be overheard. And so, a thrilling compliment.

"So Lovely, so Exquisite!" How? Pretty clothes, daintiness,
poise, chic? As background, yes. But as to these, men see
dimly. Only women are critical. Men observe colorful cheeks,
are entranced by luscious hps, thrilled by eyes brilliant and
mysterious. Sh-h-h-h! make-up! Ah yes; but make-up so
clever, so artistic that to masculine eyes it appears as natural.

Some Women Know — Some Do Not. How can it be otherwise
than true? When a woman will tolerate obvious make-up, she
simply does not know the glamorous beauty of harmonized

a MAKE-UP KIT for only 10c

t 0 This famous Introductory Kit contains rouge and
lip rouge to last two weeks to a month; also a purse size,
metal box of Princess Pat face powder and a book of new
copyrighted beauty secrets. The 10c is simply for postage
and packing. An extraordinary offer; made to acquaint you
with three delightful Princess Pat beauty aids.

PRINCESS PAT

Princess Pat make-up. The rouge, for instance. Of the famous
Duo-Tone blend. A mystery of radiant beauty so natural that
its glowing color seems actually to come from within the skin.
Powder of precious almond base (instead of chalky starch).
Softer than any other powder; far more clinging. Powder to
velvet any skin to smooth, aristocratic perfection. And lip
rouge! So wonderfully natural, so smooth, so free of waxy sub-
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Each With The Other Harmonized. How different! Whatever
Princess Pat rouge, powder and eye make-up shades you
choose will invariably harmonize. A secret color theme invests
Princess Pat make-up with this marvelous advantage. With
usual make-up there is ever the risk of discordant shades;
but never with Princess Pat.

Make-up To Go With Costume. Because any shade of Princess Pat
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your costume in mind. Simply choose the more intense shades
of rouge for strongly colored costumes, the softer rouge shades
for softer costume colors. There are
shades of Princess Pat rouge, fulfilling
your every requirement for stunning,
individualized make-up.

PRINCESS PAT. Dept. A-2546,2709 S. Wells St., Chicago.
Send your famous Minute Make-up Kit containing rouge,
lip rouge and face powder. I enclose 10c in full payment.

LONDON

City and State .

CHICAGO

IN CANADA, 93 CHURCH STREET, TORONTO

ILLUSION !

In India, the fakirs present a
spectacle to tourists. Two lovely
performers appear, throw jag-
ged pieces of glass into a box
already filled with broken
glass. They step barefooted
into the box and do an Oriental
dance — uninjured.
EXPLANATION:

Before appearing the perform-
ers toughen their feet in a solu-
tion of alum water and rub them
with pulverized resin. They
throw the sharp glass around
the edges of the platform. The
glass on which they actually do
dance has the edges rounded
off. They just pretend to dance
on the sharp glass,

SOURCE: "Malic Stale Illusions
and Scientific Diversions'" by
Albert A. Hopkins, Munn
&Co.. New York.

IT'S FUN TO BE FOOLED

... IT'S MORE FUN TO KNOW

One of the tricks of cigarette ad-
vertising is to pretend that"Heat
Treatment" is an exclusive pro-
cess, making one cigarette better
than any other.

EXPLANATION: All cigarette
manufacturers use heat treat-
ment. The first Camel cigarette
ever made, and every one of the
billions of Camels produced
since, has received the necessary

KEPT FRESH IN THE
WELDED HUMIDOR PACK

heat treatment. Harsh, raw to-
baccos require intensive process-
ing under high temperatures.
The more expensive tobaccos,
which are naturally mild, call
for only a moderate application
of heat.

It is a fact, well known by leaf
tobacco experts, that Camels
are made from finer, MORE
EXPENSIVE tobaccos than
any other popular brand.

Try Camels. Judge them criti-
cally. Compare them with others
for mildness, for throat-ease, for
good taste. They'll win you !

NO TRICKS
JUST COSTLIER

TOBACCOS

IN A MATCHLESS BLEND

friart Screen Magazine

Janet Gaynor

Louella O. Parsons Interviews George Bernard Shaw !
Beginning Edward G. Robinson's Life Story
Janet Gaynor Grasps Her New Freedom

BEECH NUT GUM

Qe/zf/j/e/ej t/ie Viclare

Its cool refreshing mint flavor pleasurable and beneficial of

and satisfying chewiness makes American habits. If you would

the use of chewing gum a real enjoy the maximum of chewing

pleasure — for everyone — on all gum satisfaction don't just ask for

occasions. It is one of the most "gum"— say "BEECH-NUT GUM."

SEND FOR BEECH-NUT'S JIG-SAW PUZZLES

Two beautiful and difficult Jig-Saw Puzzles
are now ready — Rembrandt's most famous
painting, "The Night Watch" and Frans
Hals, "The Civic Guard." More than 175
pieces in each puzzle. Send two inches from
the metal band which unwinds with the

key when you open a pound of Beech-
Nut Coffee — OR — five outside package
wrappers from Beech-Nut Gum or candy,
for each puzzle you wish to get. Ask for
puzzle by its name. Address — Beech-Nut
Packing Co., Dept.rf, Canajoharie, N. Y.

Beech-Nut Coffee— Freshness PLUS flavor. Rich, full-bodied, deli-
cious—a rare flavor that defies imitation. High-vacuum packed to
preserve freshness. Send your grocer's name if he cannot supply you !

Beech-Nut Gum cellophane -wrapped
to protect its fresh, wholesome flavor.

Screenland for ] uly 19 3 3

FOOL

WHAT A I SHE IS!

a„d sbehasj^- — -

For not only may "pink tooth brush" Ipana on your tooth brush or finger-tip
lead to gingivitis and Vincent's dis- and massage it gently into your slug-
ease and other serious gum troubles, gish, tender gums.

This girl keeps her finger-tips re- but it may spoil the brightness of your Today's foods are too soft and

splendently manicured. People teeth — and even spell danger for your creamy to give proper stimulation to

comment on it. They do not com- teeth. your gums. But the massage with Ipana

ment upon her dingy teeth, of course- Ipana and Massage corrects this.

but they notice them! „ , - Get a full-size tube of Ipana today.

Examine your own teeth— and gums. Defeat "Pink Tooth Brush Follow the Ipana method, and very

If your gums are flabby, and bleed To have firm, healthy gums and good- soon you'll have brighter, whiter teeth.

easily — if you find "pink" upon your looking, bright teeth, do this: Within a month your gums will be

toothbrush — the attractiveness of your Clean your teeth with Ipana Tooth firmer. "Pink tooth brush" will dis-

smile is in danger. Paste. And each time, put a little extra appear.

BRISTOL-MYERS CO., Dept. O-73

Iirtl ML IV I MW ,„ mf^^^F^ 1 73 West Street, New York, N. Y.

#% B\iB B\ ..^^^--r"tSSS ^ -11* ^^ffk ^tt Kindly send me a trial tube of IPANA TOOTH

jB^k B ^1 J""% '*S9^W CP r-Z r> ^[■■Hp^^BI PASTE. Enclosed is a three-cent stamp to cover partly

■ * m ■ mm * ^ ^ O, the cost of packing and mailing.

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

©C1B 193619

The Smart Screen Magazine

Delight Evans, Editor

James M. Fidler, Western Representative

Frank J. Carroll, Art Director

"I'M A MOVIE STAR, TOO!"

BUT I haven't gone Holly-
wood. My name is Jock,
and I am co-starring with Jill in
Morgan Dennis' movies. That
doesn't make me high-hat, though
— I'll always be just a nice,
simple, home dog. Mr. Dennis tells
me that he has made a drawing
of one of my distant cousins, a
pretty brunette named Sadie,
who belongs to Joan Crawford;
and that the drawing will be
given to the person who sends in
the nicest pet photograph. Can't
help hoping, myself, that one of
my own relatives will be the
'pet' in the winning photograph;
but I'm told the pet can be one
of those silly cats, or a clumsy
horse, or a fresh parrot, or a
great big St. Bernard, or what-
have-you. I can't see why any
person should want any kind of
a pet other than a Scottie, but
then, I am prejudiced, I'll admit
— and I'd better be sporting and
extend my best wishes to every-
body entering the pet contest,
and to ask them to come and see
me and Jill on the screen.

July, 1933

THIS MONTH

Vol. XXVII, No. 3

FEATURES:

COVER PORTRAIT OF JANET GAYNOR Charles Sheldon

AN OPEN LETTER TO CONSTANCE BENNETT Delight Evans 15

SHAW IN HOLLYWOOD Louella O. Parsons 16

JANET GAYNOR GRASPS HER NEW FREEDOM James M. Fidler 20

YOUR FAULTS MAY BE YOUR FORTUNE William E. Benton 22

BEGINNING EDWARD G. ROBINSON S LIFE STORY Ida Zeitlin 24

THE CLAMOR FOR GLAMOR Betty Shannon 26

WHAT? HOW? WHY? WHEN? WHERE? Ruth Tildesley 28

POISON IVY WREATHS Malcolm H. Oettinger 33

HOLLYWOOD'S OWN PET SHOW! AND YOURS, TOO. Contest 35

SCREENLAND'S GLAMOR SCHOOL. Edited by Bette Davis 52

SECRETS OF DIRECTING THE FILMS' FUNNY MEN. • Norman Taurog ... Peter Long 54

PERSONALITIES:

LEE TRACY— THE STAR HOLLYWOOD CAN'T SCARE Ben Maddox 30

WHY CLAUDETTE COLBERT WENT GAY Aileen St. John Brenon 32

SWEET AND LOY. MyrnaLoy James Marion 34

"M. D." Marion Davies Myrene Wentworth 51

GIRL WITH "UNIFORM" APPEAL. Dorothea Wieck Mortimer Franklin 61

SPECIAL ART SECTION:

H ollyicood' s Own Pet Show! And Yours, Too! An Original Drawing of Joan Crawford and her Scottie
by Morgan Dennis. TheGirl Who Couldn't Stay Away (Ann Dvorak). "The Man on the Flying Trapeze''
(Johnny Weissmuller). Boys Will Be Birds! (Frederic March and Cary Grant). A Summer Carole (Carole
Lombard). With a Hey, Money-Money and a Hot Cha-charm! ("Gold Diggers of 1933"). She's a Daisy,
Suh! ( Una Merkel). He's a Tennis Menace! (Warner Baxter). F-L-A-S- H! (Adrienne Ames in Exclusive
Fashions). S-P-L-A-S- H! (Mart)ia Sleeper, Mary Carlisle and Maureen O' Sullivan) . The Most Beautiful
Still of the Month.

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 6

ASK ME Miss Vee Dee 8

TAGGING THE TALKIES. Short Reviews 10

HONOR PAGE . 12

REVIEWS OF THE BEST PICTURES Delight Evans 56

SUN AND DAUGHTER. Beauty Margery Wilson 58

BY REQUEST: ANOTHER "RECORD" CONTEST. Radio Evelyn Ballarine 60

HERE'S HOLLYWOOD. Screen News Weston East 62

FEMI-NIFTIES. Cosmetics Katharine Hartley 67

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President ; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must
be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us six weeks in advance of the next
issue. Be sure to give both the old and new address. Entered as second-class matter November 30, 1923, at the Post Office at New York, N. Y., under

the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1933.
Member Audit Bureau of Circulations .

Printed in the U. S. A.

Screenland for July 19 3 3

MARION DAVIES...
an absolutely bewitching
creature in PEG O' MY HEART!
v When J. Hartley Manners wrote the stage
play he asked for a lot. ..a child of the sea
and the sun whose natural charm was so great
that sophisticated London society would fall
§ down and worship her. In M-G-M-Cosmopolitan's

* ^0 screen version Marion Davies is the very elfin crea-
ture that Manners must have dreamed about... "Peg
Jf^j O' My Heart" is a sensitive and beautiful production by
Robert Z. Leonard, from an adaptation by Francis Marion.

* The reproduction above of on original pointing of Marion Dcvies by William Cotton
is the third of a series of caricatures by famous artists of Metro ■ Goldwyn ■ Mayer stars.

SCREENLAND

"Her naturalness, charm and vivacity are refreshing and exhilarating,"
carols an enthusiastic admirer of Ruby Keeler. And her work in "42nd
Street" amply supports him. You'll see Ruby soon again in "Cold

Diggers of 1933."

The

Public

Be
Heard!

Write away— the best
letters pay !

Scrappy days are here again! Readers have
risen to arms — or to pens and typewriters —
and bombarded us with "Yeas" and "Nays'* in
reply to this question in our May issue:

How much need we knoiv about the private
lives of our movie favorites! Does it shatter
one's perfect mental image of the stars to know
all there is to be known about them?

Some say one thing and some say another —
and the best letters on both sides are printed
herewith. Read — and cast the deciding vote to
suit yourself!

Among the other movie matters receiving
attention in this month's mail are the forei^n-
i-ersus-American-performer question; and that
always delightful pursuit of hailing new and
familiar favorites. Ruby Keeler and Dorothea
Wieck are the particular pets of the "rave-art-
ists."

Here's another timely topic for cinema dis-
cussion:

"Has the movie public become 'fed up* with
romance? Has it begun to yearn for some other
type of excitement in its screen entertainment?
Or does romance still rule the screen?*1

Well, how about you? Romantic themes still
flourish on the screen, but now we're getting
more and more of politics, pacifism, wild ani-
mals, aviation, and so on. Do you feel that
screen romance is on the decline, and that such
other topics as these will supersede it? Let's
have your vote! The best letters on this and all
other topics will be equally eligible for those
monthly prizes of $20, $10, $5, and $5 for the
four best efforts.

Write 150 words or less, and mail to reach us
by the 10th of each month. Address the
"Public be Heard" Dept., SCREENLAND, 45
W. 45th St., New York City.

THE GOLDEN LINING!
(First Prize Letter in "Private
Lives" Discussion)

Yes, yes, it must be unpleasant to have
one's every word and act pounced upon
and perhaps misrepresented. But it means
Box Office — magic words ! I've attended
many a picture just because my interest
had been aroused by reading Screenland's
sparkling personal news of the players.

Famous personalities must bow to this
intimate attitude of the public or face
oblivion. The screen's newest and grand-
est star, Franklin Delano Roosevelt, has
won our hearts with his frankness in telling
us all about his plans. Already I suffer
keen disappointment when a newsreel fails
to present him.

Like the village belle, movie stars cannot
escape gossip. But if it means fame and
fortune— ^why worry?

Lucetta Argo,
525 E. Ninth St.,
New Albany, Ind.

AND YET—

(Score One for the "Nays" —
Second Prize Letter)

How much need we know about the
private lives of our movie favorites? Just
as much as they choose to disclose !

I heartily sympathize with Garbo, for
instance, in her desire to keep her private
life "private." She realizes that it is not
Garbo the woman, but Garbo the screen
character, that the public should be inter-
ested in. Movie fans have mentally set her
up on a pedestal, and worship her as an
object of perfection and charm. If we
were to discover that Garbo's charm were
artificial and that she were just one of us,
our goddess would fall in ruins about our
feet. And what a calamity that would be !

In this day of stark realism let's treas-
ure our few ideals !

Elizabeth A. Miller,
2 Forest Side Ave.,
San Francisco, Calif.

HALF ALOOF BETTER THAN
NONE!

(Third Prize Letter)

We moviegoers feel a friendly interest
and natural curiosity toward our favorites.
And it's a source of pleasure to know that
the grand folks of the films are real people,
with home problems, babies and budgets,
and a weakness for fame, flattery, Ford
cars, onions, and eternal youth. Just like
the rest of us !

So I read and thrill to every item con-
cerning my movie idols. And I confess
that I'd feel cheated if my favorite maga-
zine failed to publish the "inside dope" re-
garding their courageous struggles, their
beautiful homes and clothes, their high
pride and achievements.

But as to their domestic troubles, their
affairs of the heart, their human mistakes
and pasts, if any — I consider such things
just none of our gosh darn business!

Margretta Lee,
4625 Drexel Blvd., Apt. 31,
Chicago, IH.
(Continued on page 89)

for July 19 3 3

■

Meet Alma Mammy
and

Her Hotcha Pappy!

Here's dear old "Whoosis" set to
gay music/

Here's college... as a pink-kneed
rhapsody of kissable co-eds know
it . . . but dare not tell it/

Here's a picture with no long
underwear, but plenty of campus
life in the raw, raw, raw/

A Paramount Picture with

BING CROSBY
RICHARD ARLEN
MARY CARLISLE
JACK OAKIE

GEORGE GRACIE

BURNS & ALLEN

DIRECTED BY WESLEY RUGGLES

Here's college daze and Ox-road nights
. . . done by a cast of song-dance-and
laugh stars . . . borrowed from Broadway,
the Radio, and Hollywood.'

PARAMOUNT PICTURES DISTRIBUTING CORP.
Paramount Building, N. Y. C.

"IF IT'S A PARAMOUNT PICTURE ... IT'S THE BEST SHOW IN TOWN

SCREENLAND

Ask Me!

Keeping you informed
on film plays and players

By Miss Vee Dee

Pickford Fan. As far as your fans and
all the rest of the world are concerned,
Mary, you are still "America's Stveet-
heart." Don't miss "Secrets," her new pic-
ture with Leslie Howard. Mary started
her stage career at the age of five with a
stock company in Toronto, Canada, where
she was born April 8, 1893. When she was
eight she traveled with a road show and
a year later was the youthful star of the
company's offering. She appeared in a
David Belasco play on Broadway when
about fourteen years old and later decided
to try motion pictures. Her first picture,
a 500-foot film called "Her First Biscuits,"
was made under the direction of David
Wark Griffith. Among her best known
pictures of later years are, "Pollyanna,"
"Little Lord Fauntleroy," "Rosita," "Doro-
thy Vernon of Haddon Hall," "Little Annie
Rooney," "Sparrows," "My Best Girl" and
"The Taming of the Shrew," co-starring
with her husband, Douglas Fairbanks, in
the later film. "Coquette" was her first
talking picture. Mary has golden hair,
hazel eyes, is 5 feet tall and weighs 100
pounds. She was married to Douglas Fair-
banks on March 28, 1920.

Blondie. Lee Tracy doesn't say which
he prefers, blondes, brunettes, or red-heads
in his films. Gather what you can from
Lupe Velez, who played with him in "The
Half-Naked Truth" ; from Constance Cum-
mings, his leading lady in "Washington
Merry Go-Round, " and ask Mary Brian,
who played with him in "Blessed Event."
He usually falls for all colors in the end,
in his pictures. Lee was born in Atlanta,
Ga., on April 14, 1898.^ He is 5 feet 10
inches tall, weighs 145 pounds and has
sandy hair and blue eyes. He began work
in pictures in 1929, playing in "Big Time,"
"Born Reckless," "She Got What She
Wanted" and "Liliom." Since then he has
played in "The Strange Case of Molly
Louvain," "Dr. X," those mentioned above
and his next will be "Dinner at Eight," the
all-star Metro film. He is a bachelor and
adores his mother, with whom he lives.

Hots. Do all the people in my column
write me or do I just make up the ques-
tions ? Why, Llot En-Tot, what a ques-
tion ; believe it or not, with all due apolo-
gies to Bob Ripley. I can refer to several
screen players of your height of 5 feet 6.
There's Greta Garbo, Vilma Banky, now
retired from the screen ; Billie Dove, Helen
Jerome Eddy, Louise Fazenda, Lucile Web-
ster Gleason, Corinne Griffith, who is now
in England and Carole Lombard. Nils
Asther made a grand come-back in "The
Bitter Tea of General Yen," with Barbara
Stanwyck. Nils is 32 years old, is 6 feet
tall, weighs 170 pounds and has dark brown
hair and brown eyes. He was in pictures
in Germany before he came to the U. S. in
1927 to appear in "Sorrell and Son" with

H. B. Warner. Joel McCrea and Richard
Cromwell are not married. Joel's recent
releases are "Bird of Paradise" with Do-
lores Del Rio and "Rockabye" with Con-
stance Bennett. His next will be "The
Silver Cord." Richard Cromwell's latest
is "That's My Boy" with Dorothy Jordan
and Mae Marsh.

Miss Sybil P. Being intrigued by a
screen personality is just one of our Amer-
ican customs. You are not alone in your
admiration of Colin Clive. We have seen
all too little of him in American releases.
He was born _ Jan. 9, 1900 in St. Malo,
France. He is 6 feet tall and has dark
brown hair and grey eyes. His wife is a
well known European actress, Jean de Ca-
sailis. Colin played the role of Captain
Stanhope in the original stage production
in London of "Journey's End." He had the
same role in Tiffany's screen version and
gave an unforgettable performance. His
last release was "Christopher Strong,"
with Katharine Hepburn, Billie Burke and
Ralph Forbes.

Fran. How did you get the idea that
I'm Col. Stoopnagle and Budt They're
good too but there is only one of me ! John
Arledge was Pidge in "Huddle" with Ra-

The man in demand — Leslie How-
ard! Metro, United Artists, RKO,
and Fox all have called upon him
for his services. And he is Miss
Vee Dee's most asked-about star.
His next film is "Berkeley Square. "

mon Novarro and Madge Evans ; Frank
Albertson was Larry and Kane Richmond
was Tom Stone. Mary Boland, who made
such a success of her Broadway comedy,
"The Vinegar Tree," is the same actress
you saw in "Night of June 13," with Clive
Brook, Lila Lee, Gene Raymond, Charlie
Ruggles and Frances Dee. Mary Boland
was Mazie Strawn, the wife of Charlie
Ruggles as Philo Strawn. Your male fa-
vorite, John Arledge was born March 12,
1907 in Crockett, Texas. He is 6 feet tall,
weighs 140 pounds and has grey-blue eyes
and wavy blonde hair. John was a piano
player with Paul Whiteman's orchestra be-
fore going into the movies.

Curious Ruth. I never let a few ques-
tions get me down — I manage to rise to
the occasion if they do throw me a bit. In
the talking version of "So Big" with Bar-
bara Stanwyck, young Dick Winslow played
Roclf Poole, aged 14 and George Brent was
Roelf grown-up. "Pier 13" was released
as "Me and My Gal."

for July 19 33

SCREENLAND

The Barbarian
M-G-M

Here's Ramon Novarro as the son of the
son of a Sheik — handsome 1933 version with
dialogue by Anita Loos. You'll like Ramon,
especially in his lighter moments. You'll
enjoy Myrna Loy, never so lovely and al-
luring. But you'll think you're back in the
dear old Valentino days, without Rudy.
Even the grand acting and superlative

settings can't make this old story new.

Tagging

the

Talkies

Brief ratings of current
screenplays. Make this
your cinema guide

Delight Evans' Reviews on

Page 56.
More reviews on Page 88.

Oliver Twist
Monogram
You'll want to see this picturization of
Dickens' classic story, with Dickie Moore as
the little waif. It isn't the best film that
might have been made from the great novel,
but it's worth seeing nevertheless. Young
Dickie "asks for more" in his most appealing
way, and Irving Pichel is more than men-
acing as Fagin. Doris Lloyd makes a sym-
pathetic Nancy Sikes. The kids will love it.

Zoo in Budapest
Fox

Vas Zoo in Budapest, Sharlie? If not, you
missed one of the best of the monk-hausen
pictures. (All right, we promise!) The set-
tings of this animal story are full of rare
visual beauty, and the plot works up to a
ripping, tearing climax with a battle royal
among the beasts. A bit slow in spots, but
what of it? Loretta Young and Gene Ray-
mond are the chief bipeds.

Central Airport
First National

If you're air-or-Barthelmess-minded,
here's your movie meat! The star has his
best role in months as a stunting sky devil
whose flying partner, Sally Eilers, cracks up
emotionally on his account, with Tom
Brown, as Dickie's younger brother, form-
ing the third angle of the triangle. Thrilling
stunt stuff, human drama, intense acting.
Not a war picture.

Made On Broadway
M-G-M

Oops! Excuse it, please! Robert Mont-
gomery and Sally Eilers play two of the
least appealing roles of the month. The
former as a smart-alec super-press agent,
and the latter as the mean lady whom he
sets up in the siren business, make this film
difficult to like. No matter how you slice it,
it's authentic ham. Madge Evans, cool and
beauteous, is a redeeming feature.

Supernatural

Paramount

So you thought the "horror" theme had
been exhausted? Wrong! This one, however,
won't chill you or thrill you despite the fact
that several murders occur. The story
revolves around a fiendish spiritualistic
fakir. Good troupers, including Carole
Lombard, Randolph Scott, Allan Dinehart,
and Vivienne Osborne, help this depressing
film considerably.

So This Is Africa
Columbia

Warning: this is rough stuff! It's the
naughtiest, rowdiest comedy Bert Wheeler
and Bob Woolsey ever appeared in. A
burlesque on the jungle films with a lot of
absurd and nonsensical twists. You'll laugh
even though you may not approve of this
variety of humor. Raquel Torres plays a
female Tarzan who captures Bert. Are you
laughing, W-and-W fans?

"M"
For em co

Here's a foreign talkie of the career and
capture of a notorious child-murderer.
Despite much critical ballyhoo it is no tow-
ering masterpiece — few of its vaunted
marvels of direction are either new or ex-
pertly achieved. Nevertheless, it presents a
sincere and moving story, if you can stand
the gruesomeness of its theme. The cast is
excellent; Peter Loire as the killer is superb.

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Marchand Co., 251 W. 19th
St., New York.

12 SCREENL AND

SCREENLAND'S

Attention! Here's a
Great New Personal-
ity, Franchot Tone.
He's a combination of
Gable and Cagney
with a dash of John
Barry mo re and bit-

Franchot Tone is
the last actor in the
world we would have
cast to play a hero-
ine's brother. Her
lover, her husband,
her abductor, her
dream-prince, yes —
but never her
brother! Mr. Tone,
however , acquits
himself creditably
in his difficult as-
signment with Miss
Crawford in "Today
We Live."

ters.

If th

is be a rave

make the most of it!

j or July 19 5 b

Honor Pag

HOLLYWOOD was founded on Personality,
builded on Personality, exists on Personality.
The movies live from one Personality-dis-
covery to the next. And we have been feeling
for some months that it was high time we had a new,
fresh, exciting actor or actress to make us sit up and
feel like Columbus again. With the release of "Today
We Live" we've found what we have been looking for !
Franchot Tone brings to Joan Crawford's new picture
the thrill of the unusual and the unexpected. He is
like no other actor — and we said that same thing about
Gable, about Gagney, about Garbo, about Bette Davis,
about Joan herself, once — remember? Franchot — pro-
nounced Fran-show — Tone is an accomplished actor
from the Broadway stage. He has technique. Notice
how he roughly wipes away a tear in his scene with
the "blind" Robert Young. He is romantic, yet matter-
of-fact ; tender — and casual ; he has an undated face
and modern manners — and he can play any kind of a
role, from a medieval monk to a current gangster. And
there he has the edge on Gable and Cagney — on every-
body, in fact, except the great Jawn Barrymore. Mr.
Tone is one of these dangerous, ageless young men,
and if M-G-M does right by him and casts him as an
aristocratic brute with a sense of humor some time
soon, M-G-M is going to have in its experienced paws
a box-office sensation second to none. Congratulations
on signing him, Leo Old Lion !

Watch for this new and vital young actor in
"Strangers Return" with Miriam Hopkins,
and in "Dinner at Eight" as a member of a
distinguished all-star cast. And please,
M-G-M, won't you cast him opposite Craw-
ford again? What a team — WHAT a team!

The scenes below are from "Today We
Live," in which the star, Joan Crawford,
shares some of her "footage" with
Franchot Tone.

SCREENLAND

"like most everyone

IN HOLLYWOOD " sic <%

I INSIST ON LUX

"Daintiness without extravagance — that's
what Lux makes possible," says this exquisite
young star. "Lux protects colors and fabrics,
leaves my things like new. My maid washes
my lingerie in Lux after every wearing. Also,
stockings washed in Lux every night wear
longer and fit better."

Protect your pretty things with Lux, just
as Irene Dunne does. Keep them like new
twice as long! Lux has none of the harmful
alkali ordinary soaps often contain. Remem-
ber— anything safe in water is safe in Lux.

Official in all the bia

Wardrobe Director of the R. K. O.-Radio Studio,
Walter Plunkett (shown with Gladys Baxter) says:
"Some of our costumes have been used in many
pictures— yet they look new. Lux saves us thousands
in cleaning bills and cost of replacement, for stock-
ings and fabrics stay new twice as long."

<;|Jolluwoccl iaiji _ do lit f twit lo luck

TRUST TO LUX

Irene Dunne — now appea r-
ing in R. K. O.-Radio s "The
Silver Cord"— tells you how
to hare that out-of-the-bandbox
look — always use Lux!

for July 19 3 3

Open Letter to

Connie Bennett

DEAR LA BENNETT:
Be nice!
Frankly, I wouldn't care whether you were
or not if I didn't happen to know just how
nice you can be when you want to. I remember the
first time I ever met you — you weren't a great star
then, or a Marquise, but a dazzling blonde with a
blue-eyed twinkle — you weren't taking anything so
very seriously, Connie, least of all yourself. And now?

Well, I hope it isn't true. I hope you didn't say
what you have been quoted as saying. That you
"bounced out of an office on the lot shouting, 'I'll get
some organization in this studio even if I have to fire
everybody.' " I hope you didn't say it because I think
it sounds pretty silly. It is entirely lacking in com-
mon sense and in good taste — and if there are two
particular qualities I have always ad-
mired you for, they are common sense
and good taste.

If you're talking about organization
— tell me, is a star "organized" when
she goes haywire? If you're talking
about "firing everybody," how about
good taste? Suppose some little sten-
ographer in the fan mail department
had been passing by when you made
that alleged remark — which I sin-
cerely hope you never made. How
about morale, Miss Bennett? Don't
you think everybody in this industry,
from stars to script girls, should give
a little thought to morale? Seems to

me right now that Hollywood morale is more impor-
tant than Hollywood morals.

Of course, maybe you don't care. You're going to
retire anyway, and live in France. Says you! Says
Richard Bennett's daughter Constance! You, retire?
You, with the blood of good troupers in your veins;
with your own father still acting; with your sister
Joan rising steadily in the screen skies; with sister
Barbara planning, they say, a movie career? Con-
stance Bennett, you can't retire, and you know it. So
be nice. Be as good a sport as you are an actress.
Don't check your sense of humor and your good man-
ners and your altogether captivating little-girl smile
when you come to work in Hollywood. Look at the
pictures on this page. The largest one shows you a
movie star with sun in her eyes and a camera focussed
on her — and you seem to be
mad at the cameraman, mad at
the sun, mad at everything.
Then look at those other pic-
tures, snapshots, taken on your
recent vacation. (Yes, folks —
it's the same girl; and how
you'd love this one, wouldn't
you, if she ever gave you a
chance! ) Confidentially, Con-
nie— I think it would pay you
to be nice!

SCREENLANO

SHAW

Said Marion Davies to Mr. Shaw: "We enjoyed your
newsreel and thought you gave a splendid performance.
Miss Parsons gave you a most laudatory review." Said Mr.
Shaw to Marion Davies: "Why shouldn't she? It was a
very good movietone!"

Louelk O. Parsons

Scoop ! Don't miss this exclusive
story by America's most famous
movie columnist— the only
Hollywood writer to whom
Shaw granted an authorized
interview

Screenland is proud to present
George Bernard Shaw and
Louella O. Parsons in "Bearding
the British Lion in Hollywood''

Directed by Marion Davies

L.O.P. "Is it true that you are unwilling to
let any of your plays be filmed?"

G.B.S. "On the contrary, I am extremely
anxious to have them all filmed before I die.
But the studios are not yet doing the class of
work my plays require. Most of
them still think that a play is only
a movie with spoken subtitles."

L.O.P. "I have heard that Garbo
has expressed a desire to make your
'St. Joan'."

G.B.S. "Well, so has every other
movie actress. There is nothing re-
markable about that, is there?"

^HE polite amenities, so important in social con-
versation, have been ignored by George Bernard
Shaw, Irish playwright, for almost a century.
He has bitterly assailed everything and every-
body ever since his dramatic criticisms set a premium
on devastating wit.

Hollywood could scarcely hope, then, to escape the
critical attention of one who has so scathingly con-
demned movies in the past. The Shaw critics have laid
such stress on the sting in the Shavian humor and the
absence of all sentimentality in the great man's makeup,
that those invited to meet him at La Cuesta Encantada,

William Randolph Hearst's country home, were prepared
for the worst.

These critics, who have pictured Shaw as a white-
bearded satyr with the sharp, cruel tongue of an adder,
have lost sight of one thing. The most stabbing Shaw
epigram is uttered with a twinkle in the clear blue eyes
that completely disarms those who study him at close
range.

I deny that George Bernard Shaw is without kind-
ness. Marion Davies persuaded him to let me write an
interview with him. At first he was a little disturbed
at the idea because he had talked freely and eloquently,
discussing subjects ranging from the Gold Standard to
his sixty years' experience in the theatre. He had not
spared personalities, telling amusing, intimate stories of
his friendship with Eleanora Duse and Ellen Terry.

"You may scratch out any paragraph or phrase that

for July 19 3 3 17

in Hollywood!

Interviews G. B. S. I ^^■Hp--^HH

you do not wish published, Mr. Shaw," I said, after
Marion had won his consent to an interview.

"And why should I ?" he asked, looking at me with the
bland, cherubic expression of a naughty child. "If I
don't correct your article, then I can refute all your
misstatements."

"But Mr. Shaw," I said, innocently walking into the
trap he laid for me, "I wouldn't for the world print a
word that might offend you."

"Oh, you wouldn't?" he said. "That's just what you
would do and glory in it ! I was a newspaper man my-
self." G. B. S. es-
corted on a
tour of the Met-

S- v ro studios by

Miss Davies,
left. Mrs. Shaw

Hurrell

Louella O. Parsons, the most widely
read of all Hollywood writers, breaks all
precedent in writing this feature for
SCREENLAND. We are happy to present
this star of screen writers to you. She
scooped the world when she induced
Shaw to submit to an interview on motion
pictures!

We finally compromised and he took a
pencil and edited my copy. When I say
that this hard-working man, who was on
a holiday, gave up a drive through the
beautiful, picturesque hills that surround
the Hearst mountain home, to carefully
edit my copy you will know he is not the
hard-hearted intellectual snob he has been
so frequently described.

In his own handwriting he corrected
certain statements that he did not wish
published, substituting his own expres-
sions. I had written that along with his
discussion of what is wrong with the
movies, sex appeal, world disarmament
am'd Ellen Terry, he had given a disserta-
tion on the mating habits of camels.

"How dare you so misquote me," he
snorted. "Mating habits of camels in-
deed ! What do I know or care about
camels ? I never made such a fool com-
ment."

"But Mr. Shaw," I pleaded, "I have
written so many complimentary things
about you, why can't you overlook that
one little mistake?"

"Why shouldn't you say nice things

Scree nland

Shaw to Maureen
O' Sullivan: "Why are
you so commonplace
as to ride a horse when
you could ride a beau-
tiful zebra?"

Mrs. Adolphe Men-
jou to Shaw: "Look
at my complexion! Is
there anything wrong
with it? — and I eat
meat three times a
day!"

about me ?" he demanded. "Young woman, so much slush
and praise have been written about me by newspaper
writers like yourself that Mrs. Shaw gets tired of read-
ing them."

He read and re-read my interview, working over an
hour. He left intact my personal opinions but he
changed four or five quotations that he disliked. After
he had finished he said : "That manuscript is valuable.
Some day you can sell it and make a lot of money." A
modest youth this British playwright !

I was told that Ann Harding burst into hysterical
tears when Shaw told her that she had given a "piratical"
performance of one of his plays. I find it difficult to
believe that a woman of Miss Harding's intelligence
could not see through Shaw's bluntness. He is a show-
man and his greatest talent, apart from his brilliant
writings, is his piercing wit. To me there is nothing
venomous in his stinging sarcasm and his merciless shafts
of humor.

He can no more help being sarcastic than a baby can
help creeping when it feels the urge to try to walk. He
is a voluble talker and he will discuss any subject if
given an opportunity. He held court daily at the Hearst
ranch with the entire
house party at his feet,
drinking in every word
he uttered. He was at
his best when he had
an admiring audience.
And did he like these
beautiful movie queens
looking up into his
face !

Outdoor sports at the
Hearst ranch are an
accepted thing. Horse-
back riding, tennis play-
ing, swimming and
hiking form the daily
recreation. Five o'clock,
the hour Shaw takes his
tea, saw every film
celebrity before the
fireplace, awaiting his
appearance.

Grouped around him,
sitting literally at his
feet every afternoon
were Marion Davies,
Dorothy Mackaill,
Maureen O' Sullivan,

It was Marion Davies who
persuaded Mr. Shaw to grant
Louella O. Parsons an inter-
view. And it was Marion
who presented some of Hol-
lywood's popular stars to the
visiting celebrity.

Constance Talmadge, Mrs. John Hearst, Mary Brian,
Mrs. John Considine, Kathryn Carver Menjou, Frances
Marion and others.

He discussed art with Marion Davies and Ireland
with Maureen O'Sullivan. He expressed disgust when
Maureen said that she was going horseback riding.

"Why are you so commonplace as to ride a horse when
you could ride one of the beautiful zebras roaming about
this estate?" he asked.

Meat and intoxicating liquors are his two pet aver-
sions. Even the unsatisfactory way in which America
has reacted to prohibition does not change his ironclad
opinions on the fallacy of dulling the mind with stimu-
lants.

He is equally strong in his belief that meat is not only
bad for the soul but makes the body sluggish and in-
active. He pointed with pride to his complexion which
has the pink and white texture and firmness of a baby's
skin. Mrs. Adolphe Menjou, sitting at his left, came
back with the retort : "Well, look at my complexion !
Is there anything wrong with it ? — and I eat meat three
times a day !"

As I said above, George Bernard Shaw's ideas are

never negative. Any
subject worth discuss-
ing is vehemently, em-
phatically and energetic-
ally attacked by the
seventy - seven-year - old
philosopher. Movies, so
often the target for his
shafts of wit, came in
for their share of dis-
section.

"Is it true, Mr-
Shaw," I questioned,
"that you are unwilling
to let any of your plays
be filmed ?"

"On the contrary,"
he said, "I am extreme-
ly anxious to have them
all filmed before I die.
But the studios are not
yet doing the class of
work my plays require.
Most of them still think
that a play is only a
movie with spoken sub-
titles."

" 'Antony and Cleo-

Shaw read Louella O.
Parsons' interview with him,
made corrections in his own
handwriting, and then said:
"That manuscript is valuable.
Some day you can sell it and

make a lot of money!"

for July 19 3 5

Did Shaw make Ann
Harding cry? Louella
O. Parsons finds it
difficult to believe, and
tells you why in the
accompanying story.

G. B. S. sur-
veys Hollywood!
The celebrated
Irishman met
Marion Davies,
Louella O. Par-
sons, Maureen
O' Sullivan, Doro-
thy Mackaill,
Mary Brian,
Frances Marion,
and other mem-
bers of the Holly-
wood aristocracy.

patra' would make a splendid picture," I said. With
supreme disgust he turned and looked at me.

"You mean 'Caesar and Cleopatra.' Don't confuse
me with William Shakespeare. I'll leave the Antonys
to him."

"I have heard," I said, "that Greta Garbo has ex-
pressed a desire to make your 'St. Joan.' "

"Well, so has every other movie actress," said Mr.
Shaw, "there is nothing remarkable about that, is there?"

"Why don't you show these producers how to make a
successful movie?" I asked him.

"I did make a short reel in Russia for the Soviet
Government but something went wrong and I am told
it was never released."

"Sorry that we didn't see you in the Russian short,
Mr. Shaw," Marion Davies said. "We enjoyed your ap-
pearance in the newsreel and we thought you gave a
splendid performance. Miss Parsons here gave you a
most laudatory review."

"Well," was his unexpected reply, "why shouldn't she?
It was a very good movietone !"

I heard him tell a group of his listeners later that
newsreel scenes show lack of proper direction. He said
the cameramen permit Mussolini and other famous men
to say their little piece without any prelude. With a
true, dramatic sense of values Mr. Shaw refused to let
the newsreel men,» who photographed him when the
George Hearst plane arrived in (Continued on page 85)

An informal glimpse of the bearded sage watching a
movie scene being made. Yes — the grin at the right be-
longs to your friend Lee Tracy. Is the irrepressible Lee
laughing at a Shavian wise-crack?

SCREENLAND

Janet
Gaynor

Grasps
Her New
Freedom !

By
James M.
Fidler

Janet is free again — free to seek romance and laughter!

THE sparkle has returned to
the eyes of Janet Gaynor ;
the lilt is in her voice again.
The quick eagerness that
was so much a part of her a few
years ago is once more apparent in
her every move. The transition is
like the coming of lovely color into
the skin of a ripening peach.

Janet — the new Janet, I may dare
say, for she has changed amazingly
since her divorce — has re-captured
the exuberant spirit that once en-
deared her to the hearts of all who
knew her.

For several months before her
separation from her former husband
I often perceived an expression of despondency in her
eyes — the same hopeless stare of a lamb in a barren field
as it gazes at thick, sweet clover-patches beyond the

The lucky man in the Gaynor
embrace above is Henry Carat,
the French "great lover" im-
ported by Fox to play opposite
Janet in "Adorable."

fence. I believe I know what that
expression signified : Janet was sub-
dued and crushed by a marriage
that was far from successful. She
surrendered her fight to make her
marriage endure ; she had ceased all
attempts at sham and had dropped
the mask of happiness. But she
realized that time would soon bring
an end to her marriage, and it was
the far-away expression of an un-
happy woman who wonders if she
will ever find felicity again that I
often saw in Janet's eyes.

That futile stare is no longer ap-
parent; within a few weeks after
her divorce it has disappeared. The
hopelessness has been replaced with an ebullient glad-
ness. Almost as though she had written the words with
pen and ink, I can read in her face: "I'm free again;

for July 19 3 3

Has divorce disillu-
sioned La Gaynor?
Will she marry again?
What are her plans for
the future? She talks
to her friend Jimmy
Fidler frankly and
fearlessly, as she has
talked to no other
writer. Don't miss this

The sparkle has returned
to the eyes of Janet Gay-
nor. The lilt is in her voice
again. She's a gay girl, a
happy girl — and if you are
wondering what she means
to do with her new-found
happiness, you'll find the
answer in Fidler's story.

free to seek romance and laughter once more !"

What does Janet intend to do with this newly-found
freedom ? Will she marry again ? Or is she disillusioned
because of her one bitter taste of matrimony ? What are
her plans ?

I presumed on an old friendship — I have known Janet
since she was a child-extra, ten years ago — and sought
answers to these and other questions- Because practi-
cally the entire world (judged by box office returns), is
equally interested in Miss Gaynor's future, I shall relate
the facts garnered from my most recent chat with the
whimsical little star of "Seventh Heaven" and "Ador-
able" and a dozen equally fine pictures between this first
and this latest of her triumphs.

Janet is not disillusioned with marriage. She realizes
that she made a mistake, but she does not regret the
error. (And to set right an absurd rumor that has been
heard, she has no idea of reconciliation with her ex-
husband).

"Life, you know, is balanced by sadness and gladness,"
Janet said to me. "One without the other would be in-

Lew Ay res and James Dunn are being seen about
Hollywood these days proudly escorting little Janet
places. She likes both boys. But is she serious about
either of them?

sufficient ; we must have the sorrow to make us appre-
ciate the happiness.

"I fully intend to marry again, sometime. Not soon.
For the next few years mother and I will live together.
We have just rented a new house, and for at least several
months I will be kept busy by my studio work and the
house."

Although she has lived in (Continued on page 74)

A charming scene from the new Janet Gaynor film,
"Adorable," in which Garat, the European rave,
makes his debut to American screen audiences. Garat
was overjoyed when signed to act with Janet.

SCREENLAND

Your Faults

May Be
Your
Fortune !

If your brows, like
Garbo's, tend to turn
up at the outer cor-
ners, you will share
her leaning toward
the exotic and mys-
terious. And even if
one of your features
seems over-obvious,
consider how Jimmy
Durante "followed
his nose" to fame!

HISTORY, both sacred and profane, as well as
the works of the world's best writers, is filled
with references to the outstanding" physical and
mental characteristics of most unusual person-
alities. Cleopatra and Julius Caesar both had auburn hair ;
Geo and Julius also had prominent noses. It is true that
both had fiery tempers and driving urges to great leader-
ship. They both paid with their lives for being over-
ambitious- Shakespeare is as apt in his description of the
physical as he is of the mental characteristics of his
characters, real or imaginary. He quotes Caesar's sum-
ming up of Cassius's cadaverous appearance and prob-
able scheming rebellious nature: "Yon Cassius hath a
lean and hungry look." "I like about me sleek fat men
who sleep o' nights."

Without an exception, every great or unusual character
has features as uneven, unbalanced, and striking as their
nature and consequent place in history. So be of good
cheer if you, too, have some outstanding physical char-
acteristics, for by that token you may know that they
are unerring indexes of mental and spiritual variations
from the average or normal. Busts of Washington and
Lincoln are most revealing of just the characters history
has proved them to be, but both were large, rugged men
with prominent features as easy to caricature as to
glorify: Washington's aristocratic nose and Lincoln's
deep, sympathetic, and somewhat tragic eyes.

Every one of our outstanding modern motion picture
stars is easily caricatured by using just one or two well-

People who have
had features
unusual in any
way, says Ben -
ton, have always
been outstand-
ing in history's
pages. Gloria
Swanson's tip-
tilted nose is an
index to an am-
bitious, upward-
reaching char-
a c t e r . And
Gloria arrived.'

known features. For example, Greta Garbo's exotic tip-
tilted brows and long eye-lashes — the universal index of
disdain for the commonplace and corresponding love for
the exclusive and hard to attain.

If your brows, like Greta Garbo's, are high above the
eyes and tend to turn up at the outer corners, you will
share her flair for the mysterious and exotic. It is the
subconscious knowledge of this index that causes too
many to try for this effect in their appearance by pluck-
ing and make-up. There is an elfin or fairy-like appear-
ance in these brows that suggests wings poised for airy
flights.

If you have these brows and lwe a humdrum routine
job, your lot seems harder than it really is. Use your im-
agination and refuse your job with all the charm and
color you can, even if you have to bring flowers to
brighten up the office for yourself and your fellow-
workers. Remember, the great Garbo was once just
a little department store model in Sweden.

Joe E. Brown's mouth is suggestive of a mammoth
cave. Imagine some comic artist drawing an airy out-
line of his head and clearly depicting Joe's mouth, but
not even hinting the name, just this caption, "What
a wonderful place to throw old razor blades." However,

for July 19 3 3

2 3

Do you share the features
of the famous? William
E. Benton says unusual
facial characteristics mean
unusual characters — wit-
ness the Hollywood great

William E. Benton

Ha v e you a
wide, firm
back-jaw? If
so, there's small
reason to be
self-conscious
about it. Peo-
ple with jaws of
this type are us-
ually strong and
deter m ined —
subject to cajol-
ery, but never
to coercion.
Take Connie
Bennett as a
lovely example.

Joe would not need to care, for while it is his lunch re-
ceiver, he wisely knows it is his meal ticket too.

Joe E. Brown's mouth indicates an inner nature as
original and generous as his mouth's unique outline and
proportions. If your mouth is large, angular and altogether
out of the ordinary, you, too, will seldom repeat anything
you hear verbatim, but, like him, give the telling of your
impressions much of your own whimsical humor. If
you share his long stiff upper lip as well as his type of
mouth you, like him, will be alternately poker-faced,
calm, and somewhat judicial in appearance and de-
meanor ; then suddenly, like him, become irrepressibly
enthusiastic and express yourself almost too frankly
and freely. Such lips bespeak a flair for law, order,
rules, and regulations ; and if things don't go according
to Hoyle, such natures express their opinions in no un-
certain terms.

Millions of sensitive people with oversized features
mourn about the very feature that is reaping a fortune
for those who know enough to capitalize what they can-
not hide. Jimmy "Schnozzle" Durante has followed his
nose to fame, and should he by some misfortune lose
that great proboscis, a well-known insurance company
would have to recompense him with a king"s ransom for

Joe E. Brown didn't
waste any time
mourning over the
sensationally wide
dental display that
Nature gave him.
He made it the
means to movie em-
inence. And what if
Chevalier has those
curious, faun-like
ears? They indicate
his musical talent
and his gay humor.

its loss or diminution. The more nose the better!

"Schnozzle" Durante reminds one of Napoleon"s re-
mark that if he had enough generals with the right kind
of noses he could conquer the world. Well, be that true
or not, almost all of our great discoverers, whether we
think of Marco Polo, Columbus, or Amundsen, had the
noses to indicate their mental "nosiness" or urge to
know.

When we want to compliment one very highly for
their mental attainments, we say he or she "nose all"
only we spell the nose with a "k."

A large well-formed nose has adorned the faces of
all great leaders of men. Let all who worry over having
a very obvious nose be consoled with the knowledge that
chimpanzees, orangoutangs, and gorillas have noses as
small as their minds !

Perhaps you have worried over red hair, freckles, a
big nose, mouth, or- what have you, but from this time
on, why not find out its real meaning in character, de-
velop the corresponding characteristic, and thus turn an
imaginary liability into a real asset ? Can you imagine
the feelings of Maurice Chevalier when he was a clever
young singer and hoofer in the music halls of Paris and
the critics and cartoonists began to lampoon his some-
what sensuous and protruding Hapsburg lip? However,
when people began to recognize this personal trade-mark
and come to see the original, Maurice was clever enough
to cash in on it. Now you never see him draw his mouth
to the thin fine line he could, {Continued on page 78)

SCREENLAND

Edward G. Robinson today — kindly, cultivated gentle-
man; sensitive, imaginative artist. Whether you know
him as "Little Caesar" or as any one of the other char-
acters he has portrayed on the screen, you will be much
interested in this revealing story of his personal life.

A SMALL boy stood at the rail of a large ship which
was nearing America's shores. His heart was
bursting with such excitement as he had never
known, yet outwardly he was calm. A child of
natural dignity and reserve, he knew no vent for the
tumult of emotions surging within him. Soon — any
minute now — America would heave into sight. America
— where his father and his biggest brother were waiting
for them — for his mother and himself and his other four
brothers. America where people didn't glower at you
because your race and religion happened to be different
from theirs ; where schools weren't closed to you as in the
land of your birth ; where, if you were good and studied
hard, you could be anything in the world you wanted to be
— so his father had written — a doctor, a teacher, an engi-
neer, a lawyer — anything — ! His breath caught in wonder,
and some compelling need to find release from an ecstasy
too sharp for his years sent his eyes wandering to meet the
friendly gaze of a sailor at work on the deck. Slowly the
grave, intelligent little face relaxed into a wide-mouthed,
crinkly-eyed smile, shy and endearing.

A man sat in the living-room of a beautifully appointed
suite on an upper floor of one of Manhattan's swanky
skyscraper hotels. He was surrounded by every mark of

egmnmg

For the first time the screen's
most versatile actor tells his
own story! You know him
as "Little Caesar" or "Silver
Dollar"— now meet the man

As told by

Edward G. Robinson

to Ida Zeitlin

comfort and taste. A soft-footed maid came and
went. Flowers and photographs, a rack of bur-
nished pipes, and books that showed signs of hav-
ing been read, supplied the personal note. The
man was gazing down at the photograph of an
infant in his hand, and as he gazed, his grave, in-
telligent face relaxed into a wide-mouthed, crinkly-
eyed smile, shy and endearing.

America had kept her promise to Eddie Robinson.
She had given the little boy dreaming at the ship's
rail all he had envisioned — the opportunity to win
success and honor and fulfil-
ment in his chosen prof ession —
a lifeof happy activity, crowned
by a happy marriage and the
birth of the robust, long-desired
son who made his appearance
on March 19th of this year.

"I always feel," said Mr.
Robinson, laying his baby's
picture slowly back on the table,
as if he were reluctant to let it

Left, "Eddie" when he was a
pupil at Public School No. 20,
New York City, and one of the
six Robinson boys.

The Screen Family Robinson! Just as soon as little
screen there was a demand for his first photograph — and
proud parents. Well, little Eddie might just as well get

for July 1933

Robinson's Life Story

go, " — I always feel that I myself was born at the age of
ten. I never consciously think of what came before — I
never try to recall it. To all intents and purposes, my
life began when I came to America." For a moment you
listen, startled, to the pleasantly modulated tones, to the
effortless flow of well-chosen speech — till with a jerk you
return to reality and the fact that this is Edward G. Robin-
son sitting opposite you, highly civilized member of society,
and not, you imbecile, Little Caesar! For never was there
a wider gulf between creator and created than that
which separates this kindly, cultivated gentleman from
the swaggering, snarling bully in whose guise he made his
first indelible impression on the movie world.

Though his first years in America were spent in New
York's crowded Ghetto, where gangsters are said to thrive,
it's doubtful whether Eddie would have recognized one,
had he seen him. His interests lay elsewhere. He be-
longed to one of those sober, self-respecting Jewish fam-
ilies, to whom the pursuit of learning is a passion.
Themselves deprived of the thing they thought best worth
having, his parents abandoned a prosperous business, the
habits and associations of a life-
time, to face certain hardship in an
alien land — and counted it the
wisest step they'd ever taken, be-
cause it ensured their six sons an
education.

Eddie was the true son of his
parents. He took to study with
ease and enthusiasm. He went
through no agonizing "greenhorn"
period. He picked up English
naturally, and was graduated from
elementary school at thirteen,
younger than some of his native-
born classmates.

Before long he discovered that
there was one school activity he

Right, young Robinson about the
time that he was in constant de-
mand for debates in high school.
He captured one medal after
another, and he has been adding
to his collection ever since.

Edward G. Robinson, Jr., made his debut on the world's
newspaper photographers trouped in on the baby and his
used to the limelight — he will be in it from now on!

Mr. and Mrs. Robinson in their apartment
on an upper floor of one of Manhattan's
skyscraper hotels. Mrs. Robinson is the
former Gladys Lloyd, well-known actress.

enjoyed beyond all others — he loved to re-
cite. He loved to stand up in front of the
class and spout — poetry, oratory, it didn't
matter what. He would toil for hours over
his compositions — not because he aspired to
literary honors, but because the fellow who
wrote the best composition was allowed to
read it before the whole school at assembly.
It wasn't, he assured himself earnestly, having reached
the age of self-analysis — it wasn't that he enjoyed
showing off. No, it was something more important
than that. Still a reserved and inarticulate boy, it was
only when he was standing thus in front of an audi-
ence, the words ready to roll from his tongue, that he
forgot to be shy — that he felt an unsuspected power well-
ing within him, freeing him of the shackles of self-con-
sciousness, filling him with a glorious sense of mastery,
not only over himself but over those gaping rows of faces
upturned to his.

"Hey, Eddie!" they'd yell at him afterwards, half jeer-
ing, half flattering, "you're a reg'lar actor !" And Eddie
would grin silently in response.

The school gave a play and Eddie, all excitement, was
assigned the part of a gentleman of sixty. As the make-up
man was graying his hair and pasting a set of handsome
whiskers to his round face, Eddie caught sight of a pair of
spectacles in his kit. {Continued on page 70)

SCREENLAND

Clemence Dane, England's greatest
woman playwright, author of "Bill of
Divorcement," granted this exclusive
interview on the favorite feminine
subject of Clamor.

The Clamor

"Give us Glamor! More Glamor!" All
right — here's a fresh slant from the cele-
brated playwright, Miss Clemence Dane,
now in Hollywood writing for the screen

rc\°r

PEOPLE have always wanted to be bewitched,
and charmed, and be-glamored," says Miss Clem-
ence Dane, author of the distinguished play, "A
Bill of Divorcement," which catapulted stunning
Katharine Hepburn into the swift limelight of screen fame.

"The belief in magic may be dead, but not the desire
for it. And now the motion picture is the greatest form
of enchantment in the world, because it is the cheapest
and most available. Over every motion picture theatre
door there might well be put a. sign, Charms and Magic
Spells For Sale."

How does this statement, coming from England's
greatest woman playwright who has recently become one
of Hollywood's most interesting figures, affect the two
dusky-eyed, slender-throated American young women
who face each other across these pages?

Each of them has the same given name of Katharine —
spelled in the same unusual way, beginning with a "K"
instead of a "C," and with an "a" instead of an "e."

One of them, let us call "Katharine the Great." She
is Miss Katharine Cornell, who in the few, brilliant years
since the photograph was taken has swept into the place
of the greatest Broadway star, the first lady of the Amer-
ican stage, lovely, fascinating !

She is famous among motion picture fans not because

Katharine Hepburn scored her first screen suc-
cess as Sydney Fairfield in the film "Bill of
Divorcement."

they have seen her, but because they have not seen her
on the screen. They know too well, and they are sorry,
that she refuses to leave the theatre she loves so dearly
and understands, for a new medium she does not know
about. Though they offer her millions she turns a deaf
ear to the urgings of the many picture producers who
wish to capture her unique charm and her fame for their
audiences. Was she not the ravishing "dark lady of the
Sonnets" of "Will Shakespeare," the great "Candida,"
the Iris Fenwick of "The Green Hat," the Ellen Olcnska
of "The Age of Innocence," the Elizabeth Barrett of
"The Barretts of Wimpole Street?"

The second dark-eyed girl — shall we call her "Katha-
rine Nobody- Yet-Knows-How-Great ?" She is Katharine
Hepburn, Hollywood's newest outstanding actress, who,
after one picture and one only, recently flared into star-"
dom, and was offered a contract that some less favored
girl might devote a lifetime striving for in vain.

She is a girl for whom the traffic signal has been
turned to "Go," as some one has said, and "the lights

for July 19 3 3

for GLAMOR!

Betty Shannon

Dr. Arnold Genthe

Katharine Cornell first won fame on the Broad-
way stage when she created the part of Sydney
in the play.

are all green." She was an over-night sensation. She
is scheduled for big roles, including that of Jo in the
approaching "Little Women," the same character, oddly
enough, in which the other Katharine, Miss Cornell,
played in her London stage debut.

There are other marked similarities between these
young actresses besides that of their names and their
sharing of Jo. They both represent the new type of in-
telligent, well-bred girl who is going on the stage and
screen today. They were 'brought up in the same sort
of healthy, normal American living. They are the prod-
uct of good boarding-schools, Miss Hepburn of Bryn
Mawr College in addition. Both became enamoured of
acting and the theatre when they were in school, and
started their earliest theatrical experience in small parts
in good companies.

They both have somewhat the same sort of features,
with broad, high cheek-bones, firm jaw, wide-apart dark
eyes, rather blunt nose, large mouth.

But perhaps the most interesting likeness between them

is that their first outstanding successes, Miss Cornell's on
the stage and Miss Hepburn's in pictures, were made in
the same role in the same play!

This was the role of Sydney Fairfield in "A Bill of
Divorcement," by Clemence Dane. This picture rocketed
Katharine Hepburn into the limelight. Miss Cornell ap-
peared in the New York stage version at the George M.
Cohan Theatre in October, 1921, while Miss Hepburn's
performance appeared on the screen eleven years later,
in 1932.

Have these two actresses "glamor"?

People everywhere say they have. It would be con-
sidered a sacrilege, I suppose, even to formulate this
question concerning Katharine Cornell. Every one is
not so sure, yet, of Hepburn.

What is "glamor," anyway? Is it the way a girl looks
at you? Is it the way she wears her clothes? The
clothes she has to wear? Is it something exquisite and
alluring about her body? Something charming but
wicked about her mind ? Is it the suspected dangers that
seem to beckon in another's (Continued on page 76)

Miss Dane hopes that Irene Dunne will play in her
first motion picture "original," "The Troubadour,"
which will star Francis Lederer, the stage actor.

SCREENLAND

Why? H

Ramon Novarro plays a sheik — and such a sheik! — in "The Barbarian." Now, now — no cracks about a
"wolf in sheik's clothing." Ramon's costume is correct down to the last detail. And isn't it picturesque?

Telling some studio secrets ! In this
fascinating feature you'll find the
answer to "How do the movies do it?"

Ruth Tildesley

ON WHICH arm does a bride come down the
aisle after the wedding?
What do they eat for breakfast in Holland?
How do you make an owl hoot ?
What did a pony express rider play on his horn ?
Do they have single compartments in sleeping cars in
China ?

No, this is not an I. Q. test ! It's a sample of the
queries that come into the research department of a mo-
tion picture studio.

And it's important that the department finds the right
answer, for you may be sure that some one who sees the
picture will spot what's wrong and take his pen in hand !

"If there's a plumber in the scene, someone will write
in that he should have had a helper, if he belonged to
the union," sighs Elizabeth McGaffey, bead of Radio
Pictures' research department.

Miss McGaffey organized the first research depart-
ment in the industry a little more than eighteen years
ago. It occurred to her that it would be better, as well
as cheaper, if someone found out what styles were being
worn, what architecture was in vogue, and what were the
manners and customs of Spain at the time of Carmen,
before Geraldine Farrar made the picture, instead of
after the shooting started.

Jesse Lasky agreed with her and that's how the ques-
tion-and-answer departments began.

"The burning point today is to educate executives in
the importance of research," observed Miss McGaffey.
"We should have the script as soon as it's written so that
we may be prepared for whatever may be asked of us.

"Sometimes I can give the answer at once, from mem-
ory, or from some source at hand. The Episcopal prayer
book, for example, is the book most in demand in this

for July 1933

When Helen Hayes
was cast in "The
Sin of Madelon
C 1 a u d e t , ' ' she
turned to art for
make-up ideas.
Here are grouped
three drawings
which aided Helen.

library, because of the
wedding and funeral ser-
vices. Early in my career,
I discovered a three-vol-
ume set called 'Wonder-
ful London' which cost
$10. This has paid for
itself over and over, as
it tells almost everything
a technical director could
tell us about London.

"But sometimes the an-
swer takes time. Clem-
ence Dane is writing a
story for Francis Led-
erer, part of which is
laid in an old castle on
the Danube. That castle
is now in ruins and it's
my next job to find a
picture of it before it zcas ruined.

"I never trust my memory about things I discovered
while I was traveling, for it is so easy to forget whether
it was in China or Japan that certain things were so. I
was six months wandering about the Orient with a note-
book and a camera, but I always check up to see if my
memory is correct.

"Sleeping cars in Japan have double bunks — some-
times four bunks in one
compartment. I remem-
ber that they have single
compartments in China
because I was locked in
one of them while going
through bandit country.

"For 'King Kong,' we
had to see that the vege-
tation of the tropics was
correct, and that all the
huge prehistoric monsters
were technically right.
The 'monster' data came
from museums.

" 'Sweepings' is the
story of the growth of
Chicago. Luck gave me
a little book called 'Chi-
cago As It Is and As It
Was,' published in 1872,
which tells about the

Above, a wood en-
graving of a grand-
mother by Edward
Ertz. Left, "A
Study of Madness,"
by C. Dupuis. Miss
Hayes consulted
these drawings in
her research.

The artist's studio in "The Song of Songs" is authen-
tic enough to satisfy artists themselves.' Brian
Aherne and Marlene Dietrich are seen with the
statue for which the heroine poses in the picture.

great fire and what went
before and after.

"But luck won't always
help. Dates are impor-
tant. The streets of
New York are constant-
ly changing. We must
know if a certain build-
ing was standing in July,
1918; if a certain street
was cut through in 1903 ;
if the skyline changed
between the Fall and
Spring of 1906-7."

For "Our Betters,"
Constance Bennett's pic-
ture, it was necessary to
erect a set showing the
ante-room to which those
presented at the British
court retire after making bows before the King and
Queen.

Photographs of Buckingham Palace failed to label the
room in question. The wife of a Brazilian Ambassador,
(discovered by Miss McGaffey), who had provided the
research department with cards summoning those to be
presented to court, rules of etiquette surrounding the
ceremony, what to wear and other details, could not

remember where she
went after she was pre-
sented.

Finally Madame Hilda
Grenier, technical direc-
tor, who served for years
as Queen Mary's dresser,
remembered a bas relief
over a door in one photo-
graph and selected the
"West Gallery" as the
ante-room needed.

Nathalie Bucknall,
head of M-G-M's re-
search department, came
to Hollywood with no
idea of what work she
could do. It was her
knowledge of many lan-

guages and her familiar-
ity with foreign countries
(Continued on page 72)

A lovely English Georgian interior? Yes! And also
a "set" for "Looking Forward" at the Metro studio.
Correct in every detail! That's Lewis Stone you see
through the doorway.

The cafe kitchen scene from "Reunion in Vienna"
is so convincing in atmosphere and detail that it
will make you hungry — and maybe a little thirsty,
too! John Barry more is dominant as usual.

SCREENLAND

"When nature
doesn't make a guy
a Gable, there'9 no
sense attempting to
be a Romeo, is
there?"

Why Tracy is Different!

C 1 1c can't be scared into living up to
an "illusion."

Ct,He won't spend his huge salary
lavishly.

<X,He declines to attend parties or to
give them.

d,He pays small attention to Holly-
wood's lovely ladies.

"Thank God I don't look like a movie
star ! That saves me from having to act
like one !"— Lee Tracy.

TRACY! The Star

HOLLYWOOD— it gets em!
And it scares em ! It en-
chants and draws to it the
most interesting people in the
world. Then it trades fame for a fear
complex !

With stardom and money comes not only the halo but
an alteration in attitude. Happy-go-lucky actors are told
they have to follow the ordained Hollywood customs, or
else — !

They then do what tradition demands, afraid to stick
to their own wishes. And end by being most thoroughly,
awfully frightened of what folks will think of their
slightest move.

There is one star who dares to be
different ! And not Garbo, this time.

He's not a speck awed by the
glamor and the hooey. He won't say
"Uncle" to any pompous big shot or
"Sweetheart" to any beautiful blonde.
Follow the stellar traditions? Say,
you can't scare him into that monkey
business.

Lee Tracy is the gentleman's name.
If you've been observing, you have
noticed how he has whizzed to the
top in a year's time. Today, as one
of M-G-M's biggest bets, he is said
to collect a cool $3,000 each and every
Saturday night. Because he's unique
and a wow.

"Be yourself and you'll be fed to
the lions !" he exclaimed with a char-
acteristic whimsical grin when I man-
aged to catch up with him between

Ben Maddox

"I couldn't be glamorous if I sat
up nights for six months trying
to figure out how to transform
myself!"

shots at the studio. You can't find him
when he isn't working. His private
life continues to run on stage schedule.
Which means he's apt to stay up all
night and sleep until the middle of the
afternoon on off-duty days.

"That's what the wise guys tell all the newcomers.
You have to do this, you gotta do that. You're a movie
star now ! Thank God I don't look like one. That saves
me from having to behave like one!"

No daunting Lightning Lee. (Yes, he talks, moves
and thinks as fast in person as you'd imagine.) And
when you consider how he has refused to be awed by
his stardom and to be rushed into the
usual glorified ruts, you gain an im-
mense respect for him and his cour-
age.

Ponder these facts :
He can't be scared into creating or
living up to an "illusion."

He won't spend his huge salary
lavishly.

He declines to attend swanky par-
ties or to give them.

He thumbs his nose at the mention
of a Beverly Hills address, choosing
a comparatively modest apartment.

He pays no attention to the magic
city's lovely ladies.

Altogether, a most remarkable
movie star. All the more so since he
hasn't the sex appeal a hero is sup-
posed to possess. He took me aside
to explain this particular detail.
"I deliberately chose between be-

for July 1933

Until Lee Tracy met John
Barrymore, when the two ac-
tors were cast together in
"Dinner at Eight," Lee had no
stellar friends. In John he has
discovered a kindred spirit and
they are developing a sincere
mutual admiration. \/atch for
the scene shown here and note
how Lee Tracy's clever ges-
tures battle Barrymore's tech-
nique for first attention.

Hollywood Can't Scare!

coming a lawyer and becoming" an
actor The latter game won. But I
never suspected I'd be the romantic
type Still don't suspect I ever will
be 1 I wanted to be an expert at light
comedy. The yen remains potent.
When Nature doesn't make a guy a
Gable, there's no sense attempting to
be a Romeo, is there?"

Though unimposing in appearance,
Lee has a way with the women. It's
unconscious and he'd be the last per-
son to admit it.

His appeal to both women and men
is due to his amazing vitality and his
overwhelming frankness. Seasoned,
I should add, with plenty of good old-
fashioned Southern charm and court-
esy. He was Georgia-born, you
know, of a fine and well-to-do family.

He absolutely radiates vigor. A
sure tonic for the blues. His speech is rapid in any
weather. There is this difference, however, between the
reel and the real Lee. In pictures he dishes out his
blarney and his fellow actors take it. (And how!)

Personally, he has the same mannerisms and honesty,
but he doesn't go around giving orders or acting cocky.
He contends everyone has the right to do as he or she
pleases. Far be it from him to dictate.

"My ideas are sacrilegious here in Hollywood," he
complained when the director released him for another
spell of conversation with me. "I couldn't be glamorous
if I sat up nights for six months trying to figure out how
to transform mvself ! Why, Sylvia herself couldn't
pound sex appeal into me ! So I don't worry about it.

"I don't want an estate or a swimming pool or a

"Why, Sylvia herself couldn't
pound sex-appeal into me! So I
don't worry about it."

limousine. Xor a flock of servants or
a horde of palsy-walsies. Nor dis-
tinguished visitors. Preserve me from
them ! And getting fitted for a lot
of tailor-made clothes would be a pain
in my — er, neck. Polo, golf — ?
Sure, what every nice young fellow
craves — excluding Tracy ! He'll take
a book and a davenport.

"Why have I never married or said
it with bracelets to the movie gals?
I'll tell you. I'm too selfish. Don't
mean to brag about it, but why kid
you, or myself ?

"Home and kiddies? No, sir! I
want most of all to be a successful
actor. Secondly, to lay away enough
money so I'll be positively independ-
ent. Third, to have a lifetime of
fun."

You may have assumed that Lee is
a product of a hard-boiled environment. He does re-
semble a big city tabloid reporter. Such is not the case,
though. For unlike James Cagney, (who understudied
him once), and George Raft, he did not emerge from
New York's tough district.

His father was an important railwav official and Lee
was an only child, protected and humored. His child-
hood, spent in half a dozen cities as his father was trans-
ferred to various places, was singularly pleasant. He
didn't enjoy playing with the neighborhood gang, and
now in Hollywood he feels the same towards the stellar
crowd.

Starting to high school in St. Louis, he blacked a boy's
eye and was politely but firmly asked to leave. So he
finished at Western Military {Continued on page 82)

SCREENLAND

WHY

ClitUQCttC

Went Gay!

La Colbert chooses
between types of screen
"naughtiness"

Aiken St John Brenon

Here's Colbert in her most
knockout role — Poppaea in
"Sign of the Cross" — jewelled,
scantily clad, and unscrupu-
lous in the use of her charms.

Claudette with Ernest Torrence and
Ben Lyon in "I Cover the Waterfront."

Here's the screen Claudette of
yesterday — gentle, dignified
and amply clad, and in general
as demure as a Louisa Alcott
heroine. Remember "The
Smiling Lieutenant"?

CLAUDETTE COLBERT,
who all the world knows is
a lady, balked when Ernst
(Great Director) Lubitsch
asked her to lift her skirt and show
her pretty legs for the camera ! She
wouldn't do it, and she didn't ! Lu-
bitsch cajoled, coaxed, threatened, but
Claudette steadfastly refused to do
that naughty, naughty piece of busi-
ness for "The Smiling Lieutenant."
That was some time ago.

And then the next thing we knew
she was playing Poppaea, wickedest
woman in history. Poppaea, danger-
ous, unscrupulous, whose diaphanous
and scanty garments were supple-
mented on occasion by jewelled breast-
plates and bangles, and dispensed with
entirely when she indulged in her bath of wild asses'
milk with only an exotic coiffure to guide her !

When Lubitsch strolled on the set of "Sign of the
Cross" one day, his eyes questioned Claudette, whom he
found attired in a tiara and a few yards of chiffon as she
tickled the nose of a tiger. "So-o-o?" Lubitsch said, in
sonorous, mocking tones, shaking his head wisely at the
scantily clad figure before him.

"But I explained to him," says Claudette, "that I felt far
less self-conscious almost completely undressed as Pop-
paea than I did as a nice girl flicking her skirts in the face
of an admirer. One belonged, and the other didn't."

A close-up of Claudette's current
coiffure, which she adopted to go
with her new screen character.
And very becoming, at that!

Claudette knew she was regarded
on the screen as one of those "nice"
girls — charming, winning, appealing,
but "nice," innately, appallingly and
irrevocably "nice." Because she
speaks English correctly, because she
has breeding, because her manners, as
well as her clothes, are good, she
found herself smouldering indefinitely
in stuffy screen drawing rooms. On
the stage Miss Colbert had made a
name for herself by her portrayals of
young ladies of somewhat smooth
virtue, clear-sighted and sophisticated.
Perhaps her greatest success was her
characterization of the delectable lit-
tle tart in "The Barker." But on the
screen her seductiveness was prac-
tically lost in a sea of sweet goodness.
Nature designed La Colbert as potential competition for
Crawford and Dietrich — but Hollywood persisted in
pigeon-holing her !

It's all very well to be catapulted onto a pinnacle of
virtue, but Claudette did not like being just another movie
"good girl," and found herself hankering for at least one
of the seven deadlies. In the part of Poppaea she knew
she would find them%ll.

A desire to go back to her old stage tricks kept smoul-
dering within her. She wanted in the worst way to be
bad, really and truly bad, but she found herself balked
at every turn. (Continued on page 86)

for July 19 3 3

MAE WEST
Madame Recam-
ierin tights;
Venus de Milo
caricatured in
putty.

KATHARINE
HEPBURN
Benda mask of
Youth; spring
water.

Poison Ivy
WREATHS

IRENE DUNNE
Clyde Fitch heroine in sub-
way; portrait of a lady in
stays.

GEORGE RAFT
Cobra at a quick lunch
counter; tango in Hell's
Kitchen.

NORMA
SHEARER
Drama League
leading lady gig-
gling at risque
story.

Malcolm H. Oettinger

RICARDO CORTEZ
Toreador of Tenth Avenue.

TOM MIX
Circus cowboy shooting
cigar store Injuns.

CHARLES
LAUGHTON
Murder in a pub;
Lord Carstairs in

an asylum.

CHARLES
FARRELL
A statue in Ivory
Soap; Amateur
Night.

JOAN MARSH
Tobasco in ted-
dies; frolicsome
kitten.

LEWIS STONE
Miles Standish in
a Rolls - Royce;
gentleman lost in
Hollywood.

BORIS
KARLOFF
King George has
a nightmare.

Sweet

and

Loy!

Here's Myrna in that slinky -
seductress character which
she played in pictures for a
number of years — until she
decided that enough was
enough!

Myrna says "fare-
well to charms"—
but only the exotic
kind

MYRNA LOY and I
were indulging in
one of those "Re-
member when" chats
— you know the sort: "Re-
member when I popped teacher
behind the ear with a spit-
ball ?" or "Remember the day
we played hookey and the
truant officer caught us?" My
friendship with Myrna does
not extend as far back as our
school days, but we did meet
many years ago — about nine
years, to be precise.

"When I was dancing in a
prologue at Grauman's Egyp-
tian Theatre," Myra re-
minded me.

I need no reminder. I recall vividly that our first
introduction took place in a cubby-hole that Henry Wax-
man, then an unknown photographer but now one of
New York's finest camera artists, described as "his
studio." Waxman had attended the Egyptian and his
artistic eyes had centered on Miss Loy. He sent back-
stage an invitation for her to visit his studio for a por-
trait sitting. Myrna, then a newcomer to the stage and
screen, was thrilled. She accepted readily.

It was at Waxman's studio, then, that we met. She
was dressed simply that day, and she was a girl in her
fresh, early 'teens.

Waxman remarked as he introduced us, "Jimmie, here
is a girl who has the personality and beauty to become a
great motion picture star. All she needs is the oppor-
tunity."

Now Waxman was at that time an artist, which means
that he was eccentric. He photographed Myrna standing
on her head, leaning on her ear, and poising on her nose.
He employed strange lighting effects that left heavy

It's Ramon Novarro who goes Oriental in
"The Barbarian," in which Myrna plays
an American girl with Egyptian blood in
her veins. And very lovely, too!

And here's the real Myrna —
as wholesome and pretty an
American girl as you can find!
She intends being herself
from now on — which is why
stardom is indicated.

James
iS/larion

shadows on her face. The
photographic results were
amazingly exotic affairs that
made the girl look like the
Queen of Sheba and Cleopatra
come to life in one body.

About this time two more
people became interested in
Waxman's work — two people
whose names are sufficient in-
troduction : Rudolf Valentino
and his wife, Natacha Ram-
bova. I believe Natacha dis-
covered Myrna's portraits
before Rudolf, but both were
immediately attracted- I was
Valentino's publicity agent
then, and I remember that he
arrived at the studio one
morning bearing photographs of his "new find." For
days he attempted to interest his employers in Miss Loy's
possibilities, but because Rudy was not on the best of
terms with the studio — (he later broke his contract) —
he was unsuccessful in arousing general enthusiasm
about his protegee.

Mrs. Valentino was more successful. She not only
managed to secure several small parts for Myrna, but
she also cast Miss Loy in her own production, "What
Price Beauty." This picture called Myrna Loy to the
attention of motion picture producers. The brothers
Warner sent for her and placed her under contract.

The first unfortunate break that befell Miss Loy was
that all of Waxman's photographs were exotic. Warner
officials gazed upon those pictures and decided that their
new contract actress was a natural vampire.

I shall never forget the conflicting emotions in Myrna's
heart when she returned home after she had been as-
signed her first Warner Brothers role. She was happy
to have a contract and a regu- (Continued on page 84)

Joan Crawford's pet Scottie is named "Sadie," after her character o/Sadie Thompson in "Rain." Morgan Dennis has made
this original, exclusive portrait of Joan and her pet, expressly for our contest. The first-prize winner will become the

happy owner of the original Dennis drawing.

Who'll Win This Original Drawing
of Joan Crawford and her Scottie
by Morgan Dennis ?

Would you like to own this beautiful original drawing
of the screen's most popular star by the celebrated artist,
Morgan Dennis? Turn the page for contest details. The
first-prize winner will receive the original of the drawing
reproduced above, which will be personally autographed
by Joan Crawford herself and also by Morgan Dennis.

Hollywood's Own Pet
And Yours, Too!

G uy ( Comedian )
Kibbee's Pekingese
has a sense of
humor, too!

Mary Pickford is playing "Peke-a-
boo" with two pretty "baby
stars." Going into the movies,
youngsters?

Above, Morgan Dennis,
the artist whose drawing
of Joan Crawford is first
prize in our contest, is
shown here with Miss
Eva Farrell, leading lady
in the first Dennis movie,
and Jock and Jill, the
famous Scotties.

Jackie Cooper gives his pet police-
dog a tussle. Here's a good example
of a grand "boy and dog" snapshot.

Maurice Chevalier, below, loves
dogs and has several, but the
beauty pictured with him, below,
is his particular favorite.

Ever whistle just to see a pup put /iiVp
head on one side? Of course you have '
and Anita Louise, above, is doing jus,
that to get this amusing picture o. i
her "wire," right.

Here is one of the
finest studies in
doggy patience we
have ever seen!
Ralph Forbes'
thoroughbred pet
poses at his mas-
ter's bidding — or
maybe the photog-
rapher whistled!

Bob Montgomery's
wire-haired terrier
has responsibility!

A new contest! Give your pets a chance
to shine! Don't let the pampered pets of
screen stars steal all the glory!

RULES

For SCREENLAND'S Pet Picture Contest:

1. Take a characteristic photograph — a
Kodak picture, or snapshot, of your pet and
yourself, or your pet alone. Your pet may
be a dog, a cat, a horse, a parrot, but be sure
it's your own particular pet! Print your
name and address, and the name of your pet,
on the back of the photograph you send. No
letter or additional writing is necessary. Any
size photograph acceptable.

2. Mail your photograph to Pet Picture
Editor, SCREENLAND Magazine, 45 West 45th
Street, New York City, before the closing
date of this contest, midnight, June 22, 193 3.

3. The judges of the contest, listed below,
will select the most interesting, by that mean-
ing the most unique, amusing, or beautiful
photograph, to win the first prize, the origi-
nal drawing of Miss Joan Crawford with her
Scottie by Morgan Dennis, the famous
artist. There will be twelve additional
prizes for the next twelve most interesting
photographs: six two-year subscriptions to
SCREENLAND, and six one-year subscriptions
to SCREENLAND, subscriptions to begin with
the August issue.

4. The judges of this contest are Miss
Joan Crawford, Mr. Morgan Dennis, and
Miss Delight Evans, Editor of SCREENLAND.

5. In case two photographs are con-
sidered of equal excellence, the tying con-
testants will both receive prizes.

6. This contest is
not open to any per-
sons connected with Gary Cooper calls this his "antique hound" —
SCREENLAND Magazine bec*u!?e. iVs an Mthan, directly descended from
or their families.

Verna Hillie, above, has
temporarily "adopted"
Bobby, the 12-year-old
acting cat who is in
demand by all the Hol-
lywood studios. Bobby
belongs, really, to Miss
Charlotte Delaney.

the Afghan hounds which are the oldest dogs in
history.

Hello, World! Cary
Grant's very new
wire-haired terrier
looks it over from
his perch in Cary's
pocket, while the
actor studies his
script. We couldn't
ask for a more ap-
pealing Jog picture
than this!

Helen Twelvetrees,
her biggest hat, and
her smallest dog.
The other Twelve-
trees pet is a wire-
haired terrier, who
is sulking some-
where because he
was left out of this
picture.

Irving Lippman

The Girl Who Couldn't Stay Away!

ANN DVORAK left Hollywood for Europe, leav
XJL the American screen to shift for itself. But
just couldn't stay away, with that promising pict
career back home begging to be fulfilled. So An
back again— watch for her next picture!

3UT Johnny Weissmuller is a much better acrobat
s than the gentleman in the popular sob ballad,
id he's right at home on this tricky seat after his
"arzan" caperings. By the way, how about that
"Tarzan" sequel, Johnny?

"The Man on the Flying Trapeze

Boys Will Be Birds!

HERE are two of your favorite film actors, about
to "take a flyer" in the same picture! Fredric
March and Cary Grant will chase each other in and
out among the clouds in "The Eagle and the Hawk."

Irinng Lippntan

A Summer Carole

AND here's the incentive for all that high flying!
xV Get out your pursuit planes, boys — Carole
Lombard at her loveliest is the feminine prize in
the strife between "The Eagle and The Hawk."

With a Hey,
Money-Money and
a Hot Cha-charm!

This little gold
digger is sim-
ply wrapped up
in her profes-
sion! What,
Ginger Rogers
— has the lure
of lucre roped
you in?

Here's the camera and sound crew get-
ting ready to shoot this unique violin
scene, in which the girls look like ani-
mated chessmen. It's one of the high
points of the picture.

Ann Hovey
and Adrien
Brier are
"important
figures" in
this shapely
spectacle.

Below, blonde
Adrien Brier prac-
tises her routine
in rehearsal cos-
fume. Right,
here' s June Glory,
just a great, big,
beautiful dollar.'
(Where was June
when the gold
standard fell?)

There's a "wealth" of beau-
ty in this scene — see the
peppy pretties just rolling
in money f

Dick Powell croons his dough-re-mi '.
with lithe and lovely Ruby Keeler, ser
sat ion of "42 nd St.," as his inspiratioi

It's tease for two, or two
million, when Hollywood's
hottest honies step out of
their things and into the
money in "Gold Diggers
of 1933."

Photographs by
Bert Longworth

Barbara Rogers, one of the prettiest of
the "gold diggers," shows her noncha-
lance in the face of a precarious situ-
ation. Money may not be everything,
but it can be pretty important!

One way of reducing
coins to bullion! If
those gold pieces
don't begin to melt,
it won't be the sizz-
ling Pat Wing s fault.

Below, looks like a
slight scarcity of
money, but Maxine
Cantway is manag-
ing all right. Left,
whoever put his
money on Loretta
Andrews knew how
to pick a winner!

Watch your watch! Joan Blondell falls
n love with Warren William — and she
loves him for all he's worth!

Careful reflection! No mat-
ter how you stand — upright
or on your head — these cuties
will look just the same to you.

"QUMMER is a-comin' in!" Una Merkei knows it,
_~ . oil ^ an<^ sne na^s tne verna' season by twining hetself

3. DcUSV} OUh! a daisy chain in this lovely sylvan setting. Doesn't her

blonde charm blend well with the background!

Max Musk Autrey

WITH the summer sun smiling down on the tennis
courts, Warner Baxter just can't help climbing
into sweater and flannels and dusting off the old rac-
quet. And now for some fast and furious "service"!

He's a Tennis Menace!

Or a check that's good! Adrienne en-
dorses this brown and white checked
costume. Like the white ruffled guimpe
and the triangular pockets? A jaunty hat
of the same material tops this very
wearable outfit.

idrienne Ames gives us the first
limpse of her new wardrobe, designed
>r her in Hollywood, first worn in New
ork — and pronounced a sensation !

ie Red, White
and Beige!

re's the most
\imatic costume
j the season! The
J. gloves, and

ree-quarter
\igth coat are of

d and white

iped light wool.
I e dress j's beige
jjc e . Adrienne
(re this to lunch
the Embassy
\jb, and did the
'! art New Yorkers
take notice'

M Laced Up

re's a dress that
s every thin
rienne's frock is
ecru lace and
tures lacing

bodice. Even
hout that ultra-
art coat, above,
it's a winner!

Yea, boa! Adrienne likes her fluffy, u\tterly feminine ostrich
cape and muff for summer evenings, because they're light as
a feather! Her gown is of white chiffon, and its only ornament
is a buckle of brilliants.

Her name is Martha Sleeper — but
is she an eye-opener.' In fact,
Martha and her 1933 swim suit
are two reasons why surf bathing
is so popular at Hollywood beaches
this summer. This conservatively
cut swim suit gives you a pretty
good line on Martha as a mermaid
— and the lines on Martha
nothing to sneeze at.'

S-P-L-A-S-H!

Martha Sleeper (at top) is
wearing the "Sea Nymph,"
from Dunnings Silk Shop,
Pasadena, Cal. Maureen.
O'Sullivan disports herself in
the "San Tropez" in wine
and white ripple knit — N.
Snellenberg & Co., Philadel-
phia. Mary Carlisle's suit is
a ripple knit, "Sun Tan,"
Best & Co., New York. All
models by B. V. D.

"Sing ho, sing hey, for
the salty spray!" Surf-
bored? Not Maureen
O'Sullivan! The way the
little Irish elf zooms over
the breakers is every-
body's business— unless
they happen to be near-
sighted or over 150 year:
old! Maureen's sun-tar.
back is both health-
giving and pic torial — and
as timely as a pretzel.

The photographer insisted that Mary Carlisle sit foi
portrait before going out for her swim — thus provii
what excellent judgment those photographers c
have! The shoulder-strap effect on Mary's suit
favorable to free swimming motion, and very resti
to the eye of the beholder. And wouldn't that sm
tame the angriest wave!

Bette Davis, Star in Warner Bros.
Feature Picture "Ex-Lady"

"The secret of perfect make-up I learned from
Hollywood's make-up genius, Max Factor. . . that
my powder, rouge and lipstick must be in color
harmony to blend with my own complexion color-
ings. You know that for years Max Factor has

created make-up for the stars and the studios of
Hollywood, so it is only natural that I follow his
advice for both screen and street make-up. Perhaps
these suggestions will help you to find new beauty
with make-up."

l."For my colorings . . . blonde hair, blue
eyes and fair skin ... I use Max Factor's
Rachelle Powder. Its color harmony tone is
perfect for me . . . and it creates a satin-smooth
make-up that clings for hours, which every
screen star depends upon. And here's a hint
about powdering. . . always pat it on, remov-
ing surplus with the face powder brush."

2." Pat on a touch of rouge following the
natural curve of the cheekbone . . . and then
soften the edges by blending with the
finger tips. To be sure of correct color
harmony, I use Max Factor's Blondeen
Rouge ... its delicate texture and creamy
smoothness help a lot in blending a beauti-
ful, soft coloring."

3* "Always dry your lips and keep them dry
when applying lipstick. Make up the upper lip
first and trace this lip contour on lower lip by
simply compressing lips together; then fill in.
Max Factor's Super-Indelible Vermilion Lip-
stick completes my make-up color harmony.
It's moisture-proof, permanent in color, lasts
all day . . . three good reasons why I use it."

P. S. — " Of course, in my new picture, " Ex- Lady" I use Max Factor's Make- Up exclusively, too. In fact, in
every feature picture from every studio you can actually see how perfect Max Factor's Make-Up is."

Now the luxury of color harmony make-up, created originally for the screen
stars by Hollywood's make-up genius, is available to you at nominal prices. . .
Max Factor's Face Powder, one dollar; Max Factor's Rouge, fifty cents;
Max Factor's Super-Indelible Lipstick, one dollar. Featured by leading stores.

For your own personal make-up color harmony chart, mail coupon to Max Factor.

O 1033 M*x fmcm

lACTOR'S Society MAKE-UP
Cosmetics of the Stars ★★HOLLYWOOD

Face Powder. . . Rouge . . . Super-Indelible Lipstick ... in Color Harmony

96% of All Make-Up used by Hollywood's Screen Stars and Studios is Max Factor's (La AeyUt Ciimber c/Cmmtra SuHttia)

uJVIail . . . for Lipstick Talette

TEST YOUR COLOR IN LIP MAKE-UP

MAX FACTOR— Max Factors Mah-Vp Studio, Hollywood, California

WITHOUT obi igarion, send my Complexion Analysis and Color Harmony
Make-Up Chart ; also 4 8-pg. Illustrated Instruction- Book, "Tht^Ncw Art
of Society Mah-Vp. " I enclose 1 0 cents for postage and handling. Include Max
Factor's Super-lndelihle Lipstick Palette to test my color in lip make-up.

COMPLEXIONS

EYES

HAlR

Vtty Light O

Fill □

Creamy Q

Medium □

Ruddy. O

sji«» a

Blue □

Gray □

HizelZlD

Brow* a

BU<t □

BLONDES
Light „□ Duk— □

BROWN ETTES
Light..a Diik.-O

BRUNETTES
Light. _0 D»rk._0

REDHEADS
Light.. □ Dnk__0

FrcekW 0

oiiv* a

LASHES iC*U'}

Light D

Dirk □

SKIN Dr,d
O.lyO NomilD

type *4o»r «W «r*r_ 0

ACE

The Most Beautiful Still of the Mon

Marlene Dietrich and Hardie Albright in "The Song of Songs."

Here's a close-up showing how alluring the
lovely Dietrich can look as an exotic en-
chantress in her latest picture.

"M.D."? That means Marion Da vies,
Sunshine Doctor. Here's a grand
new slant on the girl

Myrene Wentworth

MARION DAVIES was sitting tailor-fashion on
a cushion in the library of her beach home,
eating a chicken sandwich and talking.

She was wearing ruby-red flannel pajamas
— a birthday gift from Bebe Daniels, she explained —
and white tennis shoes. In one hand she held a cup of
tea and in the other the sandwich, which was no dainty,
tea-room affair, but a man-sized, hunger-satisfying one
made of Russian rye bread.

Here and there, at various places in the comfortable
room, were other celebrated picture people, sitting on
chairs or on cushions, eating and talking. Occasionally
someone walked across the room to the table where the
tea service was placed, for another sandwich or another
cup of tea.

It was all very pleasant and very informal. And it
was not at all what I had expected to find in that im-
posingly white house, the
Mecca for sightseers, stand-
ing behind its walls on the
sands at the very edge of
the Pacific.

And the girl in the red
pajamas on the cushions
was not Marion Davies,
Hollywood's reigning host-
ess. Xot Marion Davies,
screen star. Not Marion
Davies, Lady Bountiful to
countless children and
grown-ups scattered over

The palatial beach house of Marion Davies, movie
princess, at Santa Monica, California — never
before photographed for publication — exclusive !

the country from New York to her own clinic and hos-
pital in Sawtelle, California.

She was "M. D.," irrepressibly Irish and proud of it!

Marion and her guests — there are always guests in
the white house, coming and going at all hours, always
sure of a welcome — had been playing tennis, followed
by a plunge in the pool. They were hungry and tingling
from the shock of the cold water.

That's the only exercise which Marion enjoys: tennis
followed by a brisk swim. And she indulges in it every
day, except when she is working. This happened to be
a vacation day because she wasn't needed that afternoon
for the scenes in "Peg o' My Heart." But beside her
tea cup on the floor were the complete script of the pic-
ture and pages of dialogue for the next day's work.
Marion is one of the few screen players who study their
"lines" religiously the night before the scenes are to be

made.

^ . I found out a lot of things

about Marion Davies that
afternoon, watching her and
listening to her. When she
is at the studio or in public
places among strangers,
Marion covers an innate
shyness with a poise which
serves as a sort of mask.
At home, with her friends,
she talks with a freedom
and naivete which are al-
(Coiitinucd on page 68)

SCREENLAND

SCREENLAND'S

The amazing Antoine
from Paris, internation-
ally noted coiffure-art-
ist, originates an individ-
ual hair-dress for Bette
Davis exclusively for
SCREENLAND. Bette, as
Glamor Editor, aided by
Monsieur Antoine, gives
you something truly
"different" here.

Bette, in the circle, after
Antoine's magic fingers
performed this coiffure.
LaDavis suggests chang-
ing your hair-style every
few months.

And here we have Bette showing a weird
lacquered wig by Antoine. Some of the
Continental beauties actually wear

Acme

A dashing Davis! Bette,
left, emphasizes the im-
portance of pique. Her
hat, gloves, lapels, and As-
cot scarf all say — pique!

Orchidacious! Bette in a
striking crepe orchid eve-
ning gown. Her summer
cape is of the same material
adorned with silver fox.

for ] uly 1 9 3 3 53

Glamor School

Bette is turning her back
to you because how else
can she show you this
view of the Antoine-
SCREENLAND-Davis coif-
fure? Bette says your
own hair-dresser can ar-
range your hair like this.

Side view — the hair is
perfectly straight — no
waves — except for a
tight curl at the ends.
Two soft ringlets only on
the right side, says An-
toine. Bette hopes you're
getting some ideas here.

Glamor Editor,

Golden-haired Bette Davis
gives us a "Different" slant
on Glamor! Coiffures by
Antoine. Bizarre wigs.
Fascinating frocks.

Above, Miss Davis is showing you Antoine's sports wig,
which he assures us, some smart Parisiennes really wear
for tennis or riding. Note the visor effect in front.

The Lady in Gold! These
are Bette's favorite lounging
pajamas. They are of gold
crepe — very becoming, too.

And now our Glamor Editor
is leaving us! Incidentally,
her "going-away" costume
is brown with blue fox.

SCREENLAND

10 Commandments for Directing Comedians

1. Always be your comedian's "best audience."

2. Don't take a "make-me-laugh" attitude. A come-
dian can dish a "dead pan" out, but he can't take it!

3. Be sure your comedian gets sympathy in his roles.
Then the more troubles he has, the louder audiences
laugh.

4. Don't change his pet "props.'
without them.

He can't be funny

5. Never let a comic become a smart-alec.

Don't make light of a
After associating with
side-stepping ladders and black cats

comedian's
comics you

superstitions,
find yourself

Give a comedian plenty of rope in changing lines
or situations. You can usually depend on his sense
of what's funny and what's funnier.

Don't let him indulge in too much pathos. A
comedian is usually a good actor who loves to play
tragedy, and sometimes he overdoes it.

Don't try to make over your comedian's person-
ality. Individuality is a comedian's greatest asset.

10. And always remember — being funny is a
business!

ecrets of

OMEDIANS, like children, are the
most lovable of human beings,"
says Norman Taurog. "Like chil- "

dren they are the finest of actors,
and furthermore, like children, they have
more pet peculiarities and superstitions than
a dictionary has words."

Taurog's new picture, "A Bedtime Story,"
starring Chevalier, is now a success on the
screens — and the director was glad to talk
about it.

"Maurice is one of the greatest of far-
ceurs," said Chevalier's director. "Yet un-
derneath all the irrepressible naughtiness of
the gay dog, there is a gentleness and sweet-
ness of character that has never before been
brought out on the screen. In real life,
Chevalier has all the seriousness, all the
quiet modesty of the great artist. His big-
gest laughs have come from the simple
humor of life; he doesn't need funny clothes
to conjure them.

"In 'A Bedtime Story' he has lost none of

What makes you laugh at 'em?
Norman Taurog, noted director,
unfolds the screen comic formula

Peter Long

his gay screen personality, but he also has the wistful-
ness, tenderness, sweetness that create the same quality
of sympathy which has always been the secret of the
never-failing appeal of Chaplin and Lloyd.

"This Chevalier may be new to American audiences,
but he will be the old Chevalier of France.

"Do you know what Maurice said to me on the set one
day? 'Norman, I am craz-ee about this story and the
bab-ee. Can't you give the bab-ee more? Give heem as
much as you like. It will be great for the picture.' There
is the true artist for you !

"Although Chevalier has no children of his own, he
loves them," Taurog went on. "One night Mrs. Taurog
and I were having open house. During the early eve-
ning, Maurice, who was one of our guests, disappeared.
An hour later he was found upstairs in the nursery play-
ing with our baby girl, who was then only four months
old ! He got more kick out of breaking the nursery rules
to play with the baby than he did out of the party."

Of the fairly recent newcomers to the screen Taurog
thinks Chevalier, Jimmy Durante, Charles Ruggles and
Edward Horton are outstanding figures. Most of the
old-time silent picture comics were slapstick comedians.
Of the four above-mentioned, Jimmy of the Schnozzle is
alone in the slapstick field as the other three are essen-
tially farceurs. It was Jimmy, by the way, who sent
Taurog that telegram reading : "Dear Norman : Sorry
to hear that you are going to direct Chevalier. It's an
awful drop — from Durante to Chevalier. Well, you

can't stay up all the time.
Yours in regret, Mr. Jimmy
Durante."

"How do you like that?"
commented Taurog. "Come
to think of it, Mr. Durante is a
fitting example of the similar-
ity between comedians and
children. Let us compare him
with Jackie Cooper.

"Although their acting meth-
ods are widely different, they
are very much alike in char-
acteristics. Jackie is a boy,
Jimmy is just a big, over-
grown boy. They both like to
play marbles, eat ice-cream
cones, and a dollar is their
limit in spending money. Both
have tremendous appeal to the
girls, who love to mother them.
Garbo has alwavs been crazy
Above, left, a happy trio! Baby about Jimmy, while Dietrich is

LeRoy, director Taurog, and , -i . T i •

Chevalier. And here's Mon- mad about Jackie.

sieur Bab-ee himself! "Possibly the only difference

for July 1933

Directing the Films Funny Men!

between Mr. Cooper and Mr. Durante
is twenty-five years — or more. Oh,
yes,— and in their taste in clothes.
Whereas Mr. Cooper is very conserva-
tive in his choice of raiment, Mr.
Durante is a shining example of what
the well-dressed man will throw away !"

Will Jimmy be mortified when he
reads this?

Be that as it may, the director and
comedian have a deep affection and re-
spect for one another.

Said Taurog when "The Phantom
President" scored : "We needed a dy-
namic tempo in this political satire to
generate fun and enthusiasm. Dur-
ante's mad, enthusiastic style of comedy
was so infectious that it kept the audi-
ences on the edge of their seats. Dur-
ante comes from the people. His comedy is of the peo-
ple, for the people and with the people. He is a happy,
mad lovable buffoon of comedy, but withal, a really great
actor."

The director's tribute more than makes up for the
wise cracks, so Jimmy can still keep his attitude.

To get around to the ten commandments for comedians,
the last is most important and covers everything: "Al-
ways remember, being funny is a serious business."

Little things that would seem the most trivial to the
average person are usually the most important in the
mind of a comedian. Unlike the clever dramatic actor
who can often simply "walk through" a role, and relying
upon his own personal charm and appeal to get by, the
poor comic knows he has to be funny — or else. He may
get up in the morning feeling low and blue, but when he
gets on the set at the studio he knows the audiences who
will later see the picture confidently expect him to make
them laugh. If he ever falls into the "unfunny class," he
can seldom make them laugh again. Therefore, the
comedian has scores of little superstitions regarding cer-
tain "props" and tricks that never fail to make the cash
customers laugh. And he can be forgiven if he is a little
touchy about them.

"After having directed most of the successful come-
dians during the past ten years," says Taurog, "I have
become as superstitious and as serious-minded as they
are regarding the business of being funny. I can sym-
pathize with Jimmy Durante if he v/ants to wear the

same hat he has worn for five years, or
with Bob Woolsey if he insists upon a
certain brand of cigars to smoke, or
with Harold Lloyd if he devotedly
relies upon bis horn-rimmed glasses.
Without a certain favored prop, which
the audiences have come to associate
with the comedian for laugh purposes,
the funny man's confidence is swept
away and also his ability to make you
laugh."

if you think these so-called trivial
quirks don't go deeper than a mere
mental (Continued on page 80)

The chap with
the Roman
schnoz — er — nose
behind Mr.
Ta urog is none
other than Mr.
James Durante .
Taurog directed
Jimmy in "The
Phantom Presi-
dent" ■ — a howl!

' ' Hey , Young
Fella!'' sings
Maurice Cheva-
lier to Baby Le
Roy. Chevalier
loves children —
and he was "craz-
ee" about his co-
star. Director
Taurog says that
Maurice is one of
the greatest of
screen farceurs.

Did Bob Woolsey pull a
nifty that wasn't in the
script on Bert Wheeler?
Both Wheeler and Norman
Taurog look perturbed.
Taurog has lots of fun
directing these zanies.

56 SCREENLAND

Screenlands Critic Really Sees the Pictures!

Reunion in
Vienna
M-G-M

The sophisticates' film of the month! This screening of
Robert Sherwood's play, which Alfred Lunt and Lynn
Fontanne acted on the stage, lives up to its advance bally-
hoo. It's a charming, bitter-sweet comedy about an exiled
Hapsburg archduke and his "old" sweetheart, who meet again
after all these years. John Barrymore has the Lunt role, and Diana
"Cavalcade" Wynyard Miss Fontanne's, meaning it's pretty much
of a super-show. All that "flavor of Old Wien" we've heard about
is caught by the cameras when the lovers meet again and try to
recapture that old rapture. Barrymore is completely captivating
in the moods and rages and tender moments of the archduke, and
Miss Wynyard surprises as a deft comedienne. Sparkling dia-
logue; sumptuous settings; a capital comedy performance by
Henry Travers, new to films — yes, it's a fine picture. Can't help
thinking, though, what a knockout show Lubitsch could have made
of it!

A Bedtime

Story
Paramount

The sweetest story Chevalier ever told! The straw-hat
sheik will recapture all straying movie-goers with his new
set^ film, he and his new co-star, Baby Leroy. Some of you
boys may feel that Baby Leroy can not quite take the
place of Ba-bee Jeanette MacDonald. But it's certain that "Mon-
sieur Ba-bee" is the current kid rave, and will go up or down in
screen history on the list with Jackie Coogan, Dickie Moore, and
Jackie Cooper. Chevalier, smart man, shares as many scenes as
possible with Monsieur Goo-goo, but you won't tire. In fact, Leroy
goes to sleep on you, while you are screaming for more of him.
Maurice plays his usual dashing Frenchman with a difference — he
adopts this ba-bee, and sings to him, with side glances at Helen
Twelvetrees, Adrienne Ames, and several other lovely ladies.
He's a more human, appealing Maurice here. Miss Twelvetrees
is really charming; Miss Ames is gorgeously decorative.

REVIEWS

of the

Best

Pictures

SEAL- OF) ?

Hell Below
M-G-M

/S^gV This is a man's picture. Fathers, brothers, husbands, sons,
** lovers — oops, that was just the D. H. Lawrence touch,
sorry! — won't have to be coaxed, they will come quietly.
They will want to see the submarines in action; they will
welcome the absence of mush, blah, boloney, or whatever they
happen to call too many heavy love scenes. And of course they'll
like Walter Huston and Jimmy Durante. All in all, a grand evening
for the boys. As for me, "Hell Below" was worth while if only
because of Robert Montgomery's best role in — let's see, how long
has it been? Montgomery is less smarty and more sincere as the
young sub. -lieutenant who learns discipline in the school of war
and fights a manly battle with himself to an heroic finish. The sea
scraps are remarkable; they will leave you limp. Romance? Madge
Evans is charming in an unbelievable part of a heroine who can't
quite make up her mind. You'll like Robert Young.

You Can Count on these Criticisms

for July 1 9 3 3 57

Reviews without Prejudice, Fear or Favor!

The Outstanding Performances
of the Screen Month:

Maurice Chevalier in "A Bedtime Story"
Richard Barthelmess in "Central Airport"
John Barrymore in "Reunion in Vienna"
Diana Wynyard in "Reunion in Vienna"
George Arliss in "The Working Man"
Robert Montgomery in "Hell Below"
Franchot Tone in "Today We Live"
Joan Crawford in "Today We Live"
Baby Leroy in "A Bedtime Story"
Myrna Loy in "The Barbarian"

1 "
1 i

1 p

if J

Today
We
Live

M-G-M

A "must see" for several reasons — most important, Joan
y5t«t^| Crawford; second, William Faulkner's first screen story;
v%SSjK third, Franchot Tone. It's the war again, and you know
*^ what war is; you should, you've been seeing it fought over
on the screen often enough lately. But Joan's picture is chiefly
of interest because of its picturesque human relationships — the
heroine and her brother, her brother's friend, her lover — fascinating
characters, with Faulkner dialogue which is colorful if not always
convincing. You care what happens to these people. Although
Joan is starred, and gives a beautiful performance, clear, sincere,
and moving, this, like "Hell Below," is a man's picture. Gary
Cooper, the very likeable Robert Young, and the new and exciting
Mr. Tone go about their war exploits with admirable ease and
appeal. Marvelous air stuff; thrilling suspense; some humor — and
Joan. And that seems to be enough for any one picture!

The

Working

Man
Warners

Gabriel
Over the
White House
M-G-M

Here's the first picture in which his Hollywood bosses have
Sheb§) not presented him as "Mr." George Arliss. And there's a
, good reason. For the first time film audiences will be
tempted to hail the celebrated English actor as "George,"
he's so untheatrical and sympathetic in his latest screen offering.
If you liked "The Millionaire" — and who didn't? — you'll enjoy
this new Arliss opus even more. The star is at his best as the
million-dollar shoe king who relishes a good business battle almost
as much as he likes fishing. It's lucky he goes on that fishing trip,
because that's where he encounters those two charming wastrels,
Bette Davis and Theodore Newton, and decides to take them in
hand. Appointing himself their guardian, he takes over their in-
herited shoe factory and whips it into shape so successfully that
he almost ruins his own business. The cast is splendid. Take the
family — it's not only clean, but really amusing.

Of course you'll be seeing this. It's our most "timely"
cinema — if it were any more timely it would have to be a
newsreel. And it is good entertainment, too, which seems
more important to me. Whether you agree with its political
propaganda or not, you'll have a good time, and you'll relish par-
ticularly, I think, those scenes showing the extermination of the
last of the gaudy gangsters — movie stuff with the real old-time
ruthlessness. Right now I want to extend my own wreath — of nice
fresh laurel — to that superb actor, C. Henry Gordon, who makes
Nicky Diamond, the menace, an intelligible and believable being.
Walter Huston is chief actor, playing in his brisk and efficient
fashion the President of the U. S., who solves our country's
problems in record time. Stirring scenes; a little leaven of
romance — Karen Morley and Franchot Tone; altogether, a picture
to see. The men of the family will like it particularly.

Let Them Guide You to the Good Films

SCREENLAND

"Sweet summer
breeze!'' Carole
Lombard braves the
trying summer sun
gaily — so can you if
you follow our
beauty suggestions.

Doesn't Madge Evans look comfortable
and serene in her tailored checks? The
summer girl will do well to remember
the increased necessity of personal
daintiness.

BACK to nature ! All the way back ! Haven't you
heard ? Large numbers of people will undoubtedly
decide again that the beaches and mountains fur-
nish sufficient opportunity for them to express
themselves on nature!. But there is a real back-to-the-
farm vacation movement that boasts the stamp of smart
approval and enthusiasm. It promises to be lots of fun.
The clothes this year help the bucolic turn of mind. For
the first time in history, Schiaparelli and Chanel models
will have a bovine audience — I mean, of course, the four-
legged variety.

McDowell's To a Deserted Farm is being revived in
Sunday afternoon tea-musicales. An unsentimental deb
was heard whistling it while trying on a knitted-string
blouse. She will probably wear the blouse with white
duck shorts and a big straw hat as she goes bicycling
down country lanes. It will look quite the thing on the
beach, too — since it is now smart to make at least a
gesture toward putting something on over a bathing suit
when one emerges from the water. It really is only a
gesture, though, for naturally everyone is just as anxious
as ever to soak up the sun. The object is still to expose
a great deal of oneself to it as nonchalantly as possible.
But everywhere we see these little touches creeping in

Margery Wilson gives refresh-
ing advice on the art of
summer allure

on behavior and appearance. Some of them
are just as paradoxical as covering a bathing
suit without covering the girl, but they seem to
add a little picturesqueness to women that they
had somehow lost, for all their bravado.

The summer girl will do well to remember
also the increased necessity for personal dainti-
ness. Hot weather and expanses of skin make
extra demands on her fastidiousness. This is
the time of year when we should kneel right
down in the sand and thank the fates for
deodorants and depilatories — and then rise to
put them to thorough use. One dares not
offend the command of fashion to be fragrant,
freshly, sweetly, alluringly, refreshingly fra-
grant! Be thankful then for lotions and
colognes, sensible soaps, cooling powders, and
depilatories. You can't afford to be without
them.

It is a splendid plan to outfit a summer-time
kit with just the things you need. Then you
will be ready at a moment's notice to dash off
for a week-end or for the whole summer. It
is very reassuring to feel ready for any emer-
gency. You can compile such a kit with your
own individual selection or you can buy one
already assembled for you. It should contain
among the creams and skin tonics two shades
of powder — the darker one to wear in the day-
time and help deflect the sun's rays, and the
lighter one for evening. You will find that
blue eye-shadow looks more natural in the
searching daylight, probably because it seems
almost like a reflection of summer skies. Be sure to
have plenty of skin tonic as it helps to refresh and tone
your skin in the hot weather.

With a little extra thoughtfulness one should be able
to keep cool and thus do the world a favor by looking
comfortable and serene. Nothing is so attractive on a
hot day as the sight of an immaculate, unhurried, cool-
looking person. For additional well-being watch your
summer diet. Crisp salads to replace heavy food help
to maintain cool comfort by keeping the body alkaline
and fresh.

The most tantalizing fragrance in the world is not the
perfume in a bottle. It is the combination of a fitting
fragrance warmed to breathing life on the inter-cleanness
of dainty, healthy, feminine flesh.

Clothe this perfection of presence in organdy or chif-
fon and you will have a romantic figure for any summer
colony — one destined to create much ''brujeria'' among
the unsuspecting males. Lilian Harvey here is a perfect
example of summer exquisiteness. Add a little moon-
light, a soupcon of music, a man, and there you have a
Midsummer Night's Dream of the better sort !

This type of girl knows from experience that she is
more attractive on a hot day when she is coolly languid.

for July 19 3 3

and Daughter!

Margery Wilson

She withdraws from the white
glare into a restful shade and
looks at the sweltering world
calmly from under a nattering,
brimmed hat. What magic
there is in a hat-brim ! There
is a story by Mary Austin of
an Indian woman who found
herself competing with a white
woman for the affections of
her man. The white woman
had lovely drooping hats. The
Indian woman wore no hat or
else a bit of cloth twisted
around her head. She began
to wear hats. She kept her
man ! An old riddle, that
neither the man nor the woman
can explain — except that a man
must look a little closer to see
the face under a hat-brim and
once having looked closely at
loveliness he is lost — as "King
Kong" was lost !

Beauty, apparently, is a great
force in the world. And sum-
mer is its heyday. It is the
time of lush fulfillment in all
of nature. It is the time of
full-blown flowers. It is a
woman's opportunity to be
lovelier than ever. I do hope

that she has cared for her figure so that she looks like a
nymph in her bathing suit instead of a cake that rose and
fell. Even so it is not too late. Exercise is the answer
to the desire to be lithe, lissome, limber. So do take full
advantage of the freedom of vacation time to get your
share of conditioning activity.

At the art colony at Laguna Beach, California, mem-
bers of a dancing class adhere to the Greek tradition and
go leaping through the woods in classical rhythms. This
type of exercise induces gracefulness as well as improve-
ment to the body. If I could, I would visit every sum-
mer colony and community to stir up interest in outdoor
performances of all kinds. There is a physical, spiritual
and aesthetic stimulation in outdoor dances, festivals, and
in outdoor theatres for amateurs. This sort of thing-
is becoming more and more popular — some of the
"theatres" being very elaborately grown by expert gar-
deners, with shrubs for wings, footlights hidden in banks
of ivy. The audience often brings its own seats from
which to witness comfortably everything from Shake-
speare to "Lysistrata."

All of which bears directly on beauty. Nothing is
more beautifying than happiness and one of the surest
ways to be happy is to create or help to create something
yourself. However, you most certainly will get an added

Bette Davis in
"shorts" — and
we don't mean
two-reelers!
Some girls will
find this attire
satisfactory for
tennis. Bette
endorses shorts
for summer
sports.

Lilian Harvey
here is a perfect
example of
lithe, lissome,
limber grace.
Dancing induces
good health.

satisfaction and joy from your summer
pleasures if you know that your skin is
smooth, evenly colored, and free from
redness. If you should, in your zeal for
sun bathing, acquire several different
shades ©f tan, you can even up your hue
by applying to the lighter streaks an oil
that gives a tan without the sun. Do protect your skin
and let it tan gradually so as not to coarsen it. Oil, and
lots of it, will keep your skin young under the burning
rays of the sun. Then it will better stand the brilliant,
almost garish colors that are popular at all resorts in the
daytime. The violent greens, reds and oranges, and elec-
tric blues seem to indicate a carnival spirit of celebrating
a new optimism that everyone feels. Batiks are being
revived for country and beach. Shorts are the only con-
cession to the trouser craze, except, of course, the ever-
popular slacks. But even they are being seen less and
less. One of the new "gestures" toward modesty is the
divided-skirt for sports. Well ! But without a doubt,
after the sun goes down, it's a chiffon and organdy sum-
mer. So tone your rouge down to harmonize with the
palest pastel shades from tea-time on. Tropical colors
for the noon-day sun and at night soft caressing colors
and fabrics that rival the moon in vague and vaporous
transparency. And don't forget that inter-penetrating
fragrance that refreshes as the "inspiriting touch of rain-
washed air."

If you can learn to give off this atmosphere, even
through mid-summer heat, you will be a true woman, my
daughter, in spite of the sun !

Now get out in the open and stay there !

SCREENLAND

By Request:

^ Another "Record"

Contest

Souvenirs from Singers!

Evelyn Ballarine

Exhibit A — Bing Crosby is proudly displaying his
contest record to Gail Patrick. Do you want Crosby's
record? Then write that "winning" letter!

Maurice Chevalier

Lawrence Tibbett

Al Jolson

ELL, I've found out
how popular radio or-
chestra leaders are !
As a result of last
month's favorite-conductor letter
contest, I know why Rudy Vallee
is so popular ; why Don Bestor
gets all that fan mail ; and why
Paul Whiteman is still "King of
Jazz"! But enough of that — let's
get to this month's contest. You've
been singing the praises of Bing
Crosby, Maurice Chevalier, Law-
rence Tibbett, Al Jolson, Arthur
( Street Singer ) Tracy, and the
Four Mills Brothers, and you've
been buying their Brunswick and
RCA- Victor phonograph records
— now here is your chance to get a
record free and, as a special added
attraction, autographed by your
favorite singer. Just follow the
rules — the inspiration is there !
Maurice Chevalier and Al Jolson

The Four Mills Brothers

RULES

For SCREENLAND'S Record Contest

1. Select your favorite singer from those
mentioned herewith.

2. Write him a letter, not more than 150
words, telling him the reasons why you
like him and, if you like, offer construc-
tive criticism. The best letter written
each artist will win the prize of his auto-
graphed record.

3. In case two letters are considered of
equal excellence, the tying contestants
will both receive prizes.

4. This contest will close at midnight on the
22nd of June, 1933.

5. Address your letter to Radio Contest
Editor, SCREENLAND Magazine, 45 West
45th Street, New York City.

Arthur Tracy

muscled in with songs from their
pictures, "Love Me Tonight.-' and
"Hallelujah I'm a Bum.'' respec-
tively, and did I object? Not IJ
they can muscle in on my record
racket any time !

Does the crooning Crosby make
you palpitate? Or do you thrill
to that grand opera voice of Law-
rence Tibbett? Perhaps the hot-
cha-cha harmony of the Mills
Brothers is your meat. Or maybe
you're crazy about Arthur Tracy?
Anyway, you have your choice of
voices — so, pick your man and
write that "best'' letter !

Radio Jottings:

Do you "Myrt and Marge" fans
know the real drama about the
ether disappearance of Myrt? She
was forced to disappear in her
radio skit because she was injured
in an (Continued on page 86)

for July 19 3 3

Miss Wieck, as the sympathetic teach-
er, confronts the tyrannical head-
mistress in a tense scene from "Maed-
chen," the picture that made Dorothea
world-famous.

GIRL with
"Uniform" Appeal!

Dorothea graduates from
Europe to Hollywood, and
she's our Wieck-ness now!

Mortimer Franklin

MY NAME is not Wike," smiled Dorothea
Wieck, doubtless for the hundredth time since
her arrival in America. "It is Wieck —
Veek! And I am not a franlcin; I am mar-
ried, you know, a Miss-iss ! My husband is Baron Ernst
von der Decken, and we have been married already six
months."

When "Maedchen in Uniform" swept the country,
breaking precedents everywhere for foreign film popu-
larity, expectant glances began shooting toward the gen-
eral direction of Berlin. For, while "Maedchen" was a
fine, sensitive, heart-reaching story, what contributed
largely to its beauty was the exquisite performance given
by this same Dorothea Wieck as the gracious, under-
standing, and hauntingly beautiful young teacher.

And so, by a perfectly logical sequence of events,
(Dorothea Wieck is now in the United States, about to
begin an American picture career under the Paramount
banner.

It was the last of her few busy days in New York
before departing westward for the Coast that was saved
for me to meet Miss Wieck. Managers, liaison men,
publicity representatives, photographers and sound gentle-
men cluttered up her hotel suite in a manner befitting
the visiting star's eminence. She was about to be con-
ducted to a scenic suburban spot on the outskirts of the
city to do her first screen acting in America — a short

The fragile beauty of her face and the subtle charm
of her acting startled the screen world when
"Maedchen in Uniform" was released. And now
Dorothea Wieck is ready to achieve new artistic
heights in Hollywood.

newsreel in which she would be welcomed to this country
for celluloid purposes. And through all the helter-
skelter of preparation she retained perfect ease and self-
possession, conversing untroubledly with the seven or
eight men surrounding her singly, in groups, or en bloc.

"So many men, and only one woman," she laughed.
"Do you not think my English is good? Only thirty
lessons I have had so far. No, I did not imagine New
York to be like this. In another country you cannot
imagine it, no matter how much they tell you — only you
must see it for yourself !"

Quite like the lovely instructress of the motion picture
is this young woman in appearance — but considerably
unlike her in manner. For Miss Wieck betrayed an airy
vivaciousness, a friendly good humor, and above all an
eager interest in everything going on about her, not easily
related to the quiet, almost sphinx-like reserve of her
most famous screen incarnation. Her large, very light
blue eyes sparkled animatedly as she talked.

Among Miss Wiecks' predilections are red-heeled
shoes, Garbo, dachshund pups, Chevalier, boiled eggs for
breakfast, Jackie Cooper, and the New York theatre.
And the greatest of these is the New York theatre.

"Your plays !" she rhapsodized. "They are marvelous !
These few days I have been to the theatre twenty times — "

"Seven times," corrected Mr. Gumpel, her manager.

"Twenty times," insisted Miss Wieck. "So many
things to see, to hear, it must have been twenty ! Which
one I liked the best? Ach, (Continued on page 87)

SCREENLAND

HERE'S HOLLYWOOD!

HOLLYWOOD was simply a-flutter
with the reports that Jean Harlow
was married. One report indicated that
the platinum queen had wed her Mexican
doctor friend in Nogales, Mexico. An-
other rumor stated that a customs man at
Laredo, Texas, was certain Jean is the
wife of a Shreveport, La., business man.

Jean has told me that she has every
intention of marrying again, and of having
children. "But I'm not wed yet," she said,
in answer to the current rumors.

THEY tell a funny story about
Mae West. When she first
read the script of "She Done Him
Wrong," the story goes, she flew
into a rage. "The bums!" she
is said to have screamed, "they've
taken all the charm out of it!"

MARLENE DIETRICH is nothing if
not exciting ; if she isn't in the head-
lines for one thing, she is in for another.

Mar-la-nah was seated in her dressing-
room one day and saw a smoke pot, (they
use 'em for movie fire scenes), blazing
outside her window. She decided the
studio was on fire, so she personally turned
in an alarm.

Fire engines arrived from all parts of
the city, because studio conflagrations are
generally expensive and hard to conquer.
Considerable excitement prevailed and all
production ceased for at least a while.

WHEN Ann Harding took her very
young daughter, Jane, to the studio,
the lass was suddenly missed. A brief
search revealed that she had clambered to
a runway far up toward the top of the
stage. Instead of becoming alarmed, Miss
Harding said, "Let her climb. I climbed
when I was a child. I'd rather she have
a few bruises than plant fear in her mind."

Miss Harding, by the way, plans to
leave Hollywood and the movies for at least
a year, after she completes two more pic-
tures.

Wide World
A look that speaks encyclopedia-fuls?
Joan Crawford and Franchot Tone,
her favorite escort. Hi, Cupid!

GROUCHO MARX likes to
rise in public restaurants and
make impromptu (and funny)
speeches. Recently a group of
friends got together and plotted
an unexpected reception to one of
Groucho's sudden talks. They
waited until Marx chose the
Brown Derby in which to speak,
and suddenly, from all sides, be-
gan chanting: "We want Can-
tor! We want Cantor!"

STATEMENTS I NEVER EXPECT
TO HEAR:
Greta Garbo : "Come in and let's talk."
Peggy Hopkins Joyce : "I don't believe
in marriage."
Jack Oakie : "I don't think I'm funny."

THERE are times when names
cannot be mentioned, but a
certain tempestuous blond star
received a 2500-piece jigsaw puz-
zle from a New Orleans fan. The
gift was accompanied by this
note: "Hope this keeps you so
busy you will stay off the screen."

AVERY funny story, that one Clark
Gable tells about himself. When he
was a boy, Clark was intrigued by magic
tricks and puzzles. He spent most of his
money on magician outfits and books.

One day, as Clark tells the story, a fa-
mous magician came to town. Of course,
young Gable was seated right up front the
opening night of the performance, and he
was in his seventh heaven of delight when
the magician announced a reward of one
hundred dollars to any member of the audi-
ence who could solve a magic problem.
Clark knew the answer (he'd read it in a
book), so he won the reward.

"Next night I went to the theatre again,"
Gable relates. "But the magician must
have seen me in the front row, for no
reward offer was made. It was a severe
blow: I had visions of cashing in again!"

for July 19 3 3

Bright Boys! Gay Girls!
Exciting Events!
New News!

Weston East

JANET GAYNOR has finally achieved
the epitome of fame — her name is on
the map. Actually, maps published on the
Island of Hawaii feature a small dot on
the Northeast coast. Beneath that dot
appear the words : Home of Janet Gaynor,
film star.

ANNOUNCEMENT cards sent
• out by Edward G. Robinson
after the arrival of his son dis-
closed the youngster, (named Ed-
ward G., Jr.), in Gandhi attire.
Under the picture were the words:
"A First National Production,
released March 19th at 2:09
P. M."

DESPITE his voice and love of music,
Bing Crosby does not play any musical
instrument . . . Johnny Weissmuller was
given an honorary lifeguard's badge by
Malibu beach officials . . . Ginger Rogers
studies the dictionary between scenes ; she
writes new words and their meanings ten
times each . . . The chief product of Joel
McCrea's ranch is celery . . . James Cag-
ney rejected a $l,000-a-day personal ap-
pearance offer . . . Hollywood tee-hee-ed
because at the moment Rudy Vallee and
Fay Webb quarreled, he was recording
"Thank Heaven For You" . . . Dorothy
Lee now sings nightly at the famous Am-
bassador Cocoanut Grove . . . Claudette
Colbert is a nice-though-separated wife ;
she taught husband Norman Foster's cook
how to prepare Norm's favorite dishes . . .
Gloria Swanson, recently returned to Hol-
lywood after a year abroad, is living in the
house she bought when she was a Cecil
B. DeMille star.

Extremes meet! Li'l Lilian Harvey and
Long Gary Cooper go for a stroll to-
gether, while countless unheeded boys
and girls grieve at home !

Acme

Tea-hee! Clark Gable, the old wit, tells a funny one to Mrs. Gable, Mrs. T. E.
Martin and Leslie Howard at a tea given by Lilyan Tashman and Edmund Lowe in
their Beverly Hills home.

International

Garbo's return! She's a different and a happier Greta, laughing and waving to
the waiting crowd as her ship steams into port.

WHATEVER may be the reports
about the way Joan Crawford mis-
managed her separation from Douglas
Fairbanks, Jr., it cannot be denied that
the gal is wise in her way of handling
fan clubs.

Joan encourages all fan clubs, and even
goes so far as to join, as an honorary
member, the clubs of her rivals — even
rivals whom she does not like.

One of Joan's clubs in the East found
itself handicapped for lack of a method
of publishing the monthly club paper.
Miss Crawford solved the problem — she
purchased a mimeograph machine and gave
it to the club president.

And now, if Joan's other clubs demand
similar gifts, she will probably comply,
for she shrewdly appreciates the value of
fan clubs.

NOBODY laughs more heartily
than Lilian Harvey at the
story, told at her expense, about
the Fox film salesman who was
extolling the little English star's
talents to a small-town theatre
owner.

"This girl is a cinch to be a
big box-office draw," screamed the
salesman. "She can do every-
thing. She dances, sings, plays
the piano, swims, races automo-
biles, walks the tight rope "

"Yeah," drawled the theatre
owner, "but can she act?"

PATRIOTIC Richard Arlen! He re-
decorated his formerly Spanish home
and it is now Early American . . . Maurice
Chevalier went to Europe without paying
his telephone bill ; he cabled the money . . .
Dorothy Wilson's pretty legs owe their nice
contours to fifteen minutes of rope-skipping
daily . . . Lyle Talbot agreed not to marry
before July first in order to secure a
"bachelor" interview in a magazine . . .
While her jaw was bound following an
accident in which it was broken, Mae
Clarke "conversed" with pad and pencil . . .
Ramon Novarro still keeps a set of seat
stubs Charlie Chaplin gave him when
Novarro was a theatre usher . . . Anita
Louise is an ambitious young lad}r ; she is
studying German, French, piano, harp, and
dancing . . . Irene Dunne often rises at five
in the morning to play nine holes of golf
before work . . . Ann Harding is also an
"early-morninger" ; she plays tennis and
enjoys a swim before breakfast each
morning.

Wide World

SCREENLAND

One guess! Who but George
Arliss could bring such realism
to a screen portrait of Voltaire?

BEFORE he departed for the East on a
trip, Harpo Marx peered into Marlene
Dietrich's dressing room and said, "Don't
sit on any lighted cigarettes while I'm
gone. Remember the old proverb : Never
burn your breeches behind you!"

DID YOU KNOW THAT: Dick
Powell got in bad with his neighbors
because he and his friends formed a band
and practiced nightly at Dick's home? . . .
Mary Brian has legs more perfect than
those of Hollywood's most perfect chorus
girl? . . . Janet Gaynor, when working, re-
tires every night before nine o'clock? . . .
Stock girls loaned out by major companies
to comedy companies (for experience) are
facetiously called farmerettes t . . . Spencer
Tracy ran out of the theatre the first time
he saw himself on the screen? (Fright-
ened?) . . . When Ronald Colman left Hol-
lywood he vowed he would never return?
. . . During the height of the fad, there was
a bicycle shortage in Hollywood and they
couldn't be bought for love nor money ?
. . . Boots Mallory- and Lew Ayres were
both banjo players in bands before they
became movie actors? . . . Marian Nixon's
ex-husband lives in the home they occupied
as man-and-wife and he pays Marian $900
a month rent? . . . James Dunn was once a
traveling salesman (and probably knows all
those jokes) ?

\X7HATEVER else he may be,
" y Robert Montgomery is a
very calm and collected young
chap. He was entertaining guests
at dinner one night. Interrupting
the general conversation, Mont-
gomery sniffed the air.

"Pardon me," he said, rising
and bowing, "I believe my house
is on fire."

And it was! The roof was
burning a merry blaze when Rob-
ert investigated. Mrs. Montgom-
ery turned in an alarm, but before
the fire department reached the
scene Bob had extinguished the
blaze with the garden hose.

WHAT these English actors and
actresses are doing to old established
Hollywood habits is amazing. Four o'clock
tea is now a custom observed by most of
the stars, and bicycle riding was really
started by the English acting colony.

Now Heather Angel is trying to organize
a steeplechase and fox hunting club in
Hollywood. Not only is she talking the
plan; she is also acting, and has already
enlisted Will Rogers, Leslie Howard,
Clive Brook, and other expert horsemen.

Miss Angel's fox hunting scheme will
differ from the English sport in that long-
eared jack-rabbits will replace the wily
fox.

Wide World

Lew Ayres steps out with Gin-
ger Rogers, lovely red-head.

Here's a charming portrait of
Sylvia Sidney as Theodore Drei-
ser's "Jennie Gerhardt."

A GROUP of studio veterans
were discussing the shyness
of Gary Cooper. In the midst of
the discussion, one man remarked
that the Cooper of today is a
sophisticate when compared to
the Gary of a few years ago.

"I was working in a picture
titled 'Children of the Rich,'"
said this old-timer. "Gary was
supposed to make ardent love to
Esther Ralston. He took one
look at the script and ran off the
set. He went straight to the rail-
way station and bought a ticket
back to Montana. The director
had to stop his picture and send
two men to bring Cooper back to
the studio."

HERBERT MUNDIN, with and at
whom you laughed in "Cavalcade,'
is discovering that Hollywood "acting" is]
as much a matter of acrobatics as of his-
trionics.

Assigned to a new picture, Mundin said
to the director, "I'm glad to be finished
with that Lilian Harvey cinema. My body
is black and blue. What is my first scene
in your picture?"

The director smiled grimly and said,
"Today you do a head-first fall down that
flight of "28 steps."

More pep, Spencer! Can this be the emphatic Mr. Tracy,
making love to Colleen Moore in such a cute manner? It's a
scene from "The Power and The Glory."

Must be good and funny, whatever it is! Dick Arlen and Jack
Oakie are collegiate pals again, in "College Humor." Maybe
they've just learned that the dean has the mumps!

for July 1933

Wide World

A world in miniature! This remarkable air photograph of part of the Warner Bros.-First National lot shows graphically how
a well-equipped motion picture studio snaps its fingers at time and space. In a tour of the lot one finds a section of a modern
battleship, a city street of the 1880 period, a complete baseball field with bleachers, a country estate, an old castle, and so on.

WHEN summer comes, romances flour-
ish in the movie colony. Dan Cupid,
wearing the barest thing in bathing attire,
frequents Malibu beach and slings his ar-
rows freely.

"Buster" Crabbe signed his wedding li-
cense "Clarence L. Crabbe" when he mar-
ried Adah Virginia Held of Beverly Hills.
The ceremony took place in Yuma.

Joan Crawford may still be the wife of
Doug Fairbanks, Jr., but he sends her no
lovelier daily flowers than Franchot Tone,
Alexander Kirkland, and one or two
others.

Alice White and Cy Bartlett, lately es-
tranged, are again Hollywoo-ing.

Joel McCrea's girl friend is Luana Wal-
ters. They make a striking threesome — Joel,
Luana, and the Scottie pup he gave her.

Merna Kennedy is wearing an engage-
ment ring given to her by Busby Berke-
ley, who directs those well-trained movie
choruses.

Gary Cooper has escorted Lilian Har-
vey places, but denies that he furnishes
the daily box of orchids she receives.

Another English actress who is doing
well is Elizabeth Allan, whose swain
^eems to be Howard Hughes, millionaire
producer.

Janet Gaynor, now divorced, is dividing
her time between Lew Ayres and James
I Dunn. Lew seems equally interested in
Singer Rogers. Dunn — well, his romance
with Maureen O'Sullivan seems to be Dunn!

Edward Hill'man, Marian Nixon's ex-,
\ s seen about town with Mona Maris, who
nee was reported engaged to Clarence
Irown,. the director who recently wed
Mice Joyce, who was— this could go on
or hours !

Joan Blondell gives the boys a
lesson in currency problems as
one of the acquisitive maidens in
"Gold Diggers of 1933."

BETWEEN pictures, Elissa Landi and
her secretary motored away from Hol-
lywood with no particular destination in
mind. At dark they stopped driving and
put up for the night in an attractive resort
hotel. Next morning Miss Landi dis-
covered that she was stopping at the beach
hotel operated by the Young Women's
Christian Association. She found it so de-
lightful that she remained there more than
a week.

DOROTHY WILSON wastes
little time when she answers
her fan mail. An ex-secretary,
Miss Wilson retains her speed at
a typewriter, and she finds it
faster to type her own answers
than to dictate to her own secre-
tary.

MIRIAM JORDAN, one of England's
lovely contributions to America's
screen, says that the most embarrassing
moment of her life occurred when she made
application for her first stage job.

Miriam applied to a London showman
for a position in the chorus of his show.
He decided that she was beautiful enough,
but more than beauty was necessary for
stage work.

"Can you do the split?" he asked.
"I had never attempted that feat," Miss
Jordan says, "but I wanted the job, so I
told him I could do the split. He told me
to demonstrate, and I did. But when I
got down, I couldn't get up. There I sat,
or lay, or whatever is the position one as-
sumes when doing the split, until the pro-
ducer tired of laughing and raised me to
my feet again."

SCREENLAND

The films' most famous "sister team" gives the cameramen a break! Joan of the
Bennetts is prim and demure; Connie smiles genially. Connie's next film is "Bed
of Roses," with Joel McCrea.

WHEN popularity contests are staged
by newspapers, magazines or organi-
zations throughout the country, Janet Gay-
nor's name may usually be found heading
the list, or in one of the first three places.

However, her overwhelming majority of
popularity votes in the contest staged by the
National Girl Scouts is so amazing that
even the most loyal Gaynor boosters are
still gasping. Of the total of more than
300,000 votes cast, Janet polled a few more
than 151,000. Her nearest competitor re-
ceived only 37,000 votes.

This astounding contest-result indicates
that Miss Gaynor is sharing with Mary
Pickford the love of American young
womanhood.

MY VOTE for the least con-
ceited girl in Hollywood
goes without equivocation to Jean
Harlow. She rarely talks about
herself in public. When she does,
it is usually to make herself the
butt of a joke.

Jean visited the Cocoanut
Grove one recent evening and she
was so dazzlingly beautiful that
even the orchestra ceased playing
to gasp. Compliments over-
whelmed her, until she laughingly
told her friends to ask her new
butler how she looks at home.

"He came to my room this
morning for orders," Jean said.
"There I sat with my hair in
curling pins and my face buried
under cold cream. He took one
look at me and fled from the
room!"

'"T>ABE" Hardy and Stan Laurel are
-D members of the same golf-bridge
club, and daily, after their golf, they sit
with other members for a few rubbers of
bridge. Like most club games, those in
which Hardy and Laurel participate are
"open" ; that is, by knocking on the table,
a member may signify his intention of
"cutting into the game."

Such a "cutter-in" rapped the table one
day recently. Hardy barely glanced up as
he remarked : "I'm getting out after this
rubber and two of you can get in."

ONE of the Paramount studio executives
visited Jack Oakie's dressing room.
"I've been wondering about Peggy Hopkins
Joyce," he said. "Do you think we should
keep her for another picture?"

Oakie, who is Peggy's most ardent swain,
was emphatic with his declaration that she
should be retained.

"All right," agreed the executive. "But
remember, you may want to get out of
this."

Nor could the official forego a parting
wise-crack. Since Oakie's crush on Miss
Joyce began, he has put aside his customary
sweat-shirts and corduroy trousers. So the
executive, before leaving the dressing room,
stared at Jack's modest business suit and
said, "Another thing, Oakie : I wish you'd
quit dressing so comically."

THE reason foreign actors experience
such difficulty in mastering the English
language, according to Ramon Novarro, is
that the voice rhythm is so different, and
not merely the pronunciation of words.

"An American, greeting a friend, says
'How a« you?' " Ramon explains. "After
a score of years in the United States I
pronounce my English words perfectly, I
believe, but my rhythm remains Spanish.
When I greet a friend, I say, 'How are
you?'"

WHEN Dick Powell left
vv Hollywood to drive to the
home of his parents in Arkan-
sas, he figured he could make the
trip in three days because his
father, age eighty-two years,
drove it in four days.

But Dick took five days — and
what do you make of that?

BELATED earthquake stories continue
to pop out of studio corners, even
though the California shake is now almost
forgotten. One anecdote concerns Marlene
Dietrich and Maurice Chevalier.

According to bystanders, when the most
severe shock juggled the studios, Marlene
raced to Chevalier and threw her arm?
around his neck. "Maurice, darling!" she
cried. "If we die, at least we die to-
gether !"

ANEW place to stop-off when the stars
go abroad is Egypt. All because Ann
Dvorak, who recently returned to Holly-
wood, recommends the Sahara desert for a
real skin-tan.

When she arrived at the studios Miss
Dvorak had a coat of tan that made other
ladies turn positively sea-green with envy.
Ann said she acquired the coloring on the
Sahara and heightened it on her long ocean
voyage.

Incidentally, I told you several months
ago that the Dvorak-sensation had ironed
out her contractural troubles with the
studios. That is true and she will soon be
on the screen again.

{Continued on page 90)

Diana Wynyard and John Barrymore relax on the set of "Reunion in Vienna,"
picturization of the Theatre Guild play in which they are co-starred. Jack plays
a swashbuckling ex-Arch-duke — a role after the Barrymore heart.

ALL YOU NEED FOR CURLS

AND

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ENIDA

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in this big
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Don't use water. It dries the hair!
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and then keep those waves in place.

Until you use the new Venida Waveset
you won't know how beautifully wavy
your hair can really be. It dries in half
the time ... it is non-greasy, simple to
use, and pleasantly fragrant . . . leaves
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Best of all Venida Waveset is so eco-
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| 1

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j and the Venida Waveset Comb free.

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SURF SUITS FOR 1933

Up from the gay Southern resorts come these
lovely new Surf Suits hy B.V. D. • Each glam-
orous model — fashionable as the latest Paris
evening gown — reflects the smart line, the ex-
quisite blending of colors, the expert design-
ing of couturier genius. • The new B.V. D.
Pampered Wool, the softest bathing suit

worsted you've ever put your hand to; the
subtle blending of Lastex with B.V. D.'s fine
yarns; the new B.V. D. Tweed Knit — are but
three fabrics in a realm of gorgeous materials.
• Write us for the name of the smart shop
in your town where you may see them. The
B.V. D. Co. Inc., Empire State Bldg.,N.Y.C.

for July 1933

REG. U. S. PAT. OFF.

SURF SUITS

LEFT: The Brassette — Swim and sun in per-
fect style in this smartest and least revealing of
brassiere swim suits. The ingenious back strap
prevents tugging at the waist and unties to
assure an even suntan. ^

CENTER: The Cabana — Careful designing
gives a beauty of cut and fit second to none in
this Perl-Knit suit. The deeply rounded back points
up to straps in contrasting color that tie jauntily
on the shoulders. +

RIGHT: The Bolero— A triangle of brightly
harmonizing stripes is inserted vestee-fashion in
this becomingly backless suit. And its many smart
colors — whether gay and daring or subdued-
flatter sun-bronzed skin.

LEFT: The Sun Tan —A high, fitted waist, and
supple Ripple-Knit with Lastex, give this suit its
slender silhouette. The contrasting adjustable
strap slips through metal rings in back and ties
piquantly on one shoulder.

★

RIGHT: The Sea Nymph — No wonder the
simplest of unadorned lines are perennially smart
in swim suits when B.V. D. does them so well. This
low-back model comes in new and flattering colors.

Facts and fancies about
cosmetics— and a note
on summer sundries!

By Katharine Hartley

''Roll your
own away . . ."

GETTING down to
brass tacks in the
summer (and,
more specifically,
bronze skins ) , seems to
put a new color on things.
Ladies flaunt lipsticks less
pinkish and more orangish in tone. Light
powders get a set-back on the shelf, and
a dark sister steps up and out. Hair
even has a fling or two, dipping the light
fantastic. And as for clothes — well !
Colors — the you-never-thought-you-could-
wear-them kind — seem just too irresistible
for words ! especially those gay, new prints.

There's one new lipstick
that I'm sure is going to
take this summer. That's
Tattoo. And the name and
the shades are both in tune
with Hollywood's passion
for barbaric, jungle pic-
tures. This lipstick re-
minds me of "The Panther
Woman" — it's that exotic,
and the colors are primi-
tive and exciting. A touch
of Tattoo on your lips
and you can hear the tom-
toms beating. Or maybe
it's just the pitter-pat of
your dancing partner's
heart — I don't know. Any-
way, this lipstick does do
things. And the container
is cute as Christmas, with
tiny etched hula-hulish girls
dancing all around it. Four shades : Coral,
Exotic, Natural and Pastel. And as per-
manent and indelible as a lipstick can be!

When it comes to powders, Coty gives
us our choice of three lovely sun-tan
shades — Cotytan, Ochre and Ochre-tan —
depending on the depth and tone of the
tan. Some of us still keep a sort of rose
glow in spite of our turning bronze. We
should select our powder
with an eye for these
varying tints — for there's
nothing worse than a sun-
tan shade of powder that
isn't just right. So don't
rush the season and try-
to jump from light to dark
all of a sudden. You may
need several shades of pow-
der to keep step with your
skin as the summer prog-
resses.

If hair is going to hold
its own this summer, it,
too, must have just a
touch of color to vie with
summer sunshine. And if

. . you can hear the
tom-toms beating."

"One permanent ,
please . . . done med-
ium . . . and rushed!"

you're the kind that does-
n't go in for dyes — well,
you can keep your con-
science clear and your
hair lovely with Golden
Glint Shampoo. Each
package contains the
shampoo and also a "tiny
tint" to use in your rinse.
It]s not a bleach, but it
will bring out the high-
lights in your hair. You've
caught the glow and the gleam in many a
movie star's hair, and it's not always Kleig
lights, either! Golden Glint Shampoo is
a favorite in Hollywood.

With the first giddy rush of spring or
summer, we begin to think more than
ever_ about permanent waves. What with
dipping in and out of the sea, dashing
madly about on tennis
courts, letting the wind
race through our hair as
we drive along, the sleek
finger wave isn't sleek or
well-behaved very long.
So the answer seems to
be permanents — and thou-
sands of us make a dash
to the nearest permanent
waving establishment and
order one permanent,
please, done medium and
rushed !

But there's more to it
than that. You know
how you "can't do a
thing with your hair"
those first few days A. P.,
( after permanent) ? Well,
try this. A bit of Per-
mola on your fingers,
smoothed over your hair, then carefully
combed through. It's a cream, and not
only adds a gloss and a gleam, but it
keeps the hair from flying, and takes
away the dead, frizzy look. And it coun-
teracts the drying effect of the permanent,
too.

But with all

'X' will surely mark
that spot out."

this summer excitement
comes a startling discov-
ery. The old figure very
probably "ain't what she
used to be." We could
pretty well hide those
extra pounds under a flut-
ering spring coat. But
what are we going to do
about it in a thin sheaf
of a sleeveless, backless
gown? Or in a bathing
suit, for that matter?

Well, there are several
things that can be done.
Dieting and exercises, and
all that. Personally. I
think I'd take to some
{Continued on page 83)

SCREENLAND

most child-like in their fun and simplicity.

Marion has been unanimously named
Hollywood's perfect hostess. Her life is
one continual round of entertaining. Never
does she eat dinner alone. She loves
people around her. Her secret of enter-
taining is a simple one : Let the guests
entertain themselves. Never does she try
to arrange any activities for them. The
house, the pool, the tennis courts, the gar-
den are theirs. Each guest can enjoy
them in his or her own way. And Marion,
unlike so many less skillful hostesses, en-
joys herself, too, because she is under no
strain of trying to entertain.

When Marion is at home, she wears
pajamas always. Flannel sports affairs
during the day, more formal satin or velvet
in the evening. She has a closet filled
with pajamas, because all her friends,
knowing her liking for them, send them to
her as gifts.

She doesn't like negligees or elaborate
lounging robes, because she rarely lounges.
Marion cannot stand inactivity. No break-
fasts in bed and long lazy mornings for
"M.D." She is up and dressed in pajamas
and at the breakfast table before any of
her guests are stirring.

And she doesn't own a single pair of
satin mules or fancy boudoir slippers.
Through the years Marion has remained
true to the comfy slippers of her childhood
days. She wears one favorite pair until
it is dilapidated and until her maid in des-
peration throws it away, putting a new pair
in its place.

Marion, being ultra-feminine, likes clothes
but is not clothes-crazy. She shops spas-
modically, her favorite method being to
select frantically in the afternoon the gown
she is to wear that night to some special
affair. She has no favorite shops, going
to different places at different times. And,

"M, D." !

Continued from page 51

because she is a confirmed last-minute
buyer, she has many things sent out to the
house for her selection — to save time.

Her three pet aversions are writing let-
ters, talking on the telephone — and horses !

"When I was very small, I used to be
able to write fairly well," she said, explain-
ing the first aversion. "Then I went to
another school and learned the free-arm
movement or whatever you call it. I never
was very good at it and the result is that
my handwriting is almost unreadable. And,
whenever I start to write anything, I al-
ways sit in fear of a rap across my
knuckles from a ruler, a memory left over
from those old days when I was trying so
unsuccessfully to learn that free-arm
movement."

Talking on the 'phone makes her ner-
vous, for some unaccountable reason.
Marion and her good friend, Charlie Chap-
lin, share this aversion. Marion will con-
coct an excuse to postpone answering the
phone or making even necessary calls.

"And I'm scared to death of horses," she
explained, "When I was a little girl a run-
away horse, a white one, came galloping
down the sidewalk straight toward me.
And, when I was about thirteen, I was
riding on a hay-wagon in the country when
the horses bolted, throwing me and break-
ing the end of my spine. I like to look at
horses and admire them from a distance
but I am frightened out of my wits when
I get near them."

One of the worst days of her life, Marion
confessed, was one day when she took
pictures for the publicity department, wear-
ing a riding habit and posing with a horse.
But she made herself do it. She is stub-
born that way. Marion may be easy with
everyone in the world. But she's hard with
herself.

She loves fire engines and fires and

New movie star adorns the firmament! Here's the versatile Walter
Winchell, America's star reporter and columnist, appearing in one of his
popular movie shorts, "Beauty on Broadway." The girl at the right is
your little friend Sally O'Neill.

never misses one if she knows about it.

"One of the lucky breaks of my life
was that I just happened to be riding down
Sunset Boulevard when Charlie Chaplin's
old studio caught fire," she grinned with
that Irish twinkle in her blue eyes. "I was
almost the first one on the spot and didn't
miss a bit of it."

Marion and her family have always been
very close in affection and understanding.
Her mother died several years ago, but her
father, Judge Douras, a retired New York
magistrate, is in California, living with her
sisters, Renee and Ethel, in a home in
Beverly Hills. Her third sister, Rose, is
in Europe at the present time.

The Judge dropped in for a few minutes
that afternoon at the beach house. No day
passes that Marion does not see her father.
She greeted him, not so much as a re-
spected parent, but as a beloved friend,
giving him sandwiches and tea and a kiss
at one and the same time. Seeing her
father, anyone can understand whence come
the famous Davies wit and the twinkle
in the eyes.

Friendship is almost a religion with
Marion. Never in all her life has she for-
gotten or failed a friend. And, with her
ability for making new friends as time
goes on, she still clings to the friendships
of the old days before success and money
and big white beach houses were a part
of her life. Two of her very closest friends
are Eileen Percy and Justine Johnstone,
who knew her as a child in Brooklyn and
as a girl in the chorus of the "Follies"
and other Broadway musical comedies.

There is nothing Marion loves better
than to get a gang of the girls together on
cushions in front of a fire and gossip.

"I believe that every woman loves to
gossip," she laughed, pouring another cup
of tea and settling back on her cushion.
"I don't mean malicious slander. But just
newsy tidbits. It's the thrill of being the
first to know and tell something new about
someone or something. It gives you a
great feeling of importance to know a bit
of gossip which the others haven't heard
and to be able to be the first to spring it."

And she likes to "reminisce." She'll
spend hours with old acquaintances, living
over the days in New York when she was
posing for Howard Chandler Christy and
Harrison Fisher and working like a fiend
to perfect her dancing to reach the front
row of the chorus.

Her eating habits are really atrocious.
She drinks iced tea regularly for breakfast,
winter, and summer. And she will eat
welsh rarebit at any hour of the day or
night. She follows no diet of any kind.

She admits that two of her bad habits
are being unable to say "no" emphatically
and being stubborn.

"I'll always agree with what people ask
or say," she said, twisting her face into a
perfect imitation of a yes-smile, "and I'm
no good at all at getting myself gracefully
out of things, once I have put my foot in
them. I'll make engagements, because I'm
too sappy to say 'no' in the beginning, and
then have to go through with them because
I don't know how to get out of them."

So Marion has protected herself as much
as possible from her own_ weakness by
employing a secretary, efficient and busi-
ness-like, who has no hesitancy about the
use of the word "no."

And Marion admits that her stubborn-
ness makes her do things deliberately when
someone says she can't or she shouldn't.

for July 19 3 3

Her maid used to call her in the mornings
to get her up in time to report to the
Metro studios.

"But, when she would knock at the door
and say, 'Time to get up, Miss Davies,"
I'd turn over and go back to sleep again,
out of sheer stubbornness," Marion grin-
ned. "So now I wake myself up and get
up. If I'm late it's my own fool fault.
No one else is to blame."

That Irish stubbornness goes with the
twinkle and the sense of humor.

Marion's two wishes are that she had
sleek dark hair, which could be pulled
smartly and smoothly back from her face,
like Norma Shearer's or Kay Francis';
and that she could think of smart answers
at the right time.

"I always say something dumb or inane
when someone makes a remark calling for
a quick answer," she explained, "and then
about two hours after, a brilliant and witty
reply comes to my mind and I feel like hit-
ting myself for not having thought of it
at the time."

Marion refuses to be depressed or wor-
ried. If she feels a mood of that kind
coming on, she throws herself into activity
or into conversation and forgets it. When
she's mad, she cries instead of flying into
any kind of anger. She wishes that she
could get up and make a fuss now and
then. But she can't.

And she is the prize match-maker of
Hollywood. She loves to bring people
together and promote love affairs. She is
responsible for more than one Hollywood
matrimonial venture. She confessed that
she used the old tricks of inviting them
frequently to her home at the same time,
of going first to one and then to the other,
telling each that the other "is crazy about
you," seating them together at dinner and
bridge tables.

"But I don't do much Cupid-playing any
more," she admitted. "Some of my little
schemes didn't pan out so well ! So I de-
cided that I'd better keep my finger out
of the pie."

The whole world knows about the
Marion Davies charities : the annual
Christmas party for two thousand children,
when each child is given real toys and a
complete Christmas dinner ; her clinic at
Sawtelle ; her foundling home in New
York. But, of her constant and almost
unbelievable personal and individual chari-
ties, very little is said.

Only that afternoon a girl, who was
about to become a mother, rang the bell at
the gate of the Davies beach house to ask
for information regarding Marion's clinic
and hospital. Marion, hearing the conver-
sation, went down to investigate. The girl
told a pathetic story of poverty and hope-
lessness. Marion brought her inside the
high white walls, gave her a warm meal,
completely outfitted her with clothing from
her own wardrobe, except shoes which
would not fit and which had to be borrowed
from one of the maids, made all financial
arrangements for her care at a Santa
Monica hospital, because Marion's own
clinic treats only children, and sent her to
the hospital in her own car.

That is only one of dozens of similar
cases. Marion never talks about them.
Only occasionally does someone happen to
hear of them from some other source.

The pretty blonde girl I saw that after-
noon, in her red pajamas, that girl with
the twinkle in her eyes, the gay talk and
the complete lack of any affectation — not to
speak of an almost uncanny ability to mimic
anyone and everyone whom she has ever
met — is the real Marion Davies.

She may be a screen star. She may be
Hollywood's perfect hostess. She may be
a glamorous figure glimpsed in theatres
and shops. But, most of all, she is "M.D.,"
a grand girl !

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SCREENL AND

Beginning Robinson s Life Story

Continued from page 25

"Say," he petitioned, "why don't you give
me those glasses? An old man like me
ought to wear glasses. Probably I couldn't
see without them."

No sooner said than done. The effect was
superb. But as the play progressed, the
glasses turned definitely from an asset to a
liability. They showed a distressing ten-
dency to slither down Eddie's perspiring
nose, to climb over the edges of his ears, to
get into his way generally. His big emo-
tional scene was about to break. He reached
a momentous decision. Sweeping the glasses
from his nose, he flung them to the table in
a gesture of which any old gentleman of
sixty might have been proud. Then he
sailed into his scene — he ranted and railed
and stormed, he stamped his foot and he
thumped his fist — and in his artistic abandon
thumped five priceless dollars worth of
glasses into smithereens. It was the first —
and not the smallest — catastrophe of his dra-
matic career.

He was graduated from elementary school
into high school — from recitations to dra-
matic clubs and declamation societies. He
was in constant demand for debates, and cap-
tured one medal after another.

"You ought to be an actor, Eddie," he was
told now more frequently, more seriously.
Still he only smiled. Still he kept his own
counsel. Nobody knew he was spending
every spare moment down at the old Astor
Library, educating himself in the drama.
He read every play he could lay his hands
on, classic and modern, domestic and — hav-
ing an aptitude for languages— foreign. He
pored over Shaw's prefaces, over histories
of dramatic art, over the lives of Betterton
and Burbage, of Garrick and Booth. He'd
made up his mind to find out what it was all
about — what lay beneath the surface of make-
up and mimicry to produce a great actor.

He thirsted for knowledge, and with rare
intelligence he went about slaking his thirst.

The only thing he didn't do was talk about
it. What was the use of babbling ? It might
all come to nothing. What was the use of
distressing his parents? They'd set their
hearts on his being a lawyer — member of an
honorable profession. To them an actor was
something between a hobo and a curiously
colored animal — interesting to look at in a
zoo, but nothing you'd care to find around
the home. His father would have been
amazed to be told that Eddie's passion for
the theatre may have come direct from him.
Yes, he liked seeing plays. Yes, he'd come
home and mimic the actors to such perfection
as would send his friends into roars of
hysterical mirth. But was that a reason for
his son to go on the stage ? Nonsense ! No,
thought Eddie, no use talking about it till
he'd made up his mind to do it.

He made up his mind quietly but finally
when he was half way through college. He
decided he'd had enough education to be able
to go on educating himself. He decided he
might as well get started on his life's work.
With a letter from one of his professors, he
presented himself to Mr. Sargent, head of
what was then known as the Sargent School,
now the American Academy of Dramatic
Arts.

Mr. Sargent eyed him. He asked a few
questions. He handed him a booklet, with
two or three selections marked.

"Learn these," he said, turning away, "and
come back sometime later."

"I know them," replied Eddie steadily.

"All right," snapped Sargent. "Do some-
thing."

Eddie did "The Bells." Then he did the
quarrel scene from "Julius Caesar. Then
he stopped.

Sargent was eyeing him again, but differ-
ently this time.

"I understand you can't afford to pay my
fees," he said.

Eddie nodded. There was a pause — brief
in time, an eternity to the young man's
dizzily whirling mind, through which Sar-
gent's face, a misty blur, advanced and re-
treated and turned fantastic somersaults.
Suddenly five beautiful words pierced the
confusion. "I'll give you a scholarship,"
Sargent said.

He walked the streets till his head had
cleared. Then he went home to break the
news to his parents.

"I'm quitting college," he told them. "I'm
going to dramatic school."

He hadn't underestimated the effect of the
blow. They turned on him faces stricken
with incredulity. But once convinced he
was serious, they didn't make a fuss. To
them he was selling his birthright for a mess
of pottage. Yet they knew he was not a boy
to reach important decisions lightly. They
disagreed with their son, but they respected
him.

"It's your business," said his father, as he
watched his dream of a dignified jurist go
glimmering. "You know best what you
want to do."

"As I look back," says Mr. Robinson in
tribute today, "I take off my hat to them.
In their place, I'd never have had that much
good sense. I'm sure I'd have raised the
devil."

For a year and a half he toiled and sweated
and suffered at the Sargent School — and
gloried in every minute. "In my opinion,"
he said, his face lighting up, "Charles
Jehlinger is probably the best teacher the
world ever produced. I can't estimate the
debt I owe him. But he had a tongue that
could cut through an elephant's hide. And
mine wasn't as tough then as it's grown
since !"

The climax came when, in his senior term,
he was cast for the role of Consul Bcrnick
in Ibsen's "Pillars of Society," an incredibly
difficult role for a boy of his age. Days of
rehearsal, days of superhuman effort and
strain, days of incessant razzing. One after-
noon they'd gone over the same scene a
dozen times. Eddie was limp and exhausted.
"If he tells me to do it again," he thought
savagely, "I'll bust him one."

"Why don't you stop showing off?" came
Mr. Jehlinger's clear voice from the audi-
torium. "You're not here to put on an act
for Eddie Robinson. You're supposed to be
playing a man named Consul Bcrnick."

Eddie's nerves snapped. He stopped in
his tracks, glaring out of bloodshot eyes.
"To hell with Consul Bcrnick!" he yelled.
"What do I know about Consul Bcrnick?
What do I care about Consul Bcrnick ? To
hell with him and the play and the whole
damn business !" and strode off the stage.

Mr. Jehlinger found him bowed in despair
among the back-stage clutter.

"That's fine, Eddie," he said. "That was a
good scene. Now go on back, and try it over
again !"

Eddie scored a personal triumph at the
opening night. His mother and father sat
watching with glowing pride. And Rudolph
Schildkraut, whose son Joseph was appear-
ing in the same play, went away raving
about the performance of one Eddie Robin-
son.

But a dramatic school triumph is one
thing, and finding a job is something else

Two eminent Romeos talk "s/iop." Bob Montgomery, exponent of suave
romance, and Clark Gable, your favorite he-man lover, go into a huddle
on the Metro lot. Bob is in "Hell Below," and Gable will co-star with Jean
Harlow in "Black Orange Blossoms."

for July 19 3 3

again. The weary trotting from office to
office is a tale too often told to bear repeat-
ing. "And me," says Mr. Robinson, with
his genial smile, " — 'twice handicapped, with
my size and my funny face!"

He finally did land a job — as stage man-
ager. And then another, as utility man in
Cincinnati stock — where he played all kinds
of parts, gained all kinds of experience, and
won all kinds of popularity — in Cincinnati.
The outbreak of war found him stranded
in Canada with a road company of "Kismet."
Back to New York, to the "Nothing doing"
of agents and managers, to the heart-sick
waiting for a telephone bell to ring.

Under this drip, drip, drip of discourage-
ment, his resolution began to soften. "This
is no job for a man," he growled to himself.
"Better quit while you're young enough to
start something else — something you can
make a living at. Then," he added grimly,
"you can join a dramatic club on the side."

So he put his dream in his pocket and
started looking for something else. And
then — as such things happen — the telephone
rang one day, and an agent's voice at the
other end was inquiring: "Know some
French, don't you, Robinson?"

And because Robinson knew some French,
he was doubled as a Frenchman and a Bel-
gian in Roi Cooper Megrue's "Under Fire."
And when it was discovered that Robinson
also knew some German, and could talk an
excellent Cockney dialect, he was generously
permitted to play two additional parts.
"They called me The League of Nations,"
he grins today. And he played the whole
League for the lordly sum of $30 a week.

But when the play clicked in try-out and
was headed for Broadway, the "League of
Nations" struck for a real salary and got it.
And to make the happy ending complete,
Broadway liked the play, liked Robinson,
and supported them in style for a year.

In such excellent style that Selwyn, the
producer, offered to put Robinson under a
long-term contract. In such excellent style
that Robinson refused. He preferred being
a free agent. He was acquiring a reputation
for extraordinary versatility. He was hav-
ing no difficulty in finding engagements —
Broadway engagements.

But when Selwyn — having formed with
Sam Goldfish the Goldwyn Motion Picture
company — asked Robinson to play in "Fields
of Glory," their first production, he agreed
at once. This would be a new experience —
and experience in every field of the drama
was what he wanted.

"And experience," says Edward G. Robin-
son with a gleam in his eye, "is what I got !
I felt like a bleating goat. Standing there —
grimacing, gesticulating, babbling the first
senseless words that came into your head —
I couldn't make it out. I was scared stiff.
I begged them to let me off. 'You'll feel bet-
ter tomorrow,' they told me. I felt worse.
The third day Mr. Goldfish paid us a call.

" 'I'm rotten,' I told him. 'I can't do this
stuff. I want to be released.'

"Let's see," suggested Mr. Goldfish.

Robinson went through a scene under the
producer's judicial eye.

When he'd finished, "You're right," said
Goldfish calmly. "You're not the type.
We'll let you out."

"And then," Mr. Robinson chuckles. "I
suffered. Lord, how I suffered! I'd been
hoping all along — only half consciously,
maybe — that he'd tell me I was great. And
he called my bluff. It was my first great
failure. And it laid me flat. I was so utterly
discouraged, so disgusted with myself,"
added the Little Caesar of a later day," "that
I raised my hand and swore a solemn oath
that never again, as long as I lived, would I
set foot on a motion picture lot."

But later on we'll tell you just how long
Robinson adhered to his oath !

(To Be Continued)

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What? Why? When? Where? How?

Continued from page 29

that gained her her present position.

Since Miss Bucknall came to M-G-M,
magazine subscriptions for the research
department have risen from 7 to 350 a
month. Important journals of every land
record contemporary history for future
film productions.

"My rule is 'Never answer offhand,' "
says Miss Bucknall. "I find out who asks
and why he asks and see that he gets the
answer that will help "him. If it is the
wardrobe department that inquires about
hats, they want to know how they were
made ; the make-up department wants to
know how they were worn, because of
coiffures; and so on.

"People say : 'Oh, why worry about
exact detail? Nobody knows any better!'
But the idea is to educate people into
knowing better.

"It is heartening to go on the set for
'Looking Forward,' because everything is
so right. Actors, sets, properties, clothes,
detail. Incorrect detail reaches an audi-
ence subconsciously. They know some-
thing is wrong even if they don't know
what it is.

"When they were making John Gilbert's
'Way for a Sailor,' the director wanted
John to take a fifteen-minute walk and
arrive at a beautiful seacoast, because he
wanted to use a location on the sea. The
scene was London and we explained that
no one could walk for fifteen minutes from
any point in London and reach the sea.
But that was what he wanted, and that

was what he had. I must say, no one
seemed to care !

"We are in the business of entertain-
ment and we must take license sometimes,
but we try to have the atmosphere correct.

"Just as in a caricature you get only the
salient points of features, so on some sets
if you get in salient points, it will pass.
For an English street a big scarlet letter
box and two bobbies dressed properly give
the right atmosphere. For a city in this
country, electric signals will strike the
note. Draw attention to some special well-
known thing and the scene gets by.

"For 'Reunion in Vienna,' they asked me
what kind of trees grow in Vienna. Lime
trees, of course. For the short scene
needed, we simply took our old New York
street, put railings around the houses, as
is done in Vienna, and planted lime trees
in front of the houses.

"For a picture laid in Georgian England,
they asked : 'Did they use steel needles
in 1740?' Yes, they did; but they bought
them loose, not done up in packets. What
type of baby carriages did they have?
None. The nurse carried the child.

"I find the German magazines invaluable
for our fantastic files. You see, we keep
files on everything — from railway stations
to automatic writings; from royalty to
posters used in advertising beer.

"When we made our picture of the
future, laid in 1940, we used the imagina-
tive drawings of aerodromes on housetops,
dwellings of the future, fashions and furni-

ture, all from sketches in German maga-
zines.

"The art director thought he would
stump me with a request for Robots to be
used in a Robot ballet, but I had a file of
Robots from German magazines.

"I was almost caught once by a question
as to what- type lock was on Cleopatra's
jewel box; but I found out that there were
no locks in those days. They used a round
knob that pressed in.

"For 'Looking Forward' they asked me
what messenger girls in British shops wore.
There was no time to send for pictures of
these girls, who are not photographed as
a rule. My recollection was that they
wore dark dresses with little white aprons
bearing the insignia of the shop, or dark
uniforms with white collars and cuffs. I
checked with the English players on the
lot and they agreed with me, so I gave the
company the information. But later I got
pictures of the girls to prove that what
I had^said was true."

Miss Bucknall is so much in earnest
about her job that when she visited France
in 1928, she had herself arrested and put
in prison for a night in order that she
might observe at first hand what happened
to a girl who fell foul of French law !

"I am a Russian and I had experience of
Russian jails at the time of the revolution,"
observed Miss Bucknall, "but we needed to
know about French procedure, so I got
our consul to arrange my arrest.

"I like to be certain of facts. "Night
Flight' is a picture we're about to make,
so they sent me the English translation, but
I got the French one also because it con-
tains more detail. I must find out what
type of telephone exchange they used, what
uniforms they wore, and what were their
customs."

Diplomacy, as well as daring, is an at-
tribute of M-G-M's research captain.

There are directors who won't admit
they don't know everything, so that many
of their sets, costumes, properties, etc., are
wrong. Does Miss Bucknall point out
these facts to the gentlemen ? Oh, no !

"I always infer that no mistake could
possibly be his," she confided. "I say :
'Mr. Blank, I thought this was to be done
as you wanted it, but someone seems to
have slipped. You don't want that French
chair on this Italian set, do you? Or
didn't you say this was to be kept strictly
Georgian ? I see they've given you a Vic-
torian table service."

"It always works !

"The Barrymores are interested in all
suggestions made them and are always
eager to cooperate. When we made 'Ras-
putin' they were anxious that everything
should be right. Make-up, clothes, jewels,
gestures — they studied everything I could
find for them. Of course, being Russian
myself, I knew some things of my own
knowledge, and because I knew, I found
Rene Fulop-Miller's book, 'The Holy
Devil,' the best authority.

"Greta Garbo read every book available
before she made 'Mata Hari' — German,
Spanish, and Dutch accounts of the woman
as well as our English versions.

"One of the most interesting quests I
ever had was for that picture. You re-
member that Mata Hari danced before a
huge idol that had many hands ? The art
department wanted to make those hands
expressive of varied emotions. The actual
model of the idol did not give this, so we
searched through 300 books and magazines

The come-back of the month! Buddy Rogers returns to the screen after
a long absence in "Five Cents a Glass," co-starring with Marian Nixon. Is
Buddy's more-than-three-point-two attitude toward Marian confined

solely to the screen?

for J.uly 19 3 3

to find pictures of statues or paintings of
hands that expressed emotion. I enjoyed
that.

"Helen Hayes fairly haunts us when she
is to make a picture. For 'The Sin of
Madelon Claudet' she looked through our
files of old hags and borrowed eighteen
cards to make up by. For 'The Son-
Daughter,' she went through our files on
Chinese clothes, hair, customs, behavior,
walks, ways of holding hands, etc. She
was always here discussing why Chinese
girls wore this, why they walked thus,
what they would do on certain fete days.
Helen always knows what she's doing
and why."

Criticism of pictures is not always just.

Gladys Percey, head of Paramount's re-
search department, remembers that a well-
known women's organization protested that
bunting was improperly hung in a scene of
a ship launching.

"The scene was made at the Bethlehem
Ship Yards where many ships have been
launched," said Miss Percey, "and we left
the bunting to the ship yards people, so it
was their fault if it was wrong.

"In 'The Conquering Horde,' we had a
complaint that cattle crossed the river the
wrong way — from Texas into Kansas in-
stead of westward. It seems impossible
that anyone could tell.

"Sometimes the critic is right. In 'The
Alaskan,' we knew as well as anyone that
the heroine would have worn a Mother
Hubbard, but what heroine could look al-
luring in such a garment ? So she wore
doeskins.

"In 'The Sign of the Cross,' Mr. DeMille
insisted on the costumes his characters
wore because he thought them picturesque
and interesting and because they gave the
feeling he wanted. Actually, costumes of
that time were much heavier.

"Other details of the picture were cor-
rect, however. Latin teachers worked on
the signs used and we had unimpeachable
authority for everything but the palace.
No picture exists of the actual palace so we
had to devise one from descriptions of those
who saw it at that period or earlier.

"In a Ruth Chatterton picture laid in
England, we had the technical help of
Auriol Lee, a well-known English actress,
who also played the part of charwoman in
the film. English critics were unanimous
in saying there are no charwomen like hers
in England, that she was badly over-played
and typically American !

"The most frequent query we get is :
On which arm does the bride come down
the aisle? Formerly she came down on
the left arm of the groom, but today unless
it is a military wedding, she simply turns
around at the altar and comes down on
the right arm.

"French and English etiquette books give
much information, but for other countries
it is hard to find out small points, such as
what they eat for breakfast in Holland.
On first thought, I'd have said 'Coffee' —
but the answer is tea, toast, and some light
dish of eggs or bacon, etc. We have a
Dutch count on the lot, who supplied this
information.

"In pony express times, the rider used
to sound his horn before he reached a town
so that fresh horses could be made ready
for him. Mr. Cruze needed the tune the
rider played on the horn, but there was no
record of it anywhere. At last Louise
Piatt Hauck, a writer of St. Joseph, Mo.,
found an old blind man who remembered
the air and played it with one finger. She
took it down and sent it to us.

"As to how to make an owl hoot, that's
one question I've never answered. I sup-
pose it must be dark before the birds are
willing to hoot, because we had to get a
man to do it!"

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Janet Gaynor Grasps Her New Freedom

Continued from page 21

Hollywood twelve years, this is the first
house Janet has furnished for herself. She
is having as much fun as a kid in a toy
shop.

I wondered why she rented a house in-
stead of buying. Real estate is ridiculously
cheap at the present time.

"I'm not ready to buy a home," she said.
"If I buy a house, I must plan for at least
two years in which to pay for it — two
years during which I must keep my nose
to the grindstone. I don't want to make
any such plans. I don't want to plan at all.
Plans are such deceptive things, and most
often are never followed out. I do not
believe in planning. I'd rather be free to
choose each step.

"I don't mean that I no longer schedule
certain daily duties and look ahead to minor
events. I do mean that I am not anxious
to form such big and definite plans that I
cannot change my mind on an instant's
notice. That is the reason I am not buying
a house."

The estate she has rented is charming,
though not nearly as pretentious as are
most of the mansion-like abodes of other
stars. The gardens that surround the old-
fashioned dwelling first attracted her, and
little wonder : there are acres of beautiful
plants and flowers. From the two streets
that flank the property there can be seen
only a kaleidoscopic array of colors — crim-
son and gold and purple and green and blue

flowers ; sufficient coloring to shame the
rainbow.

Janet is thoroughly enjoying the thrilling
experience of furnishing her new home.
With no limit to the amount of money she
may spend and with no one to prevent her
from satisfying her life-long whims, she is
happy. Whenever guests arrive, she pre-
cedes them from room to room, enjoying
with them the various articles of unique
furniture that she is buying, piece by piece,
as she discovers things that please her.

But Miss Gaynor has no intention of be-
coming a hermitess within her sequestered
estate. On the contrary, she is acquainted
with numerous charming young men and
she is almost childishly happy now that she
may associate more freely with them. She
likes to play and she is filled with romance,
just as much as ever before.

Janet will never want for companionship.
I venture that no fewer than two dozen of
Hollywood's most attractive young bache-
lors would gladly give all their worldly
goods if they could but sweep Janet away
in a whirlwind romance and cause her to
change her mind about an early re-mar-
riage. Of these two dozen, only two have
been fortunate enough to entice Janet to
public places.

Lew Ayres is one of the two, and be-
tween Lew and Janet there is apparent a
fine spark of friendship and understanding.
They have not been seen in public places

Just a pampas pet! The girl at ease in the pampas grass is Arline Judge,
swell little actress, wife of director Wesley Ruggles, and mother of baby
Charles R. She'll be back on the screen soon, after a year's vacation.

for July 19 3 3

often, but on those occasions they have
seemed decidedly pleased with each other's
company. When Janet and her mother
visited Palm Springs for a week, by a
coincidence that was either accidental or
otherivise Lew was also a visitor at the
desert resort.

Janet admits she likes Lew. He sings
her praises. I remember with a chuckle
that when Ayres was loaned for "State
Fair," he was angry because he had to
play a subordinate role opposite Miss Gay-
nor. She heard of his attitude and was
equally angry. Their first introduction was
therefore a strained meeting. They talked
when talk was necessary in short mono-
syllables. Now they laugh together over
the first disagreeable impressions of each
other.

The second young man who has claimed
considerable of Janet's leisure is James
Dunn. These two have dined and danced
at the Cocoanut Grove and the Beverly-
Wilshire, and they are no less attractive
than are Janet and Lew. Indeed, if from
the present beginning there should develop
a spirited rivalry between Lew and Jimmy,
I am not at all certain which would be
the more likely to capture Janet's heart —
if, indeed, either succeeded. If one of the
boys has a slight advantage, I should say
the lucky one is Dunn — he is employed by
the same studio as Janet, and thereby gains
opportunity for little personal deeds that
please feminine hearts.

However, I seriously doubt if even the
charming Messrs. Ayres and Dunn can
convince Janet that marriage is all it
is cracked-up to be. The girl is simply
disinterested in anything matrimonial ; she
wants to play for at least the next few
years.

"I want to travel, too," she confided. "I
have always loved traveling. I've been to
Europe and several times to New York
and Honolulu. Now I want to go to other
continents and cities. I may be too busy
for the next year or so to spend much time
on the road, but I hope I will find time for
a few trips.

"Until the past year, I have made only
two or three motion pictures annually.
During the past twelve months I have
made five — at least, I will have made five
before the year is ended. [The pictures
are "The First Year," "Tess of the Storm
Country," "State Fair," "Adorable" and
"Paddy." The last named is now in pro-
duction.] Five pictures a year are too
many; it is difficult to find enough good
stories."

For a girl without any plans, Janet has
many. But then, I remember that she has
planned — and denied plans — as long as I
have known her. I remember that she
waited a long time to marry because, as
she once said to me, "When I marry, I
plan to stay married. I don't ever want
to be divorced."

Perhaps Janet also remembers that plan,
and perhaps the failure of her scheme
"never to be divorced" has taught her that
human beings cannot manipulate their own
destinies.

Whatever may be her plans — or her ab-
stinence from plans — I know that Holly-
wood is delighted with Janet's return to
her old self. Ugly rumors that she was
temperamental and hard-to-get-along-with
circulated freely prior to her divorce. Now
Hollywood understands why she behaved
in such fashion as to justify those reports.
Now that she is again the effervescent,
playful Janet Gaynor of a few years ago,
Hollywood realizes that her actions were
caused by her oppressive and generally un-
happy marriage.

And I am truly happy to report that
Janet Gaynor, who progressed through
years and pictures from "Seventh Heaven"
to "Adorable" — is back in her seventh
heaven again!

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The Clamor for Glamor!

Continued from page 27

half-known temperament that creates the
dazzling, shining something which lifts the
people with "glamor" out of ordinary gar-
ish day and surrounds them with the shim-
mer of moonlight?

Katharine Cornell is hopeless about it.
She does not know. Francis Lederer, who
is supposed to be a matinee idol and fa-
miliar with all such things, stumbles and
falters in his cultivated Czech way and
says unsatisfactorily, although charmingly,
"I cannot say what it is — but it is divine!"

There is only one person who has given
me a direct answer to my questionings on
this subject. Miss Clemence Dane, the
celebrated author of "A Bill of Divorce-
ment," says that an actress must possess
these five most important qualities if she
would be glamorous :
Repose

A Sense of Rhythm

Humor

Clear Voice

Good Choice of Speech

All but the clear voice are mental — and
that is really mental, too.

Repose is the poise of understanding and
confidence. A sense of rhythm assures bal-
ance and proper timing of one's actions.
Humor, as it goes without saying, provides
a sense of values and proportion. And
good speech adorns.

Miss Dane says nothing, in this list, of
good or beautiful features or perfect physi-
cal requirements. In her extraordinary
career as an actress and a playwright she
has seen too many women give the impres-
sion of beauty and loveliness who do not
have facial perfection, to feel that their
possession is of utmost importance.

She has seen this to be true, of course,
in the features of the now famous "Kit"
Cornell, who has become one of the play-
wright's dearest friends in the years since
Miss Cornell appeared as Sydney. With-
out doubt, the subject of many of the long
conversations they have had together, while
in the Austrian Alps or at each other's
homes, has been that most illusive of qual-
ities, "glamor."

You will want to know more about
Clemence Dane, this tall, broad-shouldered
woman with brown hair and brown eyes
that are always ready to crinkle into a
friendly smile, who likes jazz, taught
French in a Geneva boarding-school at 16,
has a studio above a Covent Garden Mar-
ket flower stall, thinks American women-
have the most beautiful shoes and feet and
ankles of any women in the world — and
who created that glamorous character of
Sydney in "Bill of Divorcement."

Clemence Dane is a fountain head of
knowledge on "Glamor," just as Mrs. Eli-
nor Glyn would be on "It." You'll find it
in some of her fine, swashbuckling plays
and novels. She has "glamor" herself.

"It is strange that you should ask me
what I think 'glamor' is," Miss Dane
laughed in her rich English voice the day
I had tea with her. "It is a subject that
has interested me so much that I have de-
voted seven pages to describe it in my last
book.

"Glamor, of course, is what the 'wood
people,' the elves and fays and brownies
and faeries, put over the eyes of mortals
to make things appear what they are not.
The familiar hillside looks like another
place, more enchanting than it actually is.
It is a spell or enchantment — -often effected
by the juice of a magic flower — as in
Shakespeare's 'Midsummer Night's Dream.'

"Do you remember how Shakespeare's
Merlin, the magician, sends Puck into the

Forest of Arden to put the juice of the
enchanted flower upon the eyes of the un-
happy lovers and how the naughty sprite
mischievously mixes the instructions up?

"I have always been fascinated by the
'little people,' " Miss Dane went on. "The
word 'glamor' goes back to an old Scotch

Torrid Torres! Raquel wears
this interesting black velvet
negligee in her forthcoming
picture, "Tampico." Interest-
ing? It's positively exciting!

word meaning 'magic' All the words such
as 'glamor,' 'bewitchment,' 'charm,' 'en-
chant,' 'spell,' go back to the thought of
magic.

"The modern girl who charms you ir-
resistibly may keep your thought on her
silvery laugh, her lovely eyes and seductive
dimples and enticing voice — while she really
may be stealing your heart — and making
great inroads upon your pocketbook !

"She is far more successful with her
subtlety than she would be with out-and-out
bandit methods."

Miss Dane's last book, "Broome Stages,"
traces the story of a great English family
of the stage from its founder, a young

for July 19 3 3

country lad who ate faery bread on a Devon
hillside and learned a faery charm which
he passed on to other members of his line,
to the present day of the cinema.

"Denied Fairyland," Miss Dane has her
hero ask, "where could poets and dancers
herd, but in the Middle-Land of the thea-
tre? (The cinema, too, of course.) For
— is not the theatre the land of sham and
glamor, or cardboard battles, learned-by-
heart nobilities, clockwork monsters and
pinchbeck virtues and jewels? Is not the
sloping floor behind the footlights so
drenched with dreams, so perfumed with
glamor, that a man who treads those boards
can continue to look and feel twenty till
three times pass in the outer world?"

Miss Dane, who started out life named
Winifred Ashton, did not intend to be a
writer. She took it up quite accidentally
by coming across a typewriter for three
pounds ($15), in a shop window. She was
persuaded to take it home, and began writ-
ing a book.

Then before long a novel called "Regi-
ment of Women" by an unknown writer
named Clemence Dane appeared on the
stands to mystify every one. That was the
name Miss Dane had chosen for herself to
protect her friends from disgrace in case
she should fail ! The book was based on
Miss Dane's experience with boarding
school life.

"A Bill of Divorcement" was her second
piece of writing.

"You have seen the picturization of 'A
Bill of Divorcement,' of course?" I asked,
"and do you like it?"

"Yes, I saw it here," she said, "and liked
it very much. I thought Miss Hepburn and
Mr. Barrymore, and every one in the cast
was splendid, and it was excellently done.
And it seemed to me that Miss Billie Burke
did exceedingly well with her very difficult
and unsympathetic part of the mother."

When Miss Dane arrived in Hollywood,
instead of putting her to work on the
scripts of her own book "Broome Stages"
and her play "Granite," which she expected
to do on her arrival, her film employers,
instead, gave her the opportunity to work
on an idea of her own for an original story
for Francis Lederer. Her "idea" is a story
called "The Troubadour," which Mr. Led-
erer will start to work on, unless plans
are changed, at the close of his "matinee
idol" stage role in "Autumn Crocus," in
which he has been appearing in New York
with Dorothy Gish.

Irene Dunne, Miss Dane hopes, will play
the leading feminine role opposite Francis
Lederer in "The Troubadour." The silken
Irene and the stalwart Lederer should make
an attractive new screen "team."

In Hollywood, Miss Dane became im-
mediately a member of the group of bril-
liant English writers and actors which has
gathered together in the past months, indi-
cating, we may assume, a growing interest
in things British on the part of American
producers, and vice versa. "Cavalcade"
was an expression of it.

Among them is G. B. Stern, the novelist,
who is the adapter of the script for "Little
Women," in which Katharine Hepburn is
to appear. Benn Levy, the English play-
wright, has also been a member of the
group this winter. And the charming Di-
ana Wynyard, of "Cavalcade," and Brian
Aherne, the actor, were also counted in
until they returned to London to appear in
April in Clemence Dane's latest Bronte
play, "Wild Decembers," which Miss Cor-
nell may put on in New York next fall.

Hollywood, however, and Santa Monica,
where she has taken a bungalow, are much
more quiet and "Nine O'clock" than Clem-
ence Dane expected after the hectic life of
New York. But she's having lots of time
to concentrate on writing the particular
kind of "glamor" that she likes!

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Your Faults May Be Your Fortune!

Continued from page 23

if he were foolish enough to hide these
expressive lips that lure and charm a world
of repressed introverts who idolize one
who they feel does well the free things
they would do and say if they dared.
Chevalier's faun-like ears with the heart-
shaped openings are as distinctive and sug-
gestive of his musical tastes as any faun's
could be. His mischievous faun-like ges-
tures as he goes through his airy, some-
what suggestive repertoire is a revelation
to a psychologist — be he a behaviorist or
character analyist, by the law of averages.
With such a mouth and such ears Maurice
Chevalier would be as big a fool to have
them trimmed or altered as he would be
to try to make a fortune singing sacred
songs !

Charles Chaplin has a small, pointed,
elfin ear with a lobe that shades off im-
perceptibly into his cheeks. Well, Chaplin
is as much the sly, quiet, mischievous elf
as Maurice Chevalier is the rollicking sug-
gestive faun. He can hardly bring him-
self to make talking pictures, although in
"City Lights" he got a million deep belly-
laughs from audiences when he swallowed
a wee whistle, and its peeping elfin notes
were more provocative of gales of laughter

than anything he might have said or sung.

We could caricature Joan Crawford
beautifully with just a pair of large bulging
eyes with high arched brows, and pouting,
out-thrust but generous lips. This com-
bination is a graphic delineation of char-
acter, whether you or Joan are being con-
sidered, because such natures are talkative,
colorful, expressive. The mouth reiterates
these qualities and shows the extrovert to
perfection. However, it is the strong jaw
beneath these lips that reveals the intestinal
fortitude to work for the colorful, ex-
pressive things that Crawford's mind and
soul crave.

Speaking of jaws reminds me of Connie
Bennett, for her face is all curves and
beauty except her wide, firm, determined
back- jaws. If you, like her, have to
heighten the shadows with powder beneath
a jaw as determined — know this as its
inner meaning. All who have such jaws
can be cleverly shown, cajoled, or sold an
idea or thing, but even if a babe in arms
with such jaws is forced or made to do
a thing — look out for rebellion by every
means in their power. You can call these
jaws stubborn but never weak. Whether
such natures are heroes or rebels depends

Bed -time story without words.' It's Ruby Keeler, retiring before ten
o'clock in preparation for a hard day of "gold-digging" on the morrow.
Ruby's personal triumph in "42nd Street" won her a prominent part in
"Gold Diggers of 1933."

for July 19 3 3

on whether they are otherwise unselfish
or selfish.

Which reminds me that no one quality
is in itself sufficient for success, but if con-
sidered a talent and used in extreme devo-
tion to an ideal this firmness, for instance,
promises eventual success. Such bulldog
tenacity, enlisted in a bad or lost cause,
could just as easily cause one to "stay put"
too long and sink with the doomed ship
of fortune.

Just to think of a cheerier, if more flip-
pant feature, let's note Gloria Swanson's
tip-tilted, somewhat snobbish, socially am-
bitious nose. All who share with her this
feature will share in these characteristics
which it portrays. It is no mere caprice
of Fate but her very own natural desire
that she should marry men of social and
aristocratic glamor and allure, when she
was mature. Her first mate, it is true, was
none other than Wally Beery, but she was
a bathing beauty then and he a shining
star with Chicago's flashiest yellow car.
Swanson has lived as an aspiring life in
real life as that great casting director
Cecil B. DeMille visioned for her when
he took her out of the bathing beauty class
and gave her parts depicting society, show-
ing the last word in beauty and class.
Remember the sunken baths of her first
starring vehicles ? This merely means that
whether one is an artist, casting director,
personal director, or real fan of the best
in pictures, he gets the greatest thrill in
seeing people cast for the parts they fill
naturally and convincingly.

Of course, we all play many parts in
life. The fact is, however, we all have cer-
tain outstanding features which are indexes
any casting director would instantly de-
tect, so that he would know we could
play certain parts best. Caesar, the strong-
jawed general, gave us a great thrill when
he said, "I came, I saw, I conquered." We
would all like to conquer or overcome the
conflict of our environment. To quote
another historic phrase, "It is times like
these that try men's souls."

Well, we have the advantage at least of
standing on the shoulders of all our prede-
cessors; we can learn from all those who
have succeeded, be they ancient queens
or modern queens of the cinema. To sum
it up briefly, if we would not only survive
but prosper, live a free, expressive and
happy life — first find out what kind of
souls or inner personalities we have by a
real study of the interesting story our
mirrors tell. Note that outstanding or
unusual feature and get its meaning clear,
then give that part of the personality a
chance to cooperate with all the other
faculties of mind and soul. Be extroverts,
not introverts, at least for a part of each
day.

I've been asked by anxious, earnest
thousands in person and by letter, "What
shall I do to succeed?" And the answer
that comes down through the ages written
in the lives of those who have succeeded,
is simply— "Know thyself and be thyself."
We are all so susceptible to suggestion
that we sometimes try to be someone so
utterly unlike us that we are doomed to
failure — as" surely as if Abraham Lincoln
had spent his plain, Democratic, liberating
life trying to be like the aristocratic slave-
owning country gentleman, George Wash-
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mentally and spiritually as you two look.
Find your strength and weaknesses through
the study of others, and you'll find even
the most jagged feature fits right into the
finished picture and may be the salient
feature that makes you an outstanding and
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Directing the Films' Funny Men

Continued from page 35

superstition, I cite Taurog's story of Bob
Woolsey. Once, when he was direct-
ing Wheeler and Woolsey in "Hold 'Em
Jail," Bob, who usually is letter perfect in
lines and business, simply couldn't play a
certain scene. At first, he was obviously
ill at ease and unfunny, and finally he blew
up altogether. After long hours of worry
it was finally discovered that the prop man
had given Woolsey the wrong pair of
glasses. He couldn't be natural without
his own glasses even when he didn't actually
know the difference!

Few, if any, of the successful comedians
of today who were untrained in the old
silent school of pantomime can be funny
without some kind of audience. Therefore,
the successful comedy director like Taurog
appoints himself an audience of one, to
laugh at the comic's gags and cheer him
on toward being funnier and funnier. He's
a perfect one-man claque!

"I try to be the actor's best audience,"
said Taurog. "A comedian can hardly be
expected to be funny with a frozen-faced
director sitting under the camera with a
'make me laugh' expression. True, many
comics get their laughs by dishing out

dead-pans to audiences, but they can't take
one. It kills their enthusiasm and dries up
their natural humor. Laughs are catching
like the measles, so I try to infect the
players by doing all the laughing. Besides,
it keeps me in good health."

Taurog is a great believer in the efficacy
of drama to comedy.

"Just as comedy supplies the relief for
dramas, so should drama supply relief for
comedy.

"We pay as much attention to story, plot
and situations in comedy as we do in drama.
The best example of what story plot and
situations mean to comedians may be found
in the success of Maurice Chevalier and
Harold Lloyd. Their pictures have as
much plot as most dramas, and sometimes
a good deal more.

"The comedian must get sympathy in his
roles. Then the more troubles he has in
the story, the more audiences laugh with
and at him. Of course, there is always the
grave danger of overdoing it. Too much
pathos will kill the laughs. And besides,
most comedians yearn to play Hamlet, and
the funny part of it is, most of them could.

"Always belittlin'," says Percy Crosby in

Here are any number of reasons why masculine hearts succumb to the
allure of Peggy Hopkins Joyce. Peggy wears that white fox and that
potent smile in "International House," her first talkie.

for July 1933

How to Keep Your Glamour
During that Trying Period

his famous line in "Skippy," which so aptly
applies to the secret of humor. How the
audiences love and laugh at the fellow who
is always being belittled by the big bully.
Chaplin, Lloyd, Jimmy Durante, Bert
Wheeler, Stan Laurel, and Charlie Ruggles
are always being belittled to the huge
amusement of the audiences.

But, agrees Taurog, even the big guy can
win his share of sympathy and be equally
funny while bullying the little fellow, if the
sympathetic quality can be maintained in
his character. Audiences don't like smart-
alecs, but they always laugh at Oliver
Hardy and Bob Woolsey when they bully
Stan Laurel and Bert Wheeler, because
they are such well-meaning boobs. Their
little pals get them into just as much
trouble, as they themselves blunder into,
so the sympathy is evenly divided.

"Although a comedian is necessarily a
finished actor," says Taurog, "personality
and individuality are far more important
to his success on the screen than even his
bag of tricks. I have never tried to per-
suade a comedian to change his style or
his personality."

Although far outnumbered, the come-
diennes of the screen are equally capable, in
the director's opinion. Particularly does he
point to Edna May Oliver and Zasu Pitts.
Having directed Miss Oliver he has a close
knowledge of her ability. Unlike most
comedians, he says, she is so fine an actress
that she is one of the very, very few players
who can play both comedy and drama
equally well. So, too, can Miss Pitts, but
he is not so sure that they can make audi-
ences regard them seriously, so popular are
they in screen comedy.

Graduated from the ranks of silent slap-
stick comedy, Taurog points with pride to
the achievements of the graduates.

"In silent comedy pantomime we learned
more about timing and spacing in picture
acting than has ever been learned since.
We learned to milk a gag dry, but never to
let a situation run too long. To let the
audience laugh too soon in playing a
comedy scene in talking pictures is fatal,
as it destroys the effectiveness of the climax
and often it is completely lost. Most of
our silent picture comedians have been very
successful in talking pictures, both in com-
edy and drama, and so have the directors."

And now, Mr. Taurog, since we have
been good-naturedly comparing comedians
with children and vice-versa, how about M.
Chevalier and yourself ?

The director smiled. "We won't go too
deeply into that," he said, "but I can tell
you that Maurice's superstition is that
straw hat. He won't work without it, and
he always wears it at that gay, rakish
angle. And his outstanding eccentricity is
his love of American slang." At this point,
we were joined by M. Chevalier.

"As for me," added the director, "my pet
superstition concerns black cats. If one
were to cross my path on the way to the
studio, I'd be late because I'd have to go
back. I made a mistake only once. In my
early days in pictures, I was on my way
to the little slapstick comedy studio where
I worked as a cub director. A black cat
ran across the road. Good sense warned
me to turn back, but fearing the danger of
being late, I reluctantly went on.
_ "When I reached the studio there was a
sign on the gate. It said 'Closed.' There
went my job and I couldn't collect any
salary. I was broke. As I sat on the curb
with my head in my hands along came a
hard-hearted guy from the finance com-
pany. He took my automobile, and I had
to walk home."

We all laughed heartily, and M. Che-
valier looked at me with a mischievous
tvyinkle in his eye. He beamed as he added
his contribution: "And — how do vou like
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Tracy — The Star Hollywood Can't Scare

Continued from page 31

Academy in Alton, 111., less eventfully.

"When I graduated Dad gave me a trip
to California as my present," he recalls
with a laugh. "I came to 'Sunny Southern
Paradise' and spent the whole vacation in
Long Beach. Didn't bother to come in to
Hollywood!" Which proves how little the
tinsel glitter impressed him even then.

He entered Union College in Schenectady
the following Fall. Contrary to his anti-
war role in "Private Jones," he was more
than anxious to make Europe safe for
democracy. He quit college before the end
of his freshman term and enrolled in the
army. The Armistice was signed before he
could get to France.

"That was when, being twenty-one and
certain I could lick the world, I did my
careful deliberating and finally concluded
to turn actor. My father, having had none
of the species in the family, was astonished.
But considerate, as always. He said he
would stake me for a year and that would
be long enough to decide whether I'd click
on the stage.

"My parents were living in Sayre, Penn-
sylvania, and I blithely departed for
Broadway, full of ambition. Got myself a
$5-a-week room and began the rounds of
theatrical agents. I soon found I had to
concoct a tale of show experience to get
to first base. This I did, and my first job
was in a dramatic vaudeville sketch. I
said three lines and netted $35 a week.

"It lasted a couple of weeks and then I
was on the hunt once more. I got into
another act at the same wage. Travelled
about the country for a season in it and
then connected with a repertoire company
which toured New England for a season,
doing different plays each evening. When
that closed I landed back in New York
broke."

Lee's casual acquaintances deem him ir-
responsible. He isn't, for he planned his
career quite systematically. Progress is
essential to him and he must know that he
is going forward. Vaudeville, then three
years in stock, two in road-show leads, and
he was ready for New York and stardom
there.

Five years of leads in such outstanding
hits as "Broadway" and "The Front Page"
and he moved on to Hollywood.

"My first year out here was a sad, sad
story. Paul Muni came out at the same
time and we both had Fox contracts for a
year. I was given three unimportant parts
and the idleness drove me crazy!" Recall
Lee in "Liliom"? Charlie Farrell was the
star and most of Lee's scenes were cut so
he wouldn't steal the picture.

Tracy and Muni were disgusted and glad
to get back into New York plays. Then
Hollywood woke up and realized what a
mistake had been made. Muni scored in
Warners' chain gang drama and is return-
ing to that studio this summer. Lee came
back and free-lanced until, his popularity
growing by leaps and bounds, he was per-
suaded by M-G-M to become Culver City's
fair-haired lad.

Essentially the same as you see him on
the screen, Lee is a sophisticate. Not, of
course, the Hollywood brand of superficial
sophistication. They can't scare him into
that ! His is the mental sort.

He is economical with his earnings. A
great reader, and yet not really a student.
The local habit of back-slapping will never
become his. He has invariably had just a
few friends whom he classes as intimates
and cannot give his attention to a wide
circle.

Until he met John Barrymore, when they
were cast together in "Dinner at Eight," he
had no stellar friend. In John he has dis-
covered a kindred spirit and they are de-
veloping a sincere mutual admiration.

Nervous, late in arriving and leaving, he
avoids premieres like the plague and shuns
athletics despite the fact that he was a high
school track and baseball star. He would
have been a wonderful lawyer. There is
sound logic to his statements. And he
rattles along so fast you have to listen.
When you do that you are generally con-
vinced!

_ One of his clever tricks is to avoid get-
ting mad. The dignified calm he adopts is
invaluable. Others rant and rave and when
their energy is exhausted Lee quietly walks
off with the victory.

He shares with Marie Dressier an un-
canny quality. When either Lee or Marie
enter a room you feel their presence with-
out a word having been uttered. An unex-
plainable and marvelous magnetism. With
George Arliss Tracy shares a mighty
reverence for acting technique.

Being ordinary in looks, he has had to
work twice as hard as the handsome boys to
develop individuality. He has watched the
most famous comedians to learn how they
get their audience laughs, and it is actually
his superb technique that puts him across.
Hollywood can't scare him into its glitter-
ing ways because he realizes he doesn't
have to rely on potent sex appeal or fancy
lighting to register with the public.

"The whole secret of my acting is in the
manner I use my hands," he confided to a
friend of mine one day. "I never stress
this to interviewers because others would
imitate me." Now that the secret is out,
watch his next film and note what an asset
he has made of his hands. He is a true
artist in their use. It has taken years of
study and hours of painstaking practice and
rehearsals to be able to use them so effec-
tively. Now this eloquent style of acting
is setting an example for Hollywood.

Doris Kenyon is an actress
much depended upon by George
Arliss for support in his pic-
tures. Now, at his special
request, she's in the cast
of his new film, "Voltaire."

for July 19 3 3

Margaret Lindsay is another of
the pre-Napoleonic beauties
who plays with George Arliss in
"Voltaire." The French genius
was a busy man in his day!

We don't often think of the stage im-
ports as being gifted in pantomime. Lee is
as adept at it as any silent screen veteran.
Instead of cultivating his voice, he concen-
trated on action. He reasoned that an actor

is no greater than his ability to express
himself without words. During all those
stage years he was thus aiming for the
cameras !

One more untold thing about Lee. He
is, at heart, terribly sentimental. He'll
give me a non-stop bawling-out for reveal-
ing this. But it's a human and admirable
quality, isn't it? Especially when you find
he is sentimental about his mother.

His father died five years ago, having
lived to witness Lee's New York triumphs
but missing his Hollywood fame. His
mother's home is in Wilkes Barre, Penn-
sylvania. He visits her there and she
occasionally comes out to see how he's get-
ting along here. She is his balance-wheel
and he idolizes her. Young-looking, mod-
ern, a woman of culture and refinement,
she has charmed those who have met her.

On her first visit to California she flew
out. Lee met her at the airport and nearly
died of worry. He was so afraid something
would happen to the plane. Hollywood
can't scare him one iota. But gosh — if any-
thing went wrong with "Mom" or he failed
to live up to her expectations — well, high-
pressure Lee Tracy would be so scared and
miserable he'd be struck dumb!

"Maybe I'm nuts," he concluded philo-
sophically as he left me to do another
sequence with his new buddy Barrymore,
"but my instincts — and brother, you'll
never make a mistake on a fried egg or an
instinct ! — tell me I was fated to be a roll-
ing stone and not a proud papa, a happy
husband, or a glad-handed hacienda host.
I'm gathering my moss while I can, and
strange as it seems the grass keeps grow-
ing a little greener in the next field!"

Femi-Nifties

Continued from page 67

form of massage, since I'm an addict on
what circulation can do for reducing. (And
for clearing up the skin on your face, too.
But that's another story. )

There's the Hemp Massager — a little
device that imitates to perfection the
kneading, knowing hands of a skilled mas-
seuse. This Bodi-Massager actually gets
at the fatty tissue, lifting and manipulat-
ing them automatically, without any strenu-
ous pressure on your part. It consists of
four rubber balls, two large and two small,
mounted on a small handle. It weighs less
than a pound, 'and it's inexpensive. So, if
you're afraid i fat is going to spoil . your;
summer, to say nothing of your figure? —
why, roll your own way with a Hemp
Massager.

Get a sniff of Myon's Three Passions
and 1000 Joies and you'll know what I
mean. They're really lovely — and you'll
seem more so, too, because of them. Watch
and see if somebody doesn't say so.

And speaking of perfumes, I can't re-
sist mentioning De Vilbiss atomizers. An
atomizer is a perfume's best friend. Too
many women "spot" their perfume around
— behind their ears, on their neck, on their
furs, on their collars — so that from one
angle we get an awful blast of it, from
another, no fragrance at all. The atomizer
sprays it evenly, smoothly, delicately, as
it should be. And your perfume will never
leak out or evaporate from a De Vilbiss
— the special closure top prevents that.

There's nothing more annoying than a
trailing perspiration odor — or a damp spot
on the under-arm of a dress. Well, here's
a new deodorant, "X," that'll surely mark
that spot out. A fragrant white cream
that you may apply under your arms — and
then forget for a day or so.. It's soothing,
too — leaves no itchy feeling. Melts right
away into your skin and will not harm
clothes. . ; . -

It always does us poor perspiring people
good, when summer comes along, and
those fortunate few who have boasted all
winter long that they "never perspire" are
right in the same boat with us. But we
might be big-hearted and tell them about
"X," since they'll be needing it, too, when
the sun starts its smouldering.

Exciting names and thrilling fragrances
seem to be the rule in perfumes, this year.

It seems a far cry from perfumes to
boudoir trimmings, but here goes ! I saw
the cutest dressing table, drapes, and bed-
spread the other day, designed for a star's
summer house at Malibu. And did it
make me envious ! Though they tell me
I can make this same set myself as simply
as rolling off a log. Everything was
white organdie, with a tricky edging known
as "Jig-saw" trimming, in bright red.
That twisty trimming really takes the
cake. It's made by winding rick-rack braid
around the new Singer Sewing Machine
gadget, called Singercraft. If you'll stop
in any Singer shop, they'll show you how
to make this Jig-saw edging in a jiffy.
It would be awfully smart for bridge
table covers, and luncheon sets — but if
you'll excuse me, I'm going to try that
boudoir set first. I just can't sleep till I
get those pieces together !

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Here's another picture "reunion!" Clark Gable and Jean Harlow, whose
warm work together in "Red Dust" made the movie headlines, are re-
peating in another film. This is an un-idyllic scene from the new picture.

Sweet and Loy

Continued from page 34

lar weekly salary (Myrna was always
thrifty), but she was unhappy because she
had been given a vamp part. She wavered
between smiles and tears, and I was never
sure which would come, sunshine or rain.

"I'll be playing nothing but vamp parts,"
she cried; "if they type me like that."

How nearly correct she was can be told
today — for seven years Myrna Loy played
nothing but exotic Orientals and vampires.

Shortly after she signed that first con-
tract, Myrna purchased a home. It was
not a large house — just comfortable. But
had it been the palace of the King of
England, the owner could not have been
prouder. She hated apartments ; she still
hates them. She adores sitting alone with
her phonograph. She has pet records,
and I remember that on more occasions
than one I was driven to the point of mad-
ness when she played the same music over
and over again. She permitted no inter-
ruptions during her record recitals — silence
was always golden.

Myrna has never lost her love for music.
Everywhere she goes, she has harmony
close at hand. Nights when she cannot
sleep she sits beside her phonograph and
plays for hours. Recently new neighbors
moved into the house next to her own —
Miss Loy was still living in the bungalow
she purchased years ago. The first night
after their arrival Myrna experienced one
of her sleepless spells. Next morning the
neighbors expostulated.

Myrna apologized — but she commenced
a search for a new place to live. If the
law demanded that she not disturb her
neighbors, then she determined to find
a house that had no neighbors. By a
fortunate turn of fate, she had just finished
"The Barbarian," co-starring with Ramon
Novarro. The Mexican star was soon to
leave for a concert tour in Europe, and
arrangements were made for Myrna to
occupy his mountain-top home. She is
there now, and is likely to remain until
Novarro's return.

Perhaps she may remain after Novarro's
return! When people ask her if there is

truth to the rumor that she is engaged to
Ramon, she only smiles enigmatically and
replies, "No spik English!" That is as
far as anyone ever gets with romantic
inquiries.

Miss Loy remained under contract to
Warner Brothers for five years. One day,
without warning she was released from
contract and was she frightened. She was
so scared that when she tried to tell me
about her "calamity" she was almost
tongue-tied. You see, Myrna is a very
modest, self-effacing young woman, and
she was certain that if Warner officials no
longer wanted her, other studio executives
would be equally disinterested.

The struggle she staged for the next
two years was inspiring. Myrna deter-
mined that her career in motion pictures
was hampered because she was distinctly
typed as a vampire.

"I'll never play another Oriental !" she
cried. "I'll starve first."

She was in no danger of starving, for
Myrna had saved her money carefully when
she was under contract. Nevertheless, she
exhibited courage when she rejected big
salary offers for vampire roles. She shook
her head to such offers so constantly that
shaking became a habit, and she almost
said no when she was offered the part of
the wife in "Animal Kingdom." She
caught herself in time, however, and
"Animal Kingdom" is the picture that
Myrna loves for two reasons — she thinks
she gave her best performance to date in
the part of the wife, and the picture proved
to producers that Miss Loy can play sym-
pathetic roles as well as she can enact
exotic heavies.

I have no doubt that she is headed for
sure stardom. Even so, I might feel that
my opinion is prejudiced by friendship if
I did not know that so many others share
the belief. Myrna is a universal favorite
among the masculine interviewers and
writers, and we boys customarily gather
at luncheons and fling ideas and gossip
across tables. For many years we have
had a favorite question, and never a con-

for July 1933

ference occurred that someone did not voice
it. The question: When will Myrna Loy
become a start We men all agreed that
she has every requirement for the office,
and I may say that for the past several
years we have looked upon motion pictures
with pitying glances because they were too
blind to perceive our favorite's possibilities.

YVe have ceased to pity now. "Animal
Kingdom" justified our faith in Myrna and
subsequent pictures prove to us that we
have not guessed wrong. We know now
that the producers have "discovered"
Myrna Loy — just nine years after Henry
Waxman and Rudolf Valentino and Nata-

cha Rambova and your humble writer
found her.

While I was sitting with Myrna "re-
membering," a sudden pleasant memory
flashed into my mind.

"Do you recall a promise you made to
me?" I inquired. "A promise that if you
ever reached stardom, you would give me
a great big kiss ?"

Myrna smiled. I tingled ; I thought she
was going to give! But she didn't. She
just said :

"I'm not a star yet, Jimmie!"

And here am I, nagging the producers
to hurry things along !

Shaw in Hollywood

Continued from page 19

San Francisco, snap him until he non-
chalantly walked into the scene, putting on
his gloves. Then he carefully examined
the plane while the cameras kept on grind-
ing.

Impossible to record all of the Shaw
repartee and all of his many opinions. He
is an amazing combination of brilliancy,
humor and sweetness. He will probably
slay me if he ever reads this for the word
"sweetness" or anything that borders on
the sentimental, is abhorrent to him. To
do him justice one would have to follow
him with a dictaphone.

One thing I almost forgot to mention
is his opinion of what is wrong with our
American movies.

"Most of the pictures I have seen," he
told me, "are over-directed. How can
these young people give their best per-
formances if they 'are rehearsed and re-
hearsed until all their spontaneity is gone?
I suppose, however, these directors, who
are paid huge salaries, must earn their
money."

Airs. Shaw, who is a charming and gra-

cious woman, told me that she and Mr.
Shaw had stayed up later at La Cuesta
Encantada than is their custom. They had
seen several new American films.

"I have never known him," she told
me, "to look at so many motion pictures
and enjoy them."

At his request "Blondie of the Follies,"
with Marion Davies, was shown. This
with "Gabriel Over the White House"
and "Looking Forward" were the three he
liked the best.

You can scarcely believe that George
Bernard Shaw is seventy-seven years old.
His vitality is amazing, his sparkling, alive
personality, his twinkling blue eyes and
his sharp wit, undimmed by age, make
his ordinary conversation an oratorical
event. I carried away with me from the
Hearst ranch a mental picture of this
straight, slim figure saying good-night to
a group of film stars who were leaving
for Los Angeles.

I also carried with me the memory of
the most mentally stimulating and de-
lightful week-end I ever spent in my life.

Here's a group of Hollywood celebrities at the wedding of Margaret
Ettinger, well known publicity representative, and Ross Shattuck, studio
executive. Left to right: Louella Parsons, columnist; Dr. James Hamilton
Lash, pastor; Miss Ettinger, Mr. Shattuck, Danny Danker, and Dr. Harry
Martin, Miss Parsons' husband.

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By Request: Another "Record" Contest

Continued from page 60

automobile accident in Chicago. Myrt, be-
ing the author of these radio sketches, now
has to write from her hospital bed about
her own disappearance. It'll be some
months before she's up and about again.

George Bernard Shaw is afraid of the
microphone ! When he broadcast from the
Metropolitan Opera House in New York
City, he wouldn't talk into the mike, so
the dreaded instruments were placed in
the footlights and in the wings of the
stage.

Just a suggestion — if you like good music

with your tea, tune in on Val Fritschy and
his orchestra at WPCH, every Monday.

Remember when we told you of Lanny
Ross' distress at never having found a
four-leaf clover? Well, Lanny told me
that he became so discouraged over this
catastrophe that he bought himself a four-
leaf clover plant !

Nat Shilkret and his orchestra, and
Walter O'Keefe and Lyda Roberti were
auditioned for a "beer" program. Which
brings to mind that half-pint Jeannie
Lang's new tag around the studio is "3.2."

The July Issue of

Silver
Screen

ON SALE JUNE 9TH

Adeia
Rogers
St. Johns

writes

Hollywood in
the Pinches"

Read-

Janet's
Hideaway

The story of Janet
Gaynor's unknown
Home in Honolulu.

'Dinner at Eight"

The "GRAND HOTEL" of the
coming season fully described
and illustrated.

Silver Screen

on
Sale

10*

June

Why Claudette Went Gay

Continued from page 32

As time went on, Fate, in the polished
person of Mr. DeMille, suave and pen-
etrating, who has uncanny sense in fath-
oming feminine personalities, stalked onto
the set. As Claudette walked across the
Paramount lot, Mr. DeMille emerged from
behind a piece of scenery where he had
been watching her intently, and stopped
her.

"What on earth have you been doing
with yourself?" he asked, in his direct, de-
termined fashion. "Why have you been
playing the roles of unsophisticated girls?
Don't you know that you are wicked?
You are the wickedest young woman I
have ever laid eyes upon !"• — and DeMille
lives in Hollywood — "you are the essence
of sophistication!"

Were Claudette's cheeks red? Did she
draw her cloak of reserve about her and
murmur, "Sir, how dare you?" She did
not. It was all she could do to restrain
herself from playing a big emotional scene
right on the lot, without cameras, lights,
or anything, as Cecil DeMille added, "I
want you, young woman, for the role of
that arch-seductress among women — Pop-
pae." Claudette was enchanted ; "The
Sign of the Cross" was produced, and to-
gether they won the battle.

And they said she had found her sex
appeal ! Shades of "The Barker" and "See
Naples and Die," and her other plays on
Broadway !

Perhaps it is part of the innate practical-
ity of her French heritage; perhaps it is
because of a delicious sense of humor ;
perhaps because she had a brother who
wouldn't let her take herself too seriously,
or perhaps it is just because of her own
good head, well-poised on her shapely
young shoulders, but the fact remains that
in the midst of the idiosyncracies of the
topsy-turvy film world, she stands forth
as a girl who managed to keep her head
up and her feet down.

Claudette changed the way she wore her
hair to suit her new personality. She
adopted the simplicity of the bangs and
straight hair worn by the Egyptians.
Finding the bangs effective, she modified
the coiffure further for her own personal
use.

So it is a sophisticated Claudette who
vacations in New York between pictures ;
who plays at Palm Springs; who loves life
and lives it fully.

Claudette confesses that when she first
went out to Hollywood she found her
equilibrium was fast being upset. It all
happened at the Brown Derby. For some
reason or other, mostly because everybody
did it and it seemed to be expected of her,

she went there for luncheon practically
every day. She had made several success-
ful pictures in the East and had that
flourishing stage career behind her to
bolster up her self-esteem. But Hollywood
hasn't exactly the reputation for being
particularly generous in its attitude towards

Hail to the film goddess!
Diana Wynyard is caught by
the camera on her way home
for a visit in England, follow-
ing her triumphs in "Caval-
cade" and "Reunion in
Vienna."

for }»ly 19 3 3

Here's a handsome pair of
budding stars, Bill Janney
and Helen Mack.

a newcomer. Claudette felt she was being;
stared at and dissected. And she began
to feel that in the midst of all the beauties
and charm, and the general atmosphere of
sex appeal rampant, she was being ad-
judged in simple parlance as "none too
hot." She began to get nervous, unduly
sensitive, horribly self-conscious. She ate
her lunch daily in misery.

"Until one day it occurred to me," she
says now, "that after all it wasn't in my
contract to appear daily at the Brown
Derby, and since I didn't like the general
appraising attitude, what the devil was I
going there for?" (Claudette likes her
cuss words).

So she stopped going places, and now
with the few friends she has selected as
boon companions, she spends most of her
time in the house Greta Garbo once selected
as a safe retreat, and which Claudette now
rents as her Hollywood home.

But what about her domestic affairs?
Claudette believes in homes — one for her-
self and one for her husband, Norman
Foster. When she first went out to Hol-
lywood she did go so far as to stay a few
days under her husband's roof, but she and
Norman continue to keep separate homes.

After seeing Norman's picture, "State
Fair," Claudette sent Foster a wire say-
ing: "You are still my favorite juvenile."

This, from the sophisticated Claudette,
means a lot !

Girl with "Uniform" Appeal!

Continued from page 61

yes, I know! It is that one with such
pretty music, and that funny Zhimmy with
the great, big nose. 'Pink Me Strike.' they
call it."

During the drive out "on location" for
the newsreel take, she told of the course of
events in Europe that had led to her com-
ing to America, a widely-acclaimed film
star.

"That I should become an actress in Ger-
many was natural, for both my parents were
artistic. There is always an actor in our
family, each generation at least one. My
uncle, August Palme, was a very famous
actor in Sweden, and created many of the
roles written by the great Strindberg.

"When I was a schoolgirl we children
used to act plays for our friends and our
parents. It was a regular little theatre —
people came to hear us, and told us when
we were good and when we were bad. One
day, when I was yet fifteen, a professor
from the University of Munich heard me
recite and act, and he took me to see Rein-
hardt at Vienna. For Reinhardt I recited
a scene from Ibsen's "Wild Duck," and
when I finished he asked me to join his
company for a four-year contract. It was
the happiest of all days for me !"

The young actress did not remain long
with Reinhardt, however. Impatient of his
leisurely, detailed method of training, she
obtained her release at the end of six
months and joined the Miinchener Kam-
merspiele at Munich. After playing a num-
ber of varied roles there, she accepted an
offer from a moving picture company in the
same city, and starred in a succession of
films, her debut picture being called "Heim-
liche Sunder." Then back for another en-
gagement at the Kammerspiele, and a term
with the Frankfurt Schauspielhaus at
Frankfurt -am-Main. Her acting experience
ran the entire gamut of roles, from small
comedy bits to singing roles in light opera
and leads in Shakespeare and Andreyev.
Finally Carl Froelich called her to Berlin
for the part in "Maedchen in Uniform"
that brought her world-wide fame and a
summons to Hollywood.

Shortly before sailing for the United

States Miss Wieck completed another pic-
ture, "Anna and Elizabeth," with the little
blonde Hertha Thiele, who was the young
schoolgirl in "Maedchen in Uniform." This
new picture possesses the same spiritual,
elusive quality that distinguished their
former vehicle, and in it Miss Wieck again
plays a non-romantic role. But she would
have you know that she has no intention of
wasting her widely varied experience gained
on the European stage and screen by per-
mitting herself to become "typed." In her
future pictures she would like to play dra-
matic or tragic parts of the classical type :
Mine. Bovary or Thais, for example.

Judging from her camera presence in the
brief bit of action she performed that morn-
ing, Dorothea Wieck need have no qualms
about being able to "get herself across" on
the American screen. "Splendid — you can
see she's had marvelous training," was the
comment of Bill Frawley, stage actor, who
had the greeter's role in the newsreel.
(And by the way, how much longer are
the producers going to allow this expert
and amusing young actor to remain off the
screen ?)

Miss Wieck's first American "picture"
was completed, and the party headed for
New York. On the way home she was
discussing with Frawley the stage play,
"Twentieth Century," in which she had
seen him act a few evenings before.

"Eugenie Leontovich, who heads the cast,
is a great admirer of yours," remarked
Frawley.

"Thank you," Dorothea Wieck responded.
"Please give her my greetings — tell her I
am sorry I did not meet her, and that I
hope she breaks her neck !"

General consternation ! That is, until
Miss Wieck, much amused, explained that
this is the invariable form of good wishes
among Continental actors. To wish "good
luck," on the other hand, is deemed un-
lucky in their reverse code of stage super-
stition.

So, auf wriedersehen, Dorothea Wieck —
or Baroness von der Decken. And, when
you face the cameras in Hollywood, here's
hoping you "break your neck" !

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side of many a great "name" of the stage and screen! You'll find
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Screenland

Tagging the Talkies

Continued from page 10

Looking Forward
M-G-M

Talk about Lionel Barrymore's ups and
downs! From a department store head in
"Sweepings," he now sinks to a lowly clerk
whom Lewis Stone fires. This film of hard
times in England, and how two opposite
social classes fight through them, is a fine
and sensitive story. Barrymore and Stone
give a grand show. Elizabeth Allan, Phil
Holmes and Benita Hume also shine.

Murders in the Zoo

Paramount

"That man's here again!" Lionel Atwill,
the screen's bogey-man, contributes another
unpleasant role to his movie career. This
time he uses the zoo as a background for
his dastardly deeds. Charlie Ruggles, as
the zoo's press agent, brightens this gloomy
film considerably. John Lodge makes his
screen debut. Romance supplied by Gail
Patrick and Randolph Scott.

Destination Unknown

Universal

Yo-ho, and 25,000 bottles of rum! A sea-
going bootlegger and the rebellious skipper
of his vessel fight for supremacy when the
wind fails and the water supply runs low.
It's an unusual yarn and a rattling good one,
too — until a note of religious allegory enters,
turning it into a rather undramatic sermon.
Realistic evil-doing by Pat O'Brien and
Ralph Bellamy.

Pleasure Cruise
Fox

A zippy little farce, much enlivened by
the high comedy antics of Roland Young
and Genevieve Tobin. Roland is a jealous
spouse who ships as a steward on a cruise
liner to keep tabs on his vacationing wife.
The complications resulting when he cuts
in on her flirtations are quite spicy, and
deftly handled. Frank Tuttle's witty
direction adds to the fun.

Out All Night

Universal

With more action and bounce than their
previous effort, this second Pitts-Summer -
ville comedy will keep you laughing. Slim
is a repressed youth whose timorous romance
with Zasu is wrecked by his domineering
mother (Laura Hope Crews). In a whirl-
wind finish Slim goes berserk, puts Ma in
her place, and wins back his fluttering
lady-love.

Mind Reader

First National

Debunking the crystal-gazing racket.
The film starts off briskly and reveals sev-
eral fortune-telling tricks, but it doesn't
hold this pace very long. However, the act-
ing is top-notch throughout. Warren Wil-
liam, as the bogus mind-reader, Allen
Jenkins, as his accomplice, and charming
Constance Cummings are the principals,
each does a good job.

for July 19 3 3

The Public Be Heard!

Continued from page 6

"REFRESHING" RUBY!
(Fourth Prize Letter)

Where have the Screen Powers been
keeping Ruby Keeler? She brings the
very spirit of youth to the screen. Her
naturalness, charm, and vivacity are re-
freshing and exhilarating, to say the least.
So realistic is her performance that one
seems to live the scenes with her. Truly
a new star is in the firmament !

I wish to express my thanks to the pro-
ducers of "42nd Street," both for Ruby
and for the picture. The entire cast was
well chosen, and each performance was ex-
cellent. And the songs and music are cer-
tainly deserving of the great popularity
they have attained. "42nd Street" is truly
a "New Deal" picture.

T. M. Fehman,
1452 Divisadero St.,
San Francisco, Calif.

GREETING A FINE ARTIST

At last ! Here's a brunette possessing
youth, beauty, and talent, plus a little some-
thing to make her different from any other
Hollywood star. Her name? Dorothea
Wieck — those who saw her in "Maedchen
in Uniform" will surely agree about her
high talent and loveliness.

We in England think her great, just for
that one performance. I prophesy a won-
derful future for her. Her sincerity will
make many a star appear weak by com-
parison. Some continental importations, I
know, have proved very poor ; but I am
convinced that this gift from Germany
will give us many hours of pure joy.

Gwendoline Southwood,

19, Chiltern Drive,
Surbiton, Surrey, England.

HE'S NUTTY BUT NICE!

Why don't we see more of the mirth-
provoking Charlie Ruggles ? In my esti-
mation he is the silver screen's best come-
dian. You can have your slapstick fat
men, and your cigar-chewing comedians ;
but give me Charlie any day. The others,
I admit, are all right in their own way ;
that is, if you happen to be in the right
mood. If not, their particular brand of

humor is apt to become boresome. But
one does not have to be in a certain mood
in order to enjoy the irrepressible Charlie.

This old world needs a dose of good,
hilarious laughter — laughter that will make
it forget its cares. And I advocate Charlie
as just the lad to administer it !

Beatrice A. Hargrove,
408 W. 130th St.,
New York City.

EVEN THE GREAT ARE
HUMAN!

We do need to know a lot about the lives
of our movie favorites. And it's not what
we learn that counts, but how we take it.

We need not go goofy with adoration
because they are beautiful, gorgeously at-
tired, gifted, charming, game sports, and
successful. Nor do we need to feel per-
sonally injured and betrayed to learn that
they are also human, sportive, decently
selfish, shrewd investors, and, of neces-
sity, self-centered and aloof.

Whatever else they are, they haven't
lacked courage or ability ; they haven't
shirked responsibility or hard work. And
that's why they are where they are.

Edna Geraughty,
1412 Central St.,
Kansas City, Mo.

A RABID RAVE FOR TRACY!

What if Lee Tracy were substituted for
Gary Cooper, Richard Arlen, Clark Gable
and Johnny Weissmuller? The motion
picture industry would be revolutionized,
that's what !

Not one of the aforesaid gentlemen can
compare with Tracy in any of his charac-
teristic impersonations. Don't those flutter-
ing hands fairly make you live the part
this Tracy lad portrays ? Don't those quick
glances and meaningful gestures make you
squirm in your seat with the thrill of ac-
tion ?

What this country really needs is more
Lee Tracys !

James W. Schulemann,
5309 Kennedy Ave.,
East Chicago, Ind.

Wide World

Dorothea Wieck, Hollywood's new "big gun" from Germany, meets a famous
compatriot on the Coast. Please note, you feminists, that Miss Wieck hasn't
gone "mannish," notwithstanding Marlene's example.

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SCREENLAND

Here's Hollywood!

Continued from page 66

Maureen O'Sullivan is all fresh and summery in her starched lace frock with or-
gandie flowers at the back of the belt, and her large-brimmed picture hat of white
straw. Note the wreath of patent leather leaves with patent leather trim which

adorns the hat.

HOLLYWOOD is a town of gossip and
rumors. This may be traced to the
fact that Hollywood is also the home of
thousands of famous people — people whose
names command newspaper banner-lines for
the slightest stories.

A group of writers dined in the Brown
Derby one recent noon. They discussed
rumors and revived many old and new ones.
All agreed that the three most amazing
and unbelievable fabrications now current
in Hollywood are :

That Rudolf Valentino is not dead, but
that another man is dead and the present
George Raft is actually Valentino.

That Maureen O'Sullivan was offered
freedom from deportation by immigration
officers if she would testify as to the con-
duct of a certain English writer.

That John Warburton is in fact the
Prince of Wales, enjoying a lark by ap-
pearing incognito in motion pictures.

Of course, like most rumors, all three
are absurd.

RICHARD ARLEN is guilty
of the following phonetic
spasm, which you may interpret
for yourself: "Eskimo Christians
and Italian no lies."

MY-O-MY, but are the studios becoming
polite ! At the magnificent Fox plant
in Westwood, genteel little signs beg
visitors and employees please to observe
studio rules.

Fifty neat little "Please let me grow"
signs spot the spacious lawns, and the score
of goldfish pools bear the sugar-coated
warning, "Thank you, we have had plenty
to eat." The studio police force is in-
structed to address everyone as "sir" or
"miss."

We may assume that even the customar-
ily brusque gatemen have been ordered to
curtsy before saying: "Pardon us, but you
can't enter."

rvOROTHY PONDELL,
make-up girl, will swear that
Marlene Dietrich is the nicest
woman in all Hollywood.

Marlene gave Miss Pondell a
beautifully mounted star ruby
as a goodbye gift before she
left Hollywood. The girl was
Miss Dietrich's make-up woman
throughout the star's contract
with Paramount.

OUT OF MY ENVELOPES: "Our
Conrad Nagel Fan Club is one of the
oldest and best," pens Mae Schepeck, presi-
dent, 1715 Stephenson street, Marinette,
Wis. "I have corresponded with Conrad
since March, 1923, and he has never failed
to co-operate with his club during the in-
tervening ten years."

"I saw Tallulah Bankhead's stage play
and I'm excited over it," writes Marion
L. Hesse, 154 Elm Street, Elizabeth, N. J.
"The camera never caught her personality
properly and none of her stories did her
justice. I hope she makes another movie
just to prove how stupid they were about
her in Hollywood."

Wilma Elliott, president of the Jean
Harlow Happy Hearts Chapter, Short
Falls, N. H., comments : "I saw 'State
Fair' the other day and now Lew Ayres is
one of my favorites. Doesn't it seem odd
that Janet Gaynor and Lew should be play-
ing together when both are among Holly-
wood's newest divorceed"

MARLENE DIETRICH'S fall from a
horse proved more serious than gen-
erally supposed ; it resulted in vertebrae
trouble . . . Bert Wheeler says those high-
front, long-back dresses look like winter in
front and summer behind . . . George
Bernard Shaw turned down John Barry-
more's request for a personal autograph . . .
Robert Armstrong has constructed a beer
garden in his own back yard . . . Benita
Hume, Una Merkel and Maureen O'Sul-
livan went in a group to purchase bicycles ;
the store owner became so excited he for-
got to pump air in the tires ... In Johnny
Weissmuller, Buster Crabbe, Richard Arlen
and Joel McCrea, the movies have a swim-
ming team capable of defeating the strong-
est Olympic team.

HAVE you wondered how many of the
stars acquired their stage names? So
have I, and one day I made inquiries with
these results :

Barbara Stanwyck discovered an old
theatre program of the play, "Barbara
Frietchie." The leading lady's last name
was "Stanwyck." By combining the two
names, Mrs. Frank Fay achieved Barbara
Stanwyck.

Jack Oakie went to New York from Ok-
lahoma. His friends called him Oklahoma,
but soon shortened that to Oka. Jackie
himself changed it to Oakie.

Fredric Bickel decided that printers
would make his name into Pickel. Seeking
a new name, he remembered that the month
was March, so he became Fredric March.

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The Smart Screen Magazine

'EENLAND

Ruth Bryan Owen Defends the Films
Joan Crawford Through Gonnie Bennett's Eyes

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SCREENLAND + o r Au gu st 19 3 3

WHAT A

FOOL

SHE IS!

^ostume jewelry
She Dotes on ^ ^ ^ tende,

M ^^;^;00th brush"*

she ha* P*

This young lady can't resist a flock
of gay bracelets — a daring pendant
— a dashing, unusual ring — any piece
of new costume jewelry which gives the
"different" accent to a smart ensemble.

Men notice things like that. She
knows that they notice! Then wouldn't
you think she'd also know that men
(and girls, too!) notice her teeth?

Her teeth look uncared-for because
they are so dull and grayish. Her gums

I PAN A

are so tender that they often bleed.
Her tooth brush shows "pink."

The Dangers of
"Pink Tooth Brush"

"Pink tooth brush" can happen to
anybody. Modern foods are soft, creamy.
Your gums are robbed of the natural
stimulation they require for health.
They become flabby, then tender. And
you find "pink" upon your tooth brush.

"Pink tooth brush" may not only
rob your teeth of their sparkle — it may

actually endanger perfectly good teeth!
It may even lead to gum troubles such
as gingivitis,Vincent's disease, and even
the dread though rather rare pyorrhea.

Clean your teeth with Ipana. Then,
each time, put a little extra Ipana on
your finger-tip or brush, and massage it
gently into your unhealthy gums.

Get a full-sized tube of Ipana. Use
it, with the gum massage, for 30 days.
Watch your teeth recover their bright-
ness-— your gums their firmness! You
can forget about "pink tooth brush."

^t^--^—^- \ BRISTOL-MYERS CO.. Dept. 0-83

^j^^^^b^q^^^jjgl 73 West Street, New York, N. Y.

^_ -1 5 ^^flB> Kindly send me a trial tube of IPANA TOOTH

7=-5 " \J O 33 O ^■P^ iffib PASTE. Enclosed is a three -cent stamp to cover partly

v**^^ C — • * O -J.i'^WWf the cost of packing and mailing.

^ \ 1 Z g JHBi ' Name

SiJrfS* ^.I^PP19^ s,n"

Ssf jlffZ^^Smtf^ City State

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

JUN ^9 1933

©C1B 194279

The Smart Screen Magazine

James M. Fidler, Western Representative

Delight Evans, Editor

Frank J. Carroll, Art Director

Mr. and Mrs. Arlen present Richard
Ralston Arlen in his first close-up.

OLD "DOC" STORK
VISITS THE ARLENS

SCOOP! SCREENLAND gives you
the first picture of Richard
Ralston Arlen, son of Richard
Arlen and Jobyna Ralston. Young
Master Arlen posed for the pic-
ture especially for SCREENLAND.
This budding star made his world
debut on May 17, weighing eight
and a half pounds. According
to Papa Dick the baby showed a
real actor's instinct in taking
pictures, posing freely and with
nonchalant poise. Arlen and
Joby have been married for seven
years — they're one of Holly-
wood's ideal couples and can be
pointed to with pride as proof
that movieland marriages aren't
so impermanent after all!

August, 1933

THIS MONTH

Vol. XXVII, No. 4

FEATURES :

COVER PORTRAIT OF GRETA GARBO Charles Sheldon

THE EDITOR'S PAGE. Clyde Beatty Delight Evans 15

JOAN CRAWFORD THROUGH CONNIE BENNETT'S EYES Hale Horton 16

GABLE! THE MOVIES SAVED HIM Ben Maddox 18

RUTH BRYAN OWEN DEFENDS THE FILMS Laura Benham 22

IS GARBO BLUFFING? James M. Fidler 24

THE ART OF MICKEY MOUSE Mortimer Franklin 26

THE HOUSE THAT LOVE BUILT. Jobyna Ralston and Richard Arlen S. R. Mook 28

DIVORCE OF DOUBLE STARS. Joan Crawford and Douglas Fairbanks, Jr. . William E. Benton 31

WHAT G. B. STERN THINKS OF HOLLYWOOD Betty Shannon 32

PERSONALITIES:

DISCOVERING A NEW LANDI 7

WHEN WEST WAS EAST. Mae West 11

JUST THE RIGHT TONE. Franchot Tone James Marion 20

A PLAY GIRL GROWS UP. Sally Blane Myrene Wentworth 21

AMES TO PLEASE. Adrienne Ames Evelyn Ballarine 30

THE "YOUNG" IDEA. Elizabeth Young Mortimer Franklin 34

ROBINSON ARRIVES Ida Zeitlin 51

HE'S JUST CRAY-ZEE ABOUT US. Henry Garat David Ewen 60

SPECIAL ART SECTION:

Notes for Your Movie Date-Book

Jean Harlow, James Cagney, Leslie Howard, Dorothy Jordan, Marlene Dietrich, Janet Gaynor, George
O'Brien, Ruby Keeler and Dick Powell. Beauty Abounding. An "At Home" Date With Loretta Young.
Lilyan T ashman's "Dated" Clothes. The Most Beautiful Still of the Month.

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 6

ASK ME 8

TAGGING THE TALKIES. Short Revieivs 10

HONOR PAGE 12

TAMING TEMPERAMENTAL SKINS. Beauty Margery Wilson 52

SCREENLAND'S GLAMOR SCHOOL 54

REVIEWS OF THE BEST PICTURES Delight Evans 58

RECORD AWARDS FOR RADIO GIRLS. Radio Evelyn Ballarine 61

HERE'S HOLLYWOOD. Screen News Weston East 64

FEMI-NIFTIES. Cosmetics Katharine Hartley 84

Published monthly by Screenland Magazine. Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must
be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us six weeks in advance of the next
issue. Be sure to give both the old and new address. Entered as second-class matter November 30, 1923. at the Post Office at New York, N. Y., under

the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1933.
Member Audit Bureau of Circulations.

Printed in the IT. S. A.

SCREENLAND for A 11 g U s t 193 3

A
Y
E
R

He thought he was tough and so did she. But
the tougher they are the harder they fall. And
how they fall for each other in "HOLD YOUR
MAN!" He thought he could let her suffer for
his sake. ..she knew she could do it and smile!
And what a climax! To the thousands who
were thrilled by "Red Dust" it's great news that
Jean Harlow and Clark Gable are together
again. M-G-M believes it is their greatest pic-
ture. You will, too! Directed by Sam Wood.

* The reproduction above of an original pointing of Clark Gable and Jean
Harlow by Symeon Shimin, is one of a series of Metro-Coldwyn-Mayer stars

SCREENLAND

The Public Be Heard !

Write, and the world writes
with you

Cary Grant's
''infectious
smile and de-
lightful person-
ality'' inspire
rhapsodies from
one of this
month's prize
letter-writers.
And who can
blame her? See
Cary in "The
Ea'gle and The
Hawk."

NO FUN TO BE GLUM!
(First Prize Letter in "Happy
Endings" Discussion)

It's fun to be fooled. I don't go to the
movies to be horrified or depressed. I expect
to be amused, entertained, "pepped up." Yes,
I know that life is not all sunshine and roses,
that people murder other people nearly every
day, that lovers are separated, and mar-
riages go to smash. But it doesn't help me
solve my problems to be reminded of it.
What people need right now is new hope
and new courage. Pictures like "I Am a
Fugitive," while dramatically absorbing and
realistic, can hardly be called inspiring.

We like to see dramatized the lives of
ordinary people who have problems like ours
and are able to work out a happy solution
to them. Please don't take away the happy
endings. We need to believe in them!

Esther M. Spore,
803 W. Washington St.,

Sandusky, O.

— NOR TO BE "BUNCO'D"!
(An Impressive Reply — Second
Prize Letter)

A motion picture is not even entertaining
to an intelligent person if the happy ending

is illogical. The most ridiculous pictures on
the screen, from an artistic standpoint, have
been those which dragged in by the ears the
reformation of some really bad character in
order to make a happy ending. There have
even been cases where historical truth has
been butchered to make a moviegoers' holi-
day.

A happy ending should occur only when
the plot permits it without straining the
probabilities. This, of course, is frequently
enough. Unhappy endings do not make pic-
tures uninteresting, provided they are the
inevitable result of the action. "Farewell to
Arms" was entertaining, yet its ending
could scarcely have been called a happy one.

Fred B. Mann,
5959 Kenmore Ave.,

Chicago, 111.

THOSE MOVIE MYTHS
(Third Prize Letter)

I like the movies !

Of course, I do wonder why they persist
in clinging to such absurd traditions as that — ■

All stenographers are slangy illiterates
from the slums ;

All cocottcs wear tight plaid skirts and
feather boas, and walk with one hand on
the hip ;

Oops! We certainly started something when
we asked you this question in the May iS3ue:

"Must a motion picture end happily to be
entertaining? Or should unhappy endings
be permitted for the sake of dramatic
truth?"

There are oceans of notions floating
around among our decisive readers on this
timely film topic. Some insist on getting
entertainment, and not heart-aches for
their admission fee. Others would hew to
the line of realism, let the tears fall where
they may. Still others call for a mixed diet
of sunshine and sorrow. But whatever their
attitudes, there are some new and arresting
thoughts in these letters from SCREENLAND
readers, and we print a few of the best here-
with.

The "rave-writers" are out in force this
month, too, hymning the glories of such
new and familiar screen artists as Cary
Grant, Mary Pickford, Franchot Tone, Diana
Wynyard. And good pickers they are, at
that! Nor is the general field of film discus-
sion neglected by our eager correspond-
ents.

Here's a dynamite-loaded question for
this month:

Which is more important in a female star:
beauty or acting ability? Should a leading
lady be a good actress first and a beautiful
woman incidentally, or vice versa?

You've run into this problem again and
again in choosing your film fare. Here's your
chance to voice your own private solution —
and don't imagine for a minute that the
producers won't read it! Your letters on
this topic, as well as on any other movie
matter you wish to discuss, will be eligible
for those tempting prizes of $20, $10, $5, and
$5 offered monthly for the four best letters.
Keep your letters within 150 words, and
mail to reach us by the 10th of each
month. Address the "Public be Heard"
Dept., SCREENLAND, 45 W. 45th St., New
York City.

All college youths have doddering white-
haired parents aged seventy ;

All old family servants have hearts of gold
but are not quite bright ;

All really smart young ladies smoke ciga-
rettes incessantly.

And I could go on like this for hours. But
still, I do like the movies !

Violet Sullivan.
1890 N. El Molino Ave..

Pasadena, Cal.

GRANT AND GLORIOUS!
(Fourth Prize Letter)

He really is tall, dark and handsome, to
use a well-known but oft-misused phrase.

He has an infectious smile, a delightful
personality, and a splendid speaking voice.

He has the magnetism of Clark Gable, the
flippancy and spontaneity of Bob Mont-
gomery, plus a charm all his own.

He is being discussed "over the teacups"
by gay young things, smart matrons, and
even grandmothers — a sure sign of coming
success.

And, finally, even Mae West has suc-
cumbed (cinematically) to his manly charms.

His name — how could anyone doubt it ? —
is Cary Grant !

Muriel Marks,
2104 Aqueduct Ave.,
New York City.

THE VOICE OF BEAUTY

Here's to Diana Wynyard's clear, lilting
English voice, a voice whose natural charm
and expression sing themselves into the
{Continued on page 97)

for August 1933

iscovering

A New
Landi !

Photograph hy
liny Jones

Why, look at
Elissa! She
looks like this
in her new and
exciting role of
a dancer in
"I Loved You
Wednesday

We are doing our little Columbus act
again! We are discovering a new Elissa
Landi right here on this page — the
glamorous girl you had a glimpse of in
"The Warrior's Husband" and whom
you will see more of in Fox's "I Loved
You Wednesday," in which she appears,
in some scenes, as you see her in this
picture. We know you will like her —
we do!

SCREENLAND

<vfSK

And you'll get the
right answer!

By Miss Vee Dee

Davies Dotcr. Your favorite has a new
film, "Peg O' My Heart," that I think you
will like. Her leading man is Onslow
Stevens, who made such a favorable im-
pression in "Once in a Lifetime." Marion's
real name is Marion Douras, she was born
in Brooklyn, and was a musical comedy
actress before going into pictures. She's
an M-G-M star ; she is one of Hollywood's
most popular girls, and her big white house
in Santa Monica is a show place. I don't
know how true it is that her next picture
will be "The Barretts of Wimpole Street,"
but I hear she wants to do it.

G. W. I have been able to round up two
actors who have black hair and grey eyes —
Chester Morris and Edmund Burns. Style
in hair and eye combinations seem to run
to black and brown with a sprinkling of
red and blue, just now. Charles Farrell
and Virginia Valli have been married since
Feb. 14, 1931. Colleen Moore and Gary
Cooper were the principals in "Lilac Time,"
produced in 1928 with a musical score and
sound effects. Constance Bennett and sis-
ter Joan were christened just that.

Helen J. S. So you've heard of me and
my shadow, 'way out in Santa Fe, N. M.
Kay Francis has black hair, grey eyes, is
5 feet 5 inches tall and weighs 112 pounds.
Watch for her in "Mary Stevens, M. D."
Jack Holt's latest releases are, "When
Strangers Meet," and "The Woman I
Stole." Jack was born in Virginia, the
son of an Episcopal clergyman. He is 6
feet tall, weighs 180 pounds and has brown
hair and eyes. His hobbies are polo, riding
and hunting. He has been on the stage in
stock and vaudeville, later entering pic-
tures through his ability as a rider.

Sue H. Our many M. S.'s (movie scouts)
get the latest news of pictures just about
to go into production — we tell you about it,
when whiz, bang ! the film has been shelved
and another has taken it's place. Anita
Page's recent releases are "The Big Cage"
and "Jungle Bride." Pretty girls like Anita
have many admirers and I can't say just
who the favorite boy-friend is, as the moon
shines over the mountain, a la Kate Smith.

Frances of Baltimore. Another round of
figures and oh, my word, what figures !
Marion Davies, Elissa Landi, Barbara
Stanwyck and Kay Francis are 5 feet 5
inches ; Juliette Compton and Lilyan Tash-
man, 5 feet 7 inches ; Claudette Colbert,
Irene Dunne and Thelma Todd are 5 feet
4; Adrienne Ames is 5 feet 4T/2. Wallace
Reid, Jr., the son of the beloved late Wally
Reid, is making his first screen appearance
as a grown-up lad in "Racing Strain."
Let's give the boy a big hand and a-plenty
of 'em.

Marion Da-
vies, Holly-
wood's most
popular
hostess and
favorite com-
edienne, in-
spired more
mail interest
in Miss Vee
Dee's depart-
ment than
any other
star.

G. P. F. Each and every day brings its
quota of Ann Harding mail and why not?
Ann was born August 7, 1901 in Ft. Sam
Houston, Texas. She is one of the leading
luminaries of the stage and screen, a beau-
ty, with a wealth of long ash blonde hair,
eyes of a clear blue-grey, weighs about 106
pounds and is 5 feet 2 inches tall. Ann was
the young girl artist and Myrna Loy the
wife of Leslie Howard in "Animal King-
dom." In "The Conquerors," Richard Dix
and Ann Harding co-starred with Edna
May Oliver and Guy Kibbee in support.
Her next release is "When Ladies Meet,"
from the stage hit by Rachel Crothers,
with Alice Brady and Robert Montgomery.

Chicago Movie Fan. Herbert Marshall's
most recent picture was "Evenings for
Sale," featuring Sari Maritza, Mary Bo-

land and Charlie Ruggles. Marlene Diet-
rich is to appear in "Song of Songs" with
Brian Aherne, Hardie Albright and Alison
Skipworth. Look out for the "new find" in
Joan Crawford's next picture, "Today We
Live." Franchot Tone — isn't that a glam-
orous name Or isn't it? With Joan and
Franchot, you'll see Gary Cooper, Robert
Young, Louise Closser Hale and young
Tad Alexander, who played with the Royal
Family (Ethel, John and Lionel) in "Ras-
putin and the Empress."

V. S. Your favorite, Alice White, born
August 28, 1907 in Paterson, N. J. She
has blonde hair, brown eyes, is 5 feet 2
inches tall and weighs 110 pounds. Watch
for her in "Dinner at Eight," the Metro
all-star cast picture, in which La White
gives one of her best performances.

for August 19 3 3

Boots Mallory takes on a sar-
donic, almost cynical character
under Wollo's penetrating pen-
cil. Such a sweet, unassuming
girl, too.'

A certain mellowness
tempers Jimmy Dunn's
usually hard-boiled
countenance when this
artist takes him in hand.
This smile is nice,
Jimmy — but don't forget
you're a diamond in the
rough when you get be-
fore the camera.'

Quick, Quaint Caricatures!

Presenting some of your cinema pals
as sketched by Wollo, Baron von
Falkenstein, clever caricaturist, at a tea
given for Dorothy Burgess by
Hale Horton

Left — our caricaturist discovers a
hitherto unsuspected sophistication
in Anita Louise's girlish features.

Right — Red-haired Helen Mack be-
comes serious, even slightly austere,
under the Wollo touch.

Left, below — Albert Conti — always a
good actor, though never in a lead.
Wollo gives him a properly Satanic air.

Right, below — Tom Brown retains his
characteristic boyish grin, with a bit
added, in Wollo's sketch.

And here's Dorothy Burgess, the guest
of honor. Is she pleased with her party?
"I simply Wbllo in it," she cries.

S C R E

E N L A N D

The Eagle and The Hawk
Paramount

This is what is more-or-less known as a
"man's" picture — all about aviators in the
world war. But girls will go for it, thanks to
the potent presence of both Fredric March
and Cary Grant. Jack Oakie, as usual,
hands out the comedy in his inimitable
style. There's a minor romance between
Carole Lombard and Freddie. Good acting
prevails, with some exciting air scenes.

Tagging

the

Talkies

Brief ratings of current
screenplays. Make this
your cinema guide

Delight Evans' Reviews on
Page 58.
More Reviews on Page 97

The Little Giant
First National

Here's your old pal, Little Caesar, all
dressed up and going places! No — it's not
another gangster melodrama, but sure-fire
comedy with a brand new idea, and just
enough thrills to provide piquancy. Edward
G. Robinson is capital as a racketeer who,
when beer comes in, goes out of "business"
and retires to enjoy high life. Mary Astor,
Helen Vinson for pulchritude appeal.

The Silver Cord
Radio

An intelligently handled, entirely absorb-
ing story of a mother jealous of her sons'
devotion to any woman other than herself.
It's a "different" kind of menace, and Laura
Hope Crewes plays it excellently. You'll
like Irene Dunne, too, as the young daugh-
ter-in-law who rebels and thereby preserves
her happiness. Joel McCrea, Frances Dee,
and Eric Linden are worthy support.

Diplomaniacs
Radio

This is just a wrong number for Wheeler
and Woolsey. The story drags, and the gags
are weak with age. It seems that the boys
are delegated by an Indian tribe to attend
the peace conference and make the diplo-
mats stop fighting. Some song-and-dance
numbers, and a chorus of snappy Indian
maidens, help matters somewhat. Marjorie
White and Phyllis Barry for heart appeal.

India Speaks
United Artists

You knew all along that Richard Halli-
burton, the boy Columbus, would wind up
in the movies! Here he is, as chief actor and
narrator in a travelogue of India and Thibet.
Though some of the picture bears the obvi-
ous stamp of Hollywood, as a whole it is
fairly interesting. Daredevil Dick reveals a
pleasing voice and an acceptable screen
presence in his first picture attempt.

The Kiss Before the Mirror
Universal

Here's the most interesting variation on
the "Jealous-Husband-Murders-Unfaithful-
Wife" theme that has been screened in a
long time. This time it is treated from a
psychological angle, with some unusual and
dramatic twists in the plot. Paul Lukas
plays the murderer; Frank Morgan is his
lawyer friend who defends him. Nancy

Carroll is impressive as Morgan's wife.

The Story of Temple Drake
Paramount

Passion and death among the backwoods
beer-runners, as filmed from Faulkner's
sensational story. Much of the tale's
macabre quality has been removed by
Hollywood's dry-cleaning process, however,
and the result is a rather routine "meller."
Miriam Hopkins does an understanding job
as Temple, and Jack LaRue is first-rate as
literature's meanest scoundrel.

I Cover the Waterfront

United Artists

This is Ernest Torrence's last picture; and
it is, fittingly enough, his very own in large
degree. It's an exciting yarn of West Coast
smuggling, with Torrence as a tough old
law-breaker whom Ben Lyon tracks to his
doom. A typical Torrence role, and he made
the most of it. Ben is plausible as a crusad-
ing reporter, and Claudette Colbert is her
usual lovely self as the girl.

for An grist 19 3 3

1 1

When West Was East

She went shop-
ping, and we are
showing Mae's
new clothes on
this page. Do
you like your
Mae modern or
Gay Ninety-ish?

Above: No bustles for Mae when
she's out of camera range. Here's
the gal in a black cire lace dinner
gown. The frock ends in a series
of black tulle ruffles. Mae's
matching jacket is of cire and
tulle as is her evening hat.
Doesn't she look different from
the "Lady known as Lou" in "She
Done Him Wrong?"

Mae goes formal on us! Above,
she is wearing an original Main-
bocher evening gown. Decidedly
feminine is this billowy black and
white mousseline de soie gown, with
black cog feather jacket and
muff. This and the two other
gowns are by Sady Z. Weiss. The
voluptuous West plays a circus-
lady-lion-tamer in her next re-
lease, in which Clark Gable may
be her leading man.

"I'm No Angel" — no, we're not
quoting Mae — that's the title of
her next film. Anyway, how do
you like her lacquer-red velvet
evening wrap? The sleeves of the
wrap are very full and a wide bor-
der of white fox enriches the cos-
tume. Miss West's evening gown
is white satin with a strass em-
broidered belt.

SCREENLAND

Joan Blond ell, bright
particular star of the
new and spectacular
screen musical. Joan
has an opportunity to
prove her versatility
in this picture; she is
not only her usual
gay and sparkling self,
but she also demon-
strates that she can
play an emotional
scene with the best of
the Hollywood sob-
bers — and when she
leads the "smash"
number of the show,
"Forgotten Men," she
practically tears you
to pieces with her in-
tensity. It takes a
personality like Blon-
delfs not to be lost in
such a stellar
riot as "Gold
Diggers of
1933."

Here is a scene from the most lavish musical number the
movies have ever shown you — Pettin' in the Park. Hundreds
of girls and boys, hummable music, brisk comedy, and
beauty, beauty everywhere. We predict that Pettin' in the
Park will run through the summer!

for August 19 3 3

Honor Page

Dedicated to the greatest all-star cast
of the month — and this means not
only the "name" players, but the amaz-
ing chorus, the shapeliest and spright-
liest ever seen on the screen

Left, Aline McMahon.
Joan Blondell, and Ruby
Keeler, the three so-
different heroines of this
big music-film.

Above, the charming romantic stars
of "Gold Diggers of 1933." Ruby
Keeler proves that her hit in "42nd
Street" was no accident. Dick Pow-
ell becomes head man of movie
musicals. Here is a boy with a real
voice, and that personality some-
thing that makes girls stay to see the
picture through twice.

Bouquets for Blondell,
Keeler, Aline McMahon,
Dick Powell— and all the
other grand troupers
who make "Gold Diggers
of 1933" the top in enter-
tainment!

SCREENLAND

Lovely women use this Soap — Camay—
to Win their daily Beauty Contests!

There is something infinitely appealing about the girl whose skin is fresh and lovely.

A compliment from a friend is a clue to
what others think of your beauty. And if
praise and graceful attentions come but
rarely, perhaps you had better look at your
skin and seriously think about changing
your beauty soap.

It's the clever girl who helps her beauty
by letting Camay, the Soap of Beautiful
Women, help her skin. Your features may
not be perfect. Yet your skin, if it is clear
and lovely, can contribute so much to

your charm! And creamy-white Camay
is made to order for the feminine skin.

THE "GOOD TASTE TREND" IS
ALL TO CAMAY

With every passing day, thousands of
women are changing their old soap habits.
They're going modern— taking up Camay.

You'd expect Camay to cost more than
other soaps. It doesn't — it costs you less.
Check that up — and get a supply today!

Need it surprise you when we say
that you — like every other woman
in the world — are in a Beauty Con-
test every day you live? Surely you
will agree that the curve of your lips,
the expression of your eyes — the
very coloring and texture of your
skin, are seen and judged when-
ever other people look at you.

• Apply Camay's caressing lather to your
face with a soft cloth and warm water.

Rinse with clear, cold water. Then
feel how refreshed it leaves your skin!

• Camay is creamy-white and pure —
delicate on the skin and fragrant in
your bath. It comes protected in Cello-
phane and yields gentle, profuse lather.

Copr. 1933, Procter & Gamble Co.

CAMAY

THE SOAP OF BEAUTIFUL WOMEN

for August 19 3 3

1 5

Clyde Beatty in action in "The Big Cage." In an-
other minute he'll have this tiger rolling over and
eating cut of his hand. In the circle, a close-up of
Clyde.

bj 1

I'VE met screen stars and prize fighters, Pulitzer
prize winners and Broadway beauties. I've
even met Sidney Franklin, the bull-fighter from
Brooklyn — and there's a grand guy. Greeting
Garbo, meeting Dietrich, knowing Pickford and Chap-
lin and Fairbanks — fun; but somehow, life was in-
complete. I had never been behind the scenes at a
circus.

The movies and the circus, you see, are rival attrac-
tions. I could get into film studios, but I had no pass
to The Greatest Show on Earth. And that hurt. I
could never boast about having met the Ronald Col-
man of wire- walkers; of having shaken the hand of
Clyde Beatty. And then the movies, the good old
movies, came to my rescue. Beatty himself — "the
world's greatest, youngest, most fearless and famous
animal trainer" — was signed to make a film, "The
Big Cage." And that put Mr. Beatty right in the
palm of my hand. When his circus played its New
York engagement in Madison Square Garden, I was
there, without even the excuse of taking Jackie
Cooper.

Mr. Beatty is the shining light of the world's big-
gest circus with his act of forty lions and tigers of
mixed dispositions and sexes. He is still intact and
still has his sense of humor. He has not, however, all
his original lions and tigers. Working with Mr. Beatty
puts quite a strain on the animals and they often have
to give up and retire, or sometimes just give in. After

watching him crack his whip and fire his "blanks"
and make his star tiger roll over, and hearing the ap-
plause while he took his bow, I went around behind
the scenes to meet him — isn't that something? It was
fun catching glimpses of the Oriental lady who swings
by her hair, handsome wire "artistes" and bareback
riders, hearing assorted roars and growls — but I was
meeting the star, and there he stood, a compact young
man with the bluest eyes and the whitest teeth I have
ever seen.

Emily Post doesn't tell you what to say when meet-
ing the world's youngest and most fearless animal
trainer; so I said, "I'm tired out watching your act."

"Then how do you suppose I feel?" grinned Clyde
Beatty.

But he didn't look it. He is a dynamic young man,
with no stellar swank. I've met actors who take their
close-ups seriously. Not Mr. Beatty. He has the
world's most dangerous job, with the possible excep-
tion of Sidney Franklin's; but he is calm, calm, and
self-possessed. He likes his work and would be bored
doing anything else; but he is very modern and admits
freely that his celebrated "hypnotic stare" stunt, tam-
ing the tiger by looking straight into his eye, is only
an act. Just the same, when Mr. Beatty gives them
that gaze, lions and tigers do what he tells them. This
man is like that.

"Yes, I liked making 'The Big Cage' for Universal

(Continued on page 96)

SCREENLAND

Here's Connie,
who dissects Joan
for you! When
you look at those
big blue eyes, you
know that what
they see is bound
to be exciting and
honest.

The most amazing story
you have ever read ! La
Bennett intimately re-
veals her friend Joan

Hale Horton

7ide World

The girls together.' Note the differ-
ence between Connie's calm poise
and Joan's shyness. The scene is a
movie opening in Hollywood.

ERE'S a story about the
most unusual friendship
in Hollywood. A friend-
ship exemplifying the
attraction between diametrically op-
posed forces; the friendship be-
tween Constance Bennett and Joan
Crawford.

This friendship had its inception
back in the days when Connie and
Joan were making "Sally, Irene
and Mary." Connie already had
stardom. Her name was known
from coast to coast. She possessed
glamor, wealth, sophistication and
social position ; while Joan, on the
other hand, was a comparative no-

body. Gradually Joan fought her
way up in the world. She and Con-
nie were thrown together more
often, but it was only a year and a
half ago, while both were making
pictures on the M-G-M lot, that they
developed a friendship sincere and
lasting — a friendship that serves me
as a never-ending source of amaze-
ment, for two more opposite types
of women would be difficult to find.

On the one hand you have Connie
Bennett, whose champagne wit and
inherited talents enabled her to at-
tain stardom in spite of the handicap
of being born into the enervating at-
mosphere of wealth and renown ;
while Joan, born with no advantages
whatsoever — neither material, men-
tal, nor spiritual — is attaining a true
success only after a terrific heart-
breaking struggle ; by sheer power
of will she dragged herself from
poverty to stardom.

While both have overwhelming
sex appeal, they attract for entirely
different reasons. Their beauty con-
trasts vividly. Connie's appeal, il-
lusive though it is, shields a silkenly
thunderous woman. Her terrific en-
ergy seems to express itself only in
lightning-like bursts of words and
in the vivacious snapping of her
blue-gray eyes as they pierce your
consciousness with the clarity of
their intelligence ; and the warmth
of her rare sudden smile only en-
hances the fragile beauty of her pale
face, so adequately framed by that
spun gold hair of hers. Indeed,
Connie Bennett's allure s so ex-
quisitely intangible that no artist

for August 19 3 3

Joan

Crawford

through

Connie
Bennett's
Eyes !

Here's Joan, whose character, temperament, and
talents are frankly and fully laid bare by Con-
stance Bennett. Below, Joan with her pet Scot-
tie, "Sadie Thompson."

could hope to catch its real value unless his brush were as
subtle as a woman's soul. On the other hand you have
the dusky, primitive Joan Crawford whose flaming aban-
don has won her hundreds of thousands of loyal fans.

Now let Connie give you a piercing word sketch of
her friend, Joan Crawford. Let her tell you why Joan
is to be admired more than any woman in Hollywood,
why she values her friendship so highly.

It so happened that shortly before Connie left for
Europe on a freighter with her husband, Henri de la
Falaise, we were discussing this friendship between Joan
and herself, and as usual the conversation wove around
to the ever-present rumors concerning Joan and Doug's
marital difficulties. After a long moment of thought
Connie remarked, "In spite of the rumors I don't know

of any good
reason why they
should actually divorce.
But if they finally see the
necessity for it, I am sure they will
separate quietly and with dignity. And
in the meantime why worry about it?"

Subsequently, when Joan and Doug finally sepa-
rated, they did so in the manner that Connie had pre-
dicted ; and she refuses to comment further on the
subject, other than this: "Joan's marriage taught her
the art of leisure. Having found leisure she used it for
thinking — and the more she thought, the more her aware-
ness of the world was intensified, as was the awareness
of her many-sided nature. Joan {Continued on page SO)

Screen land

GABLE!

Here is that NEW
slant on Clark you
have been waiting to
read ! It's refreshing-
inspiring !

Ben Maddox

You have been reading about Gable for several years now,
and perhaps you have wondered if there is anything dif-
ferent to find out about him! Here' s your answer, in this
story. Ben Maddox has discovered a brand new angle on
the screen's most romantic actor. You'll like it.

UST like a story-book !"

That's the way Clark Gable describes his pres-
ent life. It is lavish with happiness. Love, fame,
and financial security — everything for wltich he
has schemed and struggled for years is his.

He is being rushed from one epic to arjother these
days. If he isn't in the cinematic embraces or'La Harlow
or Helen Hayes, he's preparing to yearn at Joan Craw-
ford.

I found him getting torchy with the platinum-tressed
Jean. They were putting the polish on a super-hot love
sequence in "He Was Her Man,'' for the ultimate bene-
fit of we who, along with Mae West, appreciate the
elemental thrills.

"You hear a lot about stardom bringing disillusion-
ment and discontent '-' he told me when he came off the
set after •' ak'e" w finished, and the director,

cameramen, and electricians began the usual mysterious

Gable Smashes
a Few
Hollywood Traditions <

-•I has Sky.rockete(J saved
°-> «cicing atm ™ "to a glamor.
once worked i„ t" Ke""»ter I

™« ioj;;;or,es;ndoi]-^-

StaSe. I'll never at J t0 tile

in P-tures. Sta " TV
e-telv seek unh.pZess 8 °* ^
C "I haven't had £ •
Hollywood iXZ * ny 'M<*°'
marriage. On +u *S reSards mv

has b-n a°;o h; — ry, Houvwoody

G*bl* and myS°J{ TfnCe f°r **■
doser toother, if th\\ bl"°USht «
that were possible."

conferring that goes on lengthily between shots.

"I've read many of those touching tales of how Holly-
wood ruins the lives of the people it favors. How the
lucky pay and r ' Br their brief moment in the spot-
light! Hd*4'

"Personally, "f Mate has been very different. Instead
of upsetting my equilibrium and wrecking my private
affairs, Hollywood has literally saved me!-'

The engaging Gable grin, that healthy, generous smile

for August 19 3 3

The Movies SAVED Him.

which instantaneously lights up his handsome face, grad-
ually faded as he became utterly serious. Thoroughly
sincere, Clark does not talk of his current good fortune
in a shallow manner.

"The movies have rescued me from a life of wwhappi-
ness. I was blue and discouraged when I had to lead
a humdrum, commonplace existence. When I had to
work at whatever was at hand. When I was only an
extra and even when I was playing leads on Broadway.

"I dreamed of doing exactly what I am doing now.
And I had to suppress those desires for fear of being
laughed at! Hollywood has sky-rocketed me into a
glamorous, exciting atmosphere and I'm one actor who
doesn't want to get away from it all.

"It's an artificial life here, no doubt. But a person-
with an inherent theatrical streak thrives on beautiful
illusions \"

He mused silently for a moment.

"Remember I once was a time-keeper in a
rubber factory in Ohio ! I worked in the
Oklahoma oil fields and heaved logs in Wash-
ington. To say nothing of collecting for
classified ads and for the telephone company
in Portland, Oregon. That's when I felt low !"

That Clark has retained his common sense
is the most surprising thing about him to me.
Especially since his individual brand of mas-
culine appeal registers as strongly in person
as on the screen and the local girls-about-town
have pursued him diligently. With admirable
modesty he appears oblivious to the effect he
creates.

"It seems to me that the stars whose lives
are 'spoiled' by Hollywood are responsible
themselves for their troubles. I think they
'pay' for their prominence by being lured into
considering their prominence so gravely that
they let it make ness of their personal con-
duct."

Acclaimed universally as today's most ro-
mantic male, Clark is human enough to be
secretly pleased with winning applause. But
not for one minute is he deluded by the pas-
sionate adulation.

"I can't kid myself," he continued after the
director had put him through another flaming-
session with Jean. (If you get a wallop from
their film embraces in your favorite theatre,
you ought to come around and see 'em some-
time— on the set. When Gable emotes with
Harlow sex marks the spot ! )

"I can't begin to explain how much I appre-
ciate my luck. It's a break that comes to few,
this chance to live a story-book life. And
I'm trying my best to prove worthy of the
interest the fans have shown in me.

"But I realize perfectly that this popularity
won't go on forever. That keeps me from
worshipping my career above all else. The
day will materialize when my so-called vogue
will be over. How long do I e?, fo last?"
He shrugged his shoulders. Prou^,_
ing, as Miss Garbo would tersely puf
can tell?"

Clark declares be is positive that he is no
t since he knows it he'll
lea that he's indispensable.

"That's the complex which drives stars haywire. They
believe the flatterers and are finally convinced they are
'immortals.' When they make all sorts of foolish sacri-
fices to preserve their 'fame.' No wonder some of them
are miserable in the midst of all their plenty!"

Holding on to his stardom when the tide has turned
is one thing he plans not to do.

"When studio long-term contracts are no longer avail-
able I'll return to the stage. I couldn't sit idly twiddling
my thumbs, of course. I'll never attempt a 'come-back'
in pictures. It's my theory that you should ride the crest
of the wave and then quit. Stars who hang on deliber-
ately seek unhappiness !

"However, a star should argue for good roles. Parts
break as well as make. While you can't avoid all the
wrong parts, you can object so forcefully that they'll
be relatively few and far between. M-G-M has treated
me very kindly on this score." (Continued on page 74)

mean-
"Who

"Hold Your Man!" Meaning Jean Harlow's man in the new
motion picture of that title; and meaning ^ million other girls'
favorite screen actor. This new ph- cgrapl*. -nade on the "set,"
shows you the real Gable — engaging, healt handsome, and

thoroughly sincere. ' vj

if- <.

% V

SCREENLAND

.■"■f.e

Franchot Tone and Mata Hari! Yes — Franchot really named his dachshund after
Garbo's screen character. But Mata is no spy.

IETTERS, letters, letters
about this Franchot
i (pronounce it Fran-
show) Tone. Fans,
readers, editors — all wish to
know who he is, where he
came from, what he has
done.

I met this new screen sen-
sation at a dinner party in
Joan Crawford's home. She
had previously eulogized him
and insisted that I meet him immediately. At the time
he was working opposite Joan in "Today We Live," his
first motion picture, and she was enthusiastically singing
his praises.

I was not particularly impressed at first meeting. He
seemed too decorous to be interesting. He is a quiet,
modest young man with a beautiful command of the
English language when he uses it! I emphasize those
words to stress the fact that Tone is not loquacious. On
first acquaintance he rarely speaks unless he is addressed,
and on those occasions his answers are monosyllabic. Not
until we talked together a half-dozen times did he de-
velop what remotely resembles a conversational streak.

To illustrate his taciturnity. On the occasion of our
introduction I attempted to make conversation in my
usual expansive manner.

"I understand you were born in Niagara Falls, that
your father is a big business executive, and that you are
a college graduate," I said, wishing to know the worst.

"Yes," he answered, looking at me steadily.

"Yes, what?" I demanded, still eager to learn.

"Yes to all three accusa-
tions," Tone mumbled, and
that was his longest speech
of the evening!

Before I leave the subject
of Niagara Falls, may I in-
terpolate a chuckle at Tone's
expense ? As a boy Franchot
(he never had a nickname)
and his companions often
amused themselves by teasing
obvious newlyweds. They
would station themselves in groups on opposite sides of
Niagara's public thoroughfares, and when a blushing
bride and groom appeared, one group would shout across
to the other, "Here is that new pair of honeymooners."
Many an embarrassed bride fled before such public proc-
lamations, and more times than one Tone and his friends
were forced to flee from the onsets of furious grooms.

I asked him about his life's romances and he denied
even a slight interest in love. As a resident of Niagara
he saw so many mushy honeymooners, he said, "that the
very thought of marriage turns my stomach."

Franchot expressed his alleged disinterest in love some
time before Joan separated from Douglas Fairbanks, Jr.,
a move that immediately established Tone as head-man
with Miss Crawford. Now he sends her flowers, candy,
and gifts in myraid numbers. He escorts her to the
theatre, dances, restaurants, fairs and circuses. Strange
behavior for a young man disgusted with love, what ?

I wouldn't be at all surprised if Franchot doesn't
actually burst into six-to-ten- word speeches in Joan's
presence. A lovely woman can (Continued on page 95)

Close-up of the clever young
man you all want to know about
right now

James JSAarion

for August 1933

Wide H'oWd

Most of the stories about Sally Blane begin
and end with the fact that she is the sister
of lovely Loretta Young. Of course she is,
but that's not all! Sally is a Hollywood
belle, a clever actress, a beauty — and, if
you'll look at the picture above, you'll see
that she seems to be completely captivat-
ing the handsome young Earl of Warwick.
But she says there's no romance.

A Play Girl Grows Up!

THE story of Sally Blane is one of the most
unique in Hollywood. It is not a sensational
story — rather, it is a natural, warmly human little
tale, easily ignored in a town replete with tales
as unusual as they are fantastically true.

Five years ago Sally was one of the thirteen Wampas
Baby Stars. Which means that in the slightly hard-
boiled opinion of that organization of publicity men,
she was one of the newcomers to the screen considered
most likely to succeed during the following years.

Barely nineteen, with a warm and luscious beauty,
talented besides, Sally faced a future roseate with dreams.
Fame, fortune, and accomplishment stretched before her
in an enchanting vista. The world was her oyster to
open as she willed. From it, she might even
be able to wrest prizes for her sister Polly
Ann Young, already working in pictures, and
her younger sister Loretta, still in school.

Today, Sally works infrequently, usually in
roles of secondary feminine importance in
major productions, or in lowly Westerns. It
is not without a struggle that she obtains even
such parts.

Yet today, Sally is lovelier than ever.
Certainly still very young, her wide grey
eyes are clear and eager. Her skin, tanned
to the hue of golden honey, just as fresh. Her
body just as slim. Besides, the years have
added a gift of soft maturity and depth of
character, have sharpened her perceptions,
improved her acting ability.

Why, then, has Sally failed to live up to
that early promise? Why has she failed to
justify the potentialities manifest in her first
appearances upon the screen?

Her story might (Continued on page 86)

Yes, she's Loretta Young's sister,
but she's also a starlet in her own
Read about Sally Blane
on her own !

right

Myrene Wentworth

A Hollywood "sister act" that is genuine and real. Loretta
Young is proud of her pretty sister Sally Blane. They are two of
the screen colony's most charming youngsters. Sally made her
movie debut in "The Collegians" — remember?

SCREENLAND

Ruth

Bryan
Owen

defends the

Films

Ruth Bryan Owen, daughter of
"the Great Commoner," William
Jennings Bryan, and first woman
ever to be appointed to a major
diplomatic post, is one of Amer-
ica's most distinguished figures.
Just before leaving for Denmark
to assume her new duties Mrs.
Owen gave SCREENLAND her very
modern and independent views on
the screen, which we publish
with considerable pride and pleas-
ure on these two pages.

'OTION pictures are
the greatest poten-
tial force the world
has ever known !
Their opportunities for achieve-
ment are limitless !"

Ruth Bryan Owen, envoy
extraordinary and minister
plenipotentiary to Denmark
from the United States of
America — first woman ever to
be appointed to a major diplo-
matic position — paused in her
preparations for departure to
the Land of the Midnight Sun
to grant to Screenland the
first and only interview she
has ever accorded a motion
picture publication.

"To begin, I want to remind
you that my opinions about the
screen are those of an outsider
— an observer. I do not pre-
tend to know anything of the
actual mechanics of picture-

Ruth Bryan Owen says: " 'Cavalcade' is a
marvelous panorama of English history. I
should be happy to see a similar record of
America made and shown all over the
world." Above, a scene from "Cavalcade"
with Clive Brook and Diana Wynyard.

Screenland is proud
to present the first
and only interview
on motion pictures
ever granted by
America's gracious
woman diplomat !

Laura Benham

making. That is not within the
scope of my business.

"But I go to the movies and
I like them. More than liking
them, I am intensely conscious
of the mighty power they wield.
And I have very real and defi-
nite opinions about what they
should mean — what they could
mean — to the world.

"For the screen is a composite
art, combining the best features
of all other arts — and it is a far
more powerful medium than any
or all of the others. Because it
is more universal and more far-
reaching.

"Any art — a real art — is in-
ternational. A people of any
race or creed can appreciate
beauty whether it be in a paint-
ing, a piece of sculpture, or a
glorious song. But heretofore
only a limited number have been
privileged to enjoy these things.

for August 19 3 3

-5

Wide World

ATTENTION, HOLLYWOOD!

C[ "There are two important things that motion pictures can
do. They can become historical documents, both of the past
and of the future; and they can portray the human heart.
And in doing both, they can become an increasing power not
only in this country, but all over the world.

H "Other nations judge us by our motion pictures. They be-
lieve that we are exactly as we are portrayed in our films.
It is obvious therefore that we should try always to give
them a picture of the real people of America.

41 "Censorship is merely a remedy offered to cure an illness
that exists. The illness being questionable pictures. If films
can be brought to the point where they measure up to ac-
knowledged standards of accuracy, integrity, and honesty,
there would be nothing in them to censor — and censorship
would die."

Ruth Bryan Owen

Above, the First Lady
and the first lady dip-
lomat of America: Mrs.
Franklin D. Roosevelt
and Mrs. Ruth Bryan
Owen, in an informal
moment at the formal
farewell dinner for Mrs.
Owen. You will re-
member that SCREEN-
LAND published Mrs.
Roosevelt's first inter-
view on the subject of
motion pictures.

Celebrities! Honoring
Ruth Bryan Owen on
the eve of her departure
for Denmark were
Amelia Earhart Put-
nam, Dr. Otto Wadsted,
Danish Minister to
America, and Fannie
Hurst, noted novelist.
Mrs. Owen, by the way,
has been for several
years a popular "news-
reel star" — she pos-
sesses much of the
personal magnetism
of her famous father.

"Everyone is not able to visit the Louvre or attend
the Metropolitan Opera. Everyone can see a movie.

"Motion pictures are viewed all over the world, in the
cinema palace of the metropolis and in the simple theatre
of the remote village. Their message is translated in
every language. Therefore, it is vitally imperative that
this message be the right one !"

Mrs. Owen paused for a moment to welcome one of
her oldest and dearest friends, Fannie Hurst, the writer.
Miss Hurst had arrived not only to visit with her friend
through many years, but also to pay her respects to a
woman who has accomplished much — a woman, though,
who is admired not only for her ability but loved for
her warm heart and never-failing graciousness.

For Mrs. Owen is a conspicuous illustration of the
fact that though a woman enter what has always been
acknowledged a man's game, she need not lose one whit
of her womanliness and feminine charm.

Tall, majestically-proportioned, with softly-greying
hair and alive blue eyes which crinkle with interest as
she talks, this daughter of the "Great Commoner," Wil-
liam Jennings Bryan, is one of America's outstandingly
successful women.

Born in Jacksonville, Illinois, about half a century ago,
Mrs. Owen was reared in the conventional mould pre-
scribed for sheltered daughters of that era. Later, when
life ordained that she earn a livelihood, she followed the
call of her heritage and entered public life, eventually
emerging from the politcal maelstrom as Congresswoman
from Florida.

After acquitting herself well for several terms she lost
her seat last year, only to be accorded the signal honor
of her appointment to her present post.

Ensconced in the Presidential suite of the Waldorf-
Astoria in New York for the week before sailing, Mrs.
Owen attended to the myriad last-minute details and

managed to find time between her personal and diplo-
matic duties to voice her views on motion pictures. To
voice them in soft yet determined tones, in a leisurely
manner, unruffled by the numerous interruptions — many
of them annoying — a few of them delightful, as for in-
stance her vist from Fannie Hurst.

When she concluded her talk with Miss Hurst, Mrs.
Owen returned to her chair beside me and continued our
conversation just where we had stopped.

"There are two important things that motion pictures
can do. They can become historical documents, both of
the past and for the future — and they can portray the
human heart. And in doing both, they can become an
increasing power, not only in this country but all over
the world.

"Already there have been some pictures which are ac-
curate documents of the past. Films such as 'Alexander
Hamilton' do more to make history live and breathe than
any textbook ever written.

"That film combined the qualities of good literature
with the visual vitality of life. After seeing it, one left
the theatre feeling familiar with the actual man that was
Hamilton and with the other characters who walked
with him.

"Even the silent picture of a few years ago, 'The
Covered Wagon,' imbued with life our long-dead for-
bears who crossed the plains and built up this nation.
More recently, 'Cimarron' achieved the same reality.

"Though produced in this country, 'Cavalcade' is a
marvelous panorama of English history. I should be
happy to see a similar record of America made and
shown all over the world.

"For such a film is of international value ; it is a true
picture of events that actually occurred, events that were
part of the building of an empire. And it would be a
wonderful thing if the history (Continued on page 78)

SCREENLAND

Is G A R B O

BLUFFING?

James M. F idler

"G. G."

If you are not prepared to be
surprised, stimulated, and, per-
haps, shocked— then do NOT
read this great new Garbo story!

S Greta Garbo bluffing?

I believe she is. In my opinion her
"melancholy dame" pose is just so much
apple-sauce brewed by the statuesque
blonde for the purpose of box-office stimula-
tion.

I do not believe she likes America. I am
positive that she thinks even less of the motion
picture industry. I sense
that she is masquerading be-
hind a poker-face and that
she may be laughing at the
producers who are paying
her an astounding salary
and at the public which is
paying many times her
salary to see her pictures.

I am making no attempt
to hurt Garbo. I do not be-
lieve it possible to hurt her
in the eyes of her loyal fol-
lowing. Surely, if cruel
radio'd and published jests
about her personal appear-
ance, and if that movie bur-
lesque titled "Nothing Ever
Happens" — (a satire of
"Grand Hotel") — cannot in-
jure the Swedish star, then
no such friendly-frank dis-
cussion as my own will
dampen the ardor of her fans.
There is no "mystery" surrounding Garbo— -
none that she has not manufactured to suit her
own whims. She is not aloof, as the world is
lead to believe. She attends Hollywood social
events whenever she feels like lending her pres-
ence to such occasions. She does not retire behind
stone walls and defy the world to find her, as her
press agents so often aver.

Garbo has refused to be interviewed by the press.
Whereupon that press chooses to treat the actress as a
mystery. As a matter of record, she is no recluse. She
declines to be interviewed simply because her very wise
business manager suggested such refusal as a clever pub-
licity ruse.

Does that wise manager realize also that Garbo is not
good interview copy? Perhaps Greta may think rapidly

I
i

for An gust 19 3 3

Wide World

in her own language — who but another
Swede may say, and I am no Swede.
But Garbo does not think rapidly in the
English language. Possibly this is be-
cause she must transpose English words
into Swedish before she can understand
their full import. Then she must frame
her Swedish answer in Anglo-Saxon
phrases. All of which takes time — and
what a sharp interviewer might do to
Greta by clever manipulation of words
may easily be imagined!

Garbo does talk. In her slow, gut-
teral voice she talks as freely as other
human beings. I have been in the same

International

Rare photographs of Garbo!
The large portrait above was
made of Greta in New York
when she first landed in Amer-
ica from Sweden in 1925, on her
way to Hollywood . The close-
ups in the circles show other
Garbo photographs from the
same early sitting.

Left, Garbo as she arrived in this
country from her recent long
vacation in Sweden. This was
the occasion on which she told
reporters she was glad to be
back — and seemed to mean it.
And then she retired into her
customary seclusion.

"■9S

Wide World

rooms with Greta when she mingled with other people and I have
heard her engage in conversations as freely as others surrounding her.
On such occasions I have never heard any gems of wisdom emerge
from her lips ; on the contrary it has always seemed to me that she
has said nothing of particular importance.

She knows little about the United States aside from California and
the motion picture industry. When first she came to Hollywood the
woman did not know what a lion is ! When she was requested to pose
for publicity photographs with one of the beasts, she inquired:

"Lion ? What iss dos animal ?"

Now do you perceive the wisdom of the business manager who cau-
tioned the Swedish actress not to talk?

There was a period following Greta's arrival in America during
which she was most anxious to learn the (Continued on page 82)

SCREENLAND

;•

Here's "Little Eva," one of
Walt Disney's drawings of
Mickey's leading lady, Min-
nie, shown at the Kennedy
Galleries, New York. Walt and
his Mickey "belong" now!

Art of Mickey Mouse

)LLEGE A« *SSOO*t,ON

invi.es you » o>.ena

^ one:;ors°ANooRAv,.NGs!

JSS^ WMERCOiORS

WALT DISNEY

Oeo.O, o< »ick.V

„. the galleries o»
on view ot 'ne a

New VorW Ci»V

OO1

HERE indeed was an historic event !
At last, I mused, entering the Kennedy Gal-
leries on Fifth Avenue, New York, where a
collection of original Mickey Mouse portraits
was on exhibit — at last America's most popular actor had
come into his own. A one-man show was being devoted
to his portraits by Walt Disney, at one of New York's
most distinguished art galleries.

Mingling with the throng of art devotees, I began in-
specting some of Mickey's pictures on the walls. My
contemplation of a drawing of the young genius skating
joyously across a pond was interrupted by a youthful,
piping voice at my elbow :

"Exquisite!" it exclaimed. "Such firmness of line,
such suavity and ease of execution !"

Struck by a familiar note in the voice, I turned — and
beheld a sight that held me fast in my tracks, eyes bulg-
ing and jaw adroop. There stood Mickey Mouse in per-
son, avidly gazing at his various pictures — but it was
not the Mickey Mouse you and I know and have seen
a hundred times on the screen.

He had discarded the familiar little white double-
breasted pants and the absurdly over-sized shoes
which had constituted his entire costume in fair

for August 1933

"I'm the Mous-solini of geniuses,"
cries modest Mickey, as High Art
claims him for her own

Mortimer Franklin

weather and foul. Mickey now wore a morning coat,
striped trousers, a gleaming white vest, and pearl-grey
spats ; he held a stick modishly tucked under one arm,
and stood gazing at a picture through a be-ribboned pair
of nose-glasses.

"Mickey !" I cried. "How—! What—!"

The Mouse elegantly raised a forefinger. "Tut, my
good friend," he warned in cultivated accents. "Please,
no unseemly noises. Remember that you are in the
presence of Art !"

"But — ?" I made an inarticulate gesture toward his
resplendent attire.

"Oh, to be sure," he commented, looking slightly bored.
"And why not, pray? It's quite in keeping with all this"
— with a sweep of his arm toward the surrounding pic-
tures— "don't you know? Once I was just a slapstick
comedian — Oh, those tiresome days ! Now I am not only
a respected Artist, but a subject of Art as well. Come,
let us feast, our eyes and regale our souls."

He led me, still somewhat dazed, over to the next
picture, which he proceeded to scrutinize through his
pince-nez. It was a scene from his picture, "Ye Olden
Days," in which Mickey is seen as a medieval swain
coming to a tryst with his Minnie through the window
of her castle home.

"One of my more poignantly rhapsodic scenes," re-
marked the young elegante, falling back a step to view
the work in deeper perspective. "Hm, quite good, quite
clever, though his brilliance is perhaps a bit Rat-a-tat.
Notice the unfailing instinct for accentuation, the integ-
rity of the draftsmanship, the — er, effective massing of
spaces, and above all the delicate spontaneity of the
whole. And here" — moving to a more formally posed
portrait of the star alone as he appeared in "Mickey's
Mellerdrammer" — "here we encounter the artist in more
serious vein. Observe how dignified the concept, yet
how — um, how uncompromisingly realistic the interpre-
tation. Could Daumier have recaptured more compel-
lingly the essence of an absorbing subject? Could

Matisse have infused with more revelatory insight the
portrait of a great man?"

Truly amazing ! At least it might have been, had I
not happened to observe the young connoisseur stealing
hasty little glances at the critical notes in his catalogue
while he delivered his learned comments.

"You're the nertz, all right, Mickey," I thoughtlessly
commented.

"Do, please, address me hereafter as 'Michael,' " he
drawled, slightly pained. "That other is not quite comme
il faut, y'know? Yes, though you put it somewhat in-
felicitously, I truly appear to have joined the company
of the immortal great. There is Rubens' Wife, there is
Whistler's Mother — and now there is Disney's Mouse.

"But observe, pray, that my greatness exceeds even
theirs : for while they are great because they were sub-
jects of famous works of art, I became a subject for Art
because I was already great !" He gestured eloquently
with his stick, and paused to curl a whisker.

"How does Minnie feel about it all?" I inquired. A
shadow crossed his blase features.

"Come now, need we, after all, discuss the lady? She
is, to be sure, a creature of undeniable beauty and a most
competent actress, but I have begun to suspect that she
is not quite the ideal life companion for me. So naive,
so unresponsive to the higher impulses, she lacks that
aesthetic background tha* a really cultivated artist should
have. Why, only the other day she vulgarly accused me
of 'mouscling in' on the art racket !"

His discourse was interrupted by its subject, who came
scampering through the door and flew into his arms with
squeaks of joy. "Here I am, Mickey dear ; are you ready
for our date?"

"Gently, my dear, gently," reproved the great actor,
visibly embarrassed. "You have interrupted a serious
discussion of art — "

"Oh, you're starting that again, are you?" rejoined
Minnie unfeelingly. "Didn't I tell you that if I ever
caught you messing around (Continued on page 96)

SCREENLAND

Above, Dick in the
comfortable library of
the Arlen home. All
you home-makers will
be interested to read
in this story how the
Arlens remodeled
their Toluca Lake
house to welcome
Richard, Jr.

Below, a view of the
Arlen domain, with
the unpretentious
charm which made
the otherwise sophis-
tica ted Mr. Mook la bel
it "the home that love
built." See that tele-
gram from a proud
father?

A movie star's home with a breakfast nook!
The Arlens live as sanely and simply in Holly-
wood as the younger married folks on your own
block. Here are Joby, Dick, and S. R. Mook,
who wrote this story.

The House

that

Love Built!

1*0 ,

HO , "JAY f

Of.-

for August 19 3 3

Aview of the living room. That'sa "museum piece" on the piano,
crocheted byjoby's grandmother in the "popcorn stitch." See the
hooked rug in front of the fireplace? It says "Home, Sweet Home,"
and it was Peggy Joyce who persuaded them to keep it there!

For every house where love abides,
And friendship is a guest,
Is surely home — and home, sweet home,
For there the heart can rest.

NO HOUSE that Jack built, this. Or just movie
jack. This is the house that love built. Yes —
in Hollywood, actually !

When Jobyna Ralston and Richard Arlen
married seven years ago they built a small house in the
Toluca Lake district. Pictures flooded the magazines.
Pictures showing them in overalls laying tiles, pouring
cement, driving nails and what not. Back in the east
myself, at the time, I remember thinking it was all very
ga-ga — and probably a publicity stunt.

Then Fate picked me up and set me down in Holly-
wood. And presently I found myself a frequent visitor
at the Arlen home. To my astonish-
ment I learned that the Arlens actu-
ally had laid the tiles, poured a lot of
the cement, and helped in the building
of the house !

"You see," Dick told me once,
"when we were married, Joby was
making $1500 a week — every week.
We knew if our marriage was to be a
success one of us would have to leave
the screen. It couldn't be me because
I wouldn't sit around and let a woman
support me. I was making $200 a
week at the time, which was little
enough in comparison to what she
was making, but we felt there was
something wrong with people who
couldn't live on that. When we de-
cided to build we naturally had to
economize wherever we could. And
by doing some of the work ourselves
we saved quite a lot. It took longer
that way but what was the difference?
Besides, it made us feel we had actu-
ally had a hand in the building of the
place."

Today the Arlens are probably the
closest friends I have in Hollywood —
and I admit that my early ideas of
them were all wrong. A less ga-ga

When one of Hollywood's
least sentimental writers sends
in a "heart" story, it's some-
thing! Imagine Dick Mook
going on about dream-houses
and such! But we know you'll
like it, because it's sincere. How
could it be otherwise, when it's
all about Dick and Joby Arlen
and their remodeled house
and their brand-new baby?

S. R. Mook

(the old reformed cynic)

couple it would be hard to imagine. And the house
which, until lately, has remained unchanged since the day
they moved in, is suggestive of anything but a fluttery
ingenue's idea of a dream house.

Recently when they discovered there was to be an addi-
tion to the family it became necessary to enlarge the
original place to accommodate the baby — Richard, Jr.,
who arrived May 17.

Last Christmas Dick came home with a large square-
cut diamond ring. Joby looked at it with swimming eyes
and turned to him. "It's beautiful. But I'll tell you
what. You take it back and let's take that money and
put a little more to it and do (Continued on page 88)

The restful patio with its gay garden chairs and umbrellas and lily pond.
The Arlen home is a miniature estate which grows with the years.
Richard, Jr., is still too young to be photographed romping around here,
but you'll be seeing him!

SCREENLAND

mes

ease;

And with so many things
in her favor, how can
Adrienne miss?

Evelyn Ballarine

Watch for Adrienne Ames in "Dis-
graced," with Bruce Cabot and Helen
Twelvetrees. Below, when she was
Adrienne Truex, an extra in films.

I'M TIRED of reading and hearing all those reverse
Cinderella stories that are circulating about me,"
said the glamorous Adrienne Ames. "Weary of
the line about the wealthy society girl who gave
up a marvelous social life to be 'just a working girl.' And
the one that says that I am married to a millionaire and
that's why I got my chance in pictures. It isn't true!"
said Adrienne with eyes blazing. (If she had been enact-
ing this scene before the cameras, there wouldn't have
to be any "re-takes.")

"I haven't been wallowing in luxury. As a matter of
fact, there was a two-year period in my life when I had
a very tough struggle." We were lunching at the smart
Embassy Club in New York and Adrienne was wearing
a grand creation especially designed for her, and some-
how it was hard to believe that that well-known "silver
spoon" had ever been out of arm's reacb. "I was mar-
ried at sixteen, was the mother of a baby girl at seven-
teen— and was divorced at eighteen ! I was living in
California at that time and my family, shocked by the
divorce, wrote me to come back home. But I decided to
shift for myself and my baby and refused to go back to

Texas. My family begged, pleaded, and finally my father
commanded me to at least be sensible about the infant
and let mother take care of her. This I did," said La
Ames, pausing, with a remembering look in her eyes.

"By the way," she added, "this is the first time I have
ever discussed my daughter for publication. But I don't
want the idea to get around that I'm deliberately hiding
her from the public gaze, because that's silly. I'm proud
of her and I want everybody to know it !

"But about those two years of struggle. For the first
time in my life I had to face responsibility. I vowed I
wouldn't write home for money — and I never did !
Thanks to my sister Jane, who is a year younger than I
am, but who has a better business head than I ever hope
to have," she said with a laugh.

"It was Jane who got me my first job— as an extra in
pictures. I was Adrienne Truex in those days. During
those two years I worked at the grandest assortment of
jobs. I couldn't count on steady work as an extra in
films, and more than once I thought of my 'little gay
home in the South.' Mind you, I didn't go hungry or
anything like that, but the feel- (Continued on page 93)

for August 19 3 3

In this photo-
graphic "doublet"
of the two stars,
both their like-
nesses and their
disparities are
strikingly evident.
It's a composite of
the two pictures at
left and right.

DOUG'S
BROW: active, versatile
EYES: observant, dexterous
NOSE: artistic, constructive
JAW: impatient of rules

JOAN'S
broad-minded, humorous
color-sensitive, expressive
cosmopolitan, changeable
determined, tomboyish

Divorce of Double Stars!

The dilemma of Joan and Doug,
revealed by their own features!

William E. Benton

"ALL THE world loves a lover" — and the loveliest
f\ books in all languages are full of idealized des-

/ % criptions of their affairs, although few really
famous lovers lived happily ever after.
If this feeling for lovers is so deeply a part of human
nature, it is only natural that moving picture fans the
world over should experience a feeling of sorrow at the
much-talked-of divorce of that most interesting couple,
Joan Crawford and Douglas Fairbanks, Jr. The world
feels that it is entitled to know why they are no longer
"that way" about each other. In discussing it with one
man, I happened to mention the life-long love of the
great poet, Dante, for Beatrice whom he had adored
from a distance but never even spoken to, he reverenced
her so greatly. My friend answered this by saying,
"That's about the only way people can adore each other
always, because marriage brings out the faults of each
and unless they are wonderfully tolerant, they simply
can't go on adoring each other." (I might add he hopes

to be married this summer — a courageous man indeed!)

Well, Joan and Doug, Jr., were not even free of the
rice thrown at their wedding before cynics were offering
odds they would not be lovers for a year. But they
have done four times that. Living as they were, under
the great spotlight of world publicity, both struggling
for and attaining stardom at about the same time — can
you faintly imagine the strain on their love in that whirl-
ing vortex of love, hate and fear, known as Hollywood ?

They are both very real people with distinctive and
very different personalities as their duality doublet show-
ing a half of each of their faces plainly reveals. As
surely as they have these strong differences in features
and the mental traits they indicate, just so surely would
they have a difficult time seeing the world about them
through the same eyes. Her eyes are the large, staring
eyes of a credulous, talkative, highly excitable and lovable
child. His eyes are smaller, keener, but somehow, more
tragic with their heavy down- {Continued on page 92)

SCREENLAND

Here's the second great "G. B." to visit Hollywood this
year! G. B. Shaw was the first. G. B. Stern tells you
in this feature what she thinks of Hollywood, Kathar-
ine Hepburn, and adapting "Little Women" for the
films.

NINETEEN THIRTY-THREE will probably
go down in screen history as the year when the
two "G. B.'s" visited Hollywood — G. B. Shaw
and G. B. Stern !
You will want, now, to know about G. B. Stern (no,
not George Bernard but Gladys Bertha ) and what she
thinks of the American film capital.

First of all, as her first movie job this famous English
author was assigned to write screen adaptations for Hol-
lywood's most speculated-about personality of the mo-
ment, Katharine Hepburn. The new feminine star's yet
unsounded heights and depths and emotional possibili-
ties make her the cynosure of all eyes — and any author
writing for her is included in the bright aura of her
glamor.

Katharine Hepburn was really the deciding factor in

WHAT

G. B. Stern

thinks of

Hollywood

Exclusive! Famous English
author speaks frankly and fear-
lessly about our film capital—
and a star or two!

Betty Shannon

Miss Stern's decision to come to America at all. Like
the other "G. B." Miss Stern had been for years urged
to come to this country for lecture tours — but not liking
to ride on oceans, she had refused. But when Katharine
Hepburn created the same furore in London that she did
in New York when she flashed upon the cinema scene,
G. B. Stern thought she would like to write for a cap-
tivating young artist like this. And when a foreign film
"scout" told her that if she journeyed to Hollywood she
might write scripts for Hepburn, the writer could refuse
no longer.

If that was not enough for any one newcomer — John
Barrymore was assigned to a role in one of the stories
which Miss Stern was adapting for Hepburn. Barry-
more still remains the most distinguished of America's
handsome male stars. His ability to grasp the subtleties

"Character and fascin-
ation"— these qualities
G. B. Stern attributes
to Katharine Hepburn.
In fact, you will be see-
ing Hepburn as a G. B.
Stern heroine on the
screen before long. She
will be co-starred with
John Barrymore in the
picturization of "Long
Lost Father." At the
left, a scene from the
current Hepburn pic-
ture, "Morning Glory,"
in which Douglas Fair-
banks, Jr., supports
the star.

for Aug// st 1933

John Barry more is a
G. B. Stern -'fan."
And he will soon be
enacting a role in
one of her stories.

of character makes him a catch
for any screen dramatist.

The name of this story?
"Long Lost Father," and the
third thrilling achievement of
G. B. Stern from the Holly-
wood point of view was that
she sold it to the films and
wrote the adaptation even be-
fore it had been published in
book form. The plot is based
on an interesting variation of
the father-and-daughter theme,
one version of which made up
the poignant story which intro-
duced Hepburn to the screen.
"A Bill of Divorcement."

In working on the script
for "Long Lost Father-' Miss
Stern had the opportunity to

come to know Barrymore well, and, as a sort of minor
notable achievement, succeeded in making quite a fan of
him because of her dog stories. He wants to play Kim.
the bored Irish terrier, it seems, in Miss Stern's book.
"The Dark Gentleman." The author says she would
welcome suggestions as to how this unusual adaptation
might be done ! And in the meantime, I am told by a
recent arrival from Hollywood, that Mr. Barrymore
sings the praises of Kim constantly. His usual, or at
least frequent, procedure in entering a drawing-room
these days is to say, "Have you read G. B.
Stern's 'Dark Gentleman' ? I say, you must !"

Fourth, G. B. Stern, in her 18-week Holly-
wood stay, captured one of the grandest writ-
ing jobs handed out in Hollywood for many
a season. This was the picture adaptation
of Amc-ica's beloved book, "Little Women."
which is still going strong after fifty years :
no less than 1,500,000 copies have been sold.
Miss Hepburn is soon to be set at work in
the fascinating role of Jo.

Many people still wonder if it was a little
bit sacrilegious to give the adaptation to a
writer not of American birth. But when I
tell you why the making of the screen script
of Louisa M. Alcott's precious story was
given to "G. B." you will feel that she was
the logical person to do it, I am sure.

Miss Stern hoped, a little wistfully I
thought, that the public would understand that
it was because she loved and revered the New
England of America that she had been chosen
to translate "Little Women" to the screen.
She was eager to tell the many thousands of
American women who had cherished this piece
of fiction that she loves it as they and their
daughters do.

"If the screen adaptation of 'Little Women'
was given to me, some one from beyond the
sea, it was because I knew the book so well,
inside and out. At the studio they discovered
that I could quote pages of it by heart. They
finally got bored with my good memory, and
told me to go ahead and do the script ! Noth-
ing, of course, could have given me greater
joy. I can't remember when I haven't loved
'Little Women.' I first read it when I was a
small girl, and I suppose I have read it even-
six months since," G. B. Stern told me.

A striking head of Hepburn, The Movie Girl
of the Moment. Read how Hepburn helped
entice G. B. Stern to Hollywood.

"At first, when I read the book as a child, I did not
realize the fact that the locale of the story was not my
own country. That is a tribute to the timelessness and
the universality of the story which has made it beloved
all over the world. There were various things as a child
that I did not quite understand from my own experience,
but I passed them over.

"For instance, there was Thanksgiving Day. What
sort of a day was Thanksgiving Day? That was a holi-
day we did not have at home. And I couldn't decide
why the March girls' mother should be called 'Marmee.'
With us, she would have been 'Mummy' or 'Mums.' But
I simply lived with the characters during my girlhood.

"I can understand, of course, why it might have been
thought strange that a non-American woman should be
given the story of 'Little Women' to put in script form.
And yet, it is no stranger than that American women
should have last year made a play of 'Alice in Wonder-
land.' I am sure the two books are on a par — books
without one country, but belonging to every country.
'Alice' has been directed and produced on the stage in
so exquisitely the right spirit that I am sure they will love
it when it comes to England." ( Continued on page 76)

Elizabeth Young
began her first
year in the Broad-
way theatre as
an "extra" and
finished it in a
leading role. And
now she's ready
to repeat her suc-
cess in Hollywood.

ON A gentle spring evening somewhat more than
a year ago, a resolute young actress strode upon
the stage of a New York theatre and, for the
benefit of the bemused first-nighters, firmly
pronounced this deathless line :

"There's a young lady downstairs asking to see Mr.
Vanderkill."

Whether the young lady downstairs ever succeeded in
her quest is not known to this recorder ; but there is more
than a faint possibility that she and the slightly patrician
Mr. Vanderkill will achieve a lasting footnote in the
history of the American stage and screen. For their
names are associated with the birth of what looks sus-

The "Young"
Idea

Introducing Elizabeth-
Broadway's latest gift to
Hollywood

M-ortinier Franklin

piciously like one of the most important
new acting careers of recent seasons, the
^»r~— career of — to keep you in suspense no
- _ longer — Miss Elizabeth Young. In that
■ ^ "walk on" role in "Child of Manhattan"'

Miss Young, who is nineteen and willowy
and extremely pleasant to the sight, found
her stepping-stone to a brief but busy
stage life and to an opportunity for
cinema accomplishment.
"I won that part by making a nuisance of myself,"'
said the candid Elizabeth, breezily relating the events of
her brief past in the drawing room of the Young home
in New York, a few days before striking out westward
for the film coast. "I'd made up my mind to be an ac-
tress or bust. And I had no intention of being a bust.
So when Peggy Fears announced that she was going to
put on a play called 'Child of Manhattan' I went over —
"And applied for a part," her interviewer nodded
sagely.

"Not at all. I applied for something like half a dozen
parts. It was a . big production, you see, and I simply
refused to believe that there wasn't a part somewhere
in it for me. So I kept attending rehearsals and under-
studied nearly every female role in the play, from artist's
model to leading lady. Every time a girl dropped out of
the large cast I'd pop up at the director and volunteer
for her part, all ready to step into it. And at last I wore
him down !

"Then, after several weeks of announcing Mr. Yan-
derkill's lady caller, I did penance for the summer in a
suburban repertory company, working harder than I'd
ever worked before, but getting some grand experience.
And in the fall I gritted my teeth and advanced firmly
on the office of Gilbert Miller, who was casting the New
York production of 'The Firebird.' He gave me my first
real part on Broadway."

She neglected to add that Mr. Miller hired her strictly
on her merits and ber record, though it might easily have
been otherwise. For Miss Young, though born to the
crystal and ermine of New York social elite, a graduate
of the ultra-exclusive Spence School, and daughter of
Justice William Young of Children's Court, kept her
letters of introduction from {Continued on page 90)

Harvey White

Write these appointments down — now!
And be sure to keep them, for if you
don't you'll be missing moments with
the flower of Hollywood's beauty, charm,
and romance

A date with Jean Harlow for "Dinner at Eight." Jean
as an exciting little actress in M-G-M's all-star film will
give you an evening that you won't soon forget!

An Athletic Date with Cagney

THE gingery James rums inro a song-and-dance man ( actu-
ally!) in Warners' next big music-film. Meet him in the
gym and watch him in training for his new act!

A Scholarly (?) Date
with Leslie Howard

MEANING a quiet evening at home with this gentlemanly
actor? Well— maybe. But look at Leslie, above, with
Dietrich! Watch for him in "The Lady Is Willing."

Ray Jones and Otto Dyar

Beauty 9
Abounding!

Warner Baxter, quiet and
masterful, is the man of
affairs who worships the
dancing lady in this film
based on a Broadway hit.

Two gorgeous blondes, fighting
for a charming man's iove, fur-
nish an eloquent eyeful in
"I Loved You Wednesday."
ScREENLAND presents some
advance "stills"!

Miriam Jordan, beautiful
charmer from England, is the
ashe-blonde wife who battles to
hold her husband against the
allurements of a dainty dancer.

Quips and cocktails for two!
Here's a "still" of f/ie famous
speakeasy scene in which the
wife and the "other woman"
meet and join in a battle of wits.

A Delectable Date with Dorothy

EXUDING girlish youth and disarming naivete, Dot Jordan
claims a place all her own in your little note book. And
— P. S.— don't forget that Dorothy likes flowers!

A DATE with Dietrich is a date with beauty! Mysterious
. Marlene acquires new and fascinating allure as the much-
desired heroine in a film version of "The Song of Songs."

At Home

Date

with

Loretta
Young

Loretta, looking poised
and statuesque in the
graceful contours of
her hostess gown,
pauses on the staircase
landing.

What a house!
What a setting.'
What a view! Look
out from the portico
of the Young manse,
and miles of Cali-
fornia countryside
will smile back at
you.

Elf-like in simple
slacks, jacket and
' 'sneakers , " our
hostess greets us at
the garden gate with
that gracious Young
smile.

A beautiful girl
in a beautiful
house! Here are
pictures that do
justice to both

Standing before the or-
namental fireplace, Loret-
ta's white-clad figure
blends gracefully with this
symphony of light and
shadow.

Indoors again,
Loretta surveys her
living room from
the fireplace. Does
a fondness for fire-
places indicate a
lack of natural
warmth? Not in
Loretta' s case!

Photographs of Lo-
retta Young posed
exclusively for
SCREEN LAN D by
Elmer Fryer.

Her e Loretta
shows how she
finds comfort in
her hours of rest.
Carefree and un-
encumbered in
her lounging cos-
tume, she's as
cool and fresh as
her garden.

Still a little girl at
heart.' Loretta
has a grand time,
when she thinks
no one is looking,
playing about the
doll house which
she built for her
ten -year - old
sister, Georgiana.

Otto Dyar

An "Adorable" Date with Janet!

ALL wrapped up in cloud-like chiffon like a dainty morsel to
Ix. be taken home, Janet is waiting for you to come and
laugh and palpitate with her in her newest picture, "Adorable."

Off-Screen" Date with George O'Brien

THIS is something of a private date for a romantic young
lady reader who asked to see a picture of George as he
reaLly looks. But all you other O'Brien fans are invited, too!

Lilyan Tashman's "Dated" Clothe!

Quaintly sophisti-
cated is Lilyan
Tashman in this
short cape of black
grosgrain, which
she wears over a
black mousseline de
soie dinner dress.
Her Russian tur-
ban of black cro-
cheted silk cord
completes this
bound- to -be -suc-
cessful ensemble.

Above, the dress sans the cape — the
sleeves are made with tiny tucks at the
shoulder, very full to the elbow, and tight
from there to the wrist.

Lil's midnigh t blue
crepe frock has
pink pearl buttons,
pink pique collar,
and bow tie on the
blue patent leather
belt. Her gloves
and hat are pink,
too ! And note
that clip on the
collar!

Lilyan stresses the im-
portance of gloves. They
should match your cos-
tume or your accessories,
advises La Tashman.
Here's a close-up of her
evening gauntlets — they
are made of black cro-
cheted cord, with a tight
wrist band.

Linen and crepe! Lilyan's simple i
bubble-crepe dress is cleverly adt
with a dark blue linen jacket of mi
mode. Linen buttons decorate the ja

Photographs of .
Tashman posed
clusively
SCREENLA1

Tashman's fashions are always dated the day-after-tomorrow ! Take
tips from her and you'll be 'way ahead of the "dress parade" !

prints put you in gay mood, says
an. Her ensemble is a printed satin
hite daisy design, with red and blue
■ground. The dainty white lace adds
a flattering touch.

Above, Lily an in a very striking din-
ner gown. Fine lines in design
make this flat crepe effective — it
has a long tunic and handkerchief
effect cape.

The smart broad-
shoulder slim-hip
vogue still prevails.
This smart costume
is of black silk and
wool, with plea ted
ruffle trimming, and
black bone buttons.
With this Lil wears
white organdie
gloves and a black
straw sailor hat.

Isn't this the most
fascina ting prin t
evening gow n?
The tantalizing
Tashman's frock is
a heavy white satin
crepe with fuchsia
flower design . Her
gloves are of the
same material.

Take Tashman's ad-
vice and get yourself
a swagger coat — pad-
ded shoulders and
huge puffed sleeves
preferred! Lilyan's is
of beige ribbed wool.
She selects a beige
beret to go with it.

Elmer F

A Dashing Date with Ruby

DICK POWELL, down there in the corner, seems
to be keeping this one for us by proxy — and very
glad of the job, at that! But here's your chance to
admire Ruby Keeler again, in "Gold Diggers of 1933."

Kay Francis and Lyle Talbot meet again after Lylt Talbot breaks a dinner engagement and Trying to forget, they find each other in the tame
many years and renew a childhood romance. Kay Francis' only response is a knowing smile, hiding place and come to a true understanding .

KAY FRANCIS

WINS LOVE OF
LYLE TALBOT
IN

WARNER BROS.

"MARY
STEVENS, M. D."

KAY FRANCIS

Star in Warner Bros." MARY STEVENS, M.D."

"Glamour, whatever the dictionary may say, spells romance
to me . . . and what more thrilling thought can there be
than beauty inspired by romance. So in Hollywood, we
study the art of make-up to gain that added touch called
glamour ... to give beauty a romantic appeal.

"To Hollywood's genius of make-up much credit is due
... for Max Factor has given the artist's touch to make-up
by creating powder, rouge and lipstick in color harmony,
so that one may really express personality with make-up,
which after all is another definition for glamour."

1* "For a color harmony make-up to blend
with my colorings . . . black hair, brown eyes
and olive skin. . . Max Factor's Olive Face
Powder is correct. I pat it on generously
and remove surplus with the face powder
brush. Just right in weight and texture, it
creates a satin -smooth make-up that you
positively know will cling for hours."

2. "Extremely lifelike in color... Max
Factor's Raspberry Rouge is the harmonizing
shade. Soft and smooth in texture, it is easy
to blend evenly and it always clings per-
fectly. Carry just a bit of color from the
cheekbone to the outer corner of the eye,
blending carefully so that your rouge ap-
pears like a glow of natural color."

3. "For lip make-up to last all day and
remain uniform in color . . . Max Factor's
Super-Indelible Lipstick. It's moisture-proof
... so for perfect lip make-up, apply it to
the inner as well as the outer surface of the
lips. The Crimson shade completes the color
harmony ensemble and its lifelike color gives
just the proper accent."

T HE L UXUR Y of color harmony make-up, created originally for the stars of the ^

screen by Holly wood's make-up genius, now available to you at nominal prices... \f*fUrSe-JlZe £>0X Of rOWCier . . , tKLL
Max Factor's Face Powder, one dollar; Max Factor's Rouge, fifty cents;
Max Factor's Super -Indelible Lipstick, one dollar; featured by leading stores.
Ftr jour own individual color harmony make-up chart, Jill in coupon carefully
and mail to Max Factor, Hollywood,

O IQJJ Msjt FmtUr

| 1 O 'OJJ Mur Tmuw

MAX TACTOR'S Society MAKE-UP
Cosmetics of the Stars **HOLLYWOOD

Face Powder. . . Rouge. . . Super- Indelible Lipstick. . . in Color Harmony

96% of An Mile- Up otcd by Hollywood'. Screen Sort and Studio, it Mix Factor'. (Lm A,t,U, cWe- ,/C— «. lwU>j

MAX FACTOR— Max Factor's Maie-Vp Studio, Hc/ljuicJ, Califernie.

WITHOUT obligation, send my Complexion Analysis and Color Harmony
Make-Up Chart; also 48-pg. Illustrated Instruction Book, "He Sou Art
of Society Mate-Up. " I enclose 10c for postage and handling. Include Purse-Size
Box of Powder, in my color harmony shade. Fill in the chart btlnv uith apS

COMPLEXIONS

EYES

HAIR

Vrr, Laght □

Fair Q

Creamy D

Medium D

Ruddy O

Sallo. □

Freckled □

Ouve □

Blue a

Gray C

Green O

Haeel □

bu± _7Zo

LASHES, Qfarj

Lighi □

Dark O

BLONDES

b;h:„Q Dark □

BROttNETTES

Laght— □ Dari.-O

BRUNETTES
Laght—D Dark__a

REDHEADS
Laght—O D_rk..O

//Ha--- Gm.rtrol
tyfc start a— - Arre.Q

SKIS DrrO
0 JyO Normal □

ACE

Above, one of the
numerous character
parts which Eddie
played for the New
York Theatre Guild.
He was Diaz in "Juarez
and Maximillian."

In ''The Brothers
Karamazov" our hero
was called upon to
play a half-mad Rus-
sian youth. He made
the part one more
step to greatness.

Robinson in his newest role — that of Bugs Ahearn, a
racketeer with social ambitions, in "The Little Giant,"
with Helen Vinson. Below, center, as a tough customer
in "The Night Ride," one of his earlier films.

Above, as Reb Feivel
in "Goat Song," an-
other Theatre Guild
success. Robinson's
long list of varying ra-
cial roles makes him a
true internationalist.

And here's the most
famous of Eddie's
stage characteriza-
tions— "The Kibitz-
er." After his success
in this play the movies
claimed him.

Robinson Arrives!

Concluding the remarkable
story of a great trouper's
triumph

I IKE practically every able-bodied man of about his
own age, Eddie Robinson found his career in-
_j terrupted by the World War. And like every
thoughtful-minded person of any age, Eddie
Robinson didn't believe in war.

His normally agreeable expression took on a shade of
grimness as he talked about it.

"I was a pacifist," he said. "I didn't believe war was
the way to settle anything. And when I signed up for
the army, I declared myself against the idea of war.
But," he went on, his face clouding, "I was carried away
like a million others. Though I didn't believe in war, I
did believe in Woodrow Wilson — he was a god to me —
and when he started talking about fighting for an ideal —
war to end war and all the rest of it — I decided that if

Ida Zeitlin

this war was good enough for Wilson, it was good
enough for me, and without waiting for the draft I
signed up."

Even here Robinson was influenced by his ruling pas-
sion. War or no war, he couldn't get the theatre out of
his blood. He was a character actor. Why not join the
Secret Service and put his dramatic ability to work for
the government instead of his own pocket ?

"I had a smattering of languages," he explained, "and
the kind of face that might have passed for a Latin's or
a Slav's or a Central European's. Only thing I didn't
look like was a Nordic. But I thought my English might
get me by on that."

Armed with credentials from erstwhile teachers and
managers, he applied for a job (Continued on page 72)

SCREENLAND

Taming

Temperamental

Skins

KINS are temperamental," I said the
other clay at a tea. Every woman
within earshot nodded vigorously, put
her tea-cup ( ? ) down with a click
and dashed over to hear more. Immediately
I was surrounded. Imagine it ! It seemed to
me a harmless little remark yet it was evi-
dently a pronouncement of important woes
that clamored for solution.

I looked apologetically at my hostess and
murmured, "I'm sorry. It slipped!" I ex-
plained : "I'm sorry I said skins are tempera-
mental. Look what I've done to your tea-
party !" She waved the tea-party aside with
a small, impatient gesture. She wore the same
anxious, questioning look the other women
had. "Of course, skins are temperamental,"
she said, "but what, oh what does one do
about it? Now my skin — !" But her voice
was drowned in the general babble. They
were all telling their particular
complexion eccentricities. No one
listened.

As you have guessed by now, I
spent the rest of the afternoon
talking about different types of
skins, and this is what I said, at
least, some of it.

Skins are like people ; ener-
getic, lazy, bright, dull, refined,
coarse, etc. They are not neces-
sarily like the people who own
them, yet they do reveal much of
the individual's habits. All of
them know the boon of make-up.
Yet the woman who depends en-
tirely on make-up to gain a nice
effect is apt to develop a good-
sized inferiority complex.

A fresh, fine skin not only pro-
vides the best make-up base, but
it helps one's assurance at all
times. It isn't easy to attain, but
it is entirely possible and it is

worth fighting for if necessary. Many a woman whose
features leave much to be desired is sailing triumphantly
through life by virtue of a good skin.

A fine, satiny texture reminiscent of a gardenia petal
draws more admiring attention than a beautiful profile.
It makes even a child want to draw near and perhaps
touch its loveliness. Grown people are supposed to re-
strain this impulse! But it is true that the desire to
touch any beautiful surface is fundamentally human. It
is said that the high-caste Chinese carry little ornaments
of carved and polished ivory or jade just for the delight

Madge Evans' immaculate skin seems to
have a clean aliveness that radiates well-
being. It seems to say, "Madge and I
are in the best of condition, thank you!"
Madge's medium coloring calls for cher-
ry-red rouge and a true peach powder.

If you are fortunate enough to be like
Lilian Harvey, you know all the advan-
tages of exquisite coloring. Since pow-
ders are warmer in tone than formerly
you should use a light peach powder.

of feeling the exquisite smoothness of
their touch. The eye rests with equal
pleasure on lovely surfaces. Speaking of
ivory, doesn't it make you think of little
Sylvia Sydney's beautiful skin? In con-
trast with her black hair, it is both poetic
and refreshing.

This year there seems to be an urge to
have everything, including your pique evening coat,
look freshly laundered. Faces must try to attain the
glow of having been freshly scrubbed. Madge Evans'
immaculate skin seems to have this clean aliveness that
radiates well-being. It seems to say, "Madge and I
are in the best of condition, thank you !" And now,
since soaps may be had to match your dry, cily, or nor-
mal skin you, too, may attain the "laundered look."

If you could see your skin under a microscope you
would be surprised — and not a little dismayed. But,
fortunately for you, no matter what the trouble is, there

for August 19 3 3

Karen Morley's skin is, perhaps, more
like that of the average modern woman,
with little color in it and requiring care-
ful study to harmonize it with gowns and
occasions. The creamy tones of powder
blend best with this type of skin.

Beautiful Sylvia Sidney's ivory skin, in
contrast with her black hair, is both
poetic and refreshing. Sylvia is a dusky
beauty and her skin demands an ivory
powder and a vivid carmine rouge.

is a remedy. Of course, there are differ-
ent opinions in different salons. You may
find the one that suits you for a while
only to discover that your skin is tempera-
mental and wants a change, a rest — per-
haps a vacation. For skins are like people.

One very expensive treatment by an
imported authority who appears season-
ally on Fifth Avenue, is given with certain powders in-
stead of creams. This expert's theory is that the skin
should be made to produce just a normal amount of oil.
She claims that when the skin is exercised to normalcy
youth remains in it.

Just across the way, you are told by a convincingly
earnest operator that water and water alone is your skin's
salvation. You are asked to remember the skins of
women who live in damp climates like England. (And
of course, you instantly think of Lilian Harvey's smooth,
fair skin. Its transparency and almost invisible pores

Hollywood beauties share
their skin secrets to see
you through the summer

Margery Wilson

seem a remote ideal for most of us. But
don't get discouraged. I have seen some
heartening changes in skins.) You are tilted
back in a chair, protected by rubber cap and
bib while water is sprayed over your face
and neck until you are clean, stimulated, pink
and firm.

In other places you are smoothed and
soothed in richest creams. All manner of
logical, yet conflicting theories are pro-
pounded. The truth of the matter is that all
of these different practices get interesting and
splendid results with different skins that need
them. For as I said before, "skins are tem-
peramental."

Now just a word or two about make-up.
If you are fortunate enough to be like Lilian
Harvey, you know all about the advantages
of exquisite natural coloring.
___.,,„ With just enough make-up you
may achieve the effect of trans-
it.. lucence that is dainty and ex-
quisitely feminine. Since pow-
ders are warmer in tone than
formerly you should use a light
peach powder and a light cherry
rouge.

Madge Evan's medium color-
ing calls for cherry-red rouge and
a true peach powder. The ivory
pallor of Sylvia Sydney demands
an ivory powder and a true, vivid
carmine rouge.

Karen Morley's skin is, per-
haps, more like that of the aver-
age modern woman, with little
color in it and requiring careful
study to harmonize it with gowns
and occasions. The dream}' tones
of powder blend best with this
type of skin and the rouge can
reflect or complement the tones
of her costume. For instance, with navy blue a rouge
that has a bit of blue in it making it slightly on the pur-
plish hue, looks divinely natural. This is also the best
rouge for anyone with a faintly bluish undertone to the
skin. For general use, the rouge that reflects the skin's
undertone is the one that can safely be worn in broad
day-light without looking artificial.

Stud)' your skin in various lights to determine your
basic undertone. Look at it in bright sun light, in a
bright light without sun, in a subdued shadowy light, and
in electric lights before you select your rouge.

54 SCREENLAND

SCREENLAND'S

Joan Crawford in-
spired the broad-
shoulder vogue, and
now she sponsors the
" gloves- to-match-
your-costume" idea!
Joan says you'll be
simply too, too out
of things if you don't
follow this mode of
the moment.

And to emphasize
this fact, we show
you Helen Twelve -
trees wearing a pair
of gingham blue and
white striped gloves
that match her
blouse. Helen is
wearing a high hat
these days — but only
for fashion reasons!
Note the huge bow
on her chapeau.

Trust Gloria Swan-
son to introduce new
and bizarre costume
jewelry . G lor ia' s
earrings and brace-
let are a combina-
tion of crystal, sil-
ver, and onyx, and
she endorses them
for your "special"
frock. Just the
thing, says La Swan-
son, for that added
touch of charm.
And note that Glo-
ria concurs in the
polka-dot craze.

for August 19 3 3

Glamor School

Attention, You Glamor-
Grabbers ! Study these
Charm Suggestions

Let's look into Benita Hume's
dressing room, above. We
find her "rolling her own" —
stockings, of course! Inci-
dentally, haveyou heard about
the newest in round garters?
It's a new wrinkle to end all
wrinkles in your stockings.
The garter is worn under the
stocking, the top of which is
folded inward over the garter,
thus locking it. Right, Ben-
ita demonstrates the side-
garter version. The impor-
tant thing is to keep your
stocking seams straight, is
Benita's earnest advice to
girls! How do you like the
decorative ideas in Miss
Hume's boudoir? See the
round mirror, the shelves for
perfume, and the pleated
skirt of the dressing-table.

We don't know which type
garter Benita is wearing,
above, but the result is emin-
ently satisfactory. Make note
of the fact that Miss Hume is
a pique fancier — her cuffs and
tiny bow on her hat are of
that fabric. That's Cary
Grant being realistically at-
tentive for a scene in "Gam-
bling Ship."

SCREENLAND

SCREENLAND'S

Inspired by those "Alice
in Wonderland" bandeaus,
Adrienne Ames simplifies
the idea by wearing a lit-
tle girl ribbon. It's
quaint, says Adrienne,
and very practical, and
keeps all those short ends
"under control."

Don't confine your
polka dots to sports
clothes and bathing-
suits, advises Ann
Dvorak; they're stun-
ning for evening!
Ann's black and white
gown has a high neck-
line with a white lace
yoke. Absolutely no
jewelry with this
frock, says Ann; it's
decorative enough as
it is.

The beach silhouette of
the moment is displayed
by Helen Twelvetrees. A
little dash of Scotch —
plaid — and you'll be the
life of any out-door party.
Helen's blouse has huge
puff sleeves and buttons
down the front; with this
she wears white linen
slacks, and a sun hat of
leghorn with a chin ban 1.

Ideas in Charm and
Clothes — To You from
Hollywood's "Know"
Girls!

mor School

Ring in the ringlets,
says lovely Doris Ken-
yon. Doris' new coif-
fure is a mass of soft
curls. Perfect hair
grooming is the foun-
dation of glamor, she
tells us. So follow
Miss Kenyon's advice
and keep your hair
healthy.

Keep your nails in
trim, counsels Carole
Lombard, especially if
you are a "summer-
girl" who goes in heav-
ily for out-door sports
that are rough on both
hands and nails. So
carry your manicure
kit with you always.

You didn't expect to find
the back of Ann Dvorak's
gown so very daring, did
you? The back-crossed
straps form a "Y" which
ends in a row of flat bows.
Ann's gown is smartly
simple in front, with in-
teresting details confined
to the back.

A study in black and white ruchings.'
The sleeves of Helen's gown form an
extremely wide shoulder line, and the
lower half of the skirt is a swirl of
black ruchings. Swish! You and your
sister may find it a bit exaggerated for
practical use; but it's such a flattering
affair, and can be modified to meet
individual tastes. Helen wears this
gown in "Disgraced."

SCREENLAND

Screenlands Critic Really Sees the Pictures!

The
Nuisance
M-G-M

It's no secret to readers of this department that each new
Lee Tracy film is "the best Tracy has ever made." I
know. It's true. I am a Tracy addict and everything he
does is superlative to me. But I really think that this new
one of his IS his best, and you can take it or leave it, but I'd advise
you to take it, for "The Nuisance" is elegant entertainment. It's
a rare and rowdy melodramatic comedy about an ambulance-
chaser — a trick lawyer who handles accident cases in his inimitable
way. And until you have seen Tracy in action you have no idea
how funny this morbid idea can be. It sounds terrible; actually, on
the screen it is a laugh riot. Tracy is surrounded by a perfect cast:
Frank Morgan is priceless as a prop doctor; Madge Evans is simply
charming as the girl who very nearly wrecks our hero's questionable
career; and Charles Butterworth has some excruciating moments.
Recommended to the uninhibited as grand fun. Must see!

REVIEWS

of the

Best

Pictures

^- SEAL- OF ''

Gold
Diggers
of 1933

Warners

The
Warrior's
Husband

Fox

What entertainment this is! If you enjoyed "42nd. Street"
-as who didn't? — you'll have an even better time at
/'Gold Diggers of 1933." It's a super-show. In fact, it's
so big, so brilliant, so packed with human interest and
pulchritudinous appeal and glittering ensembles, you'll have to
attend more than once to be able to say that you really have seen
it. Yes, I hate to say it, but it's colossal — easily. There's much of
that gay, eager, ingenuous quality that made "42nd. St." the smash
musical of all time; and there's an even more impressive cast; and
there's one number that eclipses, absolutely, anything yet shown
in screen revues: Pettin' in the Park. Ruby Keeler repeats her
dazzling and disarming personal triumph. Joan Blondell blazes.
Aline McMahon was never more amusing. Warren William lends
dignity ; and Dick Powell comes into his own as the new "person-
ality boy" of pictures. Dick is on his blithe way to stardom.

Here's a picture for you jaded movie-goers who are always
complaining that movies are all alike. You've never seen
anything like "The Warrior's Husband"! From the stage
play of the same name — and a long way from, according
to some critics — that same stage play in which Katharine Hepburn
made her Broadway hit — this film is a lavish, sumptuous, and at
the same time completely rowdy comedy with a stunning cast.
Consider Elissa Landi, looking perfectly gorgeous in her fantastic
trappings of an undefeated Amazon ; Marjorie Rambeau, as Queen of
the wild gals, handsome as ever, and even more amusing; Ernest
Truex with curly whiskers and his inimitable comedy manner;
David Manners, extremely personable as a victorious Greek; and
hundreds of decorative Amazons in fine fighting trim; and then add
racy modern dialogue, and you'll have some idea. La Landi is
warmly human and delightful. Fun for adult film patrons.

You Can Count on these Criticisms

for August 1933

Reviews without Prejudice, Fear or Favor!

Extra Review

"Pilgrimage"

Fox

The screen has been
busy glorifying pret-
ty nearly everything
and everybody, from
prize babies to presidents.
Now it undertakes to glorify
America's Gold-Star Moth-
ers, and succeeds handsome-
ly. "Pilgrimage" is a picture
of, for, and about mothers.
The younger generation had
better go to see "The War-
rior's Husband" instead. The
pathos of mothers who lost
their sons in the world war,
and their pathetic journey to
their graves, is scarcely the
sort of screen fare to lure
youngsters from the beaches.
But how the oldsters will love
itl The story concerns a farm
woman whose fierce love for
her son makes her give him
up to the war rather than to
the girl he loves. He never
returns. The mother joins
the gold-star pilgrimage to
France and over there she
atones for the wrong she had
done her son by helping an-
other boy find happiness.
Henrietta Crosman has the
principal role; Norman Fos-
ter and Marion Nixon are
excellent, and a glimpse of
Heather Angel makes me
look forward to seeing this
English girl in a real part.

Adorable
Fox

And if you think that there aren't whispers of "Adorable!"
in the audience all through the showing of this screen
operetta, you're crazy. Oh, so you heard them, too?
Then will those cynical little boys and girls back there
please stop making fun of the title? It's "Adorable," all right, and
if you don't like it, then think of a better title for a Janet Gaynor
picture. This cream-puff romance is an exquisite production, per-
fect setting for Janet's daintiness, and a promising American screen
debut for Henry Garat. Janet plays a queen in love with a dashing
lieutenant. She proceeds to promote him to captain, to major, to
lieutenant-colonel, to general, and finally makes him a prince,
while democratic American audiences cheer. There are overtones
of "Congress Dances," with poignant memories of La Belle Harvey,
whose European leading man Garat was. But "Adorable" will win
its own audience from the legion of Gaynor lovers.

The Big Cage
Universal

Peg O' My
Heart
M-G-M

The family film of the summer season! I congratulate
Universal on being the one movie company to recognize
the tremendous appeal of a circus picture starring Clyde

™ Beatty, the American small boy's hero. Here's a refreshing
novelty and a relief to worried parents who, when Junior and Sis
want to go to the movies, have to put the neighborhood theatre
manager through the third degree to find out if the current screen
attraction is suitable juvenile fare. Clyde Beatty's sensational lion-
tiger act is even more thrilling when seen on the screen than under
the big top. You can hear Beatty whistle his commands; you can
see the huge cats close-up. Beatty himself is an ingratiating, nat-
ural personality. Not too much plot; humor by Andy Devine and
Vince Barnett ; romance by Anita Page and Wallace Ford ; and those
marvelous "lines and taggers." Beatty puts his savage "pets"
through their paces with unbelievably beautiful precision.

Feel one of those quaint, sweet, old-fashioned moods com-
ing on? Then here is just the movie for you. It's quaint,
it's sweet, it's old-fashioned. Peg is one of those peren-

nials, those little girls of stage, screen, and fiction who
never, never grow up. And that's all right, because Peg has lots
of admirers who wouldn't want her to be like these hard, modern
women. Marion Davies, undoubtedly, plays the Peg parts better
than any other actress; she is very charming as the Irish heroine
whose inheritance of a huge fortune fails to change her brogue or her
heart of gold. I liked best the parts of the film in which Mies Davies
is permitted to be gay and funny, until the plot rears its horrid
head and spoils her fun, and mine. You'll be asking for more of
Onslow (Ronald Colman II.) Stevens, who is thoroughly charming
in the worst leading man's role of the year. Irene Browne, remem-
bered from "Cavalcade," is most amusing as a doughty dowager.

Let Them Guide You to the Good Films

SCREENLAND

With that Chevalier-like gusto, and a glamor all his own, Henry threatens to set a new high
for romantic gayety in films. His greatest ambition was to act in a picture with Janet Gaynor
— and here they are in "Adorable" ! Lucky "Hank" ; lucky Janet!

He's Just Cray-zee

Enter Henry Garat, bringing a new
kind of Parisian charm to Hollywood

about "Oh tell me how to love you" or something like
that) he used the same expression of the eyebrows, the
same malicious chuckle, the same delicious smile to spice
the song.

"I'm cray-zee about life!" Henry Garat says. "I'm
cray-zee about America, its women, its life. I'm cray-zee
to appear in your pic-tures! I'm simply — simply —
cominc dites-vous? — simply thrilled to be alive!"

There is about Garat the same sparkle and magnetism
that make Maurice's personality so contagious.

"I'm cray-zee about my collection of Japanese fish ;
about my dog Blackie — a prize winner in London and
Paris. I'm cray-zee about my horse, my parrots and
monkey, and Siamese cat. My home in Paris is a regu-
lar— how do you call it here? — yes, a regular menagerie.
I'm cray-zee about my home!"

Was Monsieur Garat aware of his similarity to his
country-fellow, Maurice?

"Oh no — no — no !" Garat protested, pouting his lips in
the Chevalier manner. "C'cst (Continued on page 94)

About Us!

By David Ewen

ANOTHER star from the French music-halls has
/% spanned the distance from the city of the Eiffel
/ Tower to Hollywood. He, too, comes here with
a gay smile, an infectious personality, a twinkle
in his eyes and a delightful accent. The last star from
the French music-halls has become something of an idol
to the movie-public — I mean, of course, Maurice Che-
valier. What about the new importation? Will he be
destined to supplant the gay Maurice ? Has gay Maurice
found his successor, at last?

There is a very interesting parallel between Maurice
Chevalier and the new French importation, Henri —
Henry to us ! — Garat. Both spring from the Paris streets,
breathed Paris air, and express Paris in everything they
do. Both made their greatest success in the French
music-halls. Both reached their heights singing with the
incomparable Mistinguette, the star of the French music-
stage. Both have the same manner of "putting over" a
song. I remember when, last year, I saw Garat in Paris
singing a typically Chevalier song — (it was something

j or August 19 3 3

Record Awards

from

Radio Girls!

Here's another chance to
win a phonograph disc
with that "personal note"—
the artist's autograph

Evelyn Ballarine

Ruth Etting

Kate Smith

The Pickens Sisters

A ND now you folks who have been raving
/\ about the radio gals, here's your
J \ chance to win a phonograph record
with that "personal note" — the artist's
autograph !

Ruth Etting, Kate ("Hello, Everybody!"')
Smith, the Boswell Sisters, the Pickens Sisters,
and little Baby Rose Marie want

to present some champion letter-

writers with their Brunswick and
RCA- Victor autographed records
These charming- radio

Baby Rose Marie

The Boswell Sisters

favorite harmony trio of the ether?

Now follow the rules of the contest and
win the award !

Radio Jottings:

Harmon O. Nelson, Bette Davis' husband,
is a crooner ! Bette is his best audience — she
accompanies him to the studio
when he broadcasts.

,& ic^i^ gals want
to sing some sunshine into your
home !

Who can resist the torchy warb-
ling of Ruth Etting (who, by the
way, is rumored as Eddie Cantor's
choice for his next feminine lead
in his next film) ? You'll be seeing
Kate Smith and Baby Rose Marie
in the movies, too — in "Interna-
tional House." The films are snag-
ging all our radio girl friends.

Will you pick the Pickens Sis-
ters or the Boswell Sisters for your

RULES

For Screenland'S Record Contest

1. Select your favorite singer from those
mentioned herewith.

2. Write her a letter, not more than 150
words, telling her the reasons why you
like her and, if you like, offer construc-
tive criticism. The best letter written
each artist will win the prize of her
autographed record.

3. In case two letters are considered of
equal excellence, the tying contestants
will both receive prizes.

4. This contest will close at midnight on the
21st of July, 1933.

5. Address your letter to Radio Contest Edi-
tor, SCREENLAND Magazine, 45 West 45th
Street, New York City.

Ilomay Bailey, who is starred in
company with her husband, Lee
Sims, the piano magician, on the
Chase and Sanborn program tells
a humorous story about herself.
Some time ago she went to the Lee
Sims School for Music, an institu-
tion in Chicago, to brush up on her
technique. And, naturally, she met
Lee. Her version of their romance
is that she went to Lee and paid
$300 for lessons ; didn't get one ;
and had to marry him to get her
money back !

Don't (Continued on page 85)

SCREENLAND

Presenting Doug, Jr.

and

"How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears.'"

Could the immortal Bard, penning these lines, have imagined
scenes of more lyric tenderness, more passionate beauty, than
these between Katharine and Douglas? In his enactment of
one of the greatest love stories of all time Doug displays a new
and authentic fire, while Hepburn softens her emotional in-
tensity with a gentle, yearning quality. These scenes from
their co-starring picture present romance true, austere, and
deeply moving.

It's "Back to Shake-
speare" for these
two young stars in
an idyllic interlude
from their new pic-
ture, "Morning
Glory."

All photographs of
Katharine Hepburn
and Douglas Fair-
banks, Jr. by Ernest
A. Bachrach

for August 1933

Hepburn as Romeo and Juliet

The daughter of the
Capulets and the scion
of the Montagues, soon
to be parted by death,
drown their grief in a
final bruising kiss. In
''Morning Glory,"
Katharine and Doug
play the roles of act-
ors, performing this
"play within a movie."

Before the final death
scene. Juliet Hepburn
smiles tenderly upon
the lover whom she
cannot marry, yet
cannot bear to lose.
And now, with two
such attractive
Shakespeareans to
play the leads, let's
hope for a full-length
cinema "Romeo and
Juliet."

SCREENLAND

Here's Hollywood!

THE month's best meritorious deed
was done by lovely little Janet
Gaynor, who probably would rather
the matter not be written about.

In a very small town near Hollywood
is a tiny theatre whose owner recently died.
He left a widow and three little children
who were entirely dependent upon that
theatre for food and shelter. Despite the
mother's greatest efforts the theatre was
not earning money ; residents of the town
preferred driving to Hollywood for their
movie-fare.

Janet heard of the sad condition and
what did the little trouper do but go to
the theatre-owner and volunteer a series
of free personal appearances. The widow
accepted the star's kind offer with tears in
her eyes.

Not only did Miss Gaynor appear herself
but she also persuaded several other film
players to join her — I will not mention
their names because the entire glory should
belong to Janet.

As a result of the appearances the towns-
people became aware of the widow's posi-

All about the stars—
their lives, their loves,
and their pictures

Weston East

tion and they flocked to her theatre. Now
they have made her . little showplace a
regular habit and the grateful widow has
presented Janet with a life-pass and her
blessings.

CONTRARY to general reports, Greta
Garbo has not signed a long-term con-
tract with a Hollywood studio. She has
agreed to do only two more pictures, and
she is being paid a king's ransom for each.

Greta has informed certain Swedish
friends that she will positively return to
Europe, never again to come back to Holly-
wood, when her two pictures are completed.

ABSURD rumor kept Constance Bennett
■t\ from enjoying a trip to Honolulu. The
blonde star for some reason unknown to
herself found her name linked with that
of Gilbert Roland.

She had her bags packed and her tickets
purchased for a flying between-pictures va-
cation in Hawaii when she learned that
this actor was already sojourning on the
island. For the sake of appearances she
postponed her own trip.

JACK OAKIE sent a radio to
Peggy Hopkins Joyce's dressing
room at the studio. Peggy was
highly pleased — until a bill fol-
lowed the instrument. Whereupon
she protested loud and long.

"For the luvamike!" luvamiked
Oakie. "Ain't it enough that I
went to all the trouble of picking
it out for yuh?"

ALTHOUGH Marlene Dietrich has de-
■t\ parted for Europe and has publicly
declared herself finished with motion pic-
tures, her fans need not fret.

Marlene will return to Hollywood in
September, so she informed her dentist
before her departure. More startling news :
She has re-signed with Paramount for two
pictures and Josef Von Sternberg will
direct both.

Sweet Cookie! Here's three-year-old Bobby Cook, who competes with Clark
Gable as the masculine appeal in "Hold Your Man," with Jean Harlow. Bobby,
who plays the son of Jean and Clark, won the part because he has Jean's hair
and eyes while his smile suggests that of his screen daddy.

Wide World

Ho for the open road! Mary
Pickford was caught by the
camera before starting on a
bicycle ride at Palm Springs.

for August 19 3 3

JOAN CRAWFORD sometimes
does the nicest things! For in-
stance she is always most gracious
to her studio friends. She knows
the birthday of every person who
has played in her pictures, and on
the proper dates she always sends
flowers or suitable gifts.

May Robson was thrilled to re-
ceive a basket of flowers from
Joan on her recent birthday, and
Jackie Cooper is still raving about
Miss Crawford's Easter present.

1AUGH, I thought I'd die! Katharine
-/ Hepburn bought a new set of studio
overalls. Instead of buttons, her new work-
pants featured a round-the-waist zipper.

Well, one morning the zipper stuck and
there was Katty, tightly wrapped in her
new panties while the company awaited her
arrival on the set. She and her maid
struggled to no avail. A studio wardrobe-
matron tried her hand but the obstinate
zipper refused to unzip.

The company supervisor meanwhile tore
his hair over the costly delay. Finally he
decided it would be cheaper to purchase
new overalls for Miss Hepburn. With that
solace the actress allowed the wardrobe
woman to chop her out of the outfit with
scissors.

CLARK GABLE gives up his entire
lunch hour to boxing lessons . . . Fred-
ric March has acted as judge of nine
beauty contests this year . . . Diana Wyn-
yard and George Bernard Shaw arrived in
England on the same boat; out of twenty
reporters at the dock, eighteen were there
to interview the actress . . . Jack Oakie,
chagrined about the proper pronunciation
of the names of Marlene (Marlaynah) Die-
trich and Sari (Sharee) Maritza, says his
name is pronounced as though it were
spelled "Jack Oakie" . . . Katharine Hep-
burn plays dawn tennis for her health . . .
Joel McCrea lives at the beach and has
not missed his morning dip, winter and
summer, for two years . . . Zasu Pitts lost
her tonsils to a doctor . . . Rudolf Valen-
tino's old Isotta-Frascini limousine that
cost $25,000 twelve years ago is for sale
for $500 . . . Carlyle Blackwell, movie
matinee idol last generation, may stage a
comeback . . . John Boles' cook taught
Lilian Harvey's' cook how to make South-
ern apple dumplings — ummm ! . . . Yes, sir
and ma'am, Joan Crawford painted her own
kitchen furniture . . . Life is now complete
for Claudette Colbert ; an Indiana dairy has
named a champion cow after the star, and
isn't there a gag in that somewhere?

i'' :• !"f

Bride of the Lion Man! Buster
Crabbe is about to carry his wife,
the former Virginia Held, across
his threshold according to the
ancient tradition.

TEAN HARLOW is a typical
J "summer girl," in that every year
she learns how to swim — and each
year a handsome youth is her
teacher.

This year Johnny Weissmuller
is the lucky fellow. Jean has a
wonderful pool on her new estate
and there she and Johnny have
spent many hours. Under his
skillful guidance the platinum
blonde is developing into a water-
nymph; until next year when
she'll have to be taught again!

THAT was a funny accident that hap-
pened to Franchot Tone. While he
was working on a studio-built farmhouse
set in "Stranger's Return," the actor re-
marked to visitors that the props looked
so real that even the birds and bees were
fooled.

"Look over there," said Tone, "at that
humming bird trying to get honey from a
prop rose."

So saying, Tone seized the rose to show
his guests that it was a fake. But the
humming bird was no fool — that one bush
happened to be the real thing. Tone spent
days pulling thorns from his palm.

WHEN Countess Zenardi-Landi, Elis-
sa's mother, fell and bruised one
knee, James Dunn commented : "Another
victory for democracy; royalty has fallen
again."

Times do change! The entire saga of an actress's rise to the heights is con-
tained in these fascinating "before and after" pictures of Katharine Hepburn.
Above, little "Katie" as an amateur in Bryn Mawr College theatricals, starring
as Pandora in "Lady of the Moone," A. D. 1928. Left, La Hepburn today.

SCREENLAND

Attention, light-footed
lads and ladies! Here's
the new and tricky "Fra-
ternity Stomp," demon-
strated for you by Jack
Oakie and Lona Andre,
who dance it in "College
Humor." 1. Starting po-
sition— skip apart, for-
ward feet raised. 2. Cross
feet, swinging bodies to-
gether. 3. Stamp heels,
swing apart — repeat
twice. 4. Swing bodies
close — repeat with stamp.
5. Hop back, raising rear
foot. 6. Bring raised foot
to floor, swinging around.
7. Repeat stamp, bend
both knees, then to first
position. Now try it!

ILY woman, ever alert to fool foolish
man ! Was it by accident or was it
mischievousness that caused Lilian Harvey
to inform Gary Cooper and Gene Raymond,
two persistent wooers, of her intention to
visit Palm Springs?

At any rate, Gary and Gene leaped into
their cars and raced to the resort. When
they got there the hotel was bare — of
Lilian. She had changed her mind and
remained in Hollywood to house-hunt.

They do say that Cooper and Raymond
were in the most unamiable of moods when
they returned to town.

RICHARD ARLEN played strenuous
-football sequences for "College Humor"
without mishap, then fell and sprained his
wrist while running to the dressing rooms.
. . . Bebe Daniels is starring in a picture
for British International while she is
abroad . . . Constance Bennett has a beach
house beside the Pacific, but despite her
dozen or more Atlantic crossings, Connie
has never voyaged the greatest ocean . . .
Ruth Chatterton bought a chateau in
France ; she will live there when her screen
career is ended . . . Wynne Gibson has
kissed only two men, Edmund Lowe and
Gordon Westcott, during her three years
as leading woman . . . Marlene Dietrich
took 2000 personal photographs to Europe
to distribute among her friends.

"Come across!" If you were one
of the millions who "rolled in
the aisles" at "Min and Bill,"
you'll welcome the news that
Marie Dressier and Wally Beery
will repeat in "Tugboat Annie."

HENCEFORTH Gloria Swanson will
leave the cooking to her servants. Re-
turning home from tennis and bringing Clive
Brook, John McCormack, and other guests,
Gloria retired to the kitchen personally to
prepare some food. When she attempted
to light the gas stove, there was an ex-
plosion. Fortunately no one was injured —
but no more cooking for Gloria, she vows.

JACK OAKIE bought a minia-
ture vulcanizing apparatus and
set himself up as official "fixer for
punctured rubber bathing suits."

APPARENTLY the fellow who annoyed
A George Raft at the prize-fights had not
read the star's life history, else he would
have known that Raft was once a ring-
artist himself, and a puncher of no mean
ability.

At any rate, stadium officials had to pull
George away from this opponent when the
actor forcibly resented disparaging re-
marks directed at himself. The melee was
brief, but because of the prominence of
one of the contestants it received a noisy
ovation from the crowd.

" V7"OU can lead a horse to water," Jimmie
1 Durante wired his studio bosses, "but
with beer back again you won't find me
there."

Here's a trio of your favorites in interesting guise! Kay "I'll bite," says Ken Murray, suiting the action to the word.

Francis, Walter Huston and Nils Asther go foreign as the This personable actor gets his first real part in "Disgraced" —

three angles of a love triangle in "Strange Rhapsody". and with no less a beauty than Helen Twelvetrees opposite!

or August 19 3 3

A RADIO salesman, attempting
to sell El Brendel a radio,
mentioned that the instrument "re-
produces beautifully."

"Yeah, but who wants a lot of
little radios running around the
house?" El yelled.

DOROTHEA WIECK hides her wed-
ding ring in her shoe when she enacts
her scenes . . , Daisy De Voe, Clara Bow's
ex-secretary, is free after serving eighteen
months in jail for embezzling money from
the star . . . Mary Pickford will not produce
"Alice in Wonderland" because one year
would be required to draw the animated-
cartoon backgrounds . . . Paramount studio
keeps twelve human skeletons in stock.
"Not counting those in studio closets," adds
Andy Devine . . . Doris Hill (remember
her as a lovely ingenue?) was secretly
married last June . . . The Johnny Mack
Brown family anticipates an addition to its
cast in September ; Johnny hopes for a boy
. . . Director William Wellman has found
divorce an expensive proposition ; he has
settled with three ex-wives for $30,000,
$40,000 and $45,000 . . . Jean Parker,
M-G-M pretty-ette, received this autograph
from a naval officer: "I have faced powder
for thirty years, but never before on such
a beautiful background" . . . Jack Oakie is
given a full chapter in Peggy Hopkins
Joyce's new book, "Trans-Atlantic Wife."

Joan gets a new leading man!
The Bennett gal, who stars in
"Arizona to Broadway," plays
opposite "bad boy" Jimmy
Dunn. How do you like James'
snappy shirt and tie?

but

for
his

NOTHING more delights Jimmy Durante
than to stick "the other fellow" with the
luncheon bill. It is a habit with the
comedian, who is really big-hearted
likes to fumble restaurant checks.

A story about Durante's distaste
spending money comes from one of
business associates. This chap said to the
comedian, "You must buy yourself some
good clothes, now that you're among the
big shots."

"Whatcha mean, good clothes !" screamed
Durante. "Ain't I just went to (he named
a well-known $2S-a-suit store) and bought
six suits less'n a year ago?"

Meanwhile, Durante's father refuses to
give up his barber shop, even though his son
is famous and wealthy. When Jimmy is
in New York he never permits another
barber to touch his hair.

LEW AYRES' two hobbies are astrology
-/and modeling in clay. Of late he has
been more interested in the latter fad ; at
least, he was until a few days ago.

Lew busied himself on a gargoyle-like
figure, and after days of tedious carving
and patting, he achieved an astounding re-
sult. Whereupon he leaped into his auto-
mobile and raced to gather friends to
witness his artistry. Alas, Lew forgot to
pull down his window shade, and during
his absence the hot sun struck his oil-clay
model and melted it to a messy wad!

And here's the first still from "Double Harness," featuring an
interesting new acting combination — Ann Harding and Bill
Powell. Bill offers Ann a cocktail with his usual suavity.

Sylvia Sidney, as Jennie, is supported by Greta Meyer and
Gilda Storm in this scene from Theodore Dreiser's "Jennie
Gerhardt." Thundering Theodore thinks he's going to like it!

SCREENLAND

Looks like a real
sea-going scene —
but Oh, that over-
head "mike"! At
the right we have a
scene in the mak-
ing from "Bed of
Roses," with Con-
nie Bennett and Joel
McCrea — and it's
all done in the stu-
dio; water, tugboat
and all. Below,
Connie does some
naughty nautical
vamping in Joel's
quarters.

HARPO MARX re-marx: "The new
rubber bathing suits are doing their
duty — they're making men rubber" . . .
One-word description of Mae West ; "Cur-
vacious" . . . Clark Gable plans to hunt
grizzly bears when the new season opens
. . . Fay Wray, so-called ping-pong champ
of Hollywood, was eliminated the first day
during- the recent movie tournament . . .
Glenda Farrell, who played the woman who
didn't want her baby in "Life Begins," has
a nine-year-old son in military academy
. . . Lilian Harvey eats two desserts after
almost every midday and evening meal but
she weighs only 94 pounds ! . . . Janet
Gaynor presented Henry Garat with a
birthday cake which she baked herself . . ,
Irene Dunne has practiced singing one hour
daily for six years . . . Victor Jory went
bike riding and returned with two flat
tires ; collided with a porcupine, he ex-
plained . . . Did you know that Jack La
Rue once played Mae West's Latin lover
in the stage play, "Diamond Lil" ? . . .
Carole Lombard hates pies ; she was once
a Mack Sennett comedienne . . . Because
James Dunn gains weight quickly. Fox
entered a clause in his contract that for-
bids him to get fat.

Wide World

Al Jolson, famous singing star, points out the sights to Ruby Keeler, his no
less famous wife, as they sail into San Francisco Bay on the return voyage from
a Honolulu vacation. They came on to New York later.

r August

19 3 3

The Mississippi
River tugboat in this
startling indoor
navigation scene is
correct to the last
halyard, except for
that tell-tale micro-
phone, which of
course won't be vis-
ible on the screen.
Below, Connie the
siren tells John
Halliday a thing or
twenty in a morning-
after scene. It's one
of C onni e's big
moments.

Wide World

Ax her celebrated vacationist at Palm Springs — Janet Gaynor, with her mother,
M: aura Ga; you never associated Janet with the idea of lovely

leg? t see! Isn't she — yes! — "Adorable"?

YOU read scandal about the stars and if
you are wise you know that not half
of it can possibly be true. Well, here is
how gossip starts :

An out-of-town newspaper reporter wit-
nessed William Powell enter an apartment
house with a sack of groceries under his
arm. The reporter knew that Powell lived
with his wife in Beverly Hills. He put
two and two together and got nine — he
decided Bill was visiting another woman.

The funny part of this story is that the
reporter was correct. Powell zcas visiting
another woman — his mother, who _ often
cooks her boy the old-fashioned dinners
he relishes.

TORETTA YOUNG was lament-
J— ' ing the fact that the studios
have never been satisfied with her
as nature made her.

"When I first entered^ the
movies," wailed Loretta, "they
padded my figure to make me look
older. Now that I have grown
up, they dress me and arrange my
hair to make me look like a child
again."

SCREENLAN»

Look out, Jimmy! Cagney gets gay
with Madge Evans in "The Mayor
of Hell." Judging from her look, he's
going to get a Cagneyesque wallop !

LOVES AND UNLOVES:

MARY BRIAN and Dick Powell may
wed, Joan Crawford has divorced
Douglas Fairbanks, Jr., and Mae West
denies that she is married to James A. Tim-
ony, her manager. These are the highlights
of Dan Cupid's romance-report for the
month. In addition, we have :

Marguerite Churchill and George
O'Brien, both of whom have been away
from Hollywood for months, have renewed
their romance where they left off.

Fay (Mrs. Rudy Vallee) Webb is being
taken places by Nick Grinde, director. Ivan
Lebedeff's dark handsomeness is making
an attractive contrast to Claire Trevor's
blonde loveliness. Cecelia Parker and Noah
Beery, Jr., continue to sail along smoothly
— Hollywood's most ardent young-love.

"Drum Major" Lilian Harvey, in a between-scenes interlude on the set, swaps
gossip with the blond and genial Gene Raymond. Isn't Lil lovely in this bizarre

dancing costume!

Lionel Barrymore, who loves spinach,
reverts to one of his familiar be-
whiskered roles in "Stranger's Re-
turn." Here he is in church with
Miriam Hopkins.

Billie Dove, after being wooed by Howard
Hughes, eloped with Robert Kenaston, so-
ciety favorite. A smouldering affair has
commenced with Alice White and John
Warburton playing the embers. Lola Lane,
Lew Ayres' ex-, is finding more than
pleasure in the company of Herbert Som-
born, owner of the Brown Derby restau-
rants.

Russ Columbo, radio crooner, is chasing
madly after Estelle Taylor, while in New
York Jack Dempsey is escorting Hannah
Williams, Columbo's ex-flame. A local
fortune-teller, delving into the possibilities
of the Ann Harding-Alexander Kirkland
romance, reports that the gentleman will
wed this year or next.

Sensation ! Katharine Hepburn and
Doug Fairbanks, Jr., seem to enjoy each
other's company more than a little. Re-
ports are that Henry Garat and his wife
had a possibly serious family spat en route
to Paris. And reports of further serious
difficulties between Adolphe Menjou and
Kathryn Carver make the continuance of
their marriage more problematical than
ever.

Loretta Young, dining with Bruce Cabot
often, says she is merely substituting for
sister Sally Blane who is abroad. Madge
Evans simply can't be seen with Tom Gal-
lery and not hear engagement rumors.
George Raft plays the field but his favorite
is Marjorie King.

James Murray and Marian Sayers were
uncertain of the status of their Mexican
marriage, so they did it again, American
way. Ruth Elder eloped with Arnold Gil-
lespie for her third marriage, and she's
still a young girl. Shades of Peggy Hop-
kins Joyce!

Sue Carol and Nick Stuart have definite-
ly done their fadeout scene and are occu-
pying separate apartments. Ditto Inez
Courtney, who won a divorce because her
husband stayed out nights.

Ginger Rogers and Lew Ayres are doing
their love clinches before and behind the
cameras. They do say that Lila Lee is
secretly married to director George Hill.
Doris Kenyon became a June bride, Arthur
Hopkins, affluent business man, being the
fortunate groom.

And setting at rest all rumors concern-
ing the Lawrence Tibbetts, that singing
star's wife expects an addition to the fam-
ily cast in August.

for August 19 3 3

You may not believe it, but the sweet, simple little girl at the left is none other
than the dashing Katharine Hepburn, in "Morning Glory," her next picture,
with Douglas Fairbanks, Jr. Geneva Mitchell is the other girl.

PERHAPS movie fights between
men are faked, but the battle be-
tween Jean Harlow and Dorothy
Burgess for "Hold Your Man"
was the real thing.

Jean delivered a right to Doro-
thy's chin that landed with an un-
mistakable smack. Miss Burgess
did not need to fake her foldup;
she was actually knocked cold.

And I wonder what all these
young bachelors with their eyes
upon the charming Harlow-widow
think of that!

JOBYNA RALSTON ARLEN'S addi-
tion to her family cast is a fine baby boy
— eight and one-half pounds at birth. Soon
after its arrival papa Richard wired Bing
Crosby : "Joby did right by me ; it's a boy.
Now it's up to Dixie to give the world a
new crooner."

GRETA GARBO caused a sen-
sation when she visited the
Paramount studio to pre-view
Marlene Dietrich's new picture.

Jf ALE Ernest Torrence! He made his
exit, like the splendid trouper that he
was, giving one of the best performances of
his career in "I Cover the Waterfront."
There's a strangely moving and prophetic
episode early in the film when Ben Lyon
says to Torrence : "I know how the story
will end — I'll write your obituary." And
he does — a tribute to a man whose inner
goodness shone through an outer shell of
harshness. Drama within drama !

One of the best-liked actors ever known
to Hollywood, Torrence's passing will be
a permanent loss to the life of the film
colony.

TUNE COLLYER declares that her hus-
«J band, Stuart Erwin, is like a big boy —
and there is a reason for June's sentiments.

Not long ago Mrs. Erwin bought Stuart
a new camera, one of those candid cameras
that sometimes take un-candied portraits.
.Stu was so delighted that he used the first
twenty rolls of film snapping pictures of
his wife and baby. Now he is doing as
the late Lon Chaney did — he is shooting
Hollywood stars and he will compile a
personal album that will never leave his
possession.

TpSTELLE TAYLOR'S $150,000 suit
-L* against an insurance company for in-
juries received in an automobile wreck was
won by her. She was awarded $20,000.

At first glance that seems to be consider-
able money, but Estelle actually received
very little of the sum. Her physicians were

paid $11,000 and her attorneys received
twenty-five percent plus $1,000, or $6,000.

So, although she was the injured party
and spent about eight months in bed with
a broken neck, Miss Taylor's actual judg-
ment amounted to only $3,000.

(Continued on page 98)

Meet Rhinestone Ruby.' Dorothy Granger plays her, with
Tom Kennedy and Leslie Fenton as two of her willing slaves,
in "She Outdone Him," a "Gay Nineties" comedy with that
Mae-Western tang.

Jackie Cooper takes a close-up with his mother and his new
stepfather, Charles Bigelow, of Chicago. Mr. and Mrs.
Bigelow were married recently in Yuma, Ariz., like regular
film headliners.

SCREENLAND

Robinson Arrives

Continued from page 51

in the Secret Service and was told that
his best chance of landing one was to join
the Navy. So he joined.

He was sent to the Naval Training Camp
at Pelham Bay and put through the regu-
lar course of drill. A good deal of his time
was spent shoveling coal. Periodically he'd
go to headquarters to inquire about the
status of his application.

"Hasn't come through yet," he'd be told.
"It's been O.K'd by such and such a de-
partment. After So-and-So's passed it, it'll
have only — let's see — one — two — three —
four more hurdles to take. Patience, my
lad. The war isn't over yet."

Armistice Day found him with his com-
rades on the coal pile. "Shoveling arms,"
he said with a wry smile. Soon the clamor
of the frenzied city began breaking around
them. They heard the muffled din of bells
and ship's sirens and factory whistles.
Joy-crazed crowds streamed past the camp,
in cars, in trucks, afoot, waving banners,
hurling confetti, shouting and singing for a
world released from horror, brothers to all
men for a single day.

But Eddie Robinson was sitting in a
corner, with his head on his arms, bawling
his eyes out ! He'd wanted to help save
the world for democracy and now his
chance was gone. He was out of it. He'd
been shoveling coal for an ideal. He had
no right to share in the general rejoicing.
It was one of the most tragic experiences
of his young life.

The proper ironic note was added when
the regimental commander sent for him a
few days later.

"If you're still interested," he said, "I
think we can fix that Secret Service job
for you now."

Robinson controlled himself,
thanks," he murmured politely,
show's over."

"I got over it, though," he said.

Broadway was short of young
just after the war, and Robinson
himself cast for the first and last time in his
life as a juvenile.

"No,
"The

actors
found

"Nice, clean-cut American youth," he
chuckled. "College boy at that. Had to
make love and all the rest of it. I don't
think I'd care for it as a regular thing, but
I did get a kick out of it that once. Same
kind of kick as I got later on, playing
a Yankee in 'Ned McCobb's Daughter.'
You see, I'd always been ticketed as a
definite foreign type. Only time I was ever
recognized as an American was when I
went to Europe. But some accident dropped
me into the Sidney Howard play, and
I'll never forget the throb of honest pride
at rehearsal one day when Howard called
out : 'The only one who's got the New
England dialect right is Eddie Robinson.'
Greater compliment than if he'd called me
the world's best Hamlet!"

Robinson's mounting success, his estab-
lishment as one of the most brilliant and
versatile character actors in the profession,
his long association with Arthur Hopkins
and the Theatre Guild, his triumphs in
such plays as "Samson and Delilah,"
Gorki's "Night's Lodging," "Androcles and
the Lion," "The Deluge,'.' are matters of
theatrical record.

Life settled into pleasant lines. A winter
of work — hard work, to be sure — three or
four roles a season more often than one —
accompanied by the nervous and physical
strain inseparable from life in the theatre —
yet work that he loved and that brought
him pleasure and profit in equal parts.
Then, usually, a summer in Europe where,
having conceived a passion for pictures, he
haunted the art galleries. Then back in
the fall to another juicy role, to the stage
which was home and love and adventure
rolled into one.

Meantime he was still living in the bosom
of his family — with his father and mother
and those of his brothers who had not yet
married. That was a thing his parents
took for granted — all well-regulated chil-
dren, male or female, live with their par-
ents till they marry. Naturally. And
Eddie, being what is known as a "home
boy" — undemonstrative Eddie, bound by

"Mob scene" in evening clothes! Here's a studio picture made during the
shooting of "College Humor." It's a tense moment in which Roughneck
Richard Arlen "crashes" a college dance, breaking in between Mary Car-
lisle and "Bing" Crosby.

ties of the deepest affection to his people,
had been taking it more or less for granted,
too.

But one day, returning from Europe, fie
arrived quietly at another of his unalterable
decisions. Time to set up bachelor quar-
ters. He'd never marry. Wasn't the
marrying kind. Liked his freedom too well.
But he ought to have his own place. En-
tertain his friends — throw a party now and
then — make room for his books — buy a
good picture occasionally when he could
afford it.

His father was hurt, his mother heart-
broken. Wasn't he comfortable then? Did
they interfere with his comings and goings ?
— they'd never intended to. Gently he tried
to explain the point — that it wasn't a ques-
tion of comfort or interference; that a
grown-up man, with his own ideas and his
own life to lead, ought, if he could afford
it, to have a place of his own.

"If you were going to marry," his mother
pleaded, "yes — I could understand it then.
Maybe — maybe you have a girl, my son?"

"No girl," said Eddie, smiling into her
bewildered eyes. "Only, I'm a big boy
now, mom."

Whether or not his parents ever really
understood, their son is not sure. But after
the first shock and strangeness of the idea
had been absorbed, they accepted the in-
evitable as they had done once before.
Eddie had been right then. Eddie was
probably right now.

_ So he set up his own establishment, and
his family weren't alone in supposing there
could be only one reason for such a step.

"Great!" laughed his friends, with con-
gratulatory thumps on the shoulder. "Who's
the girl, Eddie?"

"Laugh your fool heads off !" Eddie
would rejoin placidly. "This is a bachelor
apartment — now and forever."

Into the bachelor apartment strolled a
girl one day with a friend of Robinson's —
a lovely girl with vivid blue eyes and a
sudden, heart-warming smile.

Mr. Robinson hesitated a moment as he
told the story. Then, with that suggestion
of small-boy shyness that sits so disarm-
ingly upon him, he blurted out : "I fell in
love at sight. But I couldn't believe she'd
see anything in me."

At which point — believe it or not — his-
tory repeated itself ! Into the room where
Edward G. Robinson and I were talking
walked Mrs. Robinson, carrying a small
blue bundle — a bundle which resolved itself
into an extremely lively baby, with his
mother's blue eyes and the contours of his
father's face, clad in a blue sweater and
ridiculous panties to match, his diminutive
arms waving vigorously, blue bootees at the
end of each sturdy bare leg flailing the air
like a couple of animated robin's eggs. Mrs.
Robinson deposited the bundle in the arms
of her husband, who was promptly lost to
the world.

"Mr. Robinson's just been telling me,"
I volunteered, "how he fell in love with
you at sight and couldn't believe you'd see
anything in him."

She tilted her head at a charming "Sez-
you!" angle. "To me," she stated blandly,
"my husband's handsome. Just as hand-
some," she added, gazing down at the pair
on the sofa, "as his very good-looking son.
Which is more than I'd say for any other
man."

"The Robinson marriage," a friend of
theirs told me, "is my idea of a marriage
made in heaven. They've got the three es-
sentials. They love each other. They re-
spect each other. They work with each

for August 19 3 3

Ho-hum! Here's Katharine Hepburn's interpretation of "The Thinker"
— a slightly bored one. She's waiting for the cameras to find the range in
preparation for a scene in "Morning Glory." Note "Katie's" characteristic
studio costume — overalls, sweater and smock.

other. It's a combination that can't go
wrong."

From the beginning Mrs. Robinson was
more interested in her husband's career
than in her own. So she gave hers up, to
become all things to one man— critic and
play-reader, confidante and adviser and, as
he describes it, "general bolsterer-up."

"I need crutches," he explained, "to keep
my faith in myself from toppling over. I'm
another of the victims of 'dat ole davil' in-
feriority complex. Whatever success I've
had never gave me any assurance that I'd
go on having it. Each new role is a new
Calvary — I'm always sure that this time
I'm going to be rotten. So you can per-
haps imagine what it means to me to have
someone always there who is vitally in-
terested, always ready to listen, to discuss,
to rehearse with me, act as trial-audience,
no yes-sister either, but a person whose
judgment I can rely on for good or ill.
When my wife says: 'You were good,
Eddie,' that's the moment when the dark-
ness lifts and I may even begin feeling sort
of pleased with myself!"

Meantime a little machine called the
Vitaphone had wrought an upheaval in the
motion picture trade. Hollywood was yell-
ing for actors who could talk, casting its
golden nets over Broadway and hauling in
some of its biggest fish. Robinson was
asked to make a test, but the memory of
his three days on a movie set was still
green and bitter.

His state of mind was mixed. He had
no intention of abandoning the stage — his
first and dearest love. Still it mightn't do
any harm to make an occasional movie and
garner his share of those heavily adver-
tised shekels. But suppose he flopped. He
could hardly tell them he was afraid. So
he bluffed it out.

"Why test me?" he demanded. "I've
been tested plenty — on the stage. I'm all
right. If there's anything wrong, it's with
your machines, not me. Test your ma-
chines."

"Doesn't sound much like an inferiority
complex, does it?" he grinned. "But it was
all put on to hide a quivering lip."

Universal finally took him on his own
terms, signing him for "Night Ride" with-
out a test. Then he did "A Lady to Love" for
Metro-Goldwyn. Metro-Goldwyn liked him.

"How about a five-year contract ?" they
suggested. "There's a swell book floating
around called 'Little Caesar.' Great gang-
ster part for you. If you'll sign up with
us, we'll buy it."

"Nothing doing," said Robinson kindly
but firmly. "I don't care about gangster
parts, and I'm not tying myself up to the
movies for five years. I'm going back to
New York to do a play."

He went back to New York — to what
was probably his greatest stage success —
the play of which he was co-author — "The
Kibitzer."

He and his wife departed for Europe at
the end of the run. Coming home, they
were met on the dock by friends, brandish-
ing copies of "Little Caesar." Robinson
found time to read it and to change his
mind about the gangster part.

Back in Hollywood for a free-lance pic-
ture or two, he was summoned to the offices
of Universal.

"How about a long-term contract?" they
asked him. "We'll get 'Little Caesar' for
you if you'll come with us."

But even his enthusiasm for "Little
Caesar" couldn't buy Robinson.

"No long-term contracts," he insisted
stubbornly. "As soon as I find a good
play I'm going back to New York."

It happened, however, that First Na-
tional, pausing to drive no bargains, bought
"Little Caesar," signed Robinson to play
the lead, and made the picture. He enjoyed
working out that masterly characterization
more than anything he'd done to date, but

the moment it was finished he raced back
to New York to appear in what he hoped
was a good play — "Mr. Samuel."

"Mr. Samuel" proved a complete flop and
Mr. Robinson's spirits sank to their lowest
ebb. A good play, like a good man, is
notoriously hard to find. Where was he to
look for one now?

At which crucial moment "Little Caesar"
was released. It opened in New York at
9 .30 one morning and kept right on running
over and over till 4 :30 the following morn-
ing. The theatre was mobbed. Reserves
were called out to keep the crowds in order.
Robinson's natural desire to see his own
picture created a problem. Police were
afraid of a riot. Finally he and his
wife, completely surrounded by blue-coats,
sneaked like criminals up a back alley and
into the house. In a cold sweat Robinson
watched the reels unfold, stole a fearful,
fascinated glance now and then at the
tense faces packed in about him, felt the
waves of thunderous applause surging over
him at the picture's close. This was an
experience the stage had never given him
— the greatest thrill of a career not wholly
devoid of thrills. He left the theatre in a
daze — by the back way.

It was "Little Caesar" that vanquished
Robinson. He couldn't resist a tidal wave.
It carried him off his feet, swept away all
his preconceived ideas of the stage and
the movies and his own relation to each.
He threw up his hands and capitulated.
He gave up his search for good plays and
signed a long-term contract with Warner
Brothers.

It's a step he has never had reason to re-
gret. His forceful personality has stamped
with distinction every role he has under-
taken since, and he stands today at the
head of his class — the character actor par
excellence — the Little Caesar of the movies.

But I'v.e seen a picture of Eddie Robin-
son— made without benefit of camera or
mike — that's done the impossible — wiped
from my mind the supposedly indelible
image of Little Caesar. His cheek pressed
gently to the cheek of the baby in his arms,
he crooning a lullaby his mother must have
sung once to him. His son's blue eyes
stare solemnly up into a face transfigured
by a smile of infinite tenderness. Presently
the little lids droop — lift drowsily for a
moment — and close again. The tiny fists
uncurl. The baby's asleep.

It's Eddie Robinson's best picture !

SCREENLAND

Gable! The Movies Saved Him!

The chances of staying permanently-
married have been proved pretty slim for a
movie star. Yet, in Clark's opinion, we
are wrong in blaming Hollywood. The
town doesn't ruin love, nor does the pro-
fession of acting. The persons themselves
are wholly responsible.

"Love is really the most important thing
in life." The set was a madhouse of con-
fusion and a half dozen tourists had just
been ushered in to gaze wide-eyed at Clark
and Jean. He went on unperturbed.

"Certainly it is with me. With the right
wife a man is ready to face anything. He
is one hundred per cent alive. Vibrant!
Why should business — and acting's merely
that — interfere with love?"

Note this, gossips !

"I haven't had to fight any baleful
Hollywood influence as regards my own

Continued from page 1 9

marriage. On the contrary, Hollywood
has been a good experience for Mrs. Gable
and myself. It has brought us even closer
together, if that were possible.

"Now that I have a contract and don't
have to worry about where my next job is
coming from, I have more time to spend
with her. Also, I have the money to do
the pleasant things for her which I always
wished to do. And couldn't. We recently
moved to a larger and nicer home, to give
a specific example."

It is a beautiful place of Early American
architecture. Curiously, the Gables chose
the same quiet Brentwood Heights street
on which Joan Crawford, Barbara Stan-
wyck, and Helen Twelvetrees reside. These
four top-notchers reside within two blocks
of each other.

"We enjoy social life. Hollywood has

given us the opportunity of making friends
with many fascinating, brilliant people.
They are stimulating company and we like
to entertain and to visit them. These are
contacts which I, not so long ago, couldn't
have made."

Because he is such a congenial fellow,
Clark is as well liked by men as by the
women. Mrs. Gable, a charming sophisti-
cate, won her reputation as a clever hostess
in the smart circles of New York City. So
an invitation to the Gables' is a prize.

I think a significant fact about 'Clark
is worth commenting upon. He looks and
lives as we imagine a movie star would.
At premieres and our best parties he cuts
a striking figure. Week-ends when he's
not working find him at Del Monte, Palm
Springs or Agua Caliente.

Superficially he is the spirit of Holly-
wood. And yet he is absolutely natural,
unaffected. He, more than any other of
our male stars, is exposed to the supposed
evils of the movie world.- Yet what has
happened ?

Surrounded by would-be-willing women,
he has eyes for his wife alone. Paid a
large salary, he lives comfortably but not
extravagantly. Faced with unlimited oc-
casions for making hey-hey, he remains de-
cent and respectable. Can it be that Holly-
wood has been horribly slandered? That it
has been the magnificent alibi for less self-
respecting actors?

With the third "take" of the same love
scene okayed by the director, Clark said
goodbye to his partner in picture passion
for the afternoon and walked off the stage
with me. (Did I get jealous glances from
the tourists, or did I? I did!!)

"I needn't go into detail as to how Holly-
wood has saved me financially," he added as
we headed for his dressing room. "In
Portland, Oregon, I once played a week
with a cooperative stock troupe. We
gave fourteen performances and everybody
shared in the profits. My total pay for the
week was $1.30 !

"There have been similar sad chapters in
my past. Strange, isn't it, that the 'good
old days' were the darkest ones for me !
Naturally I'm glad to be doing so well
with my wages now. I'm saving a sizeable
proportion, too, for when my movie era
ends the big salary stops with a bang."

"How about your fondness for sports?"
I. asked. "You weren't able to indulge so
extensively before the movies' magic wand
was waved, were you?"

"Check up one more blessing from this
grand city," he retorted with a gay flourish
of both husky arms. "I'd always wanted
to have my own horse, to play polo, golf
and tennis. And I was too busy working
until my break in the talkies. As soon as
I could afford it, I rushed to take lessons
from experts."

He-man supreme on the screen, Clark is
equally masculine in reality and he excels
in these gentlemanly games today. Never-
theless, he still prefers hunting to the
tamer sports. He particularly likes to
explore the wilds of Utah and Mrs. Gable
accompanies him on these back-to-nature
excursions. I've a suspicion he has de-
signs on the lions in darkest Africa!

I left him at the door of his dressing
room. By the time I was a few yards
away he popped out again and was racing
for his twelve-cylinder roadster. I'd for-
gotten that he is the one male star who
wears no make-up. Why should he dabble
for an hour with a jar of cold cream? He
had no grease-paint or troubles to remove!

for August 1933

I keep my lingerie
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says

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way." Wynne Gibson

Paramount Star appearing
in "Her Bodyguard"

Why dont t/ou
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Hollywood rule

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SCREENLAND

What G. B. Stern Thinks of Hollywood

Continued from page 33

It was my stunning assignment to inter-
view this picturesque and indefatigable
author just before she sailed back to Eng-
land, where her London flat is the meeting
place of the celebrated literati from the
whole round world. ( She has had seven-
teen books published in America in the
past twelve years!) She was keen, she
said, about Hollywood, and plans to return
later on.

"Of course, Hollywood is fascinating ;
how could it help being with such a horde
of brilliant, individualistic minds gathered
together and at work in one place?" G. B.
Stern pronounced.

"No one who has not been in Hollywood
can imagine the stimulation and the fun of
being on the staff of a large producing
company, with a cubby-hole of one's own
in the studio for conferences and conveni-
ence, even though one has it in one's con-
tract that one can do one's writing at home.

"I love the excitement of never knowing
what new, strange, unforeseen thing is go-
ing to happen from moment to moment — as
they always will be doing in a place like
Hollywood where ideas are striking fire,
plans are being changed, and exciting new
vistas are continually flashing into sight.

"It was really to learn about a new
writing technique with the thought that it
might add something to my novel writing —
for I am really a very serious hard-work-
ing novelist, more than anything else — that
I went to Hollywood," said Miss Stern
smiling. "I have learned it. I feel certain
that in the future instead of philosophizing
about action and character, I shall hear a
faint echo of all the exchange of talk I
heard on the R.K.O. lot and shall remem-
ber my own experience in translating books
into motion picture scripts. I shall describe
character and action through action. This,
I feel sure, is one of the great and valuable

Here are Romeo and Juliet off screen! The romantic young Shakespear-
eans whose beautiful costume pictures you'll find on pages 62 and 63 of
this issue are fairly matter-of-fact in real life. Katharine Hepburn is
watching Doug, Jr. correct the manuscript of a novel he is writing.

ways in which the newer art of the motion
picture can contribute a livening quality to
the older art of the novel."

Miss Stern thinks that not only is Holly-
wood stimulating from the point of view
of work, but that it is kind as well — an
adjective not always applied to it! We
talked about an article I had read in which
the writer apologized for the indifference
of the motion picture "inner circle" to new-
coming celebrities.

_ Rather than going away with the impres-
sion that Hollywood is cold, rude, and in-
different to a "foreign" artist, Miss Stern
feels it is one of the kindest spots she has
ever been in. Unbelievably kind and gen-
erous "on the lot."

"I love starting out the morning in the
quiet and fragrance of a garden looking
out over the ocean on a Santa Monica ter-
race with determined plans to dictate — (she
always dictates) — the whole day through,
no matter what happens, and find instead
that a limousine has swept you away to an
unavoidable consultation at the studio, end-
ing up with a preview at the studio, with
everybody talking and exchanging shop-
talk."

Miss Stern does not know whether, after
the luxury of being shown films in a Holly-
wood projection-room, she will ever be able
to bring herself to go to just plain every-
day movies again at home.

"What were your most thrilling experi-
ences in Hollywood?" I asked.

"Visiting the great round gloomy mys-
terious observatory dome on Mt. Wilson
in Pasadena at night. The place where
Einstein and Millikan have been working
out the problems of the cosmos," said Miss
Stern.

"And seeing blossoms and ripe fruit to-
gether at the same time on the orange and
lemon trees in the garden ! — and the earth-
quake. We thought in it we were going
to lose Bart and Edna, our two palm trees
named after Herbert Marshall and Edna
Best. But they survived."

The only thing that did not come up to,,
or far exceed, Miss Stern's expectations,
was the Pacific Ocean. She was disap-
pointed— not in Hollywood days or Hol-
lywood nights or people — but in Hollywood
swimming. Miss Stern, who ups and leaves
England for a jaunt on the continent when-
ever she happens to think about it, adores
swimming in the sapphire Mediterranean.
Her idea of diving is to slip silently into
thirty feet of clear sapphire crystal, and the
restlessness and dangers of the surf on the
Southern California beaches left an unsat-
isfied longing in her soul. She found the
luxurious swimming pools possessed by
such Hollywood stars as Marlene Dietrich
more to her liking than the open sea.

Miss Stern thinks that American girls
are pretty, but she admires character far
more than prettiness. Character she feels
Katharine Hepburn has in unusual degree.
Also great fascination ! And she thinks
this young American star will make an
excellent Jo.

"It seems a pity Louisa M. Alcott — Jo —
cannot be here to see all the excitement
that is going on about the book which she
wrote so that she could prove that one
Alcott could earn her living," said Miss
Stern in farewell. "You remember how
much she admired the Laurence boy who
lived next door because he had travelled
abroad in foreign parts? She had an in-
ternational sense, had Jo."

for August 19 3 3

photographed in Hollywood
The Hollywood stars In
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from left to right, are
GENEVIEVE TOBIN,
'BOOTS' MALLORY (Fox
star), GWILI ANDRE and
ANITA PAGE.

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SCREENLAND

Ruth Bryan Owen defends the Films

Continued from page 23

of every country, clown through the ages,
could be shown in every land.

"That is what motion pictures could do
with the past — what I believe they some
day zi'ill do.

"For the future, motion pictures can save
for posterity the great personalities of to-
day, their lives and actions.

"Photographs of an important treaty be-
ing signed can preserve forever the actual
spirit of the men and deed involved. Just
think of what it would mean to all the
generations that have followed them if there
were motion pictures of Washington and
of Lincoln ! Think of being able, today, to
see the brave and gallant band of men
signing the Declaration of Independence !
Think of seeing and hearing Lincoln's Get-

tysburg Address ! Or any historical deed.

"The men who are today making history
can be so immortalized for the future.
Only the other day Mrs. Roosevelt sat be-
side me and we watched on the White
House screen various newsreels of Presi-
dent Roosevelt taken during the past year.

"Mrs. Roosevelt turned to me and re-
marked : 'These pictures of Franklin will
go down in history and will be shown to
countless generations to come.'

"And I thought of how fortunate it is
that an actual record of the man could be
carried on through the ages !

"For in preserving our great characters
as they really are — a function now being
performed by the movies — we are insuring
accuracy. And that is the most important

A "lean" hour for Jean Harlow! The platinum gal, while chatting with
director Norman Taurog, is using one of those new-fangled studio "re-
clining-boards" during a lull between "takes" for "Hold Your Man." It
permits her to rest without sitting down on that dainty dress.

factor in any industry, art, or life — accu- I
racy !

"In portraying the human heart, motion
pictures find, perhaps, their best metier.
For the human heart is not only interna-
tional— it is universal.

"And in depicting such real, such simple
persons as are to be found in every land,
motion pictures become the great medium
for universal understanding.

"White or black, rich or poor, every
man, woman, and child could understand
the emotion that wracked poor little 'Skip-
py's' heart when, in the film of that name,
he cried over the death of his dog.

"Everyone has suffered sorrow — every-
one has lost something or someone beloved
— therefore, 'Skippy' was the hungry heart
that beats in every breast."

Mrs. Owen turned away for a moment to
issue orders to one of her several secreta-
ries, all of whom accord her a loyalty that
is more than mere deference. She really
occupies a place in their hearts.

When she turned back to me, I asked her
just what influence she thought American
films have in foreign countries.

"That question is of especial interest to
me just at present," she admitted, "going
as I am to another land for four years.

"From my visits to Europe in the past,
I have learned that American films have a
most tremendous influence in shaping the
opinions other nations have of us.

"They judge us by our motion pictures.
I mean by that that they believe we are
exactly as we are portrayed in our films.
They think our cities look just as our films
represent them ; they believe our people
behave as they do in our films. So, because
of that fact, it is obvious that we should
try always to give them a picture of the
real people of America.

"We do not want to create an impression
that any exception, isolated character, or
happening is typical of our entire nation,
of our people."

"What are your views on censorship,
Mrs. Owen? Do you care to express an
opinion?" I asked.

"No, that is a subject on which I do not
feel qualified to express an opinion," she
replied. "It is a subject too fraught with
the danger of being misunderstood, for one
thing. And for another, it is not my busi-
ness— not my job.

"I will say this, however. If motion pic-
tures are perfected from within, the whole
question of censorship would automatically
disappear.

"For if every picture produced was all
that it should and could be, there would be
no necessity for censorship, and it would
cease to exist.

"Whether or not certain individuals
should have the power to decree what other
individuals can see, I will not discuss. But
it seems to me that from any viewpoint,
censorship is merely a remedy offered to
cure an illness that exists. The illness
being questionable pictures.

"At best, censorship is an indifferent
remedy. For if a picture is not quite ac-
ceptable, cutting parts from it will not
improve it. Any more than it would im-
prove an ill-fitting gown to tear small holes
in it, or make a rug fit a room by burning
sections from the center.

"But if films can be brought to the point
where they measure up to acknowledged
standards of accuracy, integrity, and hon-
esty, there would be nothing in any of them
to censor — and censorship would die."

for August 19 3 3 79

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80 SCREENLANI

Joan Crawford through Connie Bennett's Eyes!

Continued from page 17

harbours many and conflicting forces.
Forces which she must control if she is to
win a lasting success, and she now knows
this. She now feels the terrific potentiali-
ties of her nature, potentialities that might
yet raise her to even greater heights or
cast her into the depths. And because of
a sneaking doubt as to the eventual out-
come, she now exists behind a veil of
haunting unhappiness.

"While some girls inherit a pretty fair
knowledge of how to get on in the world,
and how to find a true joy in living, Joan
finds it impossible to profit by the mistakes
of others. She, herself, must experience
life's joys and sorrows, no matter what
the cost, in order to fuse her knowledge
into one prodigious engine of life which
some day she will drive with the unerring
instinct of a trained engineer. And in the
meantime she continues to battle through
life with a courage inspired by her all-
consuming will to achieve. I must say
that I admire Joan Crawford almost more

than any woman of my acquaintance. She
can't help but win.

"At this stage of her career Joan hesi-
tates in taking a misstep for fear of watch-
ing her life crash around her. And yet, as
I have said, she can learn only through
personal experience, so she bravely tries
everything, is continually doubting, and
never manages to be quite sure of herself
— which is one reason she evinces extreme
shyness when confronted with crowds.

"In order more clearly to etch her por-
trayal of Sadie Thompson, in 'Rain,' Joan
sincerely felt the necessity for painting her
lips as fully as she did, and as a result
brought down a storm of criticism. Criti-
cism that galled her sensibilities more than
you'll ever know. Especially so, since dur-
ing the making of 'Rain' she was miserably
unhappy.

"One afternoon she drove down to my
beach place and burst into the living room,
seemingly on the verge of hysterics. 'I've
just returned from location,' she said, 'and

I can't stand it any longer ! For some rea-
son or other the whole crew dislikes me!
Sometimes I feel they hate me ! It's as
though they resent my starring in the pic-'
ture ! I can't do my best work under those
conditions !' She cried, 'I can't !' And with
that she threw herself down on the couch,
burying her face in her arms."

Connie comforted and soothed until Joan
gradually dropped into a peaceful sleep and
slept profoundly throughout the afternoon
in spite of the magnificent overtones of the
surf as it periodically, relentlessly, crashed
on the beach. The next morning Connie
told Joan to return to location as though
nothing had happened, and that if she would
be her own charming self she couldn't help
but win over the crew. Joan returned to
location, charmed, won.

"I hope," Connie continued, after relating
this incident, "you don't get the idea that
Joan is unable to take criticism gracefully.
She eagerly accepts it, both good and bad,
but is apt to feel darkly depressed if she
feels the criticism unjust or exaggerated.
Especially when people started shouting 'Be
yourself; not Garbo!' You may recall that
certain writers and fans accused her of
copying other stars ; stars like Garbo, Kath-
arine Cornell, and Pauline Frederick. One
afternoon while we were discussing these
accusations, Joan nearly broke down weep-
ing. 'I admire both Garbo and Katharine
Cornell,' she said at the time, 'and I adore
Pauline Frederick and I studied her art,
just as I studied the art of all great
actresses, as a student studies a master — but
the thought of imitating them never entered
my head! I just wanted to improve my-
self, that's all ! And I do so hope that
sometime, somehow, I'll manage to be con-
sidered a definite personality; an individual
called Joan Crawford !' I told Joan that
she already was and not to take it so hard,
as everyone in her position was the target
of a lot of unfair comment, to continue in
her own way and she was bound to come
out and stay — ahead.

"And, by the way," Connie inquired with
a faint smile, "don't you find this Garbo
comparison rather interesting? For ex-
ample, the secret of Garbo's lure lies in the
illusion of pure, unadulterated abandon.
Joan's attraction is similar, except that she
subjugates illusion to flame. Perhaps it's
because I know Joan so well that I consider
her personality far the greater of the two;
so great, in fact, that it seems absurd even
to presume the necessity for her copying
another. Who knows," she continued
lightly, "but that some day the shout may
go up : 'Be yourself — not Crawford !' ?"

And then she went on to tell me of Joan's
many and admirable qualities, qualities that
helped to cement their acquaintance into a
friendship everlasting. "Above all things
Joan is a woman of her word, gracious and
thoughtful at all times. She would go to
great lengths to please an old friend or to
make a new one. And the generosity and
greatness of her heart has not only been
proved in her treatment of friends and
studio acquaintances, but also in her many
little secret charities. Furthermore, I've
yet to find Joan boring, a trait utterly
foreign to her nature, for at all times she
manages to amuse. In fact, one doesn't
always know quite how to take her !

"An especial element of uncertainty en-
ters into any conversation with Joan when
she happens to be relaxing, -> home or down
at my place at the beach. , may look at
you intently from her staruing eyes. She
may nod expressively, apparently hanging

for August 19 3 3

on to your every word. And yet all the
, time she'll be sunk in deep concentration
over some problem of her own, utterly
unaware of your existence ! And may I
ask what to do with a girl like that? On
the other hand, though, she can display a
| resiliency of thought that leaves one gasp-
( ing. And while some of her actions may
seem at the time inexplicable, if you probe
] far enough to discover the motive, you will
find her reasoning was that of a sound,
discerning intelligence. And since Joan
invariably thinks before speaking, her re-
marks usually ring pertinent. Especially
since because of her adaptability, native
canniness and eagerness to learn she has
developed a truly deep and resourceful
mind.

"Due to the many inherent forces of her
nature she remains now and forever a
woman of many moods ; moods, however,
that are gradually being softened by her
new-found philosophy and mental develop-
ment. Nevertheless, they assert them-
selves unexpectedly, and reveal the many
and refreshing variants of her nature.

"I remember seeing Joan one evening
shortly after her return from Europe. The
predominant theme of the evening was her
intense joy at being home again. Appar-
ently some familiar note in the atmosphere
attuned itself to her spirit, for suddenly
she ran into the reception hall and began
dancing, dancing, dancing as I had never
seen her dance before. Even her red chiffon
pajamas and flowing long bobbed hair seem-
ed to catch the fire of her mood as she
swayed and whirled with inspired grace.
There was no music, mind you, and her
dance was in no way reminiscent of jazz.
Joan was dancing to the melody of her life,
to that vast rhythmic conception of human-
ity with which she was horn. It was as
though the music of her soul had been
released by her unutterable joy at once
again finding herself in this home of hers,
this home that she built and loves, and in
which she now lives alone.

"That evening Joan was truly beautiful,
and yet I've seen her look excruciatingly
funny ; hot, disheveled and amazingly
freckled, lounging on the back of her neck
in an easy chair reveling in a novel as
she absently braided her hair into pigtails !

"When entertaining formally Joan makes
a most charming hostess, gowned as one
to the manner born and watching after
guests with a gracious eagerness which
Hollywood is only beginning to understand.
Some people accuse her of being a poseur,
of trying to put on the dog, as it were, with
place cards at dinner, and one thing and
another. Such charges are too ridiculous
for words ; for Joan never, under any cir-
cumstances, does anything which she doesn't
sincerely believe is correct — her scrupulous
honesty forbidding. And Joan is honest in
deeds, words, and thought, almost to a
point of naivete. And I consider her re-
freshing naivete utterly charming.

"But perhaps the greatest tribute I can
pay Joan is simply the feeling of relaxation
and rest that I have when I step into her
home. This may be partially derived from
a profusion of white flowers clustered in
all rooms ; with sweet peas, white carna-
tions, white roses, lilies and gardenias.
And while her florist bill must be tremen-
dous, the effect more than justifies the ex-
pense. One wonders at Joan's passion for
white flowers. Perhaps in some way it
personifies a certain spiritual tendency
awakened by the Sisters back in her con-
vent days, a tendency that before long may
very well dominate her life ; but however
the course of her future life may run, she
remains now a woman whose beauty,
talents, and ^urage merit the world's ad-
miration l acclaim — a woman who has
my friendship, and a woman of whose
friendship I'm proud!"

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Press up-and-down
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SCREENLAND

Is Gar bo Bluffing?

Continued from page 25

customs of this country, then so new to
her. In her search for knowledge she met
Lilyan Tashman, than whom there are few
more clever in Hollywood. Even Miss
Tashman discovered that she had stumbled
upon a real task when she sought to imbue
Garbo with American ideas and ideals.

For example, Lilyan undertook to teach
the Swedish star the art of wearing clothes
(Tashman would!). Garbo was avid for
such knowledge and for weeks she faith-
fully visited the better shops with her
teacher. At the end of a few months Miss
Tashman threw up her hands in surrender.
Despite the screen vamp's best efforts,
Greta still carries out her own clothes ideas.

I believe that the so-called mystery-of-
Garbo is at least partially blamable to a
marked inferiority complex. When she is
thrown among brilliant people Miss Garbo
seems to become self-conscious and tongue-
tied. This is not true when she is asso-
ciating with people of lesser importance.
She is said to talk glibly to her maid, her
house servants and her business manager.
Is this because they work for her and
therefore they do not call out her inferior-
ity complex?

Garbo — the screen Garbo — is without
doubt a tailor-made figure. There is al-
most as much difference between the tall,
blonde woman who "walks in the rain"
and the graceful creature of motion pictures
as there is between Slim Summerville, the
comedian, and Claudette Colbert, the pos-
sessor of the screen's loveliest body. _ The
finest technical experts have given theTr all
to make the movie Greta beautiful. '■IThey
dress her gorgeously and otherwise* sur-
round her with the glamor which is so vital
to her box-office value.

In my opinion Garbo's inferiority com-
plex causes her to be fearfully aware of
this marked difference between her real
and her reel selves. She knows that her
figure is not petite and that her feet are
large. I recall that she seemed aware of
these faults early in her Hollywood career.
My knowledge is based on an incident that
took place at the studio several years ago.
Greta, then a stranger to the studios and
a person of little importance to her em-
ployers, was ordered to pose in a bathing
suit, just as little cuties pose in bathing
suits today.

Garbo was horribly self-aware. She took
pains to assume postures best adapted to
hide her body rather than to exhibit it as
a bathing-suit figure should be displayed.
She was mortified, beyond doubt — or if
there was doubt it was quickly banished
when Greta suddenly cried: "When I be-
come famous I shall nefer, nefer haf my
photograph in a bathing suit!"

True to that promise made to herself,
when Garbo rose to importance in the mo-
tion picture industry she positively refused
to pose in bathing suits.

In fact, Garbo refuses to pose for in-
formal pictures of any sort! She permits
studio photographers to pose her only in
the gallery or on her sets and she demands
and exercises the privilege of censoring
every negative.

Many questions are asked about Garbo.
Most of them are queries that may be an-
swered only with personal opinions, since
she refuses to give her own replies. Let us
delve into the most common queries :

Is ik true that she never attends parties?
Statements to that effect are positively
false! Greta rarely attends social affairs
at which other motion picture notables may

be found, but she travels frequently to the
homes of her Swedish or less famous
friends. On such occasions she dresses in-
formally. She goes for good times among
people who are little interested in whether
she is beautiful or homely. She is not over-
come by an inferiority complex among
such friends.

Does she want to become a stage actress?

Years ago Garbo expressed such a desire.
I believe she harbors the same yearning in

her heart today. Unfortunately for any
such ambitions, always in the back of her
mind may lurk that annoying voice which
never ceases to whisper : "I am not really
as beautiful as the public believes. On the
stage people would see me as I am. They
might be disappointed." Of course, Greta
has not publicly admitted this; I am only
hazarding an opinion of one who has
studied her closely since her early days in
America.

Ruby Keeler, sweeter than ever in her fetching travel suit, goes vacation-
ing with husband Al Jolson. No, Al isn't in blackface — it's just a few
layers of that well-known California tan!

for August 19 3 3

Does Garbo mourn for Maurits Stiller.'

In my opinion, Greta's most laudable at-
tribute is her extreme devotion. Her ser-
vants tell of her loyalty with tears in their
eyes. People who have done favors for her
have been rewarded doubly.

Stiller without doubt contributed greatly
to Garbo's present lofty position. He per-
suaded her to come to America. He en-
couraged her ; he directed her patiently ;
he taught her to pose and to act. Perhaps
he loved her, and she may have loved Stil-
ler. Regardless of this phase of their com-
panionship, I am certain that she felt and
still feels a tremendous sense of gratitude
toward him. I am positive that she is im-
measurably regretful that Death took him
before she could repay the fine things he
did for her.

Was she really in love with John Gil-
bert?

I do not believe she was. There may
have been infatuation. I am sure that she
liked Gilbert. Gilbert was kind to Garbo,
and he assumed in a less unselfish way the
task that Stiller resigned when Death
called. Remember, it was as Gilbert's lead-
ing lady that Greta sky-rocketed from ob-
scurity to fame.

Consequently I believe she again experi-
ences that overwhelming sense of gratitude
toward another human being. I believe
she feels indebted to Gilbert. When
she recently made an urgent request that he
be cast opposite her in "Queen Christina,"
the picture that will mark her return to
the screen, I became certain that Garbo
acknowledges to herself a debt to John.
Her request for Gilbert was a magnificent
gesture, for she sought to restore to him his
lost film fame by asking her employers to
give him a new opportunity as her leading
man. Such a fortunate break might have
meant new stardom for Gilbert.

Is Garbo really glad to be again in Holly-
zvood or does she feel more at home in
Siveden?

No doubt she feels more at home in her
own country. This is but natural. How-
ever, for the two new pictures she has con-
tracted to make Greta will enrich herself
by approximately a half-million dollars.
Therefore she must be content to be back
in Hollywood.

No star of motion pictures is more con-
tradictorily discussed than Garbo. People
either like or dislike her, and as far as I
am able to discern the world populace is
equally divided on the matter. Yet the
very people who have told me that they do
not like Garbo are the first to crowd the
box-offices when her pictures appear. This
strange paradox I cannot explain.

Perhaps Garbo- worshippers (who are
legion) may regard this article as cruel.
I do not intend it so. I am one of those
who attend her pictures not to see her fail
but to see her rise to the heights — and to be
emotionally lifted by her tremendous power
and appeal.

I have only written about Garbo as I
have known and observed her. To me she
is the very spirit of bluff. Were I an
artist I would caricature her seated at a
poker table and glancing slyly at her cards
with not the slightest expression on her
face. Even as I sketched the picture I
would think to myself:

"She holds a pair of deuces but she will
bluff the fellow with aces right out of the
game."

This is how I feel about her, and I con-
fess the feeling is mixed with ample ad-
miration. If she has bluffed her way to
her present importance simply by keeping
her mouth shut (when I am positive that
opening her mouth would end Garbo's game
abruptly), then she should be praised until
the welkin rings.

I, for one, do not hesitate to doff hat
to a shrewd gambler — a great bluffer!

Here's the one we took when

Dick wasnt looking

I've got the pictures!" That brings
them running. It was fun when the snap-
shots were taken . . . It's even more fun
when you get your first look at the prints.

You can now make snapshots that were
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Today, try a roll of Verichrome — in
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i -ill file y

emi

Some Exciting Summer Stand-bys That
Will Help Make Week-ends Meet !

"Velva Beauty Film
. . . stockings by
the tube!"

GOING places and
doing things seems
to be summer's
Big Idea. It's just
one week-end after another,
with scarcely enough time
in between to get ready for
the next Friday-to-Monday holiday jaunt.

Hollywood stars may complain about
having to live out of a trunk while they're
on location. But even a trunk is a pretty
substantial part of civilization — compared
to the small week-end cases that we're
used to.

If you wait till the last minute to throw
a few things into that brief
of yours, you're going to
look like that all week-end
long — yes, just practically
thrown together. The thing
to do is to plan your ac-
couterments, (how's that
for a big word ! ) and to
make sure that you've got
your best beauty friends
with you. And don't be
entirely influenced by what
would look "pretty" on the
top layer, just in case your
bag is lost and a romantic
gentleman gets it by mis-
take. That happens only
in the movies. Get gay and
frivolous as you like, but
be sure you've got some
sensible beauty aids to back
you up.

By Katharine
Hartley

Remember how you used
to worry and wonder if
two extra pairs of hose
would be enough for the
week-end — allowing for
most anything in the way
of a tear or a run ? I say
"remember" because this
a problem of the past.

. . gives every little girl
a lovely white hand"

my dears. You don't
even have to wear stock-
ings any more, much le>s
worry about them. The
answer is Elizabeth Arden's Velva Beauty
Film — a brand new cream for legs. It's
the most exciting thing I've seen in ages.
A cream . . . comes in a tube . . . three
flattering shades . . . and you smooth it on
your legs as easy as can be. Wear it in-
stead of hose, or wear it under sheer hose
if you like. It not only colors your legs
beautifully, but it covers
every blemish. And what's
more it doesn't show a
shine. Talk about "dull-
finish" hose . . . this cream
leaves your legs duller
than dull. (In one sense
only, I promise you. )
Imagine ! Stockings by
the tube! Well, there's
no telling what we'll come
to.

". . . reminiscent of
medieval ladies . . . ,

When you come in from a day on the
beach, and you feel sort of burny and itchy,
there's nothing like a good cooling dose of
Frostilla, spread thickly over your arms
and shoulders and back. It's not only
soothing and misty-cool, but it's so fragrant
that someone's sure to ask you, "What is
that delicate perfume you're wearing?"

( Of course you don't
have to tell them.)

We've all known for ages
that Frostilla gives every
little girl a lovely white
hand, but here's something
you may not know. If
some ambitious soul has
walked you for miles
through the country to get
a little air . . . and all
you've gotten is a pair of
tired hot feet — well, then,
make a dash for your bot-
tle of Frostilla. A quick
massage with a handful of
Frostilla, and your feet will
feel and walk like new.

Naturally, you must re-
move every trace of hair
from your legs and arms
to be really chic this sum-
mer. And this is not such
a perplexing problem as
it used to be, either. It
you haven't as yet tried
the new De Wan depila-
tory, you don't know what a comparatively
simple and pleasant "operation" this hair-
removing business can be. De Wan is a
fine white powder that you mix with water
to form a paste. And there's no bad odor
hovering round the bottle either, so you
can pack it in with your nicest undies. Be-
sides, it's so safe that you can use it not
only on your arms and under-arms. but
even on your face !

. Hollywood heard
about it first."

If you must have some
new beauty gadget to i
make your week-end a
success, try a new lip-
stick. Rubenstein's chat-
elaine lipstick is the talk
of the town. The name
and the container are
reminiscent of medieval
ladies who wore chate-
laine bags, or key rings,
safely chained to their
waistline. Only in this
case, it's the top that's
chained to the lipstick. Is
that an idea? Saves us

for August 19 3 3

a lot of looking for strayed or stolen tops.

Needless to say, the Rubenstein shades
are pretty perfect. Smart young things
who go week-ending, have hit upon this
lipstick not only for their own use, but as
a grand thank-you-ma'am gift for their
hostess !

Half the trick of looking long-lashed
and lovely is to keep the lashes curled up-
ward, so they stand out distinctly against
the light texture of the eyelids.

It was Hollywood that first startled the
world with its wealth of lovely lashes.
But then it was Hollywood that first
heard about Kurlash. The secret's out now,
however, and everybody is using it. It's
a little gadget, made to fit your fingers like
a pair of scissors, with a rubber-rimmed
aperture that fits around the lashes. A
squeeze of the handle and the eyelashes
are curled. Yes, it's as simple as all that
. . . and the effect is ravishing.

Of course I needn't tell you that you'll
need gobs and gobs of a good cleansing
cream with you on any week-end venture.
But I'm not so sure that all of you realize
what a boon a good powder base can be.
Especially if by the second day that sun-
tanned, wind-burned skin of yours begins
to get shinier than satin.

I know there are lots of pro's and con's
about powder bases. Some of you have had
rotten luck with them. The powder doesn't
stick, or else it cakes, or the powder base
dries the skin. Well, here's one that has
none of these draw-backs. It's Tussy's
La Rcine des Cremes — and for those of you
who haven't kept up with your French, that
means the Queen of Creams and it is ! It's
so light-textured that it won't clog the
pores either, but it will hold your powder
beautifully for hours.

And incidentally, a good powder base
such as this one has another very distinct
advantage. It does help protect your skin
from dirt and sun and all the summer
scourges.

Maybe your hair is the kind that simply
looks a mess after a dip in the salt-water.
If so it's always well to have a small bottle
of a good shampoo in your week-end case.
One of the exciting new ones is called
"Admiracion." It's of the soapless variety.
It has an olive oil base, which works won-
ders, and leaves your hair naturally soft
and glossy. The same shampoo, when
heated, makes a perfectly marvelous hot-
oil treatment. You just follow directions,
and then watch the one-and-only follow
you !

Record Awards
from Radio Girls

Continued from page 61

worry about not being able to make that
trip to Manhattan, because you'll be able to
visit the most exciting places in New
York by just sitting in your arm-chair.
WABC's "Around the Town" broadcasts
will take you to the Empire State Build-
ing; back-stage at Broadway dramas and
musical comedies; to Greenwich Village:
to Central Park Casino, where Eddy
Duchin reigns ; — to Harlem — in fact, to
the East Side and to the West Side and
all around the town !

This month's posies should go to Mary
Livingstone (Mrs. Jack Benny) for her
grand imitation of Mae West!

You won't have to wait for television to
see the Maxwell House troupe in action,
for Paramount made a film of one of their
broadcasts, exactly as it goes on the air.

A Remarkable Offer!

VERY
WOMAN'S PURSE

Just send your name and address with the top of a LINIT pack-
age and 10^ (to cover cost of wrapping and postage) for each
perfume container wanted. Use the handy coupon below.

r_A Glorious Feeling to your body
IMMEDIATELY!

Would you like to have your skin feel soft and smooth as a rose
petal simply by taking a most soothing pleasant bath ?

Merely dissolve half a package or more of linit in your tub —
bathe as usual, using your favorite soap — and then feel your skin!

The rarest velvet couldn't be more soft and smooth!
Perfumed LINIT is sold by grocery stores, drug and
department stores. Unscented
linit in the familiar blue pack-
age is sold only by grocers.

UNIT

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FOR THE BAII

UXSCENTED

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AND EXPIRES NOVEMBER 15, 1933

Please send me perfume containers. Color(s) as

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A Play Girl Grows Up!

Continued from 'page 21

be the story of any girl — her virtues and
her faults similar to yours and mine.

Her mistakes were not the serious, im-
portant mistakes made — and surmounted —
by some of our greater stars. She was
never a Dancing Daughter, careless of
hours, of companions, of reputation. Nor
yet a madcap Clara Bow, jeopardizing her
future by impulsive, thoughtless deeds.

Sally was simply a girl who dared to
enjoy the normal, harmless pleasures of
youth in a town that has no place for real
youth.

For in Hollywood, Youth is the sacrifice
demanded upon the altar of achievement.
To attain success upon the screen, play-
ers must make their careers their gods.
Their homes, their loves, their private
lives — all are subject to the whims of that
temperamental, generous, selfish, all-encom-
passing task-master — Work !

There is no place in Hollywood for a
girl or boy who wishes to consider work
in pictures as merely a job, in the same
sense that a stenographer considers hers or
a bookkeeper his. A job that is a means
of sustenance, entirely apart from one's real
life, which can be lived after work is done.

A life made up of pleasant hours with
the family, helping mother select a hat,
buying a doll for small sister. Of shopping
with the girl next door and going to the
movies. Of playing tennis and swimming
with one's best beau — of dancing to gay
orchestras and driving along moonlit
beaches.

That was what Sally Blane desired.

Today, she realizes her folly. At twenty-
four, she is setting about to reconstruct
her career.

"I know now that I wasted some of the
best years of my life as far as work is
concerned," she told me, as we sat in her
spacious suite in the St. Regis just before
she sailed for England. "But in many
ways, I do not regret it, even now.

"For I am still young enough to start
over again. And no matter what ever hap-
pens, nothing can take from me the care-
free hours, the fun, the honest young good
times I had. Regardless of what heart-
aches or suffering life has brought me —
or may continue to bring me — I can al-
ways be grateful for having enjoyed youth!

"Of course, I am sorry that I didn't
make the most of my opportunities, didn't
study as I should or work as hard as I
might have done.

"Instead, during my first years in pic-
tures, all that work meant to me was sal-
ary with which to buy new clothes to
look pretty for my beau. I was terribly
in love then, you know."

Sally smiled a little sadly, as does every
woman when she contemplates a fragment
of her youth that has died. Her eyes grew
wistful and during- the silence of that mo-
ment, I realized that Sally has definitely
grown up. In place of the gay and careless
young girl I had known for so long, there
was now a poised, self-possessed young
woman with level glance and determined
chin.

"Not only did I fail to take my work
seriously in those days," she continued,
"but I also slighted it in my haste to get
away from the studio as soon as possible
to keep dates with the young man in the
case.

"Then, when we broke our engagement,
I found that I had nothing left. My whole
world had revolved around him, my life
had been lived only in the moments spent
with him.

"Instead of having the solace of a work
in which I could throw myself whole-

heartedly, I had only the skeleton of what
might-have-been. And it was then, when
I really needed something to believe in,
something to cling to, that a real ambition
was born in me. I determined from that
time on to build my future on something
that no one beside myself could destroy."

It was then that Sally learned her second
great lesson. For she soon found that the
opportunities which she had neglected had

Pert Kelton may be only a be-
ginner, but she's already
reached the top! Watch for
this new little charmer in
"Bed of Roses."

been seized by more thrifty souls. The
studios which had been offering her roles
three years before had found more appre-
ciative recipients of their favors. The
work to which she had given such scant
attention was being done by more indus-
trious souls.

But Sally had what is often termed a
"Fighting heart." She did not know when
she was defeated. Instead, she shrugged

for August 1933

her slim shoulders with something of her
usual nonchalance and set about proving to
the world — and to herself — that she could
at last live up to all that had been ex-
pected of her.

"It has been so hard to get work,
though," she explained, a shadow of puzzle-
ment crossing her eyes. "I had been in
Hollywood long enough to be considered
just another old-timer. An old-timer who
wasn't particularly interested in working.

"I would hear that a picture was being
cast in which there was just the part for
me. I would go over to talk to the cast-
ing director or the producer or the director,
and would walk out with my hopes high.
Every time the phone would ring during
the next few days, I would think it was
my call.

"But when the picture went into produc-
tion, some other girl would be playing the
part I had tried to get.

"At first I couldn't understand it — it
worried me and almost caused me to de-
velop an inferiority complex. Until at last
I realized that I had to consider myself as
beginning all over again. That my whole
career had to be started afresh, just as it
had when I first came to Hollywood."

Not that it was much of an effort for
Sally to enter pictures. Born in Salida,
Colorado, she moved with her family to
Salt Lake City when she was two months
old. After a childhood and girlhood in
the Mormon capital, her mother and sisters'
brought her to Hollywood for a visit one
summer.

It was at that time that Universal was
preparing its "Collegian" series and one of
the officials of that organization met the
Young girls, (Blane is only Sally's screen
name), and offered Polly Ann, the oldest,
and Sally, parts in the film.

In that manner, Sally was launched upon
her picture career. After finishing "The
Collegians" at Universal, she was signed
by Paramount and worked for that com-
pany for one year, the year during which
she was a Wampas Baby Star. Following
expiration of her Paramount contract, she
was signed by the newly-formed and grow-
ing Radio Pictures organization where she
remained for some time. The time, in fact,
which she fears she wasted.

"One thing my experience has given me,"
Sally resumed thoughtfully, "and that is a
real love for my work. When I was faced
with the prospect of not being able to con-
tinue in pictures, I knew for all time that
whatever this thing called acting may be.
it means something deep down inside to
anyone who has a feeling for it.

"From now on, I shall find pleasure not
only in fighting for parts, but also in every
actual moment before the cameras."

It is easy to understand this innate love
of acting of which Sally speaks. For
Loretta Young has evidenced this same
quality in her work. When, at sixteen,
she turned in an admittedly "fool-proof"
performance opposite Lon Chaney in
"Laugh, Clown, Laugh," followed by one
of the most astounding rises of any young
actress, public and critics alike united in
proclaiming her an intuitive, and instinctive
actress. It is something of this quality
which has transmitted itself to the sister.
Sally Blane, too.

In line with her new determination about
her future, Sally Blane essayed her cur-
rent trip to England.

"According- to all the stories I have
heard," she explained, "when an American
actress lands in England, she is immediate-
ly besieged with offers to make pictures.
Then, after working in London for a while,
when she returns to America, she is taken
far more seriously than ever before.

"Under the circumstances. I thought it
would be a good idea to go to England for
a vacation — I've never been abroad, you
know. Then, if the right opportunity comes

11 SAY THE
ELLOWS WITH *B.O*
CAN'T WIN

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YOU THOUGHT

YOU KNEW
YOUR HEPBURN!

Yes, yes — we know you've read many
stories about Katharine Hepburn, the sen-
sational star who burst comet-like upon
the film firmament, and has had Holly-
wood agog ever since.

We know you've heard Hepburn dis-
cussed from many points of view — her
public career, her private life, her pres-
ent, her past, and her future.

BUT-

There's an important angle regarding
the amazing Katharine that so far has not
been disclosed — a sidelight on her char-
acter that until now has remained un-
revealed!

SCREENLAND gives you this new and
totally different slant on a unique star —
written by the one Hollywood scribe who
really and truly knows her — in the Sep-
tember issue. Without this illuminating
picture you cannot know the real Hep-
burn. It's a story you can't afford to
miss — a "scoop" that will be talked
about for a long time to come!

Watch for the September

SCREENLAND

On sale

JULY 25th

along and I have a chance to do a picture
which I think will really further my career,
I can show Hollywood that I am not as
frivolous as I used to be."

"But what of the Earl of Warwick?"
I asked, thinking of the newspaper columns
which had been devoted to accounts of that
young peer's devotion to the lovely Sally.

"I'll tell you the honest truth, Laura,"
she answered slowly. "We are good friends
and congenial companions. We enjoy go-
ing places together and have lots of fun.
But there is no romance.

"I just don't seem to fall in love any
more. Not since I broke off with the one
real romance in my life have I felt more
than a pleasant, friendly interest in any-
one.

"The Earl of Warwick is a grand person
— he's everything that a girl might desire
in a man. But I'm not in love with him.
We are not engaged — and now, we're not
even going to sail on the same boat !"

Which latter was really a shame. For,

SCREENLAND

under the chaperonage of a conservative
English couple, Mr. and Mrs. Henley.
Sally and the Earl of Warwick had planned
to sail to England on the Lafayette. But
newspapers had got wind of their plans
and sensed a big romance. Pictures and
stories had covered the front pages, until
Sally decided that it would be more digni-
fied to make the trip with Mr. and Mrs.
Henley but not the Earl. And it would
have been fun on shipboard, her first ocean
voyage, having such a personable young
escort at her side.

However, her words rang true. I've
known Sally for a long time, and though
I'm used to the ever-ready denial of a
romance, in her case I think she meant it.
In fact, I'm willing to take all bets that
her trip is really a vacation from Holly-
wood, with the alluring prospect of an
English picture to brighten it, and that
Sally will return to America still heart-
whole and intent on the new career that
lies before her.

The House that Love Built

Continued from page 29

over the whole house!" And they did!

The result is, to me, anyhow, the most
livable house in the picture colony. Let me
tell you some of the ideas Dick and Joby
have carried out in making over their
home.

The left end of the attached two-car
garage was knocked out and the room en-
larged, the wall between that and the living-
room knocked out, and the erstwhile auto-
mobilery has become a combination library
and den. At the far end has been added
a large alcove with windows on three sides.

Almost the entire floor space of the al-
cove is a loggia, topped by a deep, tufted
pad. A dozen unbleached muslin pillows
brighten it and, in an emergency, it can be
used to accommodate an unexpected over-
night guest. Glazed chintz over-curtains
with ruffled edges carry out the Early
American idea. Two built-in electric heaters
keep the room warm on some of those cool
California evenings.

Of course there are book-shelves, and to
their right is a door leading into a bath-
room, also just added — the bathroom, that
is, not the door. In addition to a built-in
dressing table there is a shower. Adjoin-
ing the bathroom is a small room with a
massage table and a steam cabinet to help
the master of the house keep his weight
down.

On the opposite side of the den are two
more banks of book-shelves, and between
them is a small window, in front of which
stands a not too large desk. A maple
Windsor chair stands beside it. A radio
has been built into the wall separating
the den and living room. In the opposite
corner is a semi-circular brick fireplace.

The walls and beamed ceiling are all of
red pine. The only modern touch in the
entire room is the bridge lamp, just back of
Dick as he 'phones.

Descending the two steps that lead from
the den into the living room, we find a
huge, old-fashioned piano which I discov-
ered, surprisingly enough, that Dick can
play. The cover on it is designed in what
is known as a "popcorn stitch" and was
crocheted by Toby's grandmother. _ The
picture on it is of Dick in his role in
"Wings."

The glass curtains in this room are white
dotted swiss with over-curtains of glazed
chintz. A hooked rug in front of the
fireplace assures the visitor the place is
"Home, Sweet Home."

They had the rug there on approval,
unable to decide whether to keep it or not
as they weren't sure everyone would under-
stand it was all in fun, for both Joby and
Dick shrink from anything remotely re-
sembling a parade of sentiment. One night

"Hi, muggs!" Lee Tracy hops
off the Century on a visit to
New York. His next potent
performance will be in "Bogus
Prince."

for August 1933

Jack Oakie and Peggy Joyce were visiting
them and Peggy, thinking it was just too,
too divine, not to say cute, pulled the price
tag off and threw it in the fire before they
realized what she was doing. So — they
kept the rug !

A little table of maple stands at the
upper corner of the divan. An old glass
oil-lamp has been wired for electricity and
an impudent little shade of peppermint-
striped gingham with a white dotted Swiss
ruffle, fitted around it.

That divan is the light of my life ! It is
covered with blue burlap, trimmed with a
looped cord of white cotton. When I ad-
mired it extravagantly Dick protested that
the material was comparatively inexpensive.
"We didn't want anything too grand in
the house," he explained. "The way it is
now, people can relax. If someone should
accidentally burn a hole in the divan we
wouldn't have to do nip-ups, because it
could be recovered for very little."

Another large window has been added,
on the opposite side of the living room
from the fireplace. This, too, is long but
not so deep as the one in the den, and the
seat (beneath which are cupboards used to
accommodate scrap books, games, extra
blankets, etc.), is covered with a pad —
this time of blue. White, ruffled, dotted
Swiss pillows in great profusion tempt
you to nap when you should be working.

The plastering in the living room is white
and the woodwork (knotty pine) has also
been stained a chalky white. The lighting
fixtures are the same ones the Arlens had
when the house was "done" in Spanish
style but by removing the heavy plates to
which they were formerly fastened, they
lent themselves admirably to the atmos-
phere of the new plan of the room.

Two huge screens at the lower end of the
room, made of the same material as the
floor lamp, enable that end of the room to
be closed off. This is done when the
Arlens have a large dinner, as happened
when they gave their house-warming.

I'll never forget that night. Bing Crosby
and his wife, Dixie Lee, Sue Carol and
Nick Stuart, Jack Oakie and Mary Brian,
Director and Mrs. Norman McLeod, Ken
Murray, Joby's brother "Bud" (who was
the architect in their remodeling) and his
wife, Dr. Joe Harris (who brings prac-
tically all the picture colony's babies), Lola
Lane, Andy Devine (looking as though he
had just stepped off a freighter because, as
he explains, he never buys clothes and the
only time he has dates is when he's work-
ing and the studio has equipped him with a
wardrobe and he was between pictures at
the moment); Director William Wellman
and his latest flame, Dotty Coonan, who
will probably be Mrs. Wellman No. 5 by
the time you read this ; James Fidler, and
half a dozen others were there. A bridge
game was going in the den, another one in
the breakfast room; a jig-saw puzzle was
being pieced together in the bedroom, a
ping-pong game was in progress out in back
— and just to add to the din, Bing, who gets
$3500 a week for his radio broadcasts, was
leading a barber-shop quartet !

When Dick and Joby are alone or when
there are only one or two people for dinner,
they eat in the breakfast room. The fur-
nishings are quite simple. A small round
maple table, (note the pegs instead of
nails), a built-in, tufted wall seat, three
chairs, and a buffet made of maple, birds-
eye maple, and pine.

The door to the right of Dick in the
picture opens into the nursery. It is a
bright little room furnished in severely
plain taste. No Mother Goose rhymes or
pictures on the wall, but a cheery pattern
of flowers. A crib for his majesty, a few
shelves for toys, a tiny bath, and closet.
Adjoining this is another small room for
the nurse.

Opening off the breakfast room on an-

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WOVWPEN

New York Philadelphia

Music ■ Gossip ■ News

"My daughter's goitre is gone, thanks to you. Our
doctor says she is now sound as a dollar " says the Rev.
S. A. Cotton, Washington, North Carolina. Pictured
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other side is the kitchen. No kitchenette
here but a large, full-sized kitchen such as
our mothers were used to, equipped with
electric range, frigidaire, and enough cup-
boards to accommodate kitchen utensils
for Buckingham Palace.

On the opposite side of the living room
from the breakfast room is the master bed-
room. This room is almost as large as the
living room and is Dick's pride and joy.
"There's nothing sissy about it," he'll tell
you proudly. "Joby was swell when it
came to furnishing this. She didn't insist
upon having a lot of dolls and lace boudoir
pillows scattered about."

There is a big bed with a medium high
headboard but no footboard. A small desk
with another electrified oil-lamp, an easy
chair upholstered in green plaid gingham,
and a bedside table with another lamp take
up that end of the room. A large fireplace
fills the corner. There are recessed book-
shelves and underneath the window is an-
other divan, upholstered in the same
material as the chair.

Leading off the room is a long narrow
hall, flanked on each side by large, cedar-
lined closets — one for Joby's clothes and
one for Dick's. Both of them have built-in
chests of drawers.

This hall leads into the largest bathroom
I have ever seen. A sunken tub and a
glassed-in shower occupy" one side, and
there are two built-in dressing tables — one
for Joby and one for Dick.

Dick's is distinguished chiefly for an as-
sortment of safety razors (all of the same
make), large enough to shave the Russian
army, and one shaving brush so moth-eaten
it wouldn't lather the face of a new-born
baby. (As if that weren't enough, the
handle comes off every time you pick it
up ! ) The most noteworthy feature of the
bathroom is that it is fully carpeted.

The Arlens lived in the bedroom while
the house was being remodeled. At first
they took an apartment in a fashionable
building in town, stayed there until their
month was up, and then decided they would
prefer putting up with the carpenters' mess
and noise to being away. When the car-
penters were ready to start on the bedroom
they moved into one of the hotels in town,
stayed there a day, and then returned home
again ! They used to come all the way into
town for their meals but, inconvenient as it
was, they were happier than they would
have been cooped up in a hotel — even
though it was only for a week or two.

And now let's wander around the
grounds. In the angle formed by the house
and the garage is a good-sized patio with
a lily pond. A roof protrudes from the
garage furnishing shade. Under this roof
is a Monterey divan, upholstered in red
leather, and a couple of easy chairs to
match. On the other side of the wall is
another courtyard in which is located the
ping-pong table and beyond that are the
servants' quarters. In the front yard, hid-
den by the hedge, is the largest private
swimming pool in the colony.

Good skate! The roller-skat-
ing craze is sweeping Holly-
wood, and Dorothy Wilson falls
for it. (Not literally, we hope.')

The whole thing is a striking tribute,
not only to Dick's and Joby's taste, but to
their thrift. The entire job, including the
swimming pool, the additions to the house,
the re-upholstering of their old furniture
and the new pieces they bought, cost them
about seventy-five hundred dollars.

One of the most expensive interior deco-
rators in Los Angeles was called in to
assist in doing the house. It was amusing
to listen to him and Jobyna battling. Every
time he would bring out one of his stiffly
formal pieces Joby would wither him with
sarcasm. "Fine," she would say. "When
the place is finished it will look exactly
like a motion picture set and every morn-
ing I'll wake up and think, 'I've got to
hurry and get up. The cameraman will be
here in a few minutes to start shooting and
I mustn't throw them behind schedule.' "

The decorator would bow to the inevi-
table. Presently he would be back with an-
other selection and Joby would pick out
just the right piece to add hominess to the
house that love built.

The "Young" Idea

Continued from page 34

influential friends tucked deep in her bag,
and merely presented a note from Cham-
berlain Brown, stock company impresario,
based on actual knowledge of her capabili-
ties.

Her role in "The Firebird" gave her real
opportunity to unleash her dramatic talent,
especially in the final act, where in one
frenzied scene lasting several minutes she
took the stage completely away from three
such seasoned performers as Judith Ander-

son, Henry C. Stephenson, and Montague
Love. Nor was this all, for after that opus
had concluded its run at about the season's
halfway-mark, she presently found herself
ensconced in a role in Owen Davis' play of
the moment, "A Saturday Night" — a role
that turned out to be nothing less than the
ingenue lead.

Not bad for one season, especially when
your year's work has earned you the spe-
cial accolade of Mr. Percy Hammond, one

for August 19 3 3

of New York's more sapient critics, as well
as a bounteous bouquet from the rather
snooty stage publication of the nation's
snootiest dramatic bund (frequently known
as the Theatre Guild), and a general pother
on the part of newspaper writers and other
chroniclers of important developments in
the realm of Thespis. In short, Elizabeth
Young found herself sitting more prettily
than ever, which, when you pause to cal-
culate it, adds up to a considerable sum of
loveliness.

"And then my agent called up and said
the Paramount people were interested in
me," she reports. "Well, that was no end
flattering, but of course I'd never done
anything in pictures, nor even thought
much about it. The closest connection I'd
ever had with the films was a violent
schoolgirl crush on Ramon Novarro's screen
shadow some years ago. So for awhile I
was good and scared — so scared that
I didn't know whether to be glad or sorry.
But I took a screen test and they must have
liked it, because I got the contract."

Elizabeth herself, one gathered, was not
quite overjoyed with the results of her
screen test ; but what self-critical actor ever
has been? Certainly, with her intelligent,
alive features, her frank grey eyes, and her
ease of speech and unconcerned grace of
posture and movement, she is one young
lady whose personality is not likely to suffer
by transmutation from stage to screen.
Miss Young has traveled widely through-
out this continent and in Europe, and is
at home in several languages — advantages
which, while not essential to acting success,
have seldom been known to work any harm.

As to what specific kind of role she
would prefer with which to start her screen
career, she showed a wise willingness to
leave her fate to the gods.

"What sort of parts would I like to play ?
Well, I'm not sure that I know, but I know
one thing I'm not going to do. I'm not
going out there with any fixed notions of
what I'd like to do, because that might
prevent my developing competence at some-
thing quite different. It seems to me there's
a lot of sense in this crack that Owen
Davis, Jr. made to me : You might go
out there all ready to play a dainty young
heroine, and find yourself turning out to
be a Mae West type.' Maybe that's a little
far-fetched, but I'm taking no chances. I
want to do the thing I'm best fitted for —
and I can't know what that is until I've
tried, can I ?

"One thing I hope I won't find myself
doing," she added, "is the fluffy little in-
genue type. I've already tried that on the
stage, and I felt all wrong in it, because
the things I was called upon to do were
artificial and didn't make sense. Whatever
types I may play, I hope they'll be real,
honest-to-goodness persons, with natural
motives and believable emotions."

Elizabeth's mother will spend the first
few months in Hollywood with her daugh-
ter, just to see that the latter suffers no
pangs of loneliness. For neither is it a first
Hollywood visit, though they have not seen
the movie colony since Elizabeth was
twelve, and then only as casual visitors.
"Now it will be quite different, of course,"
remarked Mrs. Young, with quite as much
animation as her daughter displayed at the
thought of being on the inside of Holly-
wood. Mrs. Young is a writer of fiction
and former editor of a woman's page for
a national newspaper syndicate.

And not least important in the Young
entourage is Minnie-the-Moocher, a seven-
months-old skeptic belonging to the well-
known Scottish Terrier clan. It is Eliza-
beth's fervent hope that Minnie, when
exposed to the virile blandishments of the
numerous gentleman Scotties in film circles,
will manage to keep her fuzzy head and
decline to "go Hollywood" !

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SCREENLAND

The GRISWOLD

on Long Island Sound, New London, Conn. — midway between
New York and Boston

NEW OWNERSHIP AND MANAGEMENT

Mr. William F. Ingold

Manager of The Mansion House on Fisher's Island for many years, will also manage
The Griswold. The patronage of families who desire a suitable atmosphere is sought
by the Management. Cuisine of the highest standard.

At the Griswold facilities for a summer of pleasure are all-inclusive — 400 rooms
and baths, ballroom, grill; informal dancing, bathing, yachting (most important yacht
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and through the courtesy of the Golf Association, 18 holes of golf at the famous

SHENECOSSETT COUNTRY CLUB

immediately adjacent to the Hotel Grounds

Daily rates for 1933, according to the rooms selected, are
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$4. to $6. European plan
Club meals for European plan guests

Attractive week-end, weekly, monthly and season rates quoted upon request.

Houses and cottages on the golf course can be rented this season at reasonable
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New York Headquarters St. Regis Hotel, 55th Street and Fifth Avenue.

For reservations, booklets, plans, etc., please write or see Mr. Ingold there, or
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Selected patronage.

GRISWOLD

WILLIAM F. INGOLD, Manager

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Divorce of Double
Stars !

Continued from page 31

turned brows, indicating that their owner's
point of view is as different as these eyes
reveal. The windows of her soul would
make it always hard to harmonize or see
things eye to eye with his.

To bring this closer home to you — sup-
pose you are one of such a pair and have
eyes much like Joan's, while your sweet-
heart or husband has eyes like Doug, Jr.
Let's suppose you are discussing a pro-
posed vacation, and wish the sights, sounds,
and sensations that will make that play-
time pay dividends of happy memories.
Well, the things that people with eyes like
Joan enjoy most are as different from the
sights preferred by Doug, as their eyes are
different, be sure of that. She, or you, if
you too have such eyes — loving glamor,
color, change, might choose a cruise with a
crowd of glamorous, colorful, exotic souls
who would dispense, with lavish hands, all
the luxurious, colorful products of the
twentieth century. You might go into
ecstacies over the exciting scenes you two
were soon to enjoy, meantime seeing your
sweetheart of Doug's type grow bored and
more bored with your childish delight over
what to him seems just more and more a
great social chore. He might break in
with, "Yes, yes, my dear, great — but don't
you think we had better do that some other
year ?"

Then, with eyes shining and apparently
scanning far rugged horizons in the earth's
almost unknown frontiers that seem to
beckon him in his fancy, he would say,
"How about a real camping trip? We'll
fly to a point convenient to the wilds, then
get our supplies, guns, and cameras into a
boat and go up the rapids?"

Right then is where, if you have eyes like
Joan's and her sense of humor, you'd say,
"I can just hear the bugs and mosquitoes
singing, Hallelujah here they come! No,
life is rough enough at best; why go where
baths are scarce and you have to fight for
your food with the wasps and flies ?" From
here on you can write in the repartee of
lovers who talk thus until they secretly
wonder, "How could I ever marry one who
sees this world in so different a light?"
They kiss and make up, to be sure — or they'
will have to do just what Doug and Joan
once did — take a wonderful vacation, but
not together !

Robert Montgomery and Douglas Jr.
borrowed a schooner, took a wonderful
fishing trip in the roughest clothes, with
weather to match, while their whiskers just
merrily grew. Don't think that Joan could
not stand hardships if she wanted to — for
to quote a slang expression, her chin shows
she "can take it." She has made the long
hard trip from poverty to riches and fought
every conceivable obstacle all along the
road.

In fact, she has more the tomboy jaw
than her very artistic, versatile ex-husband,
so could stand roughing it if she had to.
That's just it — he is so adaptable, versatile
and keenly observing that he finds a chal-
lenge in the wilds of nature, in the things
that make him feel more the real he-man
grappling with nature in the raw. His
jaw is a good one, somewhat athletic and
determined but nowhere near as wide and
determined as Joan's. She finds a constant
challenge in her struggle with primitive
instincts right in her work, so for a vaca-
tion, she wants what she calls relaxation.
Douglas, although he can duplicate most
of his father's strenuous stunts, held them
a bit in contempt even as a little boy.

The point is as sure as sailors rent row-

for August 19 3 3

Look who's romancing now! Dorothy Jordan and Joel McCrea, two of the
film colony's most attractive young eligibles, are the latest pair of arm-in-
armers. Here they are inhaling some sunshine at Malibu Beach. Dot
and Joel will be seen together on the screen in "Three Came Unarmed."

Just the Right Tone

Continued from page 20

wreck the viewpoints of the most austere
bachelor; a woman as attractive as the for-
mer Mrs. Fairbanks, Jr., might easily trans-
form a mute into a Chautauqua lecturer.

About this Franchot Tone's physical ap-
pearance— Joan is five feet and five inches
tall, and when she is accompanied by her
newest boy friend she must look up — well
up — to meet his eyes. Joan has exception-
ally broad shoulders; Franchot's are
broader. She has moderately dark skin in
contrast to his milky white complexion.
Picture them together and you not only
conjure a vivid mind-portrait of the man,
but you visualize two who form one of
Hollywood's most attractive couples.

In decided contrast to Miss Crawford's
flashing smile and quick wit are Tone's
ponderous manner of thinking and his slow,
half-smile that twists more decidedly at the
right corner of his mouth. Perhaps his
experience as a school teacher — he was an
assistant to the head of the Romance Lan-
guage Department at Cornell — is responsi-
ble for his pedagogic style of talk and his
semi-critical manner of listening.

Like most "silent" men, Franchot is a
tireless reader. Like many thinking men,
he turns to detective and mystery stories
for the greater portion of his literary pur-
suits. He plays a moderately good game
of golf, and the one time I have known him
to approach garrulity was in a sand-trap
on a golf course — on that occasion he em-
ployed words that the most learned pro-
fessors of the English language might find
unfamiliar.

He is no stranger to the Hollywood film
colony, for before he entered motion pic-
tures he was well known on the New York
stage. Among his plays was "Cross Roads,"
in which he appeared with Peggy Shannon,
Sylvia Sidney and Irene Purcell.

Instead of occupying an apartment or
town house upon his arrival in the film
city-, Franchot leased a beach house. There
he has lived for the past year, sharing his

quarters with Tommy Thompson, an old
New York chum, and a Korean houseboy.

Tone is immediately likeable because he
maintains no false illusions about his
talents. He is eager to learn and grateful
for constructive criticism. When he is not
at work in front of the camera, he sits or
scands on the side lines and watches the
performances of veteran talking-picture
actors. Whenever possible he volunteers to
participate in- "tests," both camera and
sound, in order that he may study and im-
prove his screen appearance and enuncia-
tion. Such serious application cannot fail
to find its just reward.

Perhaps this ultra-serious side of Tone
has established the bond of understanding
between the young actor and Miss Craw-
ford. Certainly no actress is more intent
upon her career than Joan. After eight
years before the camera, she is no less
earnest today than she was when she began
her career. She may frivol furiously be-
tween pictures, but the minute work begins
all play is erased from her mind. Tone is
strikingly like her in this respect.

This story about Franchot Tone is pecul-
iarly a story about Joan Crawford. In
Hollywood, the name of one conjures that
of the other. Of Hollywood's young
eligibles. he is seen most often in her com-
pany. Indeed, he is the only apparent heir
to the place left vacant when Joan divorced
the younger Fairbanks.

I hazard a guess that if the mutual fond-
ness demonstrated by these two expands as
rapidly within the next few months as it
has since Christmas, we may yet address
one of our favorite feminine stars as Mrs.
Joan Crawford-Fairbanks-Tone.

I rather hope otherwise. I should much
prefer to see Tone progress unaided.
Poised, brilliant, a fine actor, he has an
opportunity to establish himself as a popu-
lar, lasting star. I hope he does that first.
Then I should not at all mind the happy
culmination of his current romantic ven-
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The Editor's Page

Continued from page 15

in Hollywood," said Beatty. "And I want
to make another picture. No, it isn't true
that the glare of the lights made my work
in the movie more dangerous and difficult
than usual. But the heat was a problem.
My cats got so warm they were drowsy,
and I had to keep waking 'em up.

"I'm not an animal tamer. Wild animals
can't be 'tamed.' They can be trained, and
that's my business. I'd like to make a
movie some time with other animals as well
as lions and tigers. I use bears and leo-
pards as well as cats when I tour the coun-
try with the circus. Bears are the funny
boys of the act, and I think they'd make a
huge hit as screen comedians."

His act had gone very smoothly at that
performance, Mr. Beatty remarked. But
only two evenings before, some lions had
started "ganging" the tigers and a good
time had been had by all, except possibly
two of the tigers who will never be the
same. Beatty is a social lion himself when
he's in New York, having been known tc
break priceless antique chairs when urged
by the hostess to give an exhibition of his
training technique for her guests. It's all
in the routine for Clyde.

His favorite lion is the famous man-eat-
ing Nero, who chewed Clyde considerably
a season ago. Beatty likes Nero. He says
he gets action when he works with him !

The Art of Mickey Mouse

Continued from page 27

with oils and pigments again I'd give you
a swift kick in the paints — "

"Hush, girl, hush — the gentleman will
think you don't love Art !"

"Do I love Art !" squealed Minnie. "I
eat it up — just you watch me !" She bounced
up the wall and would have chewed up one
of Mickey's most sensitively drawn por-
traits had not each of us seized her by a
leg and hauled her down.

"Well, anyway, I know where there's
something lots better to eat," taunted Min-
nie, skipping rope with her tail. Where-
upon Mickey suddenly seemed to lose in-
terest in his new-found elegance.

"Where?" he breathed, forgetting his
glasses and letting his stick clatter to the
floor.

"It's a swell spread," teased Minnie, still
skipping, "but now you're so ritzy I didn't
think you'd care."

"Where, Minnie, where ?"

"It's a party at Clarence Cockroach's
house. He says the kitchen maid left the
top of the cookie jar loose, and he's trying
to round up enough of the gang so we can
push it off and have a grand party. But
you couldn't go in those funny clothes."

"I'll change 'em on the way," cried
Mickey. "Come on!" And, hand in hand,
they galloped out the door and down the
street, Mickey trying to remove his fancy
trousers as he ran.

"See you again soon," he called back,
turning and waving to me. "I want to talk-
to you about Neo-impressionism !"

Life is just one "shot" after another! Warner Baxter and Miriam
Jordan, on the set of "I Loved You Wednesday," move out of range of
the movie cameras only to find themselves facing the "still" photographer.

for August 19 3 3

The Public Be Heard

Continued from page 6

consciousness of the most jaded movie-goer ;
a voice, undeniably English as it is, lhat
does not drag with a superabundance of
studied broad A's and offensively rolled
R's.

Miss Wynyard's voice has run a gamut of
emotions in her films : a voice desperate
with fear ; an entreating voice, pulsing with
the sincerity of its message; a proud, yet
gentle voice rejoicing in the memory of an
imforgotten love. Never once does she de-
scend to that shrill, re-echoing, hysterical
note that many of our celebrated actresses
have unfortunately resorted to at times, and
never once does she fail to convey the depth
and significance of her scenes.

Mary E. Best,
272 Washington St.,
Marblehead, Mass.

DON'T BLINK AT ROMANCE!

We must keep the happy ending ! The
vast army of movie-goers do not want to
see life filled with failure and bitterness.
They have enough of this in their every-
day world. Many have already known
what it is to feel the sting of defeat and
see one's dreams crumble about one. They
go to the movies to escape this and enter
into a world of glamor and romance. A
world where dreams come true and ambi-
tions are realized. It gives them strength
to go on in the hope that some day they
too may know the joy that comes with the
fulfillment of dreams and ambitions.

By all means keep the happy ending.

M. Seitter,
6454 Laflin St.,
Chicago, 111.

Here's a new romantic team —
both on and off the screen. Lew
Ayres and Ginger Rogers, the
boy and girl in" In the Money,"
are boy -and -girling it after
hours as well!

WE SUFFER THEIR SORROWS!

We wouldn't admit it in so many words,
but deep in our hearts, we like to believe
that the gorgeous men and women of the
screen are ourselves. As the play unfolds,
we identify ourselves more and more with
the handsome heroes and heroines. That
dashing, fearless he-man, that lovely, charm-
ing woman, are what we dream of being,
and it hurts us to see life give them a mer-
ciless wallop at the end.

If we leave them happy, our own hearts
fill with joy, and new hope gives us strength
to carry on. Give us happy endings !

George W. Hall,
Hartford, S. D.

Tagging the Talkies

Continued from page 10

The Past of Mary Holmes

Radio

Here's your old friend "The Goose
Woman" masquerading under another
name. Remember Louise Dresser in the
silent film? Helen MacKellar has the title
role and she turns in a skilled performance
as the ex-opera prima donna whose fame
vanishes with the birth of her son. Eric
Linden, as the son, gives a good account of
himself. Jean Arthur is the attractive heroine.

Hello, Sister

Fox

We can't hand this very much — maybe
it's because we resent James Dunn's being
unfaithful to his screen sweetheart, Sally
Eilers. Jimmy is teamed with Boots Mal-
lory here, and their love hits many a bump
and furrow before it finally strikes the
smooth course. Even the presence of the
inimitable Zasu Pitts fails to make this more
than a mildly likeable picture.

The Circus Queen

Columbia

Adolphe Menjou gives another pleasant
performance as Thatcher Colt, the detec-
tive. This time he has the colorful sur-
roundings of a circus for his background.
Greta Nissen, as the Circus Queen, is
brutally murdered, and Menjou solves the
mystery to everyone's satisfaction. The
cast, including Ruthelma Stevens, Donald
Cook, and Dwight Frye contribute nice work.

Song of The Eagle

Paramount

This timely "beer" story had infinite pos-
sibilities, but went just the least bit flat on
us. It's the saga of a brewer who built up a
respected name in pre-war days, then lost
everything rather than stoop to making il-
legitimate brew, and finally scored a grand
come-back. Jean Hersholt, Richard Arlen,
Mary Brian, and Charles Bickford are at
their best.

The winner of the James Cagney Contest which appeared in the May
issue of SCREENLAND is Lamar C. Rowland, 502 Nevada Street, Libby,
Montana.

The winning letter was brief and breezy, and like most of the letters,
expressed a preference for Cagney as "tough" rather than "tender."

We will tell you all about the winner and his trip to Hollywood in a
later issue.

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Here's Hollywood

Continued from page 71

Shoulder, arms! Bette Davis seems quite pleased with this new plaid
beach suit of hers, and its bandanna to match. That "disappearing
back" is the ideal thing for comfort, sun-tan, and scenic value — quite a
combination, all in all!

ALTHOUGH Sally Eilers got away from
A Hollywood and is now enjoying a vaca-
tion in Europe, she did not know until the
very last minute whether her studio would
permit the trip.

At five o'clock in the afternoon Sally
was not sure that she would be permitted
to board a seven o'clock train. Incidentally,
Miss Eilers' maid refused to make the trip
— she is in love with her husband and did
not wish to be separated from him for so
long a time. Within twenty-four hours
Sally had to employ a new maid and secure
passports.

FIRST HEDDA HOPPER
named Hollywood's best-
dressed women — and she failed to
include Lilyan Tashman.

Now Adolphe Menjou has burst
forth with a list of the ten best-
dressed men in the world — and he
fails to name Edmund Lowe!

If you don't think Lilyan and
Eddie (who pride themselves on
their ability to dress) are cha-
grined, you should have heard
their joint remarks on the sub-
ject of self-appointed clothes-
judges.

Actors named by Menjou, by
the way, were Douglas Fairbanks,
Sr., John Barrymore, and Clive
Brook. Adolphe is also considered
one of the world's best-dressed
men.

RICHARD DIX has a "good-luck" necktie
-which he wears at least once in every pic-
ture . . . Add amateur astronomers : Irene
Dunne. . . . Arline Judge, listening to po-
lice reports emanating from her automobile
radio, ran past a stop-signal and was ar-
rested . . . Herbert Mundin received a
cable asking his terms to do a London
show and wired back : "Why all your idle
curiosity ?" . . . Joan Crawford is so fond
of gardenias that she has planted a bed of
them ; she personally takes care of this
garden . . . Heather Angel, the English
actress, owns six dogs and nine cats . . .
The Prince of Siam offered Will Rogers
the gift of an elephant, but Will cabled
His Highness : "Elephants no good at
catching mice ; will accept a cat" . . .
James Dunn has asserted that he will make
no more dates with girls for six months !
. . . Jackie Coogan, first kid-star, is now
studying law at college.

MONTHLY HISS AND
CHEER DEPT :

A GRAND big close-up with exceptional
lighting to Mary Carlisle for her un-
selfishness. Mary recently spent every
penny of her savings and even went far
into debt to pay for a costly major opera-
tion that saved her mother's life. Double
that close-up, please.

A long shot to Clark Gable, who wrote
to Ruth Fiffer and promised support if
she formed a fan club in his honor. She
promoted a club to real importance but she
has never heard one word from Gable —
not even a note of praise for the interest-
ing club paper she publishes.

A close-up with good lighting to Doro-
thea Wieck, who is not letting movie fame
and Hollywood spoil her love for husband
who is in Germany. She writes him daily
letters — one was forty pages long.

A dimly lighted long shot with blurred

sound track to the newspaper columnists
who continue to hound Jean Harlow in
search of a possible scandal in connection
with her husband's death. Jean has twice
been absolved of all blame ; why not permit
the girl her rightful peace ?

A lovely double close-up to Ann Harding
and Alexander Kirkland for their joint
donation of $5000 to the bereaved family of
the sailor who lost his life while swimming
for help when a boat in which the movie
stars were sailing was overturned by a
wind-squall.

1WTIRIAM JORDAN, the Eng-
AVJ. Ugh actress who belies the
common belief that Britishers lack
a sense of humor, boasts that she
has "talked to Greta Garbo."

"While I was in New York,
Miss Garbo rushed from her hotel
and bumped into me," Miriam
says. "Immediately she cried
'Pardon me' and I ansv""-0'1 'Cer-
tainly.' I have never
again."

IT would be cruel to mention his name, but
one of Hollywood's best known lead-
ing men has become very brave of late.
There is a reason and I don't mean grape-
nuts.

This chap has employed a body-guard,
a giant of a man who was once a profes-
sional heavyweight prize-fighter. Now the
actor wanders about town picking trouble
with people. When his nagging brings an
offer to fight, the leading man calls his
henchman into play.

The one drawback to such fighting-by-
proxy is that some day that guard might
be ill. / number of the leading man's
"friends" are awaiting such an occasion.

ANDY CLYDE is thinking of suing the
-Tx company that manufactures his alarm
clock. One night Andy dreamed that he
was playing opposite Greta Garbo in a
picture. Just as he was about to kiss her,
his alarm clock rans and awakened him.
He considers • that excellent cause for legal

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TODAYS FEATURE

AL<7/7c/MAY-
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I SAW A MAR-VELOUS
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A MAGICIAN

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FROM FIVE PACKS OF CAMELS,

Camels are made
from finer, MORE
EXPENSIVE tobac-
cos than any other
popular brand.
You'll appreciate
the mildness. ..the
flavor... the added
pleasure of cost-
lier tobaccos.

R. J. Reynolds Tobacco Company, Dept. 18-A,
Winston-Salem, N. C.

I enclose fronts from 5 Camel packs.
Send postpaid Free Magic Book.

Name

Street.

DIETRICH

Declares Herself!

EXCLUSIVE INTERVIEW
SEE PAGE 22

Marlene
Dietrich

Mae West's Secret Self
Joan Crawford Talks About Tomorrow
^Vhat I Think of Bing! By Dixie Lee Crosby

AMAZING INTRODUCTORY OFFER !

BLONDEX
WAVE-SET POWDER . .35

BLONDEX
HAIR TONIC . . . 1.00

BLONDEX
FACE POWDER .

1.00

3 BARS BLONDEX
COMPLEXION SOAP 1.00

TOTAL $3.35

LVALUE

ALL CHARGES PREPAID

New Beauty for BLONDES

. . . with these special aids to loveliness

Why blonde hair, fair skin need
better care .

"^TATURE blessed you when she made you a
^ blonde. But there's one big drawback . . .
blondes fade more quickly! Blonde hair, fair
complexions are fragile, delicate and easily in-
jured — need special care to stay alluring.

You can't trust to ordinary preparations. For
just as ordinary harsh soaps ruin dainty silk
undies in no time — ordinary skin and hair prep-
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Blondex, created by a well-known cosmetician,
has become the largest-selling preparation for the
care of blonde hair in the world ! And now, new
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get you acquainted with them, the maker offers
you all the products complete for the astonish-
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Here's what you get

1. BLONDEX WAVE-SET POWDER . . .
Actually makes hair look 2 shades lighter. Does

not leave that "stuck together" stringy look you
get with ordinary wavesets. Molds blonde hair
in soft flattering curves. Trains permanents.
Not sticky — leaves no dandruffy flakes.

2. BLONDEX HAIR TONIC . . . Blonde
hair is apt to look thin, lifeless, dull unless given
proper care. Blondex Tonic keeps blonde hair
healthy and beautiful, free from dandruff, thick,
lustrous and lovely — without any darkening or
discoloring whatsoever.

3. BLONDEX FACE POWDER . . . Most
powders are too coarse-grained for the blonde;
they tend to clog the pores and roughen the
fragile skin. But Blondex Face Powder is of
exquisite fineness and delicacy. Gives the smart
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4. BLONDEX COMPLEXION SOAP . . .
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preparations^ actually worth $3.35, for only 99^!
You'd pay more than that for almost any one, if
you were to buy them separately. With the
super-quality Blondex Beauty Kit goes this
money -back guarantee: If you are not delighted
with it, every cent you pay will be willingly
refunded.

Hurry! Take advantage of this money-saving
,.. coffer now. Fill in and mail the coupon below
I "''together with the small sum of 99^ and you will
receive the 4 Blondex items — the only complete
beauty outfit created especially for blondes.

BLONDEX LABORATORIES. Dept. 310,
27 West 20th Street, New York City

Please send me the 4 Blondex beauty preparations
— regular full size — for which I enclose 991!, all
charges prepaid. (C.O.D. 2o( extra.)

Name_

Address

City,

_State_

SCREENLAND for October 19 3 3

WHAT A

FOOL SHE IS!

• • •

^^T^Tiuver Shining
Keeps Her a GwW5iW^

7 .reeth are Bull— oei „.
But her Teeth ^ I

^ 5k ^P^_- —

This young lady certainly isn't go-
ing to allow her silver to become
tarnished and dull. But wouldn't you
think she'd give her teeth as much
care— do something about their tar-
nished look?

She cleans her teeth. Of course she
does! But where she falls down is in
failing to realize that brushing the
teeth is not enough.

Her gums are flabby, touchy, un-

I PAN A

healthy. They tend to bleed. Any
dentist would tell her that her gums
must be restored to health.

For not only can dinginess of the
teeth be traced to "pink tooth brush"
— but gum troubles as serious as gin-
givitis, Vincent's disease, and even
pyorrhea may follow. Your very
soundest teeth may be endangered.

The quickest, surest way to combat
"pink tooth brush" is to get a tube
of Ipana Tooth Paste. After cleaning
your teeth with it, put a little extra
Ipana on your brush or fingertip, and

massage it directly into your gums.
Soft modern foods do not stimulate
your gums — but the ziratol in Ipana,
with the massage, makes up for this
lack of exercise.

Ipana and Massage
Defeat "Pink Tooth Brush"
You can depend on this: as your
gums become firmer, your teeth will
become brighter. Within a month
after beginning with Ipana and mas-
sage, you are well on the way to
being rid of "pink tooth brush."

VISIT THE IPANA EXHIBIT

A CENTURY OF PROGRESS

General Exhibits Group — Bldg. No. 4

Chicago, June — October, 1933
SEE IPANA MADE FROM START TO FINISH

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury

OCT -3 1933

©C1B 202512

The Smart Screen Magazine

Delight Evans, Editor

James M. Fidler, Western Representative

Frank J. Carroll, Art Director

Important
Announcement!

Vicki Baum,

Author of "Grand Hotel,'' in
Next Month's SCREENLAND!

Don't miss the next issue. There will be an
original and exclusive story by Vicki Baum,
one of the most vital of all modern writers.
Subject, Hollywood — and Miss Baum's reac-
tions to the fascinations of filmland and film
personalities.

As author of "Grand Hotel," which was a
sensation on the stage and screen, and a best-
seller in book form, Vicki Baum won the
widest acclaim accorded an European author
in years. Hollywood, of course, signed her to
write motion pictures; and for the past two
years Miss Baum has been turning her talents
to the screen as well as to novel and play-
writing. Now she has consented to write for
us and we point, with pardonable pride, to that
next issue, in which her celebrated by-line
appears.

Leonard Hall in SCREENLAND!

It's popular-author time in this magazine
family! We're happy to introduce to you with
the Constance Cummings-Benn Levy story, in
this issue, Leonard Hall — the priceless Bad Boy
of screen writers. Mr. Hall has a devastating
and highly amusing method of pricking the
movie bubble. He may break a few of your
cherished illusions about Hollywood but he
will do it so charmingly that you will ask
for more. And you'll get it, because Leonard
Hall has promised to write for SCREENLAND
every month now. As managing editor of
Photoplay he worked with the late dean of
screen publishers and editors, James R. Quirk;
and he brings to his new writing all of the
wit, the style, and the knowledge that has
made him a "name" in the screen field.

October, 1933

THIS MONTH v0i xxvn, No. e

FEATURES:

COVER PORTRAIT OF MARLENE DIETRICH Charles Sheldon

THE EDITOR'S PAGE Delight Evans 13

JOAN TALKS ABOUT TOMORROW. Joan Crawford James M. Fidler 14

THE MAN CONSTANCE CUMMINGS MARRIED Leonard Hall 15

"LADY DIANA" AT HOME. Diana Wynyard 16

PRESTO! CHANGE-O! MOVIE MAGIC Ruth Tildesley 18

DIETRICH DECLARES HERSELF Herbert Cruikshank 22

MAE WEST'S SECRET SELF Aileen St. John Brenon 26

THANKS, SCREENLAND! THANKS, CAGNEY! Lamar C. Rowland 28

WHAT I THINK OF BING Dixie Lee Crosby 30

JOE E. BROWN'S LIFE STORY Carlisle Jones 32

PERSONALITIES:

SHE'S "IN THE MONEY!" Ginger Rogers Laura Benham 25

THE GIRL GOSSIP CAN'T INJURE. Jean Harlow James Marion 51

"MY CONFESSIONS." Charles Wesley Ruggles Maude Cheatham 56

ART IN ASTORIA. Paul Robeson Mortimer Franklin 58

PRESENTING THE MOVIES' "HOUSE OF MORGAN" Ada Patterson 60

SPECIAL ART SECTION:

Inspiration! (Joan Crawford, Franchot Tone). Rustic! (Warren William). Sophisticate! (Miriam
Hopkins). The New "Little Women." The Most Beautiful Still of the Month. Colleen Comes Bad;!
(Colleen Moore). Hollyivood's "Footlight Parade." Vocal Venus! (Ruth Elling). Fay, 'Ray! (Fay
Wray). Marion la Mode! (Marion Davies 'fashions). Portrait drawing of Jean Harlow.

DEPARTMENTS:

THE PUBLIC BE HEARD. Letters from the Audience 8

HONOR PAGE 10

REVIEWS OF THE BEST PICTURES Delight Evans 52

SCREENLAND'S GLAMOR SCHOOL. Ann Harding 54

HOT OFF THE ETHER. Radio Evelyn Ballarine 59

STAR MAKE-UP FOR EYES AND EYEBROWS. Beauty Katharine Hartley 62

HERE'S HOLLYWOOD. Screen News Weston East 64

TAGGING THE TALKIES. Short Reviews 72

FEMI-NIFTIES. Cosmetics Katharine Hartley 86

ASK ME Miss Vee Dee 94

Published monthly by Scteenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Manuscripts and drawings must
be accompanied by return postage. They will receive careful attention but Screenland assumes no responsibility for theii safety. Yearly subscription $1.50 in
the United States, its dependencies, Cuba and Mexico; $2.10 in Canada; foreign $2.50. Changes of address must reach us six weeks in advance of the next
issue. Be sure to give both the old and new addtess. Entered as second-class matter November 30, 1923, at the Post Office at New York, N. Y., under

the act of March 3. 1879. Additional entry at Chicago, Illinois. Copyright 1933.
Member Audit Bureau of Circulations.

Printed In the V. S. A.

for October 19 3 3

ave waive

{ed?

"NO!" says MAE WEST, speaking of the "Midway,"
the dance she does in her newest picture, "I'M NO
ANGEL." "It's not a dance of the hands and feet, but
a dance of the Midway. I throw discretion to the
winds and my hips go North, South, East and West."
Come up and see me, "I'M NO ANGEL."

JtepetJ

GARY COOPER says it with pets instead of with
flowers, for his pet gifts amount to a very large sum
annually. In "ONE SUNDAY AFTERNOON," he says
it with something else in his slow caressing voice as
he thrills FRANCES FULLER in a way that will thrill you.

....I should say, 'numbers' the best I have ever

sung," says BING CROSBY, Paramount's latest star, of
the songs he sings in "TOO MUCH HARMONY" in
which he appears with Jack Oakie, Skeets Gallagher,
Judith Allen and Harry Green. If you thought him
fascinating in "College Humor"... just listen to him
in "TOO MUCH HARMONY."

The exclamation came
from a visiting college
youth as his eyes took
in CLAUDETTE COLBERT
on the"TORCH SINGER"
set at the PARAMOUNT
Studio. When you see
"TORCH SINGER" you'll
see what he meant.,
a stunning figure gor
geously gowned.

Watch for I'M NO ANGEL, TOO MUCH HARMONY, TORCH SINGER, ONE SUNDAY AFTERNOON, all Paramount Pictures at your theatre soon.

IF IT'S A PARAMOUNT PICTURE IT'S THE BEST SHOW IN TOWN

YOU ARE
INVITED to

Leo's Birthday
Party

It's the Tenth Birthday of Metro-
Gold wyn-Mayer! What a cele-
bration it's going to be. All the
past glorious history of this lead-
ing motion picture company will
be surpassed by the entertainment
delights of the new season 1933-
1934. Watch the bright stars of
M-G-M... there have never been
so many at Leo's studio before!
They're coming to you in their
happiest hits. ..because it's Leo's
Tenth Championship Year!

for October 19 3 3

ALL THE HAPPY
M-G-M STARS
WILL BE THERE!

JOHN BARRYMORE
LIONEL BARRYMORE
WALLACE BEERY
JOAN CRAWFORD
MARION DAVIES
MARIE DRESSLER
JIMMY DURANTE
CLARK GABLE
GRETA GARBO
JEAN HARLOW
HELEN HAYES
ROBERT MONTGOMERY
RAMON NOVARRO
JACK PEARL
NORMA SHEARER
LEE TRACY
ED WYNN

Stan LAUREL-Oliver HARDY

And these other
M-G-M personalities

Elizabeth Allan
Tad Alexander
Nils Asther
Alice Brady
Charles Butterworth
Mary Carlisle
Irene Cattell
Mae Clarke
Jackie Cooper
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
C. Henry Gordon
Lawrence Grant
Margaret Hamilton
Russell Hardie
Jean Hersholt
Phillips Holmes
Jean Howard
Walter Huston
Otto Kruger
Myrna Loy
Ben Lyon
Willard Mack
Margaret McConnell
Una Merkel
Frank Morgan
Karen Morley
Maureen O'Sullivan
Jean Parker
May Robson
Ruth Selwyn
Martha Sleeper
Lewis Stone
Franchot Tone
Lupe Velez
Johnny Weissmuller
Diana Wynyard
Robert Young

DINNER
at

From the Sam H. Harris stage play by George
S. Kaufman and Edna Ferber. Produced by
David O. Selznick. Directed by George Cukor

Filmed in Arctic
Wilds— Bigger than
"Trader Horn"

From the norcl by Peter Freuchen. Directed
bylV.S. Van Dyke.

MjETR O
MAYER

SCREENLAND

The Public

Be Heard!

Get "In the Money"!
Write Your Letters!

Beautiful, dis-
tinctive, and ap-
pealing in a

"different" way,
Diana Wynyard
has completely
captured the
hearts of her new
American public.
She's this
month's favorite
among our rave-
writers.

WHAT A GRECIAN "MAMA"
COULD DO!

(First Prize Letter)

One of the first leading ladies in the
world was Helen of Troy. She was a
great beauty, but not a good actress. Re-
fusing to "Buy Grecian," she went to Paris
for her clothes, plunged two great nations
into war and launched a thousand ships
with her face. Yet in spite of her bad
acting, no leading lady, except Eve, has
been more talked about down through the
centuries than Helen. The reason is that
she possessed beauty, vicacity, and "It."

The same thing applies to many leading
ladies in moving pictures today. It has
not been necessary for them to have good
acting ability. The populace hastens to
view them upon the screen because of their
pulchritude, pep and personality.

One could name several such leading-
ladies in pictures right now. But would

it be nice to accuse them of not being good

actresses? t- ir.nr

Fred B. Mann.

5959 Kenmore Ave.,

Chicago, 111.

GOOD, CLEAN FUN!
(Second Prize Letter)

Constance Bennett : Rose petal dipped in
arsenic.

Lilian Harvey : Continental glass of
milk.

Lupe Velez : Pepper up your nose.

Katharine Hepburn: The glow of a
cigarette in the dark.

Mae West : Cleopatra poses for a spin-
ach ad.

Johnny Weissmuller : Romeo in rompers.
Lilyan Tashman : Aunt Sophie's night

out Adine Travis,

1627 So. Carson,
Tulsa, Okla.

How direct and to-the-point are your
thoughts? Can you speak your mind on a topic
briefly and concisely, without hemmings,
hawings, introductions or conclusions?

SCREENLAND is giving you a chance to try
— and is making it worth your while! We're
offering eight monthly prizes of $5 each for the
best letters of fifty words or less on any movie
topic you may wish to discuss. Here's an in-
teresting, amusing, and — if you're good at it —
profitable test of your straight-thinking powers.
You can say a great deal in fifty words, or you
can say next to nothing!

Pick your own subjects; trot out that movie
question you've had on your mind and tell us
and the producers about it. Or, if you prefer,
confess your feelings about your favorite star.
But remember — keep your letters within fifty
words! The eight prize-winning letters will be
printed each month, with as many more as
space permits.

In the August issue we asked for your ideas
on the subject, "Which is more important in a
female star: beauty or acting ability?" Seldom
has a question called forth more ardent debate.
The beauty-lovers sprang to the defense of their
favorites, the "art-above-all" school cried for
genius first, pulchritude second. It looks very
much like a draw, but the best letters are re-
produced herewith, so that you may pronounce
your own verdict.

And now sit down and send us your "pithy
paragraphs!" Address your letters to "Public
Be Heard" Dept., SCREENLAND, 45 W. 45th
St., N. Y. C, and mail to reach us by the ICth
of each month.

A BACK SEAT FOR BEAUTY?
(Third Prize Letter)

It's the intangible qualities that go to
make the genuine artist. If an actress
has intellect and personality she radiates a
magnetism and inner fire that is more last-
ing and fascinating than physical beauty.
Real beauty, like happiness, comes from
within. Famous beauties who are short on
talent have a short-lived popularity and
are soon forgotten ; while the art of Bern-
hardt and Modjeska will live forever.
Garbo's indefinable personality and charm
(Continued on page 11)

for October 1 933

I LOVED A WOMAN ... SO DID MANY MEN!

Another

WARNER BROS.
Hit . . . Coming
to your theatre
soon ....

Together... the mighty Robinson and the divine Francis... be-
cause at last the screen has found a story big enough for both
— a heart drama that hits like the shock of worlds colliding]
Everything you'd expect to happen when the screen's woman
of fire wraps her arms around the screen's man of thunder1.

The story of an all-consuming passion . . . crashing all barriers! . . .
Defying all conventions! . . . Sweeping a man and woman on to the
desperate destiny of those who play against ihe rules !

fDWMOBINtON

surpassing even his great triumphs of the past in i

\0 Ge

A First National Picture with a cast of stars including

KAY FRANCIS

Genevieve Tobin ... J. Farrel MacDonald . . .
Henry Kolker . . . Robert Barrat . . . George
Blackwood . . . Directed by Alfred E. Green

SCREENLAND

Honor Page

Pert Kelton Swings
into Stardom!

THIS Pert Kelton is something new
on the screen ! She has a rowdy
personality and a rather raucous
voice — but she also has some of
that exuberance with which Mae West has
packed 'em into the movie theatres lately.
In Constance Bennett's current film. "Bed
of Roses," Miss Kelton is a sort of comic
Sadie Thompson, with modern improve-
ments. She rolls her eyes, swings her hips,
and almost steals the show from the star.
A well-known singing and dancing com-
edienne on the New York musical comedy
stage, Pert graduates to flicker fame in this
one picture. Let's see her in a role giving
her grand naturalness a chance to shine.

Pert Kelton looks
to us like a new,
slim, more comic
Mae West. She is
really a v e r y
pretty girl, as her
Manhattan ad-
mirers will test-
ify. Perhaps RKO
will give her parts
to prove it.

There is no more amusing treat for motion picture
fans than a scene in which a newcomer steals up on an
established star. This happens in "Bed of Roses,"
starring Constance Bennett, and with — very much
with — Pert Kelton.

for October 19 3 3

The Public Be Heard

Continued from page 8

permeate every character she portrays be-
cause the fires of genius burn within her,
beauty being the least of her assets.

Beauty, therefore, is only incidental,
while talent is the first requisite of any
leading lady if she is to bring sincerity
and realism to the characters she depicts.

Corinne Childers,
506 Clement Ave.,
Charlotte, N. C.

"MUSIC HATH CHARMS"!
(Fourth Prize Letter)

People talk of the wonderful beauty or
the superb acting of this or that movie
star. But think of the part played by the
musical score in some of our most in-
tensely emotional pictures.

Is it the beautiful heroine's wide, horror-
stricken eyes that make you feel that
gripping suspense, that icy terror that
clutches at your heart? Or is it the wild
cheering of the mob that works you into
that jubilant wave of ecstasy when the
triumphant soldiers return from battle in
a war picture?

I believe it is neither of these. I be-
lieve it is the accompanying music, with its
shivery trills, its exciting, suspenseful cli-
maxes, or its soaring paens of victory that
determines whether one should feel sus-
pense, terror, sadness or gayety.

Dorothy Jolly,
148 Pearl St.,
Holyoke, Mass.

REDUCE

DISTINCTIVE DIANA!

Long may she reign ! Diana Wynyard,
most beautiful and sophisticated actress on
the screen, possesses that greatest single
asset — individuality !

Miss Wynyard's appearance and acting
combine nearly every feminine perfection.
Dignity and excellent diction are only two
of her admirable qualities. I hope to see
her frequently in pictures, as I am ex-
tremely devoted to her — and may she al-
ways remain as natural as she is today !
Should all the laudatory adjectives in Web-
ster be placed before Miss Wynyard's
name, I should still consider her underrated.

Kay Morrison,
8 Perkins Ave.,
Reading, Mass.

HOMAGE TO QUEEN GRETA!

Is Garbo through ? Certainly not ; she's
just begun ! Before she sailed for Sweden
the press wrote of practically nothing but
"Garbo, please come back !" Now she has
returned, we read nothing but destructive
criticism about her. What's wrong?

Garbo is a great actress. She proved it
in "Grand Hotel." Obviously miscast, yet
she gave one of the most beautiful per-
formances ever seen on the screen.

How many good stories have the pro-
ducers given her? A scanty few. All the
others were merely backgrounds for the
exploitation of the woman, not her ability.
Why not give her good roles for a change?

Here's a suggestion: Queen Elisabeth.
Who else could play it — a severe woman,
striking but not beautiful, tragically human.
An ideal subject for a movie. Maybe then
Garbo could laugh up her sleeve at the
cynics who say, "Garbo's through."

Jane De Priest,
111 29th St. N. E.,
Cedar Rapids, Iowa.
(Continued on page 87)

WAIST AND HIPS THREE INCHES in ten days or

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Miss JEAN HEALY
299 Park Avenue.

New York City

"I REDUCED MY HIPS
from 43 to 34'/2 INCHES"
icrires Miss Brian

"I . . . measured 43 inches
through the hips, and weigh-
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I was down to normal, weigh-
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34 Y2 inches around the
hips."

Miss B. BRIAN
Hotel Victoria
New York City

e want you to try
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SCREENLAND

ijOU may never before have

realized it — yet you are in

a Beauty Contest every day you
live. Each new acquaintance —
each well-loved friend — judges
your charm, your looks. And a
person's entire opinion of you
may depend upon the condition
of your skin.

Can soap affect your beauty? Indeed
it can! And if your skin lacks the soft,
clear freshness that invites compliments
and praise — do think about changing
your beauty soap!

Use Camay, the Soap of Beautiful
Women. For Camay is made to order
for the feminine skin. Its lather is so

Clever Girls use this Soap—- Camay—
to Help them in their Daily

gentle that even the most delicate
skin responds. From the very first
cake you use, your complexion be-
comes lovelier.

THE "GOOD TASTE TREND"
IS ALL TO CAMAY

Wide-awake girls by the thousands
are changing their old soap habits.
They're going modern — they're

taking up Camay, the Soap of
Beautiful Women.

You'd expect a soap of Camay's
exquisite quality to be high-priced.
It isn't — Camay sells at a low 1933
price. Check that up — a surprise is
in store for you! Get a supply of
Camay today, and see how much
it can improve your skin!

She has a flair for clothes. Her conversation sparkles. She's the type of girl everyone admires.
And her claim to beauty — her ally in life's Beauty Contest— is her radiantly lovely skin.

Camay is pure, creamy-white, mild enough for the delicate skin. Its lather
is profuse, yet gentle. Beautifully wrapped in green and yellow, protected
in Cellophane. Use Camay on your face and hands, and in your bath!

CAMAY ,

Copr. 13o3. Procter & Gamble Co.

he Soap of Beautiful Women

for October 19 3 3

An Open Letter to Ruby Keeler

DEAR RUBY:
Don't you care!
It was about time that
somebody proved that
Chivalry is Not Dead in Dear
Old Hollywood. And I want to
thank you — and all the movie
fans want to thank you, too.

When your husband hauled off
and hit a certain columnist be-
cause you cried, I cheered! I
mean it. I think it's all perfectly
grand. It has been a long time
since an honest emotion like that
hit the screen colony, and it takes
an inspiration like you to do it.

And it gives me an opportunity
to tell the folks that Hollywood
hasn't gone quite to the dogs
after all. You see, the cash cus-
tomers have been writing to me
ever since the news broke that
Mary-and-Doug were no longer
the Great Love Team of the Ages.
This news busted a lot of public
illusions wide open — because af-
ter all, Hollywood, which Knew
It All the Time, is only a small
slice of the world; and there
were many who still believed
that Cupid was cooing at Pick-
fair. They remembered Joan and
Young Doug; and Ann Harding
and Harry Bannister; and heard
about Bill Powell and Carole
Lombard. And they began to
wonder just what was so wrong
about Glamorous Hollywood.

But now I can tell 'em it's all
right. When a famous enter-
tainer can get mad enough, just
because he sees his pretty wife in
tears, to tear into a Broadway
tattler, there's hope for Romance
in Hollywood. Dry those tears,
Ruby. You're a lucky girl.

I want to tell you right now
that you have revived my some-
what shop-worn illusions. When
I first began to hear about you
after "42nd Street" I can tell
you frankly I didn't believe it.
You couldn't be all fresh and
dewy like that — not a girl who
had battled her way to success

from New York night-clubs. It
just couldn't be true. Then I met
ycu — and believe me, I brought
my best microscope. Right off I
admitted you were just as pretty
as predicted — with quite the
loveliest voice I'd ever heard; and
the biggest and bluest eyes with
the blackest Irish lashes. And
you behaved more like a Spence
School girl than a Broadway
dancer, and you were unbeliev-
ably modest — "of course," you
said in that exquisite voice of
yours, "of course I can't do any-
thing so I don't know why people
should want to come to see me
on the screen." And when Al
joined us, and right there in that
smart restaurant gave you a big
hug, and beamed at you, and
told you he'd be at your mother's
for a corned -beef -and -cabbage
dinner, I began to glow like an
old softie. And I began to be-
lieve in you, too — and I joined
the chorus singing, "That Ruby
Keeler is the nicest, the most
natural, and the most refreshing
girl in pictures — and if they give
her the right parts, she can be
another Janet Gaynor or Helen
Hayes — only 120% prettier."

You're the heroine of Broad-
way-to -Hollywood's very best
romance, Ruby — and if a display
of fisticuffs is necessary to keep
you happy, then let Al go to it.
He gives you rubies to match
your name and sapphires to
match your eyes — and if he
wants to take an occasional poke
at a columnist, don't you mind.
It's refreshing, and it's real, and
it's spontaneous — and how Hol-
lywood needs a little of that!

P.S. Give my best to Al.

SCREENLAND

Joan
Talks

Crawford herself
answers all your
questions about
her future. Don't
this — it's

miss

NEWS!

Tomorrow!

FOR the first time since her divorce from
Douglas Fairbanks, Jr., Joan Crawford has
talked about tomorrow.

I do not intend to convey the impression
that Miss Crawford has not talked at all heretofore,
for she has said plenty ! I do mean that until now she
has divulged no concrete particulars about her future
plans.

Now Joan has given me permission to proclaim cer-
tain facts. I have the exclusive privilege of revealing
Miss Crawford's future aims. I am certain they will
amaze and please her admirers.

Joan Crawford's plans do not include marriage!

She anticipates single-blessedness "from now on."
With a near-savage shake of her head that rioted her
long bob, she informed me that her first marriage was
also her last. Of course, minds of mice and men (and
women), oft change, but so forcible is Miss Crawford's
denial of all conjugal intent, rumors of her contemplated
marriage to Franchot Tone, Ricardo Cortez, or any
other of her multitude of suitors must be peremptorily
dismissed.

There is absolutely no hope that Doug, Jr., may ever
re-wed Joan.

From her positiveness, I can only gather that her
wedded life proved to be a farce — a dismal, tragic farce.
Now that the curtain has dropped, Joan has no desire

James AL F idler

to sit through a second act.

1 asked Miss Crawford to tell me what new in-
terests are filling the hours that were once devoted
to her husband. "What are you planning to do
in future years, if you will not marry?" I per-
sisted.

In reply, she told me that one important idea in her
mind is the perpetuation of her name. Joan realizes that
despite her current fame, the public will quickly forget
her when her career is completed.

"Tell me the name of just one famous actor or actress
of fifty years ago," she abruptly requested.

I was unable to comply.

"I want to be remembered when I am gone," Joan
said. "I know that my work in motion pictures will not
commemorate my name, therefore I must evolve some-
thing else. Perhaps I will endow an orphanage, a public
park, or an institution devoted to charity."

I will not be surprised if Miss Crawford's final an-
swer to her laudable plan is the endowment of a charity
clinic. I make this prognostication because I know that
even now she maintains four rooms in the Hollywood
Hospital. There extras and indigent studio workers
may find free medical attention. Joan's own doctor
devotes his services to patients Joan sends to these
quarters.

I asked Joan if she had any {Continued on page 92)

for October 19 3 3

International

Benn Levy, the brilliant young English playwright, and his
bride, Constance Cummings, the American movie actress,
who were married in London. Don't they look happy?
They are!

The Man
Constance Cummings Married

The bitter-sweet story, never before
told, of romance more fascinating
than fiction. Exclusive!

Leonard Hall

LONDON, ENGLAND — Miss Constance
Cummings, American film star, was married
to Benn W. Levy, young British play-
wright, at the Chelsea Registry Office today.

THIS modest paragraph, tucked cozily away in
American newspapers last July, sent us film fans
into a case of joyous jitters !

So Connie Cummings, one of the loveliest of
the screen's junior misses, was married — undoubtedly to
the man of her choice. Hey-nonny-nonny ! Love Had
Found a Way, and it led right smack to the door of the
license bureau in old Chelsea ! We sentimental sillies
heaved a gusty sigh and looked dizzily up at the same
moon that was smiling down on the love-birds' Venetian
honeymoon.

Yet few knew that back of the romance of young
Benn and pretty Connie was the shadow of another love
affair that had budded, but never flowered.

Nor did they know that the former lady of Levy's
heart was the opulent Diana Wynyard, gentle beauty of

"Cavalcade." A tenderer, even sadder, romance was
never confected by a moon-maddened slave of the pen.
And this is its first telling.

Who is this youngster whom Connie Cummings met,
loved, married?

Benn Levy, at 33, is one of the cleverest playwrights
of our time. He is practically an artistic twin of that
other wonder-child, Noel Coward, author of "Cavalcade,"
"Private Lives," "Design for Living" and other fortune-
bloating plays and pictures of the day.

Six months separate them in age. Both were drawn to
the theatre while still in short trousers — both have writ-
ten many successful plays — both eat, drink, live the world
of make-believe. Even in his student days at Oxford
young Levy had one eye on trigonometry and the other
on a manuscript.

When his first piece was accepted, Levy dove head first
into the theatre, and has never come up. Hits flew from
his smoking typewriter — "Springtime For Henry." "Art
and Mrs. Bottle," others. At the tender age of 30 he
was a settled London success — managers mistered him,
fawned upon him, asked how "the new one" was com-
ing on.

SCREENLAND

"Lady Diana

This is home to Diana Wynyard. The lovely actress has a huge
studio in Chelsea, London, where she lived before Hollywood
claimed her, and which is still her favorite home between picture
engagements. It's a charming place, isn't it?

And then The Girl in the Pink Dress crossed his line
of vision !

For the first time in fifteen years he forgot the theatre.

He was in love, up to the hubs. And he didn't even
know her name !

Levy had written another play — the most ambitious
of his life. "The Devil Passes," he called it — dubious
dope for the strait-laced Lunnon theatre. It pictured His
Satanic Majesty visiting an English country house dis-
guised as a young and handsome clergyman and re-
shuffling the jumbled lives of the inmates.

Young Benn fretted over this play. It just had to be
right. He looked over the available supply of London
leading women, and cried into his tea. Oh, for some one
young and fresh and unspoiled ! Levy rambled London
in a mental fog, walking under taxicabs and into mirrors.

Then, one memorable night, the haze lifted. In the
promenade of a London club, Benn Levy saw The Girl
in the Pink Dress.

It was Diana Wynyard, but Levy didn't know it.

He only knew that he had to have her for "The Devil
Passes."

And even as he stood there moonstruck, The Girl in
the Pink Dress was lost in the crowd.

Exclusive pictures of La
Wynyard, the British
beauty, in her own English
home between pictures

Benn set out in pursuit of this sumptu-
ous, statuesque girl with the bloom of
youth upon her. Finally he found her !
She was a young, almost untried actress,
with her laurels yet to win, but Levy
proposed to provide her with those lau-
rels, though fifty fire-snorting dragons
barred the way !

And he did.

Fate had decided that she was to
be the leading woman in "The Devil
Passes," and she was — briefly, in Lon-
don. When the piece was brought to
New York, Diana Wynyard made her
Broadway debut in the role. That night
the critics dipped their pens in toilet-
water and whooped for the advent of
another fine and lovely young actress
on the pestered American stage.

And then what ? It was dollars to old
bottle-caps that Hollywood's lynx-eyed
sleuths would have her name on a con-
tract before you and I could say "gin

Miss Wynyard as she appeared with Basil
Rathbone in "The Devil Passes," a New York
stage success of two seasons ago, which secured
the success of Benn Levy, the playwright, and
won for Diana a Metro movie contract.

for October 19 3 3

Home

and bitters." Sure
enough, one of Fox's
bright young men had
her lassooed and tagged
"Hollywood" in no more
than a fortnight.

While these interesting-
matters were in motion,
Cupid had drawn a bead on
Mr. Levy and shot him full of
arrow-holes.

It was six to one and six to
the other, during those brave fall
days on Broadway, whether Benn
was prouder of the success of "The
Devil Passes'' or by the sudden
vogue of the beaucheous Wynyard
among Those "Who Know.

He was plenty in love, this boy.
The Girl in Pink was now his leading
lady offstage and on. Friendly wagers
were offered, with few takers, that these iM
twain would be one ere the frost was on
the punkin.

Off to Hollywood swept Diana, to begin her
career under the Kliegs, and off to Hollywood
trekked Levy, to labor in the Universal script-
factory.

Came "Cavalcade" and another Wynyard tri-
umph in that master-picture. To Metro for "Re-
union In Vienna" with the still persuasive Mr
Barrymore.

And little by little no more was heard of the
Wynyard-Levy romance. In fact, Hollywood has never
hinted that it knew of its existence. To the great sorrow
of us moon-calves in the know, Fate made a football of
a lovely love-story.

Photographs of Miss
Wynyard at home by
I'ox, London, exclusive
10 SCBEENLAND

Another glimpse of "Lady Diana" in her London studio. More interesting
than any movie set.' Flowers, flowers everywhere — perfect setting for the
grace and simplicity of the star of "Cavalcade" and "Reunion in Vienna."
Above, an informal home picture of Miss Wynyard.

There were family scruples in-
volved, we heard. The young folks
saw that it just wasn't to be. There
was love — and there was a mess of
other things that strangled and smoth-
ered the tender passion. So the final
curtain fell upon the romance of
Diana and Benn, as dreamy and
tender a story as ever was played
before footlights or between book
covers.

There must have been plenty of
heart-burnings, in those days. But
the world rolled goofily on — as it has
a droll way of doing.

Then, suddenly, the bells ring out
in London — bing ! bong !

The organ lets loose a few bars of
"Lohengrin," and Constance Cum-
mings, spinster, and Benn W. Levy,
neither of (Continued on page 93)

SCREENLAND

Presto! Change-O!

"It's fun to be fooled but it's
more fun to know"*— by spe-
cial permission of the copy-

right owners !

* Courtesy Camel Cigarettes

REMEMBER the fairy stories wherein magic wands
were waved, fatal brews swallowed, or enchanted
food eaten?

• The waving, swallowing or nibbling was in-
variably followed by the changing of princes into beasts,
ducklings into swans, gentle little girls into proud and
haughty ladies, or plain maidens into raving beauties.

Hollywood's spell seems to be something like that.

Once upon a time, Gary Cooper was a simple cow-hand
from the cattle ranges, Joan Crawford was a hey-hey
dancing gal who won cups at contests, Greta Garbo was
a shy, slow-spoken person who didn't know what to do
with her hands, and Alice White was a red-headed kid
with a funny nose.

Not now ! Not now !

Gary, whose sole contribution to
the speech arts used to be "Yes,
ma'am" — or more frequently "No
ma'am" — who seemed to feel at home
only on a horse's back, who was so
shy that his lips twitched and ruined
dozens of close-ups in his first "so-
ciety" picture — Gary has become the
last word in sophisticates, the darling
of society ; whose clothes are copied,
mannerisms aped, and whose steady
gaze from the silver sheet sends little
shivers up and down the spines of
worshipping fans.

The magic wand had another effect
on Joan. It changed her from a flam-
boyant, slightly over-dressed dapper
to the exotic, perfectly gowned, pic-
ture princess of today.

The potion must have been very
strong in the case of Greta Garbo, for who could have
guessed that the bashful, homesick, over-grown girl who
arrived here in Mauritz Stiller's train would turn into
the mysterious, elusive, glamorous creature imitated all
over the world?

When Alice White first stepped into the picture, she
was accused of looking like Clara Bow. There was the
red hair, for one thing, and the abundance of pep and
curves and what-not, for others.

Now the hair is platinum blonde, the curves have been
worn down, the nose that used to worry her has been
remodeled. But the "pep" is still there. Maybe she
brings it forth more consciously now, for the Alice who
used to be naive is cynical, with a bitter wisdom learned

Glohe Photo

Above and to the left, the girl who was
first known to Hollywood and the
M-C-M lot as Lucille Le Sueur, until a
national publicity contest changed
her name to Joan Crawford. The
close-up shows those eyes, marvelous
then as now; but the idea in mouth
make-up was far, far different!

from that old training school, life.

Sometimes Hollywood seems to go in
for re-designing features, as in the case
of Alice's nose.

Clark Gable and George Raft, ac-
cording to report, have had their ears,
which were said to stand out too prom-
inently, pinned back. It would seem
that George's is the better job.

Janet Gaynor's teeth, they say, didn't please those in
studio authority when they signed the former extra girl,
but nobody can complain about them now.

Janet, however, indignantly denies that Hollywood has
any magic wand or any potent drink that alters those
who venture within the gates.

"It's life that changes you, not Hollywood," she insists.
"I was so young when I came to Hollywood that I simply
grew up with it. I don't think I'm more cynical than if
I'd lived somewhere else. I think it's your nature that
decides whether you'll be cynical or not.

"I don't think my ideals have changed, either. Life
changes some of them, of course. You know, one ideal

What Hollywood has done for — and

for October 19 3 3

^ovie Magic!

And now — change-o! — La Crawford,
the world's most famous changeling!
She changed her figure, her coiffure,
her features — with the aid of make-up
expertly applied — her complete person-
ality. See, in the close-up at the right,
the details of Joan's new make-up,
particularly the lips.

is shattered and you build up another
to take its place. Nobody stands still,"

Now and then Hollywood deliber-
ately picks up a player and remodels
him, inside and out.

And announces it !

As in the case of Mimi Jordan —
one-time Miriam.

Miriam came to town a sophisticate, reserved, aloof,
with hair falling below her waist and an abnormal sense
of dignity.

Mimi emerges from the shadow of the wand as a
bobbed-haired, smiling, friendly, gay and carefree maid-
en, with what she calls a "baby-doll" expression.

"Hollywood has changed everything about me — fancy
that!" she cried. "Take clothes: I used to wear dark
dresses and suits, expensive furs, specially designed hats,
because I was a sophisticate and inexpensive things
looked cheap on me. I believe the lowest price I ever
paid for a dress was $59.50.

"Now that I'm transformed, I can wear wash frocks
and sports dresses, sweaters and skirts and little dollar-

We present Hollywood's own
magic acts, by famous stars.
The transformations of the
century !

Rutb Tildesley

ninety-eight tarns, if you please. How soothing to the
pocket-book !

"And take money :

"I don't seem able to keep one cent in my pocket. I'm
always losing money and I don't seem to mind, though
I used to worry frightfully over the least shilling. When
I was in show business, I'd anticipate my weekly checks
and could hardly wait to get them when they were due,
but now, if you can believe it, I sometimes forget to call
for them for days !

"Hollywood has given me a mar-
velous sense of humor, too. I look
around and see people taking them-
selves so seriously and being so weigh-
ty about every least little thing that
concerns them, and I think : 'You'll
get like that if you don't watch out !'

"I'm determined not to develop a
swollen head, so I develop a sense of
humor.

"But the best thing Hollywood '.as
done for me has been to teacl me
that there is just a short time for a
girl to be frivolous and to do the silly
things that are part of a girl's herit-
age. I used to be afraid to be silly,
but my new personality makes me
braver."

The big joke about the change in
Mimi is that it was all designed by Fox
Studio in order that she might play
a harum-scarum role in "Shanghai
Madness" ; and when she was all transformed and every-
thing, they didn't give her the part !
Then there's Bette Davis.

When Bette arrived in Hollywood, she was a demure,
retiring little thing who looked as if she was scared of
her own shadow.

Out came the magic wand. It was discovered that
the trouble with Bette was that she had a "blonde soul."
Her pale brown locks were thereupon lightened and
Bette suddenly acquired, with the bright hair, an inde-
pendent spirit. Now she looks sophisticated, she is a
girl with a mind of her own, and she steps ahead steadily.

Why Hollywood concentrates so often on hair is one
of those things no fellow can find out.

to! — some promising material!

20 SCREENLAND

Try Hollywood's Tricks on

Well, will you
just look at this
little girl!
Sweet, naive,
and oh, so de-
mure! Read, in
this story, what
Hollywood has
done for Janet
G a y n o r —
though Janet
herself denies it.

Janet, as she is
today — the
most glamorous
ingenue in the
whole, wide
world.' "I was so
young when I
came to Holly-
w o o d that I
simply grew up
with it," she
says.

They've just bobbed Dolores Del Rio's crowning glory,
and changed the smooth-haired Latin beauty, whose looks
were once so individual that she could never be mistaken
for anyone else, into another modern girl.

Dolores has been changed in other ways, too.

When she came to Hollywood, she was a naive, friend-
ly little soul who believed in everyone. Today she is
difficult to approach, a bit scornful, not exactly suspicious
— perhaps cautious is the better word.

Strange how often the sorcery of the film city seems
to work against simplicity and friendliness.

The cordial smile that is Maurice Chevalier's on the
screen was in use also off the screen when the French-
man first came to town. He laughed and joked all
through my first interview with him. But now he often
goes about with an expression of deep gloom.

Ann Harding was the special pet of all the press be-
cause she seemed so genuinely interested in writers, so
ready to cooperate, so "real-' a person, so untouched by
the sham and gilt of moviedom.

Perhaps it was her private trouble that altered her. I
don't know. It seems that she has, for one reason or
another, fallen into Hollywood's trap and begun to take
herself too seriously.

Robert Montgomery has been accused of "going high-
hat." But that's not true.

The secret of any change in Bob, I believe, is too
much work and no play. Since last September he has
had not even a day between pictures — sometimes work-
ing on two pictures at the same time — and for some
three months exhaustion has brought on insomnia so that
he has all he can do to get through the work without
adding to the gaiety of the company, as he used to do.

The baby daughter, now over two months old, has been
awake when her father was on hand just four times
since she was born. And this to a man who knows from
sad experience how frail a baby's hold on life can be, is
hard indeed.

When he has had a promised vacation, I think events
will prove that here is one who has not been transformed

but only grown a few years older in Hollywood.

The magic spell, in the case of John Barrymore, turned
out to be Dolores Costello. John's lovely wife.

When John came to the film city, he was a wry and

We consider the picture above, and the one directly
of Hollywood's magic' Here we have Bette Davis before
little stage actress into a movie star. And, right, the
brighter hair, dazzling eye make-

for October 19 3 3 21

Your Own Personality!

This soft -eyed,
dreamy Latin
beauty in the
big hat was the
first Mexican
girl to "crash"
Hollywood in a
big and remun-
e r at iv e way.
Senorita Dolores
Del Rio, ladies
and gentlemen,
as she looked
when she first
came into mo-
tion pictures.

Now Hollywood
has ''trans-
formed" Dolores
into the brisk
modern woman
you see in this
new picture at
the left. Some
don't like the
change — do
you? Certainly

there's
fire

new
those

lovely eyes, a
certain anima-
tion, a fresh
vitality.

witty devil, who delighted in tormenting those he met,
who played practical jokes, and went to great pains to
shock his interviewers.

But now that the soothing influence of Dolores has

opposite, here, the most amazing of all illustrations
the movie wonder-workers transformed her from a shy
same girl after the "magic act," with acquired poise,
up, daring gown. It can be done!

heen working for several years, the one-time talk of
Broadway has become a sedate and courteous host, the
very paragon of interviewees — although nothing can
change the witty Barrymore tongue.

That young Prince Charming, Buddy Rogers, hasn't
turned into a Beast — far from it — but he has definitely
altered that wide-eyed boyish personality that won him
the nickname, America's Boy Friend.

He's older, of course, but it isn't added years, it's
knowing all the answers that has altered him. He's not
shy now, he's slightly bored, a bit world-weary.

Once upon a time, Norma Shearer was an eager little
girl who longed to wear red shoes on Hollywood Boule-
vard because all the other girls did.

She was a dewy little thing, then, with hair that blew
into her eyes.

It doesn't blow into her eyes now. Norma is the best-
groomed woman in Hollywood, charming but sophisti-
cated. If she wanted to wear red shoes, anywhere, she'd
do it ; and when she did it, it would be supremely right.

The legend is that Elissa Landi has always been re-
garded as cold, aloof, and disdainful ; and that, wishing
a nice, warm, human, passionate star, her studio under-
took to wave wands and give her brews and viands to
accomplish the desired end.

The glowing Landi we now have, they regard as a
direct result of their efforts. But as for me, I've always
thought her a vivid person, full of color and glamor.
And I was the first writer to meet her in Hollywood.

Marlene Dietrich's taste in dress has suffered a sea-
change, whether or not the exotic frau has undergone a
metamorphosis.

When she was presented to the press in this town
upon her arrival, she wore a floppy picture hat and a
rather dowdy frilly gown, in a season of smart and
simple sports clothes. It's no secret that the Dietrich's
attire today consists usually of men's costumes from
tuxedo to lounge suits. Yes — Hollywood does things
for 'em — and to 'em !

SCREENLAND

DIETRICH

Extra, extra! The only magazine in-
terview granted by Marlene in
Europe! Read about her plans, her
startlingly frank opinions

The lovely "Legs"
Dietrich of the
films— softly, se-
ductively femi-
nine.

T FAIR Versailles, basking peacefully a
few leagues from Paris, there is a
very swank, very smart, very exclu-
sive hotel called the Trianon Palace.
It is named for the nearby historic piles where
once the ill-fated Marie Antoinette spent gay
moments pretending to be a farmer's daugh-
ter. But the hotel has two distinct advantages
over the palaces from which it takes its title.
The plumbing is strictly modern. And it
shelters a real, live Queen, instead of being
shrouded in drowsy, sun-webbed memories of
one long dead.

For at Versailles, in the Trianon Palace
Hotel, surrounded by husband Rudy Sieber
and a cordon of guards, Marlene Dietrich,
Queen of the Screen, holds her Court. And
the beauty and the chivalry of Paris clamors
for admission to the charmed circle of her
presence. Presentation at a Buckingham levee, invitation
to a White House soiree, a season pass (tax exempt) to
the Paramount tbeatres, these are simple to attain in
comparison to an interview with Mar-lay-na. Here, ia
Screen land, she speaks for the first and only time dur-
ing her stay in Europe. And from her own seductive
lips here is the reason for her silence.

"It is not easy for me to meet people. I am always
embarrassed and ill at ease. I do not carry my heart on
the tip of my tongue. So it is difficult for me to know
what to say. And many of the questions that one is
asked are either quite terrible or quite silly."

She speaks sincerely. And when one considers that
she is on a holiday, there can be no great criticism of her
decision to barricade herself against a host of inquiring
reporters that would reach from the Arc de Triomphe
to Napoleon's Tomb. But despite her reticence, where
Marlene goes the Press follows. At a Parisian premiere,
an unostentatious Dietrich was spotted in the audience
by a lens man camouflaged in a box for the purpose.
She attempted to out-manouver him by veiling her face
in a handkerchief. But the picture-snatcher finally won
the day by pretending to abandon the chase, and then,
suddenly, like a Jack-in-the-Box, hopping out upon the
stage. Boom ! Flash ! And he got his gal. Wherever
she goes, it's the same story. And it gets a bit tedious.

Reminded that the Press has been kind to her, Marlene
bows a gracious acquiescence.

"That is true. But it is my idea that an actor is entitled
to rise or fall by the quality of his art and his pictures.
I cannot get accustomed to the idea that there is any
public interest in the fact that such-and-such an artist
has tea at such-and-such a place. And with whom. I
do not see that this is legitimate news.

"You say the press has been friendly, and I agree.
That is why I was simply amazed at the unkind attitude

"Yes, I like trousers, and

for October 19 3 3

Declares

Herbert Cruikshank

of the New York papers during my last short stop there.
Perhaps there was a misunderstanding. But I feel that
I was cruelly and unjustly criticized.

"As you know, I had only a few hours before sailing,
and as it was impossible for me to see all the plays, I
hurried from theatre to theatre trying to see the best bits
of several. With such a schedule I had to leave each
during the progress of some scene. And to my amaze-
ment I was accused of discourtesy toward the players.
That was not fair. Nor was it fair for reporters to
attack me without investigating."

I recalled that there had also been criticism of the star
for concealing those famous legs of hers in the volumi-
nous folds of trousers. Now to ask a girl about her
pants, whether she wears 'em, whether she doesn't, if she
will or if she won't, well, there are other questions easier
to ask, and equally to the point. However, here's what
Marlene has to say about it.

"I fail to see that there is anything unusual about wear-
ing trousers. Many other women have worn them. In
Hollywood they are quite common. In my pictures I am
costumed in all sorts of frills and feathers, and away
from the studio it is a relief to get into sensible clothes.
Yes, I like trousers, and I shall continue to wear them."

In Paris, however, the star sticks to skirts. It seems
there is a law. And no matter what a gal's inclinations
may be, her boyish spirit must be curbed when it comes
to donning the lower half of a masculine outfit. All this,
it is said, was gently intimated to Marlene by Monsieur
the Prefect of Police shortly after her trousered arrival.
And Marlene took the tip. But the topper to the tale,
as they tell it along the Rue de Castiglione, is that
Madame, the wife of Monsieur the Prefect of Police,
besieged Marlene to attend her fete as guest of honor,
and please, oh please, to wear ze pants ! Marlene ac-
cepted. But Marlene left her pants behind. That is to
say, she wore skirts.

But in tweeds or chiffons, this changeling star is the
idol of the Continent. Whether she appears in trim,
mannish, tailored grey, with masculinely cuffed and
linked flannel shirt, a loosely knotted cravat at her
throat, appropriately shod, and with the famous soft
chapeau slouched boyishly over one smouldering, come-
hither eye, or whether she affects pure feminine fascina-
tions, with daintily slippered feet hidden in soft, clinging
skirts, with flowers at her shoulder, and her shapely head
carefully coiffed, Marlene is utterly fascinating. Paris
knows, admits, and admires.

No woman deserves the description "orchidaceous" as
does Mar-lay-na. She defines the word perfectly. Like
an orchid there is nothing "natural"' about her beauty.
She is no rosy-cheeked milk-maid type. Nor is she a
bounding, sunkist, hundred percent American product
of the great out-doors. She is a carefully cultivated,
exotic, almost too perfect product. Her haunting pallor,

continue to wear them/'

Herself!

Scree n l and

See Marlene's new clothes! Exclusive, last-minute sketches of fashions
designed for Dietrich in Paris by Lucien Lelong

Above, evening gown
of black marocain,
with band of pleated
white marocain.

Right, pajama cos-
tume of brown wool-
en, with little coat.

fairly slashed by carmined lips, the sweep
of sooty lashes that fringe her hypnotic
eyes, the marvellously pencilled brows,
the blood-dipped beauty of her finger tips,
the careful carelessness of her hair, all
combine in a triumph of artistry.

Yet the languor that should accompany
this ensemble is no part of Marlene's per-
sonality. She moves briskly, decisively.
She clicks her heels in true Prussian pre-
cision upon introduction, and extends a
cool, firm, strong hand that returns the
pressure of a solid grip. Her eyes meet
yours, direct, unwavering, soft, yet with
a green glint of cynicism lurking in their
grey depths. Her voice is utterly lyrical.
The words it utters reflect a mentality
masculine in its incisiveness. Like a boy
she crosses one long leg over its mate.
But those legs are divinely feminine !
Which set of characteristics make the true
Dietrich? My guess is neither — and both.
In any event they form a combination
that is irresistible.

At present she is having fun in Paris.
And on the Riviera. And, indeed, wher-
ever she goes. Long, low motors sweep
her and her entourage through the ador-
able, leafy boulevards of the French
capital to tea at the Ritz or at Laurent,

Dietrich is credited by
Parisian fashion authori-
ties for "bringing back"
feathers for trimming.
See this black satin wrap.
Here's advance fashion
news with a vengeance
— these clothes are just
being made as you read!

Above, more
brown! This time
a swagger coat.

Left, brown af-
ter noo n dress
with a red scarf.

to the theatre, to Les Ambassadeurs, or
a dozen different night-spots such as
keep Paris gay twenty-four hours a day
- — or, at least, a night.

As Marlene, in person, is a Parisian
sensation, so are her pictures. It is not
a question of "have-you-seen-her-latest,"
but of "how-many-times-have-you-seen-
it." And if the answer doesn't admit a
half-dozen visits to the theatre, you
don't belong in our set. This goes for
the mondaines, the demi-mondaines, the
semi-demi-mondaines, and the women
who sell white orchids and cabbages
amid the mingled fragrance of flowers
and onion soup that pervades the great,
dawn market called Les Halles.

Upon the authority of Messrs. Ike
Blumenthal and Frank Farley, the astute
and erudite gentlemen who keep the
Continent safe for Paramount, and vice
versa, you may have it that the socially
elect of the beautiful, brilliant city plead
for projection- room previews of Mar-
lene's new ones.

Nor is this hysteria confined to Paris.
In visiting Vienna, Marlene was at the
mercy of enthusiastic crowds that actu-
ally threatened her safety by thronging
around and (Continued on page 83)

for October 19 3 3

Ex-redhead Rogers, now brightly blonde, is
signed for stardom. You'll see her in "Rafter
Romance" with Norman Foster and in
"Sweet Cheat."

SHE'S

"IN THE MONEY"!

She sang "The Gold
Diggers" song so well
everybody believed it!

Laura Benham

OLLYWOOD, as you may
have heard, is rich in lus-
cious blondes more cher-
ished for their beauty than
for their brains. At first and cursory
glance, Ginger Rogers might be placed
in this category.

Upon concentrated observation and
lengthier conversation, however, it be-
comes obvious that such classification
would be rank injustice to the intelli-
gence and talents of the erstwhile
carrot top.

Ginger Rogers belies both her appearance and her
mannerisms. Beneath her crown of synthetic gold is a
mind as active and alert as that of any captain of indus-
try. And as capable of accomplishing its purpose.

Many of these things I had heard from mutual friends
before ever I met Ginger. More, I learned while having
luncheon with her in Hollywood's favorite rendezvous.
A much-interrupted luncheon, as Miss Rogers' friends
are legion and most of them paused at our table to chat
with her.

To begin with, she was quite late. When she breath-
lessly arrived, she attracted just the proper degree of
attention. Wearing a brown tweed suit, square-shoul-
dered and double-breasted, tan shirt with high collar and
man's cravat of soft green, brown felt hat tipped rakishly
on one side of her pretty head, she was the cynosure of
all eyes as she made her way over to the booth where I
was waiting.

"I'm sorry to be so late." she apologized in greeting.

"But as I didn't have to be at the
studio today, I slept late. I'm just
going to have my breakfast now."

She gazed dubiously at the menu
for a moment, but with real self-con-
trol ordered only a baked apple and
coffee. "I have to watch my weight."
was the familiar observation. Then,
glancing around the room, "It's swell
to have a day off to do with as one
pleases," she remarked.

"Of course I don't want too many
of them — I had that experience soon
after I arrived in Hollywood the first time. It wasn't
pleasant."' She smiled gaily but a shadow lurked in the
depths of her bright blue eyes as she recalled those days so
fraught with hope and expectancy — and disappointment.

The Charleston was responsible for Ginger's theatrical
career. Born and reared in Fort Worth, Texas, she sur-
prised relatives and friends by winning a Charleston
contest held in one of the theatres of that robust village.

The prize was a six-weeks vaudeville engagement on
a local circuit and so well did Ginger acquit herself on
her initial tour that upon its conclusion she was tendered
a contract for bigger and better appearances in some of
the larger cities of the middle west.

This led to an engagement with a well-known or-
chestra in Chicago. W hen the orchestra was booked to
appear at the Brooklyn Paramount Theatre, Ginger
went along too, feeling that at last she was nearing
Broadway.

Her expectations were realized, (Continued on page 78)

SCREENLAND

Mae W e s t ' s

Aileen St. John Brenon

MAE WEST leads a double life — yes, she's that
kind of a girl ! There are things in her life
you've never even heard about, and that she'd
never dream of mentioning. She's tight-lipped,
that's what she is, about her personal affairs.

You know her only as that easy-to-get, hard-to-forget
gal, who says she got that swaggering gait of hers
"walkin' over men.''

But after you've been around her a while you find
there are things about her you've never known before —
never even merely suspected — and she's very reticent
about this secret life of hers.

I asked her one day to tell me something she had done
to help a girl along. She couldn't think of anything at all.

"I don't know much about girls," she said, as she drew
her maroon velvet peignoir about her lily-white and
shapely shoulders.

Strangely enough, a young woman came into the dress-
ing-room just then. She was wearing a new dress. "It's
swell," she said to Mae, "to be wearing a dress I didn't
have to take."

"I'm No Angel" is the
title of Mae West's new
picture. These close-
ups of Mae show her in
various screen moods.
When she's good she's
very, very good; and
when she's bad, she's
better! That's one of La
Wes< s own lines. She
has a million of 'em!

for October 19 3 3

Secret Self!

"You'll do!" That's Mae West's new phrase — current
edition of "You can be had!" She uses the new line
in "I'm No Angel" in a scene with Cary Grant.

It developed that this was one of the girls from Wel-
fare Island, where Miss West was a visitor for ten xlays
at the government's insistence because of a certain play
she appeared in. The young lady had become addicted
to drugs, and the drug habit led to shoplifting. Miss
West heard about it, and gave her some money in the
hope of building up the girl's morale.

The first thing the girl did was to buy herself a dress.
A man had followed her into the dressing-room. He
gave Miss West his card and they drew aside. Before
he left, Miss West had agreed to pay doctor's and nurse's
fees and hospital bills amounting to several hundred dol-
lars, in an attempt to cure the girl of the drug habit.
The man was a specialist, but Miss West had been loath
to give the case into his hands without summing him up
herself. She has learned to size people up at a glance.

When the pair had gone, Miss West looked like a
naughty school girl caught maurauding the larder.

When she was a vaudeville headliner some years ago,
a performer named Dan Makarenko frequently appeared
on the same bills with Mae West. He was an important
figure then, in the world of the four-a-day. But enter-
tainment tastes shifted from vaudeville to the deluxe
motion picture theatres, and Makarenko used to be seen
often around Broadway and 46th Street, New York's
mart for vaudevillians.

While she was in New York recently, Miss West en-
countered her old acquaintance of the variety shows, and

Scoop! Screenland turns the
searchlight of truth on the easy-
to-get, hard -to -forget gal — and
reveals certain secrets never

before published

Two democratic stars meet at the
Paramount studios — Mae West
with Billy Sunday, the evangelist.

sensing his predicament, promised to find some film work
for him in Hollywood.
She did not forget.

Makarenko, now in Hollywood, will appear in an im-
portant role in her new Paramount picture, "I'm Xo
Angel."

Here's a girl who tells her own story. She had just
served a term in jail for taking things that did not belong
to her.

"The few dollars they gave me when I was freed didn't
last very long," she said. "Broke again, I decided upon
a bold step.

"Mae West was playing at the Paramount. I had read
about her, and I felt she would help a girl in want.

"I waited at the stage entrance for her one night.
When she got out of her car, I approached her. She
looked like a real person. She was kind enough to listen
to me and immediately invited me to her dressing-room.

"Once there, I told Mae West my story. She didn't ask
me any questions, but simply said she understood. She
gave me $10, and let me sit in her dressing-room to get
warm. She told me if I ever needed any more to come
to see her.

"I wonder if Mae West realized how great a sum that
$10 seemed to me ! I left her after almost kissing her
hands in gratitude. And since that night, things have
seemed so much better."

Mae West swears that nobody remembers a good girl,
and that you've got to be bad to make the world give you
a break. Well, listen to this:

She gave her first Hollywood party the other da v.

"Come on, boys," she said, with that husky, insinuating
drawl of hers, "let's go!" {Continued on page 90)

2>s

SCREENLAND

One of the big
moments of
the trip! Our
contest
winner,
Lamar C .
Rowland of
Libby, Mon-
tana, enjoyed
a heart-to-
heart talk
with Cagney.

Getting a kick
ou t of Hollywood.
Gloria Fayth,
high stepper in
' ' F o o t 1 i g h t
Parade ," per-
forms for our
guest.

"Thanks,

SCREENLAND !

Thanks,

Cagney!"

a free trip to Hollywood for the reader
who could write the best letter on
whether he likes Jimmy "tough or ten-
der." I was very fortunate in winning
the contest and thereby obtaining the
chance to visit the movie colony.

Upon arriving in Los Angeles, I
was luxuriously installed in the beau-
tiful Ambassador Hotel and from the
first moment I stepped into the lobby
my glorious adventure began. The
hotel itself breathed an atmosphere of
excitement and magnetism which, I later learned, seemed
to typify the whole of Hollywood.

The next day proved to be a continual round of ad-
venture in meeting players and acquainting myself with
the studio life. This day was spent in the Warner
Brothers Studio, and everyone I met, from executive to
extra, sought to make me feel right at home This feel-
ing of friendliness dominated my entire visit.

Of course the logical beginning for my tour was on
the big stage where James Cagney was starring in a
new musical, "Footlight Parade.'' I truly had the great-
est thrill of my life in meeting Jimmy and in realizing
that I was in the studio and actually watching a picture
being made.

Xo words can give a true description of James Cag-
ney. He is the most real and the most understanding
man that I have ever met. We had a long heart-to-heart

SOMEONE once said that ninety-nine out of every
hundred boys have, at one time or another, the
ambition to become President of the United
States. I am afraid that I must be the hundredth
as I have never had the longing to possess that coveted
honor. Instead, I have wished and hoped for something
far dearer to my heart — to be a motion picture star.

Since the time I was a little kid, hardly able to read, I
have followed the movies and the stars up and down
their famous yet uncertain paths, always hoping (but
never daring to believe) that some day I might visit Hol-
lywood and meet the men and women who have shaped
my life.

At last my prayers were answered and my ambitions
realized, for through the courtesy of Screenland and
Air. James Cagney, I was given my chance to see Holly-
wood from the inside, looking out.

Screenland, with the co-operation of Cagney, offered

Hobnobbing with Eddie Robinson. Lamar calls upon
the famous star on the set of "7 Loved a Woman."
Robinson is giving his young visitor a few pointers on
movie- making.

for October 19 3 3

So says our contest winner,
relating the thrills of his visit to
Hollywood

Lamar Rowland

talk. I vowed that if ever I may become a movie star
(which is now my highest ambition), I want to be just
as unaffected and as much of a "real fellow" as I found
Jimmy Cagney to be.

When I determined to write about my visit, I decided
to give my impressions of the people I met, pointing out
both the good and the bad qualities in each, but try as
hard as I could, I was not able to find, after all my con-
tacts, one deficiency in the character of Jimmy Cagney.

He took me to lunch the first day anc at our table
were Frank McHugh, Hugh Herbert, and Edward G.
Robinson. These men were all very kind to me and
because they were so very interesting and full of fun,
the noon hour passed far too quickly.

After lunch, I again went on the set and watched
Cagney, Ruby Keeler, Joan Blondell, and many others
rehearsing for one of the dance numbers in the picture.
This was all very entertaining to me and I find myself
impatiently awaiting the release of "Footlight Parade,"
when I shall see on the screen the scenes that I saw
being photographed.

In the afternoon a studio executive took me on an ex-
cursion through the rest of the studio. He explained the
technical side of pictures and accompanied me through
all the departments, pointing out the duties and respon-
sibilities of each.

I was amazed at the thoroughness that goes into the
production of motion pictures. The research department
has books and material from all over the world. Each
minute detail of a picture is carefully studied so that
everything in scenes will truly depict the countries or
periods represented.

The property department was perhaps the biggest sur-
prise of all. There are buildings and buildings of furni-
ture, costumes, and minor accessories. For instance, on

Right, a friendly
chat on the set
with Bette Davis,
no less, was an-
other of Mr. Row-
land's memorable
experiences in
Hollywood.

The young con-
test winner, aided
by Joan Blondell,
examines the
workings of a
studio camera
between scenes of
''Footlight
Parade."

The "socking star"
took our young hero
under his wing and
showed him all over
the studio in person!

"Miss Keeler, Mr. Rowland." Cagney introduces his
protege to the lovely Ruby, in her character as a shy
little stenographer, on the set of "Footlight Parade."
Later on Lamar got a glimpse at Ruby as she really
looks.'

one floor are hundreds of lamps, covering every era in
world history, and all ready for use at a minute's notice.
Each piece of property is marked and catalogued so that
an entire house, from basement to attic, can be furnished
within the short period of an hour. This goes to show
that making movies is not merely acting before cameras,
but beneath the surface are years of experiment, re-
search, and rehearsal before pictures can be completed.

After my departmental tour, I visited a set where
Eddie Robinson and Kay Francis were working in "I
Loved A Woman." Then I again met Joan Blondell
and Ruby Keeler. These two exceedingly gracious
young ladies displayed the same feeling of friendliness
toward me that I had experienced from the male stars
whom I had met.

Nice talks with them closed my first day at the studio
and I returned to my hotel with the understanding that
I should come back next day (Continued on page 85)

SCEEENLAND

Wide World

A famous family with a sense
of humdr! Dixie Lee, Bing
Crosby, and the baby, Gary
Evans Crosby. They call him
"Gunder" for fun! And he
hasn't cried yet when Bing
croons lullabies to him.

What

"Here's the chance
every woman dreams
about," chortles Dixie,
"to tell the world what
she really thinks of
her husband!" And if
you think Dixie
doesn't tell all, just
read the story. The
Croon Prince of
screen and radio is
"exposed" for all time!

If one of us did something
the other didn't like, the In-
jured Party just walked out
and the Left-Behind One
never knew what had hap-
pened. I went home to mother
more times than I can re-
member and Bing used to go
to that mythical place men
call "The Club" so often he

csbij

Dear Delight:

THIS is the opportu-
nity that comes once
in a lifetime — the
chance every woman
dreams about — to tell the
world what she really thinks
of her husband — to even up
old scores and pay him off
for all the indignities he's
heaped upon her — the jibes
and insults she's endured.
She always thinks (if he
happens to be a celebrity) if
"his public" could only see

him as I do ! And here's my .

chance ! Yet, as I sit at the
typewriter I suddenly realize

there are precious few scores I have to pay off to Bing.

I can't truthfully say we've never had an argument but
I can say they all came during The First Year. It took
us a long time to adjust ourselves to each other, even
though we were deeply in love. But even when things
looked blackest for the success of our marriage, we never
quarreled !

I suppose every man wonders what his
wife really thinks of him but, ye gods! I never
dreamed it would be anything like this.

There ought to be a law not only a-
gainst women who make "gross misstatements" but
against guys like Dick Mook. He put Dixie up to
this and that while under the influence of a quart
of my very best champagne. How am I to retain
any "glamour" on the air or screen when my wife
has given away all my secrets?

Anxiously yours,/// A

must have met himself going
and coming.

Everything's just ducky
now, though, and I think
we're more in love today
than when we married — and
Beatrice Fairfax had nothing
to do with it, either !

About the only time we
ever really quarreled was
when, as a young bride, I got
ambitious and made a choco-
late cake for him. We were
living at the Essex House in
New York at the time. Bing
was making records and per-
sonal appearances all day and
broadcasting most of the
night so I had to occupy my
time somehow. He's inor-
dinately fond of sweets (no,

dear public, he doesn't call

mmi^mmmmmBmaBmmam^^ me "Sweets" or "Honey")

and I intended surprising
him. I slaved over the thing all day.

When he came home that night I proudly led him in
to see it — brown and shining in all its glory. He swears
he accidentally dropped it and I might have believed him
if the janitor hadn't 'phoned up and told us to stop
throwing things out the window — that we'd knocked two
of his men unconscious.

for October 19 3 3 31

I Think of Bing!

To make matters worse, the very next day one of the
chorus girls at the Paramount, instead of writing him a
fan letter to let him know how she felt about him, de-
cided to say it with cake. He came home lugging that
monstrosity she had concocted and I had to sit there in
outraged silence while he ate every crumb of it — and me
devoutly wishing he'd choke on every mouthful he swal-
lowed.

It's the only time I ever felt like going into Every-
woman's theme song — "Nobody knows what I go
through." He's often tried to make amends by begging
me to stir up another one but a Lee is not to be trifled
with — particularly when she departs so far from type as
to cook — or try to.

He's the most gullible person in the world, with the
possible exception of Dick Aden. I used to see girls
who not only knew the score but every trick of the game
that would run it up, roll their eyes at him — and other
men, too — and then he'd come home and say, "Isn't she
sweet? It's refreshing to meet a girl as innocent as
that!'' Innocent, my eye! Those dames could have
given Peggy Hopkins Joyce cards and spades and still
beaten her. But I could never convince Bing. He says
one of his philosophies is that every girl is
innocent until proven otherwise. From Bing's
viewpoint the virgins of Bali and Stamboul
are no more numerous than those of his ac-
quaintance.

He's got no more dignity than our dog
Snoopy. The other night Dick Mook (the
same who writes for this magazine) was up
at the house. Lie's always telling Bing that
his best record is "Chances Are." Bing never
made a record of that song but it happens to
be Dick's favorite and he's always throwing
the hooks into Bing about it. So this night
Bing said— very gravely — "I haven't a copy
of my transcription of that song in the house
but I'll get one of the broadcasting companies
to play it for you."

With that he went to the 'phone, called up
one of the stations that plays records, and
asked them to put it on the air. When he
told them he was Bing Crosby the announcer
at the station thought he was being kidded
and instead of letting it go at that and hang-
ing up the 'phone, Bing sat there for nearly
half an hour singing into the receiver in an
effort to convince the guy it was really he !

Most stars would have got highly indignant
but Bing thought it was a good joke.

But then everything's a joke to Bing. One
day last week he decided about nine in the
morning we should have a party that night.
Dick volunteered to catch us some crawfish.
It was getting on in the afternoon and he
didn't have time to go home to change his
clothes so he asked me for some old togs of
Bing's. In the words of my illustrious hus-
band "I don't know from nothing about men's
clothes" and I gave him a pair of trousers and
some shoes that must have looked old because
they were badly in need of polish. When he
got back about seven o'clock Bing was there
to greet him. He started improvising a song
— "Home with the scaly spoils" — and then he

Dixie

Lee
Crosby

caught sight of Dick's costume. His voice quavered but
he kept bravely on. If I live to be a hundred I'll never
forget the expression on his face. I'd given Dick a pair
of $32.50 trousers and a $28 pair of shoes to go fish-
ing in !

Incidentally although this has nothing to do with Bing.
you should have seen your contributor. Bing is a little
more — er — ample around the {Continued on page 88)

Dixie says when the neighbors tell her they like to hear her
husband sing, she asks them to let her know the next time
they hear him so she can listen, too — it's a Crosby family joke
that Bing's never home long enough to finish a number. But
this is a nice picture, anyway!

SCREENLAND

The big-mouthed, big-hearted Joe E.
Brown of today — below and at left —
contrasted with the earnest lad of
seventeen at the right. Joe was still
a "child wonder acrobat" at that age.
His success was honestly earned!

Joe E. Brown's

Real Life Story

Chapter I.

IIFE'S most triumphant
experience came to
J Joe E. Brown at
the tender age of
nine. That day he came
hack home with the circus !

From the deep-cushioned
comfort of his Beverly
Hills home, Joe E. Brown,
famous screen star, proud
father and devoted hus-
band, reviews the thirty
years of his circus and
theatrical career and admits
life has never supplied him
another thrill like that.

That day Joe would not
have traded places with any
other boy in the world. The
homesick weeks of the long
summer, the rough treat-
ment, the scanty food, the
abuse and punishment he
had absorbed, — all these
were forgotten when he
saw the pride in the eyes
of his family and the envy
on the faces of his school
chums.

Contrary to many stories,
Joe E. Brown did not run
away from home to join a

For the first time the beloved
comedian gives you the true
account of his life and career!

As told to

Carlisle Jones

Joe's sons will never have the heartaches that Joe
had. Joe, Jr., and Don are growing up in Beverly
Hills, where their father is a leading citizen.

circus. What really hap-
pened was this :

The Brown family,
mother, father and seven
children, lived in one half
of a double house in the
Irish settlement district in
Toledo, Ohio, known as
"The Hill."

The other half of the
same house was occupied
by a jones family, almost
as numerous and equally
poor. Joe was not the
seventh child of the Brown
family, another common
mis-statement in stories
about the comedian, but the
middle one. George Jones,
who lived next door, was
two years older than Joe
and his best friend.

For a long time George,
who was ten, had been talk-
ing about joining a circus.
He knew a man, a Mr.
Ash, whom he had met at
the old Valentine Athletic
Club in Toledo, who was
planning to form an ac-
robatic troupe for circus
work, and George believed
he might be able to get a
place on it.

for October 19 3 3

He confided as much to Joe, who, up to that time, at
least, had shown no special aptitude for tumbling or ac-
robatics generally and Joe excitedly extracted a promise
from George to get him a place too if the chance came.

It was March and Mrs. Brown was doing the annual
spring house cleaning. During the process, which was
prolonged for several days, a leather couch was moved
from the living room to a side porch. Joe found that
by standing on the high end of the couch and making
full use of the springs under the leather, he could turn
a back handspring, better known among boys as a "flip-
flop."

He practiced until the couch was returned to the living
room and his mother put a halt to the proceedings. The
next day at school, Joe called a number of children about
him on a cinder path, promising to show them a new
trick. His favorite teacher was watching from her
school-room window. He took a great breath, leaped
high in the air, and came down head first in the cinders.
The teacher helped dig the ashes out of Joe's scalp and
for a time Joe's circus ambitions went into a decline.

Then one night George Jones brought home amazing
news. Mr. Ash needed another boy, a smaller boy, for
his act which was to be known as "The Five Marvelous
Ashtons." Joe, said George, could have the place if his
parents were willing. They would be gone all summer
and the pay would be one dollar and a half a week.

The Brown family was poor. The boy's pay for the
summer months — there was never any question then but
that Joe would return to school in the Fall — would help
out in the purchase of needed groceries and clothes. Mr.
Ash brought over a contract which was read to the whole
assembled family and signed with enthusiasm by every-
body concerned."

"I remember how excited we all were," Joe recalls,
"and how happy I was. I went singing around the house
all day and laid awake all night. I was the happiest kid
in Toledo."

During the few short weeks which Mr. Ash devoted
to rehearsals in the Valentine Athletic Club, Joe found
that his partial success with "flip-flops" on his mother's
leather couch had not exactly (Continued on page 80)

Right, when Joe
was learning to he
a comedian! See
the grotesque
make-up? The
man is Frank L.
Prevost,who
taught Joe E .
Brown the tricks of
the comic's trade.

Below, the only-
picture in existence
showing the orig-
inal "Five Marvel-
ous Ashtons" in all
their glory. The
little boy on the
left is Joe E. Brown,
soon to be billed as
"Joe, the Boy Won-
der." His pay was
$1.50 a week!

Three of the
"Five Marvelous
Ashtons'' as
they appeared
at the close of
their first season
with the circus,
about the time
of Joe Brown's
first triumph.

«*-.*r. !

From rags to riches — a real American success story! Joe E. Brown, movie star, stands on the lawn of his luxuri-
ous California home ready to tell the world that all his struggles and hard knocks were worth while.

"YOU CAN'T JUDGE
HIM BY ORDINARY
STANDARDS
HE WAS TOO BIG!

...AND THIS PICTURE IS WO BIB
TO JUDGE BY ORDINARY STANDARDS

That's why an entirely new method
of screen production had to be de-
vised to tell it. Drama so amazingly
unusual, so powerful that present
day methods were inadequate to
bring it to the screen. Presented
in NARRATAGE — talking pictures
newest wonder— forever revolution-
izing screen entertainment. Marking
the biggest step forward since the
introduction of sound and another
great triumph for FOX FILM. Watch
for your theatre's announcement of
this sensational picture.

THE

AND THE

GLORY

COLLEEN

OORE

SPENCER

TRACY *

RALPH MORGAN • HELEN VINSON

A JESSE L. LA SKY PRODUCTION

Directed by William K. Howard Story by Preston Sturges

Inspiration!

Joan the Gorgeous.' In her new film, "Dancing
Lady," she has two leading men, Clark Gable and
Franchot Tone.

"Quite comfortable, thank you!" Franchot is as
keen for the outdoor thing as the next man, but
when he finds a congenial nook he refuses to trifle
with his luck.' So here he sits in his living room, and
defies you to lure him out of doors.'

Here's an enticing view of the Tone living room.
You can almost feel the cool restfulness of its
white and pale beige coloring. The walls are
white, the furniture, draperies and rug are beige,
and white Venetian blinds keep the sun's rays
from becoming too ardent. A nice setting for a
pleasant Tone.'

Inspiration of writers, artists, musicians, it's only
natural that the thought of Joan Crawford's beauty
should have inspired the interior decorator who
"did" the rooms of Franchot Tone's new Brent-
wood Heights home. Notice the two lovely por-
traits of Joan in the room pictured above.

Longivorth

AS RELIEF from the ardors of his energetic acting in "Good-
ie + * ft £\. bye Again," Warren William goes in for country life,
AvLlSLlC • grinning over the garden gate with his pipe in his mouth and

Nippy, his severest critic, by his side.

C. S. Bull

ENACIN' Miriam Hopkins makes the most of her pert
charm in Noel Coward's gay comedy, "Design for Liv-
ln which Miriam, Fredric March and Gary Cooper prove
that three isn't always a crowd!

Sophisticate !

The "Little Women" as they appear in the
RK.O picture directed by George Cukor, above.
Left, frontispiece by Jessie Willcox Smith
for the Beacon Hill Bookshelf Edition of the
Alcott classic Courtesy A. L. Burt &• Co.

The New

Brown Br

"Little Women"

Close-ups of the two
most colorful "Lit-
tle Women" : Kath-
arine Hepburn as
the tomboy, Jo, and
Joan Bennett as the
dainty, artistic Amy.

'Little Women" brings us the quaint appeal of an American home in the 1860's.
Beth at the piano, Jo singing heartily, Marmee between Amy and Meg.

Louisa M. Alcott's beloved characters are re-created
for the screen: Katharine Hepburn as Jo, Frances Dee
as Meg, Joan Bennett as Amy, Jean Parker as Beth

Below, a clash of wills! Hoydenish Jo and pretty Amy disagree. Jo
is fiie literary light of the family; Amy, the artist. Much of the
zharm of "Little Women" lies in the deft characterizations of the
four very real sisters.

Below, the Alcott home in Concord,
Massachusetts, where the author of
"Little Women" lived and, according
to tradition, the setting of the fa-
mous story. The house is now pre-
served as a memorial museum.

The Most Beautiful
Still of the Month

Janet Gaynor and Warner Baxter
in "Paddy, the Next Best Thing"

The straightforward Baxter, brought
face to face with so delectable a lady
as gentle Janet, finds himself at a loss.

Janet, as the irrepressible Paddy, hops
out of her tub to hobnob with Eileen
( Margaret Lindsay) . Remember Mar-
garet in "Cavalcade"?

They're off! Most of them
are, anyway, as Adele Lacy
starts stepping lively. She's
good-looking, too.

Jimmy, playing a dance ac-
companiment, warms up to
his work, while Joan Blon-
dell, his favorite secretary
and inspiration, follows suit.'

We caught you, Cagney! Canyou picture the movies' toughest terror
the chorus? . Here's Jimmy in the role of a dance director, showing
bers. The versatile James was a stage chorus man

Hollywood's
"Footlight Parade"

Maids of the mist.' Even the water falls foi
these nymphs as they disport themselves in
their sylvan paradise, safe from the gaze of all
men except the director, cameramen , etc.

- - r -

C/r/ without
cellophane!
Watch Ele-
anore Bail-
ey's smoke.

v..

a dancing dilletante, stepping his stuff for the edification of
nk McHugh and the admiring boys and girls a few tricky num-
•ore he "smashed" through to picture stardom.

Film favorites flock
together for record
musical frolic!

Just a busy day in the life of Showman Cagney,
aided by secretaries Joan Blondell and — oh,
yes it is! — Ruby Keeler. Wait till Ruby comes
out from behind that disguise — lovely!

The life of a hard-
working dance
maestro! They're
rallying 'round the
Cagney, these love-
ly lassies who form
part of the chorus
of 200 in "Footlight
Parade."

Fallen "angel"!
Guy K i b bee .
who's backing
the show, has a
devilish mo-
ment as Claire
Dodd gives him
a much-needed
lesson in thrift.
He's an atten-
th e pupil'

Marion

a la
Mode!

Marion Davies is the perfect fashion
model. She wears trimly tailored things
and gracefully feminine frocks with
equal ease. See how smartly she sets
off that vagabond hat, left.

Marion in a Schiaparelli mood!
Her black wool crepe coat, shown
at the left, has double sleeves to the
elbow. A white scarf is loosely
knotted at the collarless neckline.
The hat has a roll brim at the front.

Monkey fur has returned tc
favor, as you know, and Miss
Davies' white matelasse gown,
which she is wearing in the
picture above, has a semi-fit-
ted jacket with a scarf collar
and over-the-shoulder cape
sleeves edged in that same long
black fur. And, as worn by
Marion, it's effective, don't
you think?

Marion's favorite evening
jacket is fashioned of velyeteen
in a snail print design, and we
suspect Marion likes those
sleeves — we know we do' He,
gown, of white crSpe, has i
softly trailing skirt.

All photographs of Miss Davies
posed for Scheexi.axd exclu-
sively by Clarence Sinclai; Bull

Color note! Miss
Da vies wears a
red crocheted
cap and scarf of
red and blue to
brighten up
dark street
dresses. Acces-
sories are always
of importance.

dy in blue — two shades!
le skirt and bolero jacket
Marion l three-piece suit
9 navy blue and the
■juse of lighter blue crepe.
le skull cap is navy and
mmed with two bows.

■re's an idea for evening!
s smart to wear a coronet
■ gala occasions, as Ma-
in is wearing in the close-
to the right. Becoming
her delicate blonde
auty — gives any girl that
cherished wistful look!

i
\

, 1

Hollywood's most famous blonde
star, Miss Davies, models her new
clothes for you!

Every girl can't wear an evening tailleur — but Marion
can. Her suit is of black crinkled cirS satin; the skirt,
in long willowy lines, is contrasted by the silk pique
vest with its black buttons. The swagger coat has cuffs
to match the vest.

■F

Tom Collins

Vocal Venus!

CHARMING Ruth Etting, queen of radio song, makes her
feature picture debut in "Roman Scandals," with Eddie
Cantor. Special songs have been written for Ruth, and she
will win a wider audience than she has reached heretofore.

g Cream, by makers of Hinds Honey&Almond
ifies instantly, floats out dirt! . . . 40c, 65c.

UDETTE COLBERT, whose exquisite hands are so alluring.
I Paul Cavanagh in Paramount's film, "Tonight Is Ours."

NOW that Fay Wray has won her way to straight dramatic

roles, she shows you that she can wear clothes with the T*<Ck\7 Ck\7 f

best of the glamor girls. For instance, her striking accessories, JTclVj AVctV •

which include pique collar, bow, and gloves— and see the clips?

JOAN CRAWFORD
M-G-M Star in "DANCING LADY'

Max Factor's Make- Up Used Exclusively

4rc»ar-

^w«es Tr<efc15eauftj

Florence Vondelle interviews
JOAN CRAWFORD

HOLLYWOOD is a world of person-
alities. The personality of Joan Crawford
reflects this modern age. She believes
that one must be at one's best, at all
times, to harvest the greatest rewards.

"Life itself is colorful," says Joan
Crawford,"but even a colorful personality
can stand added charm. That is where
make-up comes in. That is the double
reason for color harmony make-up. Max
Factor's idea in creating color harmony
make-up is to accentuate beauty. This
means to bring out your own personality
with the correct color tones in powder,
rouge and lipstick for your type. You
can give beauty the same dramatic
appeal an artist might give his canvas,
by emphasizing your more attractive
features with color harmony make-up."

Discover the difference Hollywood's
magic make-up will make in your own
beauty. Share the luxury of color har-
mony make-up, created for the screen
stars by Hollywood's make-up genius.
Now featured by the leading stores at
nominal prices . . . Max Factor's Face
Powder, one dollar; Max Factor's Rouge,
fifty cents; Max Factor's Super-Indelible
Lipstick; one dollar. For your own indi-
vidual color harmony make-up chart, fill in
and mail the coupon.

W 96% of All Make-Up used by Hollywood's
' Screen Stars and Studios is Max Factor's
. . • Los Angelei Chamber of Commerce Statistics

Max r actor

^Hollywood

Society Make-Up. . . Cosmetics of the Stars

3« To keep lips in the color key,
Max Factor's Vermilion Super-In-
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PURSE -SIZE BOX OF
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MAX FACTOR— Max Factor s Make-Up Studio, Hollywood, California.

WITHOUT obligation, send my Complexion Analysis and Color Harmony
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Size Box of Powder, in my color- harmony shade. Fill in the chart below ui/h~ a f

COMPLEXIONS

EYES

HAIR

Very L%ht □

Fair D

Creamy O

Medium D

Ruddy D

SJIow □

Frcdded_ D

Olive □

»ue_ a

Grcr □

HuelZIO

Brown □

BUk □

BLONDES
Lighc_0 Dark_-TJ

BROWNETTES
Light__D Dark._D

BRUNETTES
Light.JD Dark— 0

REDHEADS
Ligtu.Xl D«k_D

.*ry -.vn- ."5J V-r. _

LASHES(CJ~>

Light a

Dark □

SKIN Dry D
OiIvD Nomil □

ACE

lean Harlow bares
her heart to you!
Read what she says
about her rumored
"feud" with Gable

James Marion

The
Girl

Gossip

Can't

Injure!

NE great lesson I have learned since I became
a motion picture actress, is that people in the
public eye must learn to be indifferent to the
wicked thrusts of gossip."
A late summer sun was stretching its lazy arms across
the California foothills when Jean Harlow spoke those
words. She had just returned from Chicago, and preced-
ing her had come a story that abused the platinum blonde
cruelly. Let me tell that story :

When Jean visited the World's Fair, some one without
authority arranged for her to make a personal appear-
ance. On the night when she was supposed to appear,
thousands of persons gathered to see her, and they waited
from eight o'clock until after one o'clock for Jean to ar-
rive. Then they demanded their money back, and the
promoters lost heavily on their venture.

The following day, every newspaper in the city heaped
vilifications upon Jean's head. They called her high-hat,
said she had "gone Hollywood," and in general cauter-
ized her severely for her failure to make the scheduled
appearance.

Now some of those newspaper writers were Jean's
iends. They were reporters and editors she has known
for years. When Miss Harlow read their stories, she
was cut to the quick.

For Jean had never been informed of her scheduled
personal appearance !

"If anyone had come to me about the matter, I should

have explained that before I left Hollywood, studio
executives ordered me not to make any personal appear-
ances whatsoever. I should have advised the people who
advertised my Chicago appearance to telephone Holly-
wood for permission for me to go on. I should not have
liked to disappoint so many who were willing to pay
money to see and hear me.

"But I was not told I was to appear, and it was most
unfair that I should be blamed for what occurred. At
first I was dreadfully hurt that my friends should so
quickly criticize me. Gradually, I understood their po-
sitions. They are newspaper writers, and their duty is
to print the news. They were told that I was to appear,
and when without explanation I apparently chose to dis-
regard my promise, they misunderstood. I do not blame
them for their angry attitudes.

"Nobody was really to blame except the person who
arranged the appearance without proper authority. Still,
although no one was to blame, I was and am the suf-
ferer. Why? Simply because the newspapers gave con-
siderable space to ray apparent negligence, but contributed
only brief items to the true explanation of my failure to
appear. For every thousand who read the original and
unfair stories, I doubt if one read the brief items reveal-
ing the truth.

"And there, in a nutshell, I have explained the position
of a motion picture actress. Glaring headlines are given
rumors about her, and only a {Continued on page 76)

SCREENLAND

Screenlands Critic Really Sees the Pictures!

The Song of

Songs
Paramount

For sheer pictorial charm this shimmering celluloid wins
the Beauty Prize of the screen season. You've never seen
more gorgeous pictures. Close-ups of La Dietrich to make
men's heads swim. Breath-takingly beautiful outdoor
scenes to make women dream. This doesn't mean, I'm sorry to say,
that the drama of "The Song of Songs" will electrify you. The
story of the lovely Lily, who leaves her aunt's musty bookshop
for the thrilling realities of life in a sculptor's studio, only to become
in turn a bored baroness and a bold, bad gal, seems tawdry, old-
style stuff. Rouben Mamoulian's direction is at times so studied
that it has a heavy, early-Griffith grandeur. But this same M.
Mamoulian must be heartily cheered for coaxing Marlene to give a
really vivid performance. She comes alive in this picture ; she never
says "No-o-o" — not once. Brian Aherne has a superb voice — he'll
do. Alison Skipworth is, naturally, perfectly swell. Lionel Atwill
plays the theatrical baron. See this lovely, if not lively film.

Tugboat
Annie
M-G-M

The two most human and hearty souls on the screen are
with us again — Min and Bill — I mean Marie Dressier and
Wally Beery. You've been waiting so long for a sequel to
that favorite film that a review is almost superfluous —
well, practically. But for the few of you who want to be reassured
let me say that "Tugboat Annie" is an ideal vehicle — if you can
call a tugboat a vehicle — for these two beloved stars. Marie is
skipper of the Narcissus, married to the worthless but good-natured
Wally. It's Marie who slaves so that her son can go to college and
become Captain of a liner. And all the time Beery is getting into
mischief as only Beery can— Wally, as you may imagine, is no
sissy, and brings Marie grief as well as grins. But he atones with
the month's most heroic film sacrifice. Of course, it's a familiar
formula, but the team's fine acting saves it from bathos. Robert
Young and Maureen O'Sullivan are the ' Young Folks. And
where will you find nicer movie love interest?

REVIEWS

of the

Best
Pictures

£o -SEAL-OF)

L><3— — £

Double
Harness
RKO

For sheer enjoyment I recommend this picture unre-
servedly. It's smooth, suave, satisfying entertainment.
And it is so superlatively directed, by John Cromwell; and
so expertly played by Ann Harding, William Powell, and
the cast, that it's only afterward that the "if's" and "but's" and
"why's" begin to creep in. You'll find no fault with the story as
you sit there interested, amused, and highly entertained by the
intelligent and charming proceedings. Miss Harding has never
been so altogether delightful as in this role of a girl who sets her
pretty cap for Mr. Powell, the town's gayest and hardest-to-get
bachelor. He loves her, but he's altar-shy. She tricks him, becomes
his wife — and then fights really to win him. The excellent dialogue
sparkles as these two super -troupers toss it about. You'll relish the
knockout ending. Reginald Owen is a joy as an understanding
butler. And you'll like Lucille Browne, a blonde beauty with a
luscious voice. She is a find — sign her up, somebody!

You Can Count on these Criticisms

for October 19 3 3

Reviews without Prejudice, Fear or Favor!

Highlights of the Movie
Month:

Ruggles and Boland in "Mama Loves Papa'
Harding and Powell in "Double Harness"
Lionel Barrymore in "Stranger's Return"
Marlene Dietrich in "The Song of Songs"
Walter Huston in "Storm at Daybreak"
Miriam Hopkins in "Stranger's Return"
Dressier and Beery in "Tugboat Annie"
Frank Morgan in "Best of Enemies"
Pert Kelton in "Bed of Roses"
Leslie Howard in "Captured"

Captured

Warners

The dramatic smash of the movie month — and Leslie
Howard's finest performance. This Leslie Howard, you
know, has Changed Things in Hollywood. He has made
the boys work out there. An actor, now, must have more
than a pleasant face to get along — thanks to Leslie, who has not
only the perfect technique but a more pleasant face than any of
them. And he calmly tops them all, and himself, too, in "Cap-
tured." I was — and you'll be — rather deeply touched by his mag-
nificent portrayal of a British officer and gentleman who displays
the true sporting spirit in a prison camp during the late war.
When he finds out that his wife, played by Margaret Lindsay, loves
not him, but his best friend, Douglas Fairbanks, Jr., his world
crumbles about his ears, but he carries on — into a terrific climax.
It's a splendid picture. The one flaw I can find is the fact that any
heroine could prefer some other actor to Mr. Howard. That's
just silly! This is powerful adult drama — don't miss it.

Mama Loves

Papa
Paramount

Maybe you're quaint. Maybe you like to go to the movies
once in a while just to be amused, with no Hollywood hero-
ine's Love Problems to ponder on, or prisons to reform, or
battles to help fight. I'm quaint, too. So I enjoyed "Mama
Loves Papa." It's one of Paramount's gay and slightly goofy
numbers. This company has a sense of humor. It breaks out often
with a light, frothy piece like this and rounds up the family and
gives it a good time. Charles Ruggles, one of the finest actors as
well as funniest men on the screen, is seen here as Mr. Average
Man married to Mary Boland, the movies' most engaging nit-
witted wife. I hear you laughing quietly to yourself already. Well,
it waxes more mirthful when Mr. Ruggles encounters Lilyan Tash-
man — good to see you again, Lil — as the wife of a politician: and
presently Papa himself is engaged in politics, both civic and
domestic. It's not an important picture at all, but you'll have a
good time. And how you'll laugh at "Mr. and Mrs." Glad to see
a real domestic comedy — it's been a long wait.

Stranger's
Return

M-G-M

I am not christening Phil Stong the Shakespeare of the
celluloids when I say that he brings a human quality to
, screen literature that no other writer has managed to
muster. His "State Fair" was a movie "natural." He
should write directly for the screen — and then we might have a
pungent, truly American screen classic. Right now his second
book, "Stranger's Return," engages our attention in its celluloid
translation. A good picture, it has some of the "State Fair" flavor
without so much of its engaging appeal. But I can't carp about
the chance it gives Lionel Barrymore in the role of a fine old farmer
welcoming his wandering grand-daughter back to the soil. Miriam
Hopkins, the sweet little Stranger, glows and glimmers in her own
half-impish, half-intense fashion — you'll agree that she's grand.
Franchot Tone, once you accept this sophisticate as a farmer, does
a good job helping to keep Miriam down on the farm, only to —
but you may not have read the book, and I'm not the one to be
spoiling it for you. I know you'll like the picture.

Let Them Guide You to the Good Films

SCREENLAND

The most womanly star on the screen, Ann
Harding, has her devoted following who look
to her for guidance in clothes, conduct,
make-up, and manners! A large order, but
Ann is equal to it. She endorses naturalness
in make-up. See how skillfully she has
enhanced the beauty of her eyes with
careful use of good cosmetics.

Ann has never bobbed and never will.' But
she spends more time on her lovely hair
than most women, because that gorgeous
blonde mop must be brushed until it shines,
and tended with the care it deserves. The
result is the charming Harding coiffure —
and have you noticed how in harmony it is
with our "romantic" current clothes?

ScREENLAND'S

Glamor
School

Below, the screen's most gracious actress
shows you the fascination of graceful,
well-cared -for hands. Miss Harding
doesn't go in for bright nail polish, wisely
selecting the natural or coral tints as best
suiting her type.

Ann Harding wears the most charming
clothes she has ever worn on the screen
in her new RKO picture, "Double Har-
ness." Here she is, left, in a delightful
dress of black and white cross-bar wool,
with petal-shaped collar and cuffs.

Ann's coat, which she wears over the dress
at the left, is brown and white striped wool,
with wide sleeves, patch pockets, and a tie
at the neckline. Brown suede gloves and
handbag, and a beige hat with a brown band.

933

Be feminine — wear lovely lacy collars, and
soft, graceful fabrics, and don't be afraid
to go just the least little bit gentle in your
dress.' Ann Harding is the happy combina-
tion of wistful womanliness and modern
sophistication. She's a careerist who has
never lost her sweetness, her grace, her very,
very feminine appeal.

But being feminine doesn't mean being sad
and clinging! Ann illustrates what she
doesn't mean in the picture at the right?
Girls these days don't just sit around brood-
ing for beauty; they go out and acquire it,
by way of study of their screen favorites and
artful imitation! Ann Harding is as worthy
a model as a girl can find.

1 SCREENLAND'S

Glamor
School

Ann Harding believes it's
smart to be feminine!
And she gives us her EX-
CLUSIVE ideas on Glamor
in clothes, coiffures, and
make-up

Ann's smartness is always and forever
quiet and gracious, never brittle or spec-
tacular. In "Double Harness" she is a
beautiful picture in this suit of black
velvet and gold check, pictured at the
left. The blouse with its dainty jabot is
of ecru silk lace. The tiny turban of black
horse-hair has leaves of black velvet.
Miss Harding's twin silver foxes add the
note of correct luxury.

'•Glamor" photographs of Hiss Harding
posed exclusively for Screexland by
Ernest Bachraeh.

The "big scene" pajamas of "Double Harness"
in which Miss Harding co-stars with William
Powell. When the heroine faces her father in
her lover's apartment, with marriage in the
offing, she wears these altogether luscious yet
discreet pajamas of pale blue satin. The bodice
is a series of chiffon flounces, accordion-
pleated. These Harding pajamas are the big
moment of her new film.

SCREENLAND

First official
close-up of C.
W. Ruggles, Jr.,
dictating his
" Confessions."

My Confessions"

By Charles Wesley Ruggles, Jr.

Son of Wesley Ruggles, the director; and nephew
of Charlie Ruggles, the comedian

ELLO, everybody!
I'm the new baby at
Wesley Ruggles'
house.

I'm still just a kid — was
born February 4, to be exact,
but oh boy, what I've learned
about this funny old world !

Before I came here we un-
born children used to wonder
where we'd land and if we
would really like our parents.
It's an awful gamble, you
know, sight unseen and every-
thing. We'd get into a huddle
and thrash out the possibilities.
We might be born in the South
Seas, or in India, or France, or
in Arizona. Anyway, it helped
pass the time while we waited.

Xow I always had a leaning
toward sunny California and
motion pictures, so you can
imagine my delight when I found my mother was pretty
Arline Judge, my father, Wesley Ruggles, and Holly-
wood my home.

Then, there's my Uncle Charlie Ruggles. He's fun.
I'm named for him and my dad ; I'm Charles Wesley.
Sometimes Wesley explodes, "Here I've waited forty-
three years for a baby and my brother gets the first
billing!"

The day I was born father stayed at the hospital with
mother and me — guess he needed some moral support for
he sent out an S.O.S. for Uncle Charlie, who cut a date
at the studio and came rushing to us. When he saw me
he gasped, "Is — is that it?" Then he gave me a wink
and I knew we were going to be pals.

"Pardon me for
boasting, but you
really think my
mother is the
prettiest young
star in Holly-
wood? And my
dad — there he is,
holding me in the
picture at the
right, (I was just
a baby then), — is
pretty nice, too."

for October 19 3 3

"And don't forget my mother is
Arline Judge!" crows Holly-
wood's newest baby star

As told to

Maude Cheatham

I heard him say I was surely going to be a comedian
because I looked so funny, but Wesley, who is a director,
exclaimed dramatically, "Heaven forbid ! No, the boy
shall be a banker."

Guess they have it doped out all right. Arline savs I
must go to college and then I may choose my own career.
She talks about ideals and principles and holds me close
to her heart and whispers that she expects great things
of her son. Wesley seems to think I'll shine at football.
He's always saying to his friends, "Take a look at the
kid's mit, it's swell for a forward passer. Why, he's
bound to be an athlete.'5 Ho-hum! Well, I guess that's
O.K.

Everybody seems so surprised that Arline, who they
say is the most modern of all modern girls, should turn
into a real old-fashioned mother. I guess this is because
she loves to bathe and dress me herself while the nurse
stands around and watches us. Her friends say it is too
amazing and they wonder where she learned these things.
Arline tosses her curls and smiles. When no one is lis-
tening she tells me she is getting the biggest kick of her
life taking care of me. She believes in schedules and
diets — oh, you should see me stall on orange juice and
flirt with the pretty tomato juice. We have regular hours,
too, and she says nothing shall interfere in giving me a
good start in life.

I like Tuesday. That's the nurse's day out and Arline
takes care of me herself. Sometimes she takes me out
into the world and we visit the beauty parlor and gay
gown shops. It's very exciting and I like it, all but the
oh-ing and ah-ing over me and the baby talk they give
me. I seem to favor blondes. Perhaps it is because I
love color and it is fun watching the lights plav with
the golden hair. Of course. Arline is a lovely brunette
with sparkling black eyes and she's the prettiest girl of
them all. So, my blonde {Continued on page 74)

"I always say that my
mother is the most modern
girl in Hollywood — just look
at her here, all dressed up
for the movies! But I guess
she's just an old-fashioned
girl at the same time, be-
cause she takes awfully
good care of me."

"Arline asked me if I minded if she went on with her
career, now that I'm growing so fast. 'Not at all,' I
said — I'm broad-minded. So here she is in what they
call her 'come-back' Him, 'Flying Circus,' with Ralph
Bellamy and Bruce Cabot. Cute, isn't she?"

SCREENLAND

Filming of Eugene O'Neill's master-
piece, "The Emperor Jones," restores
to the East its vanished cinema glory

Paul Robeson, singing star of
"The Emperor Jones," plays a
convict in the chain-gang se-
quence. Director Dudley Mur-
phy is seated under an umbrella
at left.

M.ortimer
Franklin

Righ t, The Emperor
Jones on his throne,
with all the pomp
with which he over-
awes the simple na-
tives of his empire.
Left, above, producers
Krimsky and Cochran
examine the script.

BETWEEN close-growing trunks of palm, mango
and guava trees, lush tropical foliage crowded up
from the warm jungle earth. Leaf-laden vines
crept lazily around the ancient tree-trunks ; a
slight swish, that might have been the darting of a bird
or the sibilant ;crawl of a snake, was faintly audible.

Through the stillness of the somnolent forest a bar-
baric yell rang out :

"Okay for sound! Number Eight-Four-Two!''
A breathless hush ; then came an answering chant :
"Cam-er-ah !"

And Brutus Jones, in the magnificent person of Paul
Robeson, plunged through the underbrush on his last
frenzied dash through the jungle.

Such episodes have been frequent in a score of motion
picture studios. But this one was different. It did not
take place in Hollywood, under whose fervid sun nothing
ever is new. It occurred at the other end of the con-
tinent, just twenty minutes from Broadway and 42nd
Street, where no less a pair of showmen than Messrs.
Krimsky and Cochran, American sponsors of "Maedchen
in Uniform," had leased the old Paramount eastern studio
at Astoria, L. I., to make a cinema version of Eugene
O'Neill's "The Emperor Jones" as their first film pro-
ducing venture. A venture, you are hereby given fair

warning, which threatens to go down in movie history
as one of the leading steps toward the emancipation of
the films from Hollywood's apron-strings.

While the lights were being adjusted for a retake,
John Krimsky, senior member of the firm, confessed to
me his hopes for an Eastern revival in motion pictures,
in which he and his equally youthful associate, Gifford
Cochran, are to play a starring role. Extremely serious
they are about it, and extremely confident of their ability
to produce their own motion pictures in Astoria. Mr.
Krimsky, in his quiet, restrained and smiling way, ad-
mitted as much.

"New York," he insisted, "isn't merely a favorable
place for making good pictures. Developments of the
past few years have made it the logical place !

"As everybody knows, the stage and the screen have
been coming closer and closer together from year to year.
A good stage play becomes a movie almost as a matter
of course. The actors have become interchangeable to
such an extent that today there is hardly a single player
of any note who belongs to the stage exclusively. The
same thing is true to a large extent of the writers, and
even the directors. And since New York is the center
of the stage world, and the stage is more or less a prov-
ing ground for the cinema, the (Continued on page 84)

for October 19 3 3

Here's Lou Holtz with his stooge, Shaw-
owsky. What's the matter, Lou, is
Shawowsky pulling an old gag?

SO YOU want to know all about Lou
Holtz. All right, let's dash up to
the Columbia Broadcasting studio.
There he is — the chap with the
cane; the plumpish lad with him is his
stooge, Shawowsky. Lou has a complex
about that cane — he never appears on the
stage or before the microphone without it.
Yes, Holtz always carries his props with
him even to the studio. When he imitates
a Frenchman he invariably wears a beret ;
if he impersonates a woman, he dons a
sort of "Gay Nineties" chapeau, and
throws a feather boa around his shoul-
ders. It puts him in the spirit of the
character. Lou's mother sits in on all his broadcasts —
she's his most devoted public.

Xow let's meet the man in person. Come on. Lou,
step up and say a few words : "Hello, my f r-a-a-nds — so
glad to be here — no, that's what they say at movie
premieres ! Seriously, though, I like my radio work —
and I hope you do, too. It's thrilling to know that your
voice can be heard all over the country. But I must break
down and confess that the microphone awes me — when
I think of the millions of people listening in I get the
radio jitters ! Every Friday night is like the opening
night of a Broadway show!" (This
from a man who has been associated
with the theatre for seventeen years ! )

It was Lou who discovered the de-
lightful Lyda Roberti. She was an
unknown actress with the Publix cir-
cuit. Holtz and Jack Yellen were
preparing to produce "You Said It"
and they were looking for a "differ-
ent" comedienne. Lyda was different,
all right — she could barely speak Eng-
lish, and she had very little stage
experience ; but Lou saw the tre-
mendous possibilities in this Polish
girl. Even the agency that booked
her asked Holtz if he were insane —
imagine taking a chance like that on a
Broadway show ! But Lou persisted.
Even Lyda, herself, wasn't keen on it.
She was getting a nice salary from
"Pooblicks," as she called it, so why
should she go into a show that might
turn out to be a flop? However,
"You Said It" was a tremendous suc-

Lou Holtz, star of many
Broadway successes ,
and now one of the
chief radio comedians.

What? You didn't recognize
Mitzi Green? She's slender,
pretty — and very ingenue-
ish. But she's still a grand
comedienne.

Hot

Off the Ether

Meet your radio favorites
as they really are

Evelyn Ballarine

cess. And look at Lyda! Lou can pick
'em !

And here's news ! Lou is one comedian
who has no yen to play "Hamlet" or go
dramatic on us ! He prefers to dish out
the laughs — for which, three cheers !

You'll be amazed when you see Mitzi
Green on the screen again. She's tall,
slender, pretty — and very ingenue-ish !
She's been delighting the radio listeners
with her grand imitations. In a ten-
week check-up, Mitzi ran "Buck Rogers,"
the current radio favorite, a close second
in the affections of juvenile listeners.
Besides her radio work, Mitzi has been
going to school. (P. S. She loves it!) And she has
been taking singing and dancing lessons. And she's a
contract bridge fiend. Tune in on her "Happy Landings"
program, and give yourself a treat.

Radio Jottings:

Sitting in on a Phil Baker broadcast is more fun than
a circus. Phil clowns throughout the program. While
the announcer makes his dignified commercial announce-
ment, Phil- — smart boy — picks up several packages of
the product and exhibits them to his studio audience. If
the orchestra is playing a particularly
inspiring number Baker and Bottle,
his stooge, are apt to break out into
the wildest dance you ever saw.

Fred Waring and his Pennsylva-
nians broadcast every week from the
stage of Carnegie Hall before 3.000
spectators !

Don't be too surprised if Rudy
Vallee becomes a movie director !
He has a motion picture camera and
equipment and wherever he goes, he
totes the camera along. Rudy has
some grand stuff — theatre rehearsals,
street scenes, and some marvelous
country scenes that he filmed at his
summer home in Maine.

Bab)' Rose Marie has been on the
stage since she was two years old.
and on the radio since she was three.
Baby Rose Marie can learn her song
in five or ten minutes.

SCREENLAND

Presenting

The Movies'
"House of

MORGAN"

SHALL not knuckle to any of the Barrymores !"

Can we believe our ears? A murmur, nay a
shout of rebellion ? Yes, a shout — and that in
clear, controlled, yet emphatic tone ! Whence
came the shout? From the suave, the quiet, the smiling
Frank, younger of the brothers Morgan. He, who had
played the principal role of "Topaze"' most successfully
on the stage in New York, had been asked to appear
again in the screen version. But not in the leading role !
His aid was solicited for the second role in the screening
of comedy. John Barrymore had been selected to play
the part Mr. Morgan had created in New York. Then
came Mr. Morgan's answer.

An answer that shook Hollywood ! An actor had
flouted the Barrymores. He had
snapped the finger of indiffer-
ence in the united facial front
of the Royal Family of the
stage, the monarchial trio of
the screen. He would not
knuckle, not he, to any Barry-
more, be it, as the refrain had
it, "Lionel, Ethel or Jack."

Was Morgan daring to the
point of madness ? What mo-
tivated this scene of defiance?
Did he not know that the Barry-
mores are the oldest acting
family of the American theatre ?
Was he unaware that there had
been gloriously stellar nights
when the names of the sister
and her two brothers blazed,
each above a different theatre,
in New York at the same time ?

No ! Morgan was not mad.
Yes, he believed he remembered the three-star radiance
that once had illuminated Broadway. Then why had he
said coolly, calmly, with a good-humored smile: "I will
not knuckle to any of the Barrymores"?

Because he was quietly conscious that although he and
his brother were not the ninth but the first of acting
generations of their family, he had played "Topaze" so
well, and Duke Allessandro in "Firebrand" so super-
latively, there approached a time when their names would
flash at the same time from Broadway's portals. So
true was his prophetic vision that the night arrived when
the name Morgan radiantly was spelled five times along
the Lane of Lights : "Ralph" before two of them,
"Frank" leading three, all in popular motion picture
offerings !

Ralph, the elder of the Morgan broth-
ers, and the more quiet and reserved
of the two, launched his screen career
with two famous characterizations:
Charlie Marsden and Czar Nicholas.

In "Rasputin" the strange fate which
seems to have intertwined the paths
of the Morgans and the Barrymores
brought Ralph, as the Czar, opposite
Ethel Barrymore as the Czarina.

Ralph Morgan seeks diversion during
a busy screen season by playing tennis
with his daughter, Claudia. Miss
Morgan has also embraced the pro-
fession of her father and uncle.

for October 19 3 3

It was Frank Morgan who flatly re-
fused to play second fiddle to John
Barrymore in a picture whose leading
role he had performed on the stage.
He's a star in his own right.

Besides his impressive work in
"straight" roles, Frank makes a vig-
orous, believable actor in character
parts. Here he is — right — as a pic-
turesque doctor, with Lee Tracy.

Frank plays with Ann Harding and
Myrna Loy in one of his most impor-
tant roles to date — the publisher in
"When Ladies Meet," from Rachel
Crothers' Broadway stage hit.

All about Ralph and Frank-
famous brothers of the Broad-
way stage who've "arrived'' on
the Coast— to stay !

By Ada Patterson

Of the first generation of actors were he and his elder
brother Ralph, but their line ran back not to an acting
ancestor nine times removed, but to Goethe and to the
time of the war lord Charlemagne. That could be proved
beyond a doubt. The family archives hold proof of a
Wuppermann (Wupper, the river, and Mann, meaning
the man of the river Wupper), who fought with the con-
queror. Goethe was his father's cousin, as documents
bore witness.

Yes, it is true that Wuppermann is the family name
and Morgan the assumed one of the distinguished
brothers. Raphaele bestowed it at the same time that he
shortened his own christened name to Ralph. "Morgan"'
was terse. Morgan balanced easily the chosen Ralph.
Morgan it would be. Since Ralph was the first of the
brothers to adopt the theatre his choice of the profes-
sional name was accepted by Frank, the younger, and
Carlos, the middle brother — Carlos, who had the drama-
tist's gift and proposed to write plays in which his
brothers should appear. Who indeed wrote "The Tri-
umph of X" in which Frank made one of his earliest ap-
pearances. Carlos, the idealist, who went to war and

who died while a member of the
Army of Occupation in Ger-
many.

Raphaele Wuppermann, by
family decree, was to become a
lawyer. He trod the family-
decreed path by finishing a law
course at Columbia. W hile he
was so preparing himself for
submission to the weighty fam-
ily wish he played often with
Columbia students in amateur
theatricals. Admiring- friends
persuaded him to appear in a
special Ibsen offering at a spe-
cial matinee, in "The Comedv
of Love," in New York. Mrs.
Fernandez, then the foremost
theatrical agent in New York,
saw his performance, and going
back stage, advised him, in
motherly and authoritative ac-
cents, to turn his back upon a career in the law and adopt
the more colorful and romantic one of the theatre.
Listening to the voice of the Circe of business, gently
ignoring the voice of another mother, his own, saving
"If you go on the stage I will disinherit you," he signed
as utility man for a stock company in Richmond, Va.
Passing the first rung he became a juvenile of the com-
pany. His minimum salary of twenty-five dollars a
week grew commensurately. He remembers playing a
soldier in "The Prisoner of Zenda" with Richard Ben-
nett, and the next week becoming Clem, the juvenile of
Rachel Crothers' first successful play, "The Three of
Us." His middle-aged, motherly Circe, in her Broad-
way office, was thinking of him. She arranged for
George Tyler's engagement of {Continued on page 82)

SCREENLAND

If You Are The

Girlish Type —

Janet Gaynor

Shows You How!

Star Make-up for

By Katharine

(Above) Keep your eye-
brows always flat and
neat by brushing daily
with a dry mascara
brush. If your eye-
brows do not grow in a
complete curve over
your eyes, pluck the
scraggly hairs at the
end, and fill out the
line with an eyebrow
pencil.

(Right) If your eyes are
far apart and you want
them to look big and
luminous, place a tiny
pin-head dot of cream
rouge at the corners.
Use mascara only on
the upper lashes, for a
natural effect, and al-
ways stroke the brush
upward.

r~~ ^HE way you "wear" your eyebrows — and the way you make
up your eyes has a great deal to do with the impression you
make on people. If you are naturally girlish and have a round
face like Janet Gaynor — then you want to keep your eye make-
up as simple as possible, in accordance with Janet's custom.

C If you are her type, Janet Gaynor advises
that you keep your eyebrows as near their
natural shape and line as possible. Never
pluck them too thin, and always pluck from
the under side. This makes the eye look
larger. Never use a razor on your eyebrows.
C If your brows grow together in the center,
pluck them to allow a one-inch space be-
tween the eyes.
C Unruly eyebrows may be softened by using

soap or vaseline on the eyebrow brush.
C If it is necessary to use mascara on the
eyebrows to make them appear darker, first
apply the mascara by brushing against the
grain of the brows. This colors the un-
der-part of tbe brow, as well as the top.
Then smooth them back with the brush.
Always remove mascara at night. Blondes
should use a brown mascara. Brunettes
may use black.
C The girlish type should very rarely use
eyeshadow, since it makes the eyes look
heavily-lidded. You may, however, use a
bit of vaseline on the eyelid to make it
gleam and glisten, and to accent the curve
of the lid.

■for October 19 3 3

If You Are Th

Exotic Type-

Carole Lombard

Sets Your Style1.

Eyes and Eyebrows

Hartley

THE sirens of the screen started the uplift movement in eye-
brows. Carole Lombard shows how an exotic effect may be
achieved by arching the eyebrows upward at the temples . . .
and by using a heavy eyeshadow and plenty of mascara. If
your face is long and oval, then try the Lombard make-up.

C You may be able to train your eyebrows

to arch upward at the ends, by always

plucking the under-part of the eyebrow,

and by using vaseline and oil applications

on top of the eyebrow. If not, you will

have to pluck the ends out and pencil in

the upward arch.
C If your lashes are not naturally long and

thick, you can wear artificial lashes. These

are glued on, as many as 40 or 50 to an

eye, then trimmed to a suitable length.
C An eyebrow pencil may be used to extend the

eye-line. Do not "pencil" under the eyes.
fT Eyeshadow should be applied only on the

lower part of the lid — to give a contrast

between the lid and the skin under the eye-
brow. Blue and gray are usually best for

blue eyes — and lavender, green or brown

for brown eyes. The newest eyeshadows

have tiny silver or gold specks in them.
C If you wish to verify the correctness of

your eyeshadow, stand in front of one

mirror and hold a hand-mirror under your

chin. Look down into the hand-mirror at

your eyelids which may be seen in the

mirror in front of you.

[Above) To effect a
high-arched eyebrow,
pluck all the hairs away
from the ends of the
brow, then draw in the
high arch with a pencil.
Exotic types may also
use artificial eyelashes,
which are individually
glued to the eyelids.

(Left) To make your
eyes more expressive,
extend the line of your
eyelid, by using an eye-
brow pencil at the out-
side corner of the eye.
Use the pencil lightly
and blot with your fin-
ger tip. Eyeshadow is
used on the upper lid
only.

SCREENLAND

Acme

Holy Smoke? Queen Greta, in
what is probably the most in-
formal snapshot ever taken of
her, appears as a hardy mariner,
pipe and all. It happened during
her European vacation.

HERE'S

CONSIDERABLE friendly ri-
^ valry exists between Joe E.
Brown and Jimmy Durante, who
are respectively proud of their ex-
orbitant facial features.

When Durante returned to Hol-
lywood from New York, he sent
Joe a large scrub brush to which
he had nailed a handle. An at-
tached card announced this to be
"A toothbrush for Big Mouth."

Not to be outdone, Brown has-
tened to a store and purchased a
tablecloth. This he sent with a
note: "A hankie for Schnozzle."

Weston East

High and dry! Lilian Harvey does her
autumnal surf bathing from the diving
board, dabbling her dainty toes in her
own Beverly swimming pool. P. S. — Our
last swimming picture of the season!

AFTER all these years, Janet
Gaynor clings to the same
make-up kit she used during "Sev-
enth Heaven." It is not really a
make-up box at all, but is a fish-
ing-tackle container with grease
paint, rouge, and lip-stick where
hooks and leaders are usually
stored.

Janet laughingly explains her
odd kit with: "If cosmetics don't
come under the head of fishing
tackle, what does?"

AN ENVELOPE addressed: "Why
A Don't You Come Up Some Time?
Hollywood," was delivered promptly to
Mae West .... Did Maurice Chevalier
look up the lovely lady stars after his re-
turn from Europe? No; his first call was
upon Baby LeRoy .... The James Glea-
sons celebrated their twenty-seventh wed-
ding anniversary during the week when
nine divorces were announced in Holly-
wood .... Less than a fortnight after
Peggy Hopkins Joyce was quoted, "I was
never so happy to get away from a place,"
she was back in Hollywood .... Jean
Harlow's radio-interview elicited more let-
ters than any single program ever broad-
cast from that station .... Wearing
Benda masks, fifty chorus girls in "Danc-
ing Lady" have features the replica of
Joan Crawford's .... This is no joke:
Lew Ayres returned from his debut-visit
to New York with a neck-crick brought
on by gaping at tall buildings.

Clark Gable brings in a catch of
trout! The one that got away
would have been too big for
this picture, anyway.

PERHAPS Greta Garbo does not real-
ize that she was observed. If not,
this tribute to her "kindest deed of the
month" will inform her.

One day I was motoring on Washing-
ton boulevard where I recognized the
Swedish star's limousine in front of me.
As I watched, her car swerved unexpect-
edly to the curb. The reason was im-
mediately apparent — -a tiny girl was seated
beside the street, crying bitterly. At her
side lay the inert body of a dog ; evidently
her pet had been crushed by an automobile.

Garbo stepped quickly from her machine
and sat beside the child. I meanwhile
parked a safe distance away. I saw the
actress fumble in her purse and summon
her chauffeur, after which the driver de-
parted. Within a few minutes he returned,
and in his arms wiggled the cutest, liveliest
puppy imaginable.

Three minutes later the entire episode
had ended. The small puppy and the child
were playing gaily. The chauffeur had
removed the body of the dead dog. Greta
had smiled and re-entered the deep re-
cesses of her limousine. Her car had
drawn peacefully away.

I remained parked for minutes, wishing
the world might have witnessed the charm-
ing story that had unfolded itself before
my eyes.

YOU'LL giggle at this : Ernst Lubitsch.
Napoleonic little director, flew from
New York to Hollywood. For some time
f'itlowing his arrival he was stone deaf ;
in fact, after hours had passed and he still
could not hear, he hurried to a doctor.

You guessed it — Lubitsch had forgotten
to remove the cotton wads (often worn for
airplane travel) from his ears!

for October 19 3 3

HOLLYWOOD!

Confidential close-ups
of your picture pets at
home

Below, meet Jean Har-
low's favorite escort, Hal
Rosson, photographed
with the famous blonde.

International

Acme

Glad to be back! Herbert
Marshall, suave Englishman
who has made a secure place for
himself in American films, re-
turns from a visit to his home-
land with his attractive wife,
Edna Best.

MONTHLY CHEER AND
HISS DEPT.:

A LOVELY close-up to Peggy Shannon.
Her fans staged a great campaign to
return the red-head to the screen. Per-
haps due to their efforts, she is back. To
prove her gratitude, Peggy is setting aside
a part of her salary toward a fund which
will be donated to a charitable institution
in the name of her fan club.

A beautiful, soft-focus close-up to
Claudette Colbert for her thoughtfulness.
When Claudette and her house-guests were
about to take a swim, Miss Colbert saw
that some birds were enjoying baths in
her pool. She insisted that her own swim-
ming party be delayed until the feathery-
visitors concluded their plunges and preen-
ings.

A nice close-up to Charles Bickford
(who received a long shot here a few
months ago), for his generosity. Bick-
ford donated his $10,000 automobile service
station to the Assistance League of Holly-
wood, in order that the profits might be
devoted into charitable channels.

AHOLLYWOODIAN who is
well acquainted with Jean Har-
low telephoned the platiblonde and
said: "Jean, a friend from the East
is visiting town and I'm showing
him the interesting sights. He has
seen the Chinese Theatre, the
Brown Derby and the Rudolf
Valentino statue. May I bring
him out to your house, Jean? /
want to show him you!"

THE studio publicity director asked
Joan Blondell if she would make a
personal appearance at a local theatre.

"All you must do," he promised, "is say
a few words, and then present a prize — a
refrigerator."

"No; I won't do it," said Joan. "I tried
to lift one of those things once before."

Jaunty Janet! The
little apostle of
cinematic sweet-
ness and light has
her frisky side as
well! Here's the
Gaynor in a gay
moment.

International
Garbo-bound! Laurence Olivier,
another of those ingratiating
Britishers, and Garbo's new
leading man, arrives en route for
the Coast with Mrs. Olivier.

SHORTLY after Ed Wynn's arrival in
Hollywood for his talkie debut, he was
guest of honor at the Los Angeles Break-
fast Club. As a part of the proceedings,
Wynn was made honorary chief of the
city fire department.

"Now that I am fire-chief," squealed
(you know how) Wynn, "I want to tell
the merchants of Los Angeles to go right
ahead with their fires — / promise I unll
not interfere."

IN her quiet, undramatic way,
Joan Crawford has once again
written a humanitarian entry into
her book of kind acts.

Not even employees of the
studio knew exactly why one
member of the girls-chorus, at
work in "The Dancing Lady,"
was suddenly absent. Perhaps
those who missed her believed she
had been discharged.

The truth is, the absentee was
suddenly stricken with an ailing
appendix. Joan saw her faint, and
it was Joan's car that rushed the
girl to a private hospital. Also.
Miss Crawford's personal check
paid for the operation.

Some day an index of Joan's
generosities will be compiled. It
will be a voluminous book.

THERE is no news in the Miriam
Hopkins-director King Yidor romance,
but few people know that he reads and
okays her scripts before she consents to do
a picture.

Ernst Lubitsch knows, however, so when
Miriam received her newest script from
the little German director, she found writ-
ten across the front by his hand : "Dear
King : Will you see if you think I should
play this part? Miriam."

SCREENLAND

International

Happy homecoming! Irving Thalberg, youthful film executive, Norma Shearer,
his lovely wife, and Irving, Jr. return from their recent vacation abroad, brim-
ming with health and energy. Note Norma's quaint traveling costume — not to
mention Junior's snappy sailor suit!

IT LOOKED like a "shotgun wedding"
for Mary Brian and Russell Gleason,
the day when she and the boy friend were
lunching in the Brown Derby, and Russ'
dad, Jimmy Gleason, blew in brandishing
a revolver, just as in the second act of a
mellerdrammer.

Customers gulped with consternation, but
when pater Gleason amicably joined Mary
and Russell, the tension eased. Actually,
Gleason senior was in make-up for a pic-
ture, and his garb included the artillery he
was toting

AMUSING, that letter George
■RAFT received from a fan.
She enclosed a newspaper clip-
ping of a girl's picture over which
appeared the heading: "GIRL
CLINGS TO RAFT FOR 36
HOURS."

The fan scribbled across the face
of the clipping, "Is this the rec-
ord? May I compete?"

FIRST-VISITORS to the estate of Ed-
ward Everett Horton are mystified by
the fact that every tree on the property
bears a name plate, and some are num-
bered. There are for instance, Holly-
wood No. 1, Hollywood No. 2, and so on.
There are also Orange, Orchid, Franklyn,
and other names.

Horton explained the perplexing name-
arrangement to me. It seems that Eddie
keeps a close watch on Hollywood street
improvements, and when he sees an ave-
nue being widened, he asks if the trees are
to be destroyed. If so, he obtains per-
mission to transplant them on his own
property. This is an expensive undertak-
ing— but you've no idea how much he saves
by not having to buy the trees. Horton
names the woody plants after the avenues
from which they are taken.

THINGS I never hope to see:
Oliver "Babe" Hardy on a

diet.

Greta Garbo involved in a
bridge argument.

A divorceless month in Holly-
wood.

Lilyan Tashman at a fire sale.
Lupe Velez quiet for two con-
secutive minutes.

Acme

Discovered! Mary Rogers,
daughter of the famous Will,
crashed the movies incognito.
Here she is, posing with Lilian
Harvey. Watch for Mary as
"Mary Howard," her adopted
screen name.

HOLLYWOOD, ever alert for new
ways to "put on the dog," has dis-
covered something that actually stuns out-
of-towners.

A small group contributed generously to
a police charity. In return, each received
a special license plate for his car.

The insignia has no actual value, but
every policeman who see it salutes, by an
agreement among the coppers in return
for the donations

Believe you me, the out-of-towners gain
new respect for their friends who rate such
attention from the police.

"Vive Novarro!" shouts most of the population of Paris, as the ever-boyish, ever-
popular Ramon leaves the Alhambra Theatre in that city after a personal appear-
ance. The esteem in which this singing star is held abroad more than matches
the popularity he enjoys in this country.

for October 19 3 3

Wide World
The merry Munis! Paul, the
dramatic star, and Mrs. Muni,
beam graciously upon the ubi-
quitous cameraman. Watch for
Paul's next film!

GRETA GARBO has talked again; she
has said, "I like California for its sun
baths" .... A fan wrote to Bing Crosby :
"Your baby is the world's luckiest. Im-
agine you crooning it to sleep in the middle
of the night !".... The studio publicity
department swears that when Cecil B. De-
Mille called for 300 rats, the casting office
was flooded with gangster types . . .
Pickfair, home of Mary and Doug (Pick-
ford-Fairbanks), was advertised to sell for
$400,000, including complete personal pos-
sessions .... Colleen Moore has leased
her gorgeous Hollywood-Bellaire home and
is in New York .... Boris Karloff re-
turns to the screen soon in a sequel to
"Frankenstein."

Wide World

Northward, ho! The Barrymores are off for a long cruise in Alaskan waters on
John's yacht. Those two young Polar explorers, Dolores Ethel Barrymore and
John, Jr., are accompanying John and his wife, the former Dolores Costello, just
to see that they have a safe voyage.

ADD dumb-girl remarks: Jack
• Oakie between scenes of the
new movie musical comedy in
which he is appearing, idly asked
a member of the chorus what she
thought of President Roosevelt's
reforestation movement.

"I dunno; I've never done it,"
responded the lovely-but-dumb.
"Will you show me the steps?"

.. Ide World

Lee Tracy, your pet picture dynamo in human form, turns from watching the
National Air Races to give the photographers his sweetest smile. With him is
Isabel Jewel, lovely blonde stage and screen actress, who's wholly approved of
by Tracy. And no wonder!

r\UT OF MY ENVELOPES: From
W Miss Ruth Fiffer, 5300 Pensacola
Avenue, Chicago : "I'd spend my whole
salary, if necessary, to make my Clark
Gable club a success. I'd go without all the
luxuries I so enjoy to give him a wonder-
ful club."

Wilma Elliot, Jean Harlow Club, Short
Falls, N. J., types: "Speaking of rumors,
I read in one newspaper that Jean had an
operation in Chicago, in another paper that
she was in Cape Cod, and in still another
that she had returned to Hollywood. Is
Jean triplets? What's the answer to this
one ?"

"I am glad that the depression is end-
ing," pens Katherine Manning, 7639 No.
Ashland Avenue, Chicago. "The world
may well be thankful to motion pictures,
for the screen has preserved peace of mind
for the discouraged during the long
troubled period. The movies have done their
part, and more."

"Many of these English actresses are
beautiful, and I see no reason for keeping
them off the screen." So impartially writes
Eleanore Bellson, 727 W. 14th Place,
Chicago. "Heather Angel is a lovely
thing, and Miriam Jordan and Phyllis
Barry are stunning. The screen has room
for any number of such charming creatures."

Jean Betty Huber, president, June Clyde
Club, 18 Glenbrook Road, Morris Plains,
N. J., opines : "I think Katharine Hep-
burn is the grandest person ! I so admire
her originality, her independence and her
T-don't-give-a-darn' attitude. I hope we're
going to keep on seeing a lot of Katharine
in the movies."

Mrs. S. J. Barnum, 555 Starkweather
Avenue, Plymouth, Mich., writes grate-
fully : "When I was confined to a sana-
torium with a lingering illness, Alice White
drove sixty miles out of her way to visit
me. God bless her, she brought a lot of
sunshine into my monotonous sanatorium
existence."

SCREENJLAND

Elsa Lanchester, wife of Charles
Laughton and well-known En-
glish actress, supports her hus-
band in "The Private Life of
Henry VIII."

THE story of how a leading riding-
academy did not sell a valuable horse
to Greta Garbo bears re-telling.

Garbo was a constant visitor at this
academy, from which she rented mounts
and went for long rides, always alone. A
newspaper cameraman heard of her prac-
tice, so for days he lurked near with his
picture-box.

After about a week of waiting, he was
rewarded when Greta appeared. He
stepped forward camera aimed — but Garbo
fled ! She never returned, and the academy
owner threatened a damage suit because he
had expected to close a deal with the star
for the purchase of a very high-priced steed.

EVERYBODY who is Holly-
wise knows that Bing Crosby
regards Russ Colombo as an imi-
tator. Bing is never reluctant to
aver that Colombo aped his
(Bing's) singing style.

Well, soon after the birth of
Gary Evans Crosby, Bing received
a wire from Russ. It read:
"Passed hospital and recognized
your baby by its voice."

To which Crosby answered:
"Don't start imitating it!"

"TWMWHIMHIi l"l

Royal rendezvous! Supporting Laughton in the role of one of the much-married
Henry's flames is Binnie Barnes, pretty ingenue of the English screen. This
picture was filmed in England by British International.

Laughton's heaviest role ! As the corpu-
lent King Henry VIII, Charles Laugh-
ton, that accomplished character actor,
finds a part worthy of his unique talent.
Note the elaborate upholstering in
which he plays the part.

GROUCHO MARX, to help out a
friend, bought a lot sight unseen.
The friend told Marx the property "is
only a hop from the station."

Groucho and his wife decided to drive
out and look at their lot They drove
about three miles from the station, at
which Marx said, "This is one of those
America-to-Europe hops !"

TO ACHIEVE what he calls a "sexy
mustache" for scenes in "The Worst
Woman in Paris," Adolphe Menjou waxed
that hirsute adornment until it was starchy
stiff. Whereupon he was faced with a
new worry — the mustache was so hard that
it was in danger of being snapped sharp
off if struck suddenly.

So what did Adolphe do but invent a
new gadget — a mustache protector! Like
a nose guard, it fits over the mustache
and protects it from heavy blows. It is
held in place by hooks that loop Adolphe's
ears.

for October 19 3 3

ROMANTIC DOO-DADS: That little
. chap staggering around Hollywood
with a dazed expression is Dan Cupid. He
has received some terrible blows during
the past few weeks.

Mary Pickford and Douglas Fairbanks,
Carole Lombard and William Powell,
Richard Dix, Zita Johann, Oliver "Babe"
Hardy — the separations were so numerous
that the nude archer is daffy.

Because rumors pursue facts, there are
hints of other marital smash-ups to come.
The Clark Gables, the Neil Hamiltons, the
Townsend Netchers (Constance Tal-
madge), Clara Bow and Rex Bell,
Claudette Colbert and Norman Foster, and
Ruth Chatterton and George Brent are all
busily denying.

The rumors about the Gables and Miss
Chatterton and Brent sprang from a sim-
ilar source : Both Clark and Ruth left
Hollywood alone — and separately, I mean
— and gossipers blamed marital dissen-
tions, when in truth, illness was the rea-
son in each case.

Cupid's month was not a total loss, how-
ever. After three years of courtship.
Marguerite Churchill and George O'Brien
at last reached the altar. Dorothy Jordan
eloped to Arizona with studio executive
Merian Cooper. Mozelle Brittone became
the bride of Alan Dinehart.

Cooper wooed Miss Jordan expensively
before he won her. Each and every
morning during their courtship he sent
her an orchid corsage, and when she flew
to New York he caused flowers to meet
every stop of her plane.

Further lifting the darkness from Dan
Cupid's heart are the expected weddings
of Frances Dee to Joel McCrea, Alice
White to John Warburton, Boots Mallory
to Cy Bartlett, Eleanor Holm to Arthur

"You Made Me Love You" is
the perfectly fitting title of
Thelma Todd's first foreign film
vehicle, in which she receives
star billing.

Jarrett, and Benita Hume to Jack Durfee,
English speedboat pilot. Odd that Mc-
Crea's expected merger should so quickly
follow the marriage of Hollywood's other
most eligible bachelor, O'Brien. Also
strange that Miss White and Bartlett, ex-
sweeties, should simultaneously be rumored
about to announce their prospective knot-
tings, to other than each other.

Claude Rains, distinguished
stage actor, makes his screen
debut in the title role of H. G.
Wells' fantastic story, "The
Invisible Man."

Hollywooers who are raising the mer-
cury these days include Randolph Scott
and Yivain Gaye (this was oh-so-cold for
a spell), Estelle Taylor and director Row-
land Brown, and Miriam Hopkins and di-
rector King Vidor.

Lola Lane and Lew Ayres are tele-
phonatics again. Joan Crawford nixes
any serious intent about her friendship
with Franchot Tone. Maureen O'Sullivan
says she will not marry John Farrow.

Speaking of romances, a nifty heart-
affair for 1953 faded when the Crosby
baby turned out to be a boy. Before its
arrival, papa Crosby had practically
promised Richard Arlen that if his child
were a girl, she should wed Richard Ral-
ston Arlen, Jr.

Amidst the disconcerting succession of
divorces and broken romances, several
lengthy marital unions merit mention.
George Arliss has been married 34 years.
Charles Murray is 27-years-wed. James
Gleason is a 26-year husband, and right
at his heels follows Will Rogers with a
silver anniversary just celebrated. Jean
Hersholt and George Bancroft have each
been married 20 years.

Others long-wed include Eddie Cantor
(19 years), Warner Baxter (18), Give
Brook (13), Paul Muni (12), Spencer
Tracy (11), Harold Lloyd-Mildred Davis,
and Lionel Barrymore (10 years each).

HEN Jack LaRue was cast
for a Western role in "To
the Last Man" he was also told
that he would have to ride a horse.

Now Jack has never ridden a
horse, so he decided to learn by-
easy stages. And were a gang
of his studio friends given an
amusing surprise when they vis-
ited a beach pleasure pier and
espied LaRue astride a merry-go-
round horse!

WALTER HUSTON relates that
when he visited San Quentin pen-
itentiary to seek atmospheric data for a
picture, he asked an inmate for his name.
"Number 100657," the prisoner growled.
"That your real name ?" asked Huston,
grinning.

The prisoner thawed. "Naw," he said,
"that's my pen name."

SCREENLAND

In "I Loved a Woman" Eddie Robinson adds another distinctive characterization
to his extensive gallery of stage and screen portrayals. With him, as a sweet
young woman of a bygone generation, is Kay Francis at her loveliest.

IF YOU have observed a large auto-
mobile bearing a California license pass-
ing through your town, look inside and
see if Zita Johann is curled on the rear
seat.

Miss Johann, who crosses the continent
often, always travels by automobile. She
employs two chauffeurs and makes the
New York-to-Hollywood journey in six
days.

"Half the time I don't even know where
I am," confessed Zita after her last trip.
"I sleep and read until night falls, after
which I stop at the first big city until
next morning, when I'm off again."

YOU are ninety-nine-one-hun-
dredths crazy if you don't
think Bing Crosby was stumped
for a come-back when Richard
Arlen brought out a dictionary
and read aloud the definition of
the verb croon.

To save you investigation-trou-
ble, Webster avers, to wit:

"Croon: To sing in a low, mon-
otonous manner; to bellow in a
low, muffled tone."

TO AN BLONDELL reads in the bath-
*J tub ; appropriately, she reads sea
stories .... Mae West did not see "She
Done Him Wrong," until it arrived at her
neighborhood theatre seven months after
its first runs .... After several years off
the screen, Anna Q. Nilsson returns in
"The World Changes". . . . During his per-
sonal appearance tour, Dick Powell, with
a temperature of 103, went on the stage
and sang "I'm Young and Healthy" . . . .
Joan Crawford has a new collecting fad —
this time it is miniature toy Scotties . . . .
Will Rogers treated his entire company to
luncheon at the Assistance League, a chari-
table organization .... Hollywood got a
chuckle out of that report that Mickey and
Minnie Mouse had pfftt . . . . Clara Bow,
Edward Everett Horton and Mae West
were born within the same three blocks,
New York City .... Esther Ralston,
career-long blonde to date, turns brunette
in her next, "To the Last Man". . . . Ri-
cardo Cortez has collected Hollywood's
finest stable of Arabian horses since Ru-
dolf Valentino pursued a like hobby ....
They say Bing Crosby wanted a boy so he
could prove that crooners are born, not
made.

A FUNNY story that Richard
Arlen tells on himself dates
back a few years to a time when
he sought to complete an arrange-
ment whereby any document or
contract he signed would be
worthless without his wife's sig-
nature.

Dick's attorney informed him
that in only one way could that be
accomplished. To make the ar-
rangement legal, Arlen would have
to have himself adjudged mentally
incompetent.

HOLLYWOOD news and gossip while
it is news and gossip — that is our
motto. We point with becoming im-
modesty, to a few statements printed in
these columns months ago :

George O'Brien will wed Marguerite
Churchill. He did.

Karen Morley will become a mama in
the fall. She denied it then, but nozv ad-
mits.

Richard Dix and his wife will soon
separate. They have.

Gary Cooper will not wed the Countess
Frasso. Just about everybody else stated
otherwise, but their romance seems to be
cold.

Barbara Stanwyck will not divorce
Frank Fay. Thcyarethisclose.

Carole Lombard and William Powell
will part soon. Done.

The Arlen and Crosby babies will both
be boys. Well, even if those were guesses.
Richard Ralston and Gary Evans are proof
of our correct guessing.

Robert and Mrs. Montgomery
pause in their travels to smile at
the world. You'll be seeing Bob
soon in "Another Language."

for October 19 3 3

ALICE WHITE is one of Hollywood's
. more clever actresses. When Para-
mount's search for a girl to play the title
role in "Alice in Wonderland" was at its
height Alice sent the casting director a
group of pictures of herself in the part, com-
plete with scenery.

Studio officials believed that Miss White
constructed a set, hired "Alice in Wonder-
land" characters, and then posed amidst
the entire outfit. Not so ; the pictures were
taken years ago when Alice was a Warner
contract star.

ONE enterprising salesgirl peddling
candy within a studio has discovered
that the stars are as children — seekers of
free prizes. This girl hides gifts in some
of her candy sacks, and the stars hastily
buy her out in their frenzy to discover
these presents. Just another case of human
nature at work !

I arrived on the set one day to learn
that Claudette Colbert had just purchased
nine sacks of candy (which she divided
among set workers) in an effort to win a
prize.

THE Marx Brothers can work
more havoc in a studio than
an earthquake.

They arrived early one recent
morning, and armed with screw-
drivers they visited the executive-
building and interchanged the
name plates on ail doors. The
consequent confusion is indescrib-
able.

High and handsome ! That fam-
ous romantic screen couple,
Vilma Banky and Rod LaRocque,
return to Hollywood.

Robert Young and his bride
face life smilingly from their
vine-clad cottage. Mrs. Young
was Bob's childhood sweetheart.

YOU could have knocked Gary Cooper
over with a feather ! Here he was
rushing Judith Allen, the screen newcomer
whose presence in Hollywood was attended
by so much mystery. It was whispered
that she was a member of Boston society,
and to hide the family name she assumed
an alias.

But it turned out that she is really the
wife of Mr. Gus Sonnenberg, the beeg,
beeg wrestler-feller. He has muskles and
everything, so Gary decided caution is
wiser than foolhardiness — he ceased rush-
ing "Miss Allen."

P.S. She is divorcing Gus.

BILL GARGAN'S new baby is named
Leslie, after its father's close friend,
Leslie Howard. Gargan played with How-
ard for several months as the latter's whim-
sical manservant in the Broadway stage
production of "The Animal Kingdom," and
the two friends were reunited in their re-
spective roles when the play was filmed in
Hollywood.

A STORY that is being told
around Hollywood is most
typical of Will Rogers:

It seems that the master-wit
drove his car ten miles to Beverly
Hills and parked near a theatre
where one of his own pictures was
playing. As he neared the ticket
office, he explored his pockets and
discovered that he had forgotten
his money.

Without a word Rogers re-
turned to his car, backed pains-
takingly from his parking place
and retraced the ten miles to his
home and bed.

SHATTERED loves command news-
paper bannerlines in the film city. Re-
newed loves rarely receive more than a
mention.

I am reminded of this because only re-
cently I ran across Wallace MacDonald
and his wife, Doris May. A few years
ago, both were prominent on the screen.
They married, then divorced — and their
estrangement was flashed across front
pages.

But for the past several years the Mac-
Donalds have been re-united ; re-married.
They have found a happiness more poig-
nant for the unhappy recess of their part-
ing.

Arctic warmth! Molla (don't get
them confused, that's the man!)
makes far from frigid love to Iva
in "Eskimo," epic of the North.

VERY laugh-worthy, the break of that
chap who was introduced to Wallace
Beery and little Carol Ann Beery.

The fellow went into ecstasies (and well
he might) over the child's beauty. As a
courteous note, he added, "She has eyes
just like yours, Mr. Beery, but I see no
other family resemblance."

Not until hours later did the man learn
that Carol Ann is an adopted baby.

JEAN HARLOW'S perfectly
white hair when exposed to the
sun darkens. Instead of bleaching
(how could it, my sillies, when it
is already white) it singes to a
shade several tones toward brown.

Jean made this discovery after
she had a new swimming pool con-
structed. She was swimming daily
while she was at work in "Hold
Your Man." A studio cameraman
informed Jean that her hair was
photographing darker, so she now
wears a swimming cap when she
plays in her pool.

THE most ardent devotee of sword-
fishing in the movie colony is Muriel
Kirkland of the bright red tresses — natural,
too. As soon as she finishes a picture,
Muriel dons her sea-going togs and hies to
Balboa. There, in an ancient and some-
what leaky tub, she and Gilbert Wright,
son of Harold Bell Wright, the novelist,
spend many hours seeking to ensnare the
elusive sword-fish. At least, it's an un-
usual avocation for a girl !

DOROTHY LEE is the latest actress to
take up aviation .... A letter ad-
dressed to "America's Ace Crooner" was
delivered to Bing Crosby .... Groucho
Marx vows he refused to attend a nudists'
party because "he had nothing to wear"
. . . . W. C. Fields chuckles about the
man who is such a contract-bridge addict
that he shuffles zi'hen he zcalks .... Greta
Garbo raised the fence around her home
three feet because spy-glassers were peek-
ing .... Because of his close-clip hair-
cut for a picture George Raft refuses to
remove his hat unless imperative ....
Colleen Moore rented her Bellaire resi-
dence to studio executive David Selznick
for $1500-a-month .... EXTRA ! Greta
Garbo's feet were said by a Texas Chi-
ropody Societist to be Hollywood's most
beautiful. (Continued on page 97)

SCREENLAND

Bed of Roses
Radio

Cheers! A brand new, grand new comedi-
enne— Pert Kelton's the name! She's a sort
of modern Mae West. Connie Bennett and
Pert play two hard-boiled gals on the make.
But there's a moral, Mr. Hays — La Bennett
gives up a luxurious apartment and grand
clothes to marry Joel McCrea and live on a
barge — you see, money isn't everything!
Nice, smart dialogue and swell comedy keep
this film stepping briskly.

The Narrow Corner

Warners

Here is Somerset Maugham's novel of the
tropics with weary, bad-tempered old gentle-
men cooling themselves with fans and
Douglas Fairbanks, Jr., and Patricia Ellis
keeping themselves warm for love interest.
Doug is a fugitive and Patricia a jungle girl.
There's a grand performance by Dudley
Digges, and helpful contributions from
Reginald Owen, Arthur Hohl, and Ralph
Bellamy. Oh, so-so.

Arizona To Broadway
Fox

Do you like crook melodrama? Wait a
minute — keep your seat! You'll like it pleas-
antly coated with nitwit nonsense, as is this
bit of flip foolery. Modeled on the "cheating
cheaters" theme, it frequently lapses into
burlesque, abetted by Sammy Cohen's
shrewd comedy playing. James Dunn is
effective in a snugly-fitting role, but Joan
Bennett gets few acting opportunities. See
it in one of your gayer moods.

Tagging

the

Talkies

Brief ratings of current
screenplays. Make this
your cinema guide

Delight Evans' Reviews on
Page 52
More Reviews on Page 77

This Is America
Frederic Ullman, Jr.
From the newsreel records of contempo-
rary America, covering the period from 1917
down to the present, Gilbert Seldes has
constructed a cinematic history of our times.
The World War, the subsequent unrest, the
great boom era, and the depression pass in
quick, though not always coherent, review.
Result: an exciting, instructive, frequently
amusing lesson in current history, accom-
panied by lively and penetrating comment.

Professional Sweetheart
RKO

Some fun! Here's a satire on radio broad-
casting. We behold hotcha Ginger Rogers
as the Purity Girl of the ether, forced to live
up to her ga-ga radio personality and shun
the gay life she loves. The complications are
fast, furious, and merry. No static here —
just clear, loud laughter. Good work by
Norman Foster, Gregory Ratoff, Zasu Pitts,
Frank McHugh. Put this one on your
comedy "must" list.

Heroes For Sale
First National

This exhibit was undoubtedly intended to
be a sincere plea for the down-trodden war
veteran. But something went wrong, be-
cause no war veteran with any fight in him
would continue to take it on the chin as
Dick Barthelmess takes it. In spite of Dick's
good performance and helpful contributions
by Aline MacMahon and Loretta Young,
this mournful flicker gets the Boo-Hoo Blue
Ribbon for the month.

Storm At Daybreak
M-G-M

Gracious and colorful in the high romantic
tradition, this three-cornered love story will
delight all you sentimentalists to whom
"Smilin' Through" appealed. The plot, to
be sure, won't bear scrutiny. But who will
want to scrutinize it in the face of the gentle
charm that pervades the film, the lovely
musical score, and the finely sensitive acting
of Walter Huston, Kay Francis, and Nils
Asther in the principal roles?

Best of Enemies
Fox

Buddy Rogers and Marian Nixon are the
principals in this familiar tale of a modern
clan war that cannot sunder the bonds of
true love. Though their respective families
are anathema to each other, the young
lovers manage to bring peace and happiness
to all in time for the final fade-out. Buddy
and Marian perform pleasantly, and Frank
Morgan contributes much in his role as
Buddy's emotional father.

for October 1933 73

Jean Harlow keeps her
stockings lovely looking this way

Official in all
the biq studio*..

Wardrobe director of the M. G. M.
Studio, Joe Rapf (shown making a
personal check of Luxable costumes),
says: "We have found a way to save
on the costumes! By using Lux on all
washable garments — heavy and sheer
fabrics alike — the color is protected.
Besides being safe, economical and
quick, Lux restores the costume to its
original state of newness and beauty."

"--4

"Yes, indeed, you can tell my girl
'fans' that I'm a fan for Lux," says
this M. G. M. star now appearing
in the glamorous all-star production,
"Dinner at Eight."

you

"I'm awfully fussy about the way my
stockings fit," says fascinating Jean
Harlow. "That's why my maid has
explicit instructions to wash them —
and my underthings, too — with Lux.
Never rub, never use ordinary soap
or hot water. Stockings do look so
much lovelier washed the Lux way —
and they keep their beautiful ^t."

YOUR STOCKINGS can fit flatter-
ingly, too, like Jean Harlow's, if you
care for them the Hollywood way —
with Lux! It's especially made to
preserve the elasticity in stockings —
that's the quality new stockings have
that lets them stretch— then spring
right back into shape. When elastic,
they can stand sudden strains, too —
aren't apt to break into runs so often.

With Lux there's no injurious cake-
soap rubbing, no harmful alkali such
as ordinary soaps often have to
weaken elasticity, fade color. As
everybody knows, anything safe in
water is safe in Lux.

TRUST TO LUX

ScREENLAND

"My Confessions"

Continued from page 57

preference must be merely a baby complex.

More often though, on Tuesdays, Arline
puts on her cunning shorts and we spend
all day in the garden. This is when she
tells me how she met my daddy, of their
beautiful romance, and how their love
grows deeper and more satisfying all the
• time. It sounds swell to me.

Arline is a bundle of pep and personality,
and they tell me I take after her. It was
this pep, and of course, her singing and
dancing that put her in "The Second Little
Show" on Broadway — that was all before
I happened.

Then she came to Hollywood. The very
next day she was introduced to Wesley
Ruggles in the R.K.O. studio cafe. He
liked her. She liked him. Quick, it was —
just like that! Yet Arline turned down his
first three invitations for a date. I tried
to ask her why and she says it was femi-
nine perversity, for all the time she was
dying to accept. Well, he phoned her again,
saying, "You couldn't refuse a drive down
to the beach on a Sunday afternoon, could
you ?" And Arline couldn't.

They had a gorgeous time and he brought
her home at nine o'clock. Now, this was
so different from the way New York men
did that she thought she must be a flop,
and she worried all night over it.

At eight o'clock the next morning he was
phoning to ask if he could have luncheon
with her that day, and the next evening he
invited her to go to the Cocoanut Grove to
dance. That was the beginning.

Her first picture, "Are These Our Chil-
dren ?" was directed by Wesley. She says
she'll never have so good a part again, nor
do such good work. She hopes sometime
to be in another of his pictures, though at
present they are under contract to different
studios.

When "Are These Our Children?" was
completed, Arline returned to New York

for a visit. Only a few months before she
had wept at leaving her mother ; now, she
was weeping at leaving Wesley! The boy
friends in New York all tried to show her
a good time but she cut her visit short and
hastened back to Hollywood — and Wesley.
Lucky for me she did !

Seven months later they were married in
this beautiful home that Dad built before
he ever heard of us. Then, they sailed
away to V ancouver for an ideal honeymoon.

Arline says I was a much-wanted baby.
She sent her love right into the land of
unborn children and selected me for she
and Wesley wanted to begin their family
with a boy. They promise me I'm to have
little brothers and sisters, a lot of them.
Guess that's the reason they just bought
two acres at Beverly Drive and Laurel
Way, among the choice estates in Beverly
Hills, and will build a new home at once —
which, of course, I'll supervise.

Grown-ups are so funny. They don't
know how often they ' hand us babies a
laugh. I heard Arline tease Wes because
he solemnly told the architect that one wing
was "for the young man" — meaning me.
There's to be a play-room, bedroom and
bath, all my own. We are to have a tennis
court, a swimming pool and — what do you
think? There's to be a miniature pool just
for me ! Arline was so concerned, "We
must have some protection around the pools
so the baby can't fall into them," she said;
and Wes laughed, "Don't you bother your
pretty head about that. As soon as son can
toddle he'll know how to swim. It is just
as natural to swim as to walk and he is
to learn both at the same time. He couldn't
belong to us if he wasn't a fish in the
water."

Uncle Charlie lives right around the cor-
ner and he drops in every day to see how
I've grown. He calls me C. W. Guess
he's afraid to come right out with Charlie,

before my dad. Sometimes he and Wes
babble all kinds of baby talk and clown
around like two-year olds until I nearly
burst laughing at them. Then sometimes
they look at me as if awed and frightened
and they'll say to each other, "What do
you suppose the kid's thinking about ? How
do you suppose he sizes us up? Look,
there's the wisdom of the ages in his eyes."
Then they quiet down and talk to me as if
I were their contemporary.

The other day Uncle Charlie came dash-
ing in to say goodbye before leaving for
New York. He said, "Hi, you C. W. !
When I come back in ten days I'll expect
to see you running out to meet me, yelling.
'Hello, Uncle Charlie, what didya bring
me?"

Anyway, that's a swell idea. I'll remem-
ber that one.

My play hour is from five to six every
afternoon and Wes and Arline both make
a point to be here and we have the best
times, just the three of us. I show off my
new tricks, a different gurgle or a funny
twist, and what a fuss they make over me.
Arline says I've changed the whole world
for her for because before I came she
danced through life without a serious
thought. But now, she's discovered the
most thrilling role of all is motherhood.
Then Dad says he never dreamed there was
such happiness. Oh, yes, we get sentimen-
tal and everything. And it's grand.

Arline continues to practice her singing
and dancing and she has one lusty song she
keeps just for me. Perhaps you know it,
"You're my Willie, I'm you're Lillie," and
I chime in the chorus and do a little dance
'cause its rhythm just suits me.

Wesley is so ultra-modern that besides
taking moving pictures of me every day or
two he has a sound machine that records-
all my coos and even my lusty howls when
I'm hungry. He takes about a hundred
feet of film of me each week and once a
month Uncle Charlie comes over and we
have a premiere showing. They're picture
people, all right, for they keep commenting,
"Lord, look at the lighting I got on that."
"Did you catch that camera angle?"
"That's a bit of montage," and "See the
way that kid is stealing the scene!"

Whenever Wes and Arline step out to
parties in the evenings they always come
in to see me when they come home. I don't
let on but I always open one eye, for I love
to see them all dressed up. But the big
joke comes .when they have guests. They
always sneak them up to see me. I play
possum and pretend to be asleep though all
the time I'm giving them the once over.
You see, if I really woke up they might
maul me around and chatter baby talk.

Whenever Wesley is directing a picture,
Arline and I can follow the scenes, for if
they are serious he is glum ; if they are
comedy he is laughing, and working out
funny gags. He is directing Mae West's
new picture, "I'm No Angel." I hope Mae
waits for me until I'm grown up!

It's nice out here in my garden, isn't it?
I like the red roses on the high brick walls,
the splash of the fountain, and the sunshine.
I guess I'm getting drowsy. I wish Cook
would reafly give me those little cakies
she's always promising. She said some-
thing about having them for my first birth-
day, but that's a long way off.

You don't mind if I take my nap, now,
do you ? You see, I've got to eat and sleep
a lot to grow up into the fine young man
Arline expects me to be. I'll be seeing you.
So long !

Mary goes musical! The dark-eyed little Brian girl hops aboard the
Hollywood band-wagon with a part in Universal' s tuneful "Moonlight
and Pretzels." Playing opposite her is Roger Pryor, attractive young
juvenile from the New York stage.

for October 19 3 3

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SCEEENLAND

The Girl Gossip Can't Injure!

Continued from page 31

few lines correct those rumors the next day.

"A publicity- or money-seeking woman
in Wisconsin may suddenly decide to sue
me for alienation of her husband's affec-
tions. Her suit will command newspaper
bannerlines. But let me prove conclusively
that I had never seen the woman or her
husband, and the facts will earn negligible
items in newspapers. I do not condemn
the dailies. The jobs of reporters is to
obtain and print news. If a screen star is
sued, that is news. If she proves the suit
false and unjust — well, there is seldom any
news attached to a lack of scandal."

Since the day she first became a motion
picture actress, Miss Harlow has been the
victim of a ceaseless barrage of malicious
gossip. At first, the stories that she heard
and read hurt her dreadfully, because she
is actually a very human, very impression-
able young woman who likes to be decent
and have friends and play the life-game
squarely.

Repetition inures the heart, and now
Jean admits that gossip bounces off her
skin like water from a duck's back. Idle
rumors that once sent her to her bedroom,
where she cried for hours, still annoy her
but she no longer takes them to her heart.
She has learned that public figures must
suffer the slings of gossip, and that they
have no recourse.

"So numerous have been the rumors cir-
culated about me that I can no longer re-
member them all," Miss Harlow said.

The receding sun cast a reddish glow
that found harmony in reflections from her
startling hair.

"The first stories I heard were that I was
completely at outs with my family because
I had chosen a motion picture career," she
reminisced. "It was reported that I was
disinherited and banished forever from the
home of my grandfather. That was un-

true, and I was disturbed greatly, because
then I was new to the scorch of gossip
and I feared its consequences.

"When I was cast in 'Hell's Angels,'
•people exchanged malicious stories as to
why I had been chosen for my role. 'She is
an unknown girl,' they said. 'She must
"know" somebody, or she would never have
gotten the part.'

"Again I was hurt and dazed by gossip.
I did not understand. I was actually quite
young when I was cast for that picture —
only seventeen, you may remember. Those
stories caused me many nights filled with
frightened tears. Foolishly, I sought to
repudiate them. I tried to make people
understand the truth — that I was given
that part in 'Hell's Angels' simply because
I was the only girl who so closely re-
sembled Greta Nissen that long shots of
that lady, taken for the silent picture,
could be salvaged for the talkie version.

"Of course, the more I repudiated, the
more people talked. To deny a rumor,
even if the denial is honest fact, is equally
as damaging as to admit a story's veracity.
My defiance only served to instigate more
gossip. I'm not entirely dumb ; when I
saw that my fight to tell the truth was
hurting me as much as the gossip, I shut
up. Now I never deny rumors. I have
learned my lesson. I have learned that to
ignore gossip is to scorn it, and gossip
dies beneath scorn.

"As years slipped by, I have been the
constant victim of the most absurd rumors.
Because I played a hussy in 'Hell's Angels,'
people seem ready to accept me as such a
girl in real life. I have never yet con-
vinced a half of my supposed real friends
that, while I enjoy the screen parts I play,
I am one actress who never thoroughly
lives her role, simply because the majority
of my screen characterizations are of girls

who would repel me in real life."

Old Sol was by this time dipping his
regal face into the purple folds of his royal
night-covers. Jean's platinum hair took "on
a deeper hue, reflecting the glory of the
heavens like the surface of a still pool.

"One of my favorite dancing places is
the M iramar Hotel in Santa Monica," she
went on. "I go there often, because I like
the brightness of the place, I like the
music — and I am rather bored with other
Hollywood night spots. Because I go there
often, I was not unduly surprised to read
in the newspapers that I was supposedly
in love with Jay Whidden, conductor of
the Miramar dance orchestra.

"That situation was amusing, because I
did not know Mr. Whidden at the time the
rumors were published. In fact, an editor
of one of the very newspapers that printed
the story met me at the Miramar one
evening, and he introduced me to the or-
chestra leader. In the presence of that
editor I said, 'I am so happy to know you,
Mr. Whidden. I suppose you, too, have
read stories of our romance !' The editor
did not have the grace to blush.

"A few weeks ago I went to the Colony
Club with Randolph Scott. Mr. Whidden
was there, and during the evening we met
each other and exchanged a few words.
Imagine my amusement to read in a news-
paper column the following that 'Jean Har-
low and her orchestra leader-boy friend, Jay
Whidden, made a public appearance to-
gether at the Colony Club.'

"The newest rumor in which I am in-
volved is one that I can not understand.
Newspapers printed a story that I said I
would never again play in a picture with
Clark Gable. Other newspapers answered
with a story that Clark had told a re-
porter that his pet name for me could not
be printed.

"I went at once to the office of out-
publicity director, for I wanted that gossip
denied. I like Clark. I think we work
well together. I'd like to do many, many
pictures with him.

"When I stormed into the publicity of-
fices, the head-man of the department was
talking on the telephone, and the person
with whom he was talking was Mr. Gable.
It seems that Clark was also upset by the
newspaper articles. He was calling the
studio to have them deny and to ask some-
one to assure me that he had made no such
remarks. I took the telephone and talked
to Clark myself. Incidentally, he was ill
at the time, and I think it was darn decent
of him to telephone from his sick bed to
assure me that he had been misquoted.

"I wanted to send out denial stories at
once, but the publicity director said, 'What's
the use? They'll only be given a few lines
and nobody will read or believe them.
When Clark returns to the studio, we'll
shoot pictures of you having luncheon to-
gether, and that will right matters. Deny-
ing will only strengthen the gossips.'

"How can one fight that principle ? I
know the publicity director is right — that
denying only adds fire to rumor.

"I have gradually built around myself a
wall that shields me from gossip. I do not
mean that malicious stories do not hurt
me, but I don't heed them as I once did.
I realize that one of the penalties of fame
in motion pictures is being talked about.
There is nothing to do except be thankful
that my real friends disbelieve such trashy
gossip so often printed. I am deeply,
wholly thankful for those loyal friends.
Without them, I a > afraid motion picture
success would be .mpty.."

Mary Carlisle relies on the war J" her personality to prote

from the autumn breezes in this c; ' Mary and those lithi

of hers appeared to excellent ad je in "College Humor.'

j or October 19 3 3

Tagging the Talkies

Continued from page 72

Gambling Ship

Paramount

British Benita Hume as an American
mobster's moll! That's something to gaze
at, but it's the only novelty discernible in
this melodrama of gat-toting gamblers and
their customary loves, hates and murders.
Cary Grant is likeable as Ace Corbin, a
good-natured crook whose efforts to go
straight and marry Benita are hampered
by the sinister Jack LaRue. Miss Hume
fares better in drawing-room drama.

Disgraced

Paramount

Bruce Cabot, that heartless playboy,
wreaks revenge upon Adrienne Ames for her
indifference by seducing Helen Twelvetrees.
But Helen has the consolation of a father on
the police force, who rises to the occasion
and shoots the malefactor. Miss Twelve-
trees, looking somewhat less determinedly
doll-like than usual, does her best to lend the
story a semblance of conviction.

It's Great To Be Alive
Fox

Highly colorful, musical movie. Raul
Roulien — he's new and nice — is jilted by
Gloria Stuart because of his philandering.
Gloria squelches him with "I wouldn't marry
you if you were the last man on earth!" And
before the film is over Raul is the ' 'last man
on earth." Actually! Imaginative? Why,
it's positively fantastic! Good comedy by
Edna Mae Oliver and Herbert Mundin.

Private Detective 62 .
Warners

This is a down-to-earth and often excit-
ing expose of what goes on in the office of a
private detective agency. William Powell,
formerly of the diplomatic service, and
presently in hard luck, joins the staff, then
finds himself involved in an assignment to
"frame" the girl he has fallen in love with.
Margaret Lindsay is the love interest, and
very nice, too: and Arthur Hohl is convinc-
ingly low-down.

Midnight Mary
M-G-M

Here we find Loretta Young not only a
gangster's moll, but a murderess! But it
isn't Loretta's fault — blame it on Leo, the
Metro lion, for giving her that kind of a
role. Anyway, Miss Young does a grand
acting job, and besides that she reforms and
marries that nice Franchot Tone. Ricardo
Cortez and Una Merkel are worthy support ;
and Loretta never looked lovelier.

Baby Face
Warners

Any picture with Barbara Stanwyck in it
is interesting, and this is no exception.
However, the story ran into censor-trouble,
and so the result is somewhat haphazard,
but occasionally these adventures of a hard-
boiled, ambitious gal are entertaining.
Stanwyck is the show, looking especially
swell as a blonde. In support are George
Brent and Donald Cook.

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SCREENLAND

She's In the Money

Continued from page 25

for she was soon signed for several seasons
of musical comedy. It was while appearing
in "Girl Crazy" that her work attracted the
attention of Paramount officials and she
was offered the role of the unforgettable
Puff Randolph in "Young Man of Manhat-
tan." Which role, by the way, is her fa-
vorite of all she has portrayed.

When "Young Man of Manhattan" was
released, the effervescent Miss Rogers' per-
formance received its due share of praise
and the young lady herself the usual num-
ber of motion picture offers.

She accepted the proposition made her by
Pathe and came straight to Hollywood,
having not the remotest idea that she was
setting sail in troubled waters.

Until that time her youth and irrepres-
sible good humor, augmented by a very
real comedy sense, had carried her far. Of
talent, she had some — but not the talent of
which Hollywood stars are made. That
fact she was destined to learn.

"After I came out here I played in sev-
eral program pictures ; my parts were nor-

mal, average parts that any number of
actresses in Hollywood could have played
lots better than I. There was no chance
for comedy — and comedy was all I knew.
As a result, I soon found myself with time
on my hands — and little else. I was pretty
discouraged."

Before Ginger could continue, we were
interrupted by Ruth Etting's husband, who
greeted her with great concern. "Don't tell
me you have succumbed to this abominable
Hollywood fad of women wearing trou-
sers !" he admonished her, pointing to her
tailored attire. "Ruth and I have been so
worried ever since you came in," he mo-
tioned toward a nearby table at which the
lovely Ruth was sitting. "Why, Ginger,
you're too nice a girl to dress that way — I
like to see you in soft, feminine things."

If Ginger resented his criticism, she gave
no indication. Instead, she smiled sweetly
and made haste to reassure him. "Oh, no,
Colonel Snyder, I have on a skirt. It's
just this collar that looks -so tailored. Look,
I'll show you!" Suiting the action to the

Sisters? Not quite, but little Mirra Rayo resembles Claudette Colbert
closely enough to be her "stand-in" on the set. Mirra was quite a star
herself back home in South America.

word, she obligingly rose that Col. Snyder
might satisfy himself that she was prop-
erly garbed.

His peace of mind restored, Ruth's hus-
band returned to his table and Ginger re-
sumed her story.

"I waited around Hollywood for a good
while, then decided that since I was evi-
dently of no use to pictures, I might as
well go back on the stage where I had been
not unsuccessful.

"Once in New York again, my self-con-
fidence began to come back. And as soon
as that happened, my luck came back with
it. I was offered a part in 'Take a Chance,'
which meant Broadway — and success —
again !"

At this moment Ginger's attention was
claimed by Dorothy Mackaill, who stopped
at our table. "When can we have a game
of tennis, Ginger?" she asked.

Ginger's eyes sparkled. "I have to go to
the studio tomorrow but I think I'll be free
early the next day," she replied.

"Well, call me and let me know. I'm at
the Gaylord Apartments," Dorothy sug-
gested. "I'll make it any time you can."
With a smart salute, she was gone and for
a moment it appeared that Ginger and I
could chat some more.

"I think the biggest thrill of my life was
on opening night of 'Take a Chance,' when
I realized that at last I had conquered my
defeat in Hollywood, and that it really was
possible for me to achieve success in a
Broadway show again," Ginger began when
— "How's the squarest little shooter on
Yesey Street?" Jimmy Fidler's voice called
out, as he joined us.

"Tell me. when can you play ping-pong
with Dorothy Lee?" he inquired. "She told
me to find out for her."

"Most any time," Ginger informed him.
"Tell her to give me a ring and we can
go up to Lew Ayres' and play whenever
she likes. Lew's just moved into a new
home and he has ping-pong courts, tennis
courts, a swimming-pool, and everything up
there."

At mention of Lew's name, Jimmy smiled
knowingly and departed. I turned to Gin-
ger.

"Tell me, are you really going to marry

Lew ?"

• "We haven't thought that far ahead yet,
honestly," she replied. "And I'm afraid to
talk about it. You see, talk broke up one
very nice romance for me — I don't want
the same thing to happen again."

"You mean your romance with Mervyn
LeRoy?"

"Yes. We really cared very much for
each other. At first, we got along together
fine. But pretty soon the papers carried
items about our being seen together and
everybody began to ask us questions.

"No matter what we answered, it was
wrong. If someone asked me if I were
really in love with Mervyn and I told them
he was only a good friend, the next day it
'would be printed with various elaborations.

"Mervyn would come over that evening
waving the paper furiously. 'So that's
what you think of me!' he would remark
frigidly.

"I'd either be too mad to explain or he
wouldn't exactly believe my explanation.

"The following day, I'd pick up a paper
and read some strange statement attributed
to him. When he arrived that night, I'd be
waiting for him, the ^ffo^H'-ic cohimn in
my hand, fire in my t
start !

for October 19 3 3

WHO'D BELIEVE THEY CALLED
ME SKINNY 4 MONTHS AGO !

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"On the other hand, if I admitted to
someone that I really was in love with him,
that would make him just as mad. Or if
his answer to the usual query was that any
statement should come from me, / was
incensed. Eventually we found ourselves
constantly glaring at each other on any and
every occasion and — -the romance was over !

"I don't want the same thing to happen
to Lew and me."

It was Miss Rogers' second advent into
Hollywood that occasioned her meeting
with Mr. LeRoy.

Following her personal triumph in "Take
a Chance," she was again tendered several
motion picture contracts and this time her
choice was a role offered by Warner
Brothers.

While working for that organization she
quite naturally met Mr. LeRoy, one of their
ace directors, and it was not long before
friendship ripened into — well, you know
what.

One role led to another and Ginger was
fast growing in ability and reputation. But
as her progress increased, so did her dis-
satisfaction. When "Forty-Second Street"
was released, critics and public alike united
in praise of the fair Ginger. But in all the
advertising released by the studio, her name
was found 'way down near the bottom of
the cast. This caused Ginger some unhap-
py moments but she bided her time.

Surely, she thought, when she gaily ac-
cepted her next part, that of one of the
featured roles in "Gold-Diggers of 1933,"
she would fare better.

"But some of my best footage was cut
out," she said ruefully, "so I wasn't at all
proud of the showing I made. I'd just as
soon no one even knew I was in the pic-
ture, except for the one song, I'm in the
Money.

"That's what happens to a player who
free-lances. Oh, I know there are lots of
arguments in favor of being your own boss
and accepting only roles which you really
like and think will be good for you. But
a player under contract to a studio is a
commercial asset to the organization. For
that reason, such a player is built up and
safeguarded in order to increase his or her
value.

"I've never had a term-contract with a
studio," she added with frank wistfulness.
I've always wished for one. Now, I be-
lieve my wish is coming true, for I've
signed with Radio Pictures for a year. And
I'm all excited over my new assignment.
It's 'Sweet Cheat' from the novel by Her-
bert Crooker and it's a swell story. I only
hope I can bring to the screen a girl as
interesting as the heroine Mr. Crooker
created in his book."

While this is Ginger's immediate desire,
her real goal in life is of far more ambi-
tious proportions.

"I want to be a millionaire and have
about sixteen children. I'm in this business
to make money first, last, and always. Of
course it's fun and I love it — but not for
one moment do I forget that it is a busi-
ness.

"After I make my million (I think it
would be grand to be known as Ginger
Rogers, the lady-millionaire!), I shall mar-
ry the man I love and have a big family.
Maybe occasionally we will all take nice
long trips. But for the most part we'll just
be happy at home and spend the million
together !"

That's quite an ambition for a young girl.
But Ginger should achieve it. She has the
beauty, the energy, and the last few years
have developed her ability as an actress.
So much for the first or financial part of
her goal.

For the latter part, I'm sure that her
character and disposition will undoubtedly
carry her to whatever goal she sets for her-
self! She has what it takes, has Ginger!

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SCREENLAND

Joe R Brown's Real Life Story

Continued from page 33

prepared him for the strenuous schedule
mapped out by Mr. Ash.

Mr. Ash had one grown partner in his
act and three boys of varying sizes. The
three boys were Joe and George and a
cross-eyed boy larger than Joe but smaller
than George. When Mr. Ash stood on a
box, as he did when the troupe had its
picture taken, the five made an even series
of steps down from Mr. Ash to Master
Joe. Joe was not quite nine years old and
weighed less than sixty pounds.

Mr. Ash booked the act with the Sells
and Downs Circus, making promises as to

the ability and experience of his performers
which he could not substantiate, and the
five left Toledo one bright summer day
headed for Topeka, Kansas, where they
were to join the show on the following
Sunday.

But when they reached Topeka the show
had moved on to Chanute, Kansas, where
the "Five Marvelous Ashtons" were al-
ready billed as a "guaranteed attraction."

That first day with the circus is one day
Joe E. Brown will never forget. In selling
his act, Mr. Ash had promised that all
members of the troupe could do "Leaps,"

Lona wins by a shoulder! These two picture pretties, Toby Wing and
Lona Andre, join Hollywood' s "fast" set and go in for foot races. You'll
notice that the smart lassies do their running toward the cameraman!

an old-fashioned circus stunt in which acro-
bats run down a chute in rapid succession,
leap from a spring-board at the end of the
chute, and do "rolls" or somersaults in the
air. Mr. Ash had promised the boys he
would show them how it was done on Sun-
day in Topeka, but they joined the circus
in Chanute just in time to take their places
in the line-up for "Leaps" without any pre-
liminary practice.

Joe, being the smallest person with the
circus, was put at the head of the line. Mr.
Ash gave him a bit of last-minute advice,
telling him to run off the end of the chute,
being careful not to land with both feet on
the spring-board because that would throw
him up into the air.

"It was a small circus and a small city,"
Joe recalls, "but it seemed to me there
were thousands — millions of people watch-
ing me as I stood at the head of that line
of circus performers waiting for the music
to start — the signal for me to run.

"The chute was fourteen inches wide but
to me it looked like a ribbon and I didn't
see how I could keep on it all the way
down.

"Then the band blasted out the signal
and somebody started me down the incline.
I forgot all about Mr. Ash and his advice
and hit the spring-board with both feet. It
threw me high in the air, with my feet still
running, automatically.

"I knew I was going to be killed or ter-
ribly hurt. I knew all those thousands of
people would pile down on me as I lay there
crushed and broken. I knew I would be
sent home to die or already dead. I thought
about all this as I pawed through the air
toward the landing canvas.

"A few performers always stand at the
foot of the runway to help out acrobats
who over-shoot the landing mark or who
need an extra impetus on a roll. One of
these big fellows plucked me out of the air
like an apple, set me down on my feet,
spanked me gently and turned away as if
nothing had happened.

"Instead of being the center of all eyes
as a dying hero I realized that no one was
paying the slightest attention to me. I was
furious. But I was never quite so fright-
ened again."

A few days later Joe fell from a consid-
erable height and fractured his jaw. Mr.
Ash devised a special cap for Joe then, a
cap with straps that fastened under the
boy's chin and so hid the braces he wore
while the fracture healed.

Mr. Ash was careful that way. When he
wrote home to Joe's mother, inclosing the
dollar and a half pay and another note to
Airs. Jones, next door, with George's pay —
both in one envelope to save stamps — he
always assured her that Joe was well and
happy.

In fact Joe wrote her much the same
story — when he could find a stamp. Two
or three years ago he found a letter he had
written his mother that first summer with
the circus in answer to her suggestion that
perhaps he ought to leave Mr. Ash and
come home.

"Me come home?" wrote Joe, "and have
the kids say I was a flop? Not on your
tintype !"

"The Five Marvelous Ashtons" failed to
impress the management of the Sells and
Downs shows and eventually Mr. Ash told
the boys that they had quit. Joe under-
stands now that they were fired. The
presence of the cross-eyed boy in the troupe
had not improved their chances with the
superstitious circus people.

for October 19 3 3

Meanwhile Joe had learned that he was
supposed to forget that his name was Brown.
He became "Master Joe Ashton" — the
"World's Greatest Juvenile Gymnast." Mr.
Ash advertised his troupe as a family act
although no two of the members were re-
lated.

When Mr. Ash and his boys "left" the
Sells and Downs Circus they found them-
selves stranded in Greene, Iowa, ten days
in advance of a county fair. Ash promptly
booked his act with the fair management
and hired out his three boys to the hotel
as dish-washers. This tided them over until
Mr. Ash received an offer from the Busby
Circus which they joined in St. Louis.

Joe has many amusing memories of Bus-
by. A near food riot broke out one day
and Busby was called to account by his
disgruntled employees. They complained,
among other things, that they were fed in-
sufficient breakfasts.

Busby feigned indignation and called for
the cook.

"I want the boys and girls to have all
the eggs they want." he roared, holding one
finger in the air at the same time as a sign
to the cook, "all flic eggs they want."

But he kept that one finger in the air as
a sign to the cook !

Years have softened any resentment Joe
E. Brown once may have felt against Mr.
Ash. He toured with that interesting gen-
tleman for four seasons, returning late each
fall to Toledo and to school. A few months
ago Joe met Mr. Ash again, in Toledo. He
is past seventy now and has been working
as a clown in the circus in recent years.
They had their pictures taken together.

"Whatever else he did." says Joe, "he
really started me. I suppose I owe him
something. Anyway, I hold no resentment
toward him."

When the season ended with Busby, Mr.
Ash and the boys returned to Toledo. He
had sold his act to the management of the
Walbridge Park, a combination beer gar-
den and amusement center in Toledo, and
it was there that Joe enjoyed his one great
boyhood triumph.

He remembers that he wore plum-colored
satin knee breeches and that his family and
his school friends and even his favorite
teacher, the one who had picked cinders out
of his scalp many months before, came to
Walbridge Park to watch "The Five Mar-
velous Ashtons" perform.

That is the stuff of which small boys'
dreams are made.

The second spring Mr. Ash and his boys
went with the John Robinson shows and
toured the Southern states. The following
winter Joe finished the Toledo Grammar
school, his last regular schooling. The third
season with Ash was with the Floto Circus,
and that year the cross-eyed boy was left
at home and the "Four Marvelous Ashtons"
carried on. By this time Joe had become
a competent performer. He was still small
for his age and he received "top billing" in
the act : sometimes as "Master Joe Ashton,
the Boy Wonder," sometimes as "Master
Joe, World's Greatest Juvenile Gymnast."
His pay had been advanced to seven dollars
a week, on weeks when Mr. Ash did not
forget to send it to Joe's folks at home.

The fourth season with Ash was spent
in vaudeville, beginning at Denver, after
the circus with which they had started out
flopped. The}' toured west from Denver
to the Pacific Coast and then worked up and
down the "Sullivan and Considine" and the
"Pantages" circuits. Their number was
increased to five and they were billed as
"European Acrobats." A return engage-
ment brought them back to the old Hav-
market Music Hall on Mason Street in San
Francisco in April. 1906, where Joe got
the second grea.est thrill of his life.
(To 3e Concluded)

A NEW PICTURE TAKES IT5 PLACE
AMONG THE GREATEST. . .

★ ★ ★ ★

4- STARS AWARDED BY
LI B£RTY MAGAZ I N€

The New York Daily News reporter, fresh
from a preview of "Lady for a Dan, "says,
"It will be a wow when it hits
Broadway!"

Screen Play adds an"AAAA"rating and says,
"Only one word can describe
this picture. It's swell I"

Not to be outdone. Photoplay predicts
"You will scream with delight!"

And Screenland Magazine makes it
unanimous.

"It is grand entertainment!"

Be sure to see this great story of love and
romance — of gaiety and tears at your
favorite theatre.

WARREN WILLIAM
AAAY ROBSON

GUY KIBBEE NED SPARKS

GLENDA FARRELL . . BARRY NORTON
WALTER CONNOLLY . . JEAN PARKER

Screen play by FkOBERT RISKIN
From the story by DAMON RUNYON

FRANK CAPRA

c/l Columbia Picture

SCREENLAND

Presenting the Movies' "House of Morgan'

Continued from page 61

him in "Blue Jeans." Witnessing which
performance Clyde Fitch offered him a
role in "The Bachelor." His law studies
were an excellent preparation for his play-
ing role of Frank Bacon's lawyer in the
court scene in "Lightnin'."

The family trait of independent deci-
sion, due to security of wealth and family
background, revealed itself in the older
brother of the Brothers Morgan, when he
did what left Broadway breathless. He
resigned from "Lightnin'." The play that
had a two years' record run on Broadway !
The play that ran in Chicago until the star,
Frank Bacon, died.

"I think I have been with the play as
long as I can derive any benefit from it,"
was his declaration of independence. "I
want to do something new."

He appeared in the sensational play
"Cobra." He was engaged to impersonate,
in "Rasputin," the doomed Czar of Russia.
In this he played with the trio of the
Barrymores, but without question of
"knuckling."

Romance came early to both the sur-
viving brothers Morgan. Ralph married
a fair-haired Norwegian girl who came
from her home in Brooklyn unwillingly to
the stage. She never liked the theatre,
but though she played roles unwillingly
then and afterward in stock companies,
grumbling much at the necessity, some of
her fellow players were congenial. Most
of all, Ralph Morgan.

"Your complexion is more beautiful
than any I ever saw, except Lillian Rus-
sell's," Ralph told her — and has since de-
clared, "I fell in love with Daisy Iverson's
complexion !"

_ She still has the complexion that won
his heart. Their marriage was one of the
permanent unions of folk of the theatre.
They have a daughter, Claudia, who,
marrying hastily and too youthfully, has
professed her repentance in the courts.

More tumultuous was Frank Morgan's
wooing. At a graduation dance of the
pupils of the Gardner School in New York
— at Sherry's — he was presented to a tall,
shy, quiet girl, whose regular features re-
called to him the faces of Phidian sculp-
ture and whose crown of flame-like hair
would have inspired Tintoretto.

She was nineteen, he a few years- older.
He had left Cornell University to join the
business staff of one of his wealthy father's,
George Wuppermann's, several interests,
one the manufacture of tonic bitters, the
other a device for teaching languages by
phonograph records. She was the only
child, and heiress of Rudolph Muller, who
lived in Muller Castle, the finest home in
Monticello, N. Y.

Sipping ices, they admired each other
across the table. At least he who was still
Frank Wuppermann admired the girl with
the lovely flame-crowned head and the
classic profile. They exchanged confi-
dences. And fell in love.

Here are a couple of new "angles" on June Knight! She dances, sings,
and shakes those blonde ringlets in "Park Avenue Ladies," a musical
picture which has nothing to do with the prize ring! Neil Hamilton is the
romantic interest in the film.

So ardently that in a short while they
were married. Like Mrs. Ralph Morgan,
Mrs. Frank has appeared occasionally, in
some emergency, on the stage with her
husband. But her ambition is centered in
her husband's acting achievements.

The Frank Morgans have a son, chris-
tened George Rudolph in honor of both
grandfathers, who, though he says he will
be like one of them, a manufacturer, or,
like the other, a real estate operator, seems
inevitably drifting toward the stage or
screen. His father says his fate is in-
evitable because he "makes so many faces."

In a spacious apartment on the Upper
East Side in New York, not so long ago
I met the mother of the brothers Morgan.
A tall woman of aristocratic features and
gentle bearing, who looks like a taller
Queen Mary of England. "It was my be-
lief that a child's character is formed in the
first two years of his life," she said to me.
"Therefore I was strict with my sons.

"When Raphaele (Ralph), grew up, and
told me he wanted to be an actor I told
him that the two professions, the law and
the stage, were much alike. 'You may act
for your juries,' I said. When he persisted
I threatened to disinherit him.

"Then Carlos showed an inclination to
the stage. He wrote a play 'Triumph of
X,' that delighted the people of Detroit
when Jessie Bonstelle produced it there,
but when I produced it at the Comedy
Theatre in New York the critics did not
understand it. I believe Carlos would
have done brilliant work in the theatre
had he lived.

"By the time that Frank had made his
choice of acting I did not oppose it.
Raphaele had taught me there was no use.
I said to him, as to the others : 'If you
must work in the theatre do good work.'
When I saw their names above five motion
picture theatres at the same time in New
York I decided they had !"

The blazing signals of success suggested,
by the law of association, a story at which
the gentle, stately woman laughed.
_ "Raphaele (Ralph), was fond of his
little brother Francis (Frank), and took
care of him without grumbling. Once,
though, he was very angry with him.
Raphaele said he was going to the stadium
to watch a ball game. Francis clamored
to go with him. At one point in the game
Raphaele and the big boys he had met
wanted to go on the field. He said to his
little brother, 'You stay here. Don't move.'
When he came back from the field Francis
was gone.

"Raphaele came home hoping to find him
there. He was not. He explained that he
had forbidden his little brother to leave
his seat and he had disobeyed him.

"There was an excited family confer-
ence. We telephoned the police. We were
considering what else to do when in
walked eight-year-old Francis. T forgot
I had promised to sit still when I saw the
fire engine go by,' he said. T followed it.'

"He always did. And is still interested
in fires !"

A calm, restrained woman of fine, nat-
ural dignity is Mrs. Josephine Wupper-
mann, the mother of eleven children, eight
of whom are living. Marriages have re-
lated her to the Havemeyer and the Harri-
man millions.

Only one event has permanently shad-
owed ^er life. She mou.ns the" "middle
boy," the idealist. Carlos,, sacrificed upon
the altar of the World War.

for October 19 3 3

Dietrich Declares
Herself

Continued from page 24

seizing for souvenirs like fans the world
over. In Berlin of course, she is "kolossal"
with a capital "K." And so through
Europe. But it is these besieging crowds
of idolators that have helped make the star
shy of contacts with the multitudes.

She misses Hollywood. And she seems
a little surprised that she does.

"When I am there, I long for New
York. In New York I am hungry for a
glimpse of Paris. When I reach Paris, it
seems that I simply must visit Vienna.
But when I reach Vienna, Berlin looks
more alluring. And then — and now — I am
homesick for Hollywood again ! You
know, Hollywood gets you after all !"

Information about the picture that is to
be first on the schedule when she returns
this Fall is scantily supplied with :

"I do not know. There are two stories,
and a possible third. I really do not know
which will be first. Mr. Von Sternberg is
working on one of them now. He will
direct me, too. I leave all that to him."

So it seems that the really curious must
ask Joe. He knows.

In addition to her personal success, her
social triumph, the victory of each Dietrich
production, Marlene is having a very defi-
nite effect on French fashions. And that
means that her influence extends to all the
feminine world, and the masculine world
that pays the bills.

Not trusting the ocular proof of the
Marlene vogue apparent in the Parisian
fashion parade gowns, at the Grand Prix,
the Drag, Chateau Madrid, all the spots
where style is paramount, I consulted an
American girl who has made good in Paris,
Mile. Lillian Fischer, probably one of the
world's authorities on dress, and presently
Fashion Editor of Harper's Bazaar. She
gave confirmation of the Dietrich vogue.

"There is no denying the fact that Holly-
wood is having a great influence on fashion.
The wide, floppy hats you've seen at the
races are directly traceable to Mae West.
Joan' Crawford has served as inspiration
for the puffs and bustle effects. But Miss
Dietrich is responsible for a style that is
even more revolutionary, and that is the
return of feathers to fashion. All kinds of
feathers. But especially Paradise.

"There is a story that is both romantic
and dramatic about this returning vogue,
and it has served to make Miss Dietrich
even more of a heroine to a certain class.
That class is the guild of feather-workers.
This is a highly specialized industry, and
with no demand for its skill, the workers
have been drifting into other lines of en-
deavor. Very shortly, I think, the guild
would have been extinct. But Miss Die-
trich's picture penchant for feathers has
actually resuscitated an industry."

So, you see, a Hollywood star can save
an industry, can restore prosperity, while
princes, professors, presidents struggle with
economic problems. The sphere of influ-
ence dominated by Hollywood and its
satellites is world-wide. The stars are
persons of vast and vital importance after
all. And of them, lo, Marlene Dietrich's
name looms large.

And so, until Fall, we'll leave her in the
murmuring sun-flecked shadows of Ver-
sailles, where the spectral Court of a fair
French Queen smiles approval on this new
royalty. Leave her to Herr Sieber, her
husband; little Maria, her daughter; Frau
Von Losch, her mother, and the citizens of
Paris. Among them all she should find
companionship to suit her mood.

ROMANCE

egins w

ith

that schoolgirl complexion

rOU must take the first steps toward romance
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SCREENLAND

logical place for a producer is at the source
of things, where he can make his own con-
tacts and his own discoveries of new and
promising material, whether in acting tal-
ent, manuscripts, or directorial ability."

"There's another big advantage in pro-
ducing at this end of the country," con-
tributed the somewhat aristocratic-looking
Mr. Cochran. "I mean the freedom it gives
you from the celebrated Hollywood men-
tality. New York may not be the most
matter-of-fact city in the world, but com-
pared to Hollywood it's as prosy and real-
istic as a ham sandwich. Everyone is in a
more businesslike, more tractable frame of
mind, and nobody's going to throw monkey-
wrenches into production by going Holly-
wood in this atmosphere."

And so, with "The Emperor Jones" com-
pleted by this writing, and soon to be
released, these two sanguine young film-
makers are already considering a number
of other scripts with which they intend
proving that good motion pictures do not
necessarily spell "Hollywood".

As for "The Emperor Jones," if the de-
gree of care, preparation and expense which
they have lavished upon this production is
to remain the standard, they need have no
fear of failure. The quarter of a million
dollars which they have invested in the film
is an almost unheard of sum for an "inde-
pendent" production. The musical direction
they placed in the hands of J. Rosamund
Johnson, foremost living authority on Ne-
gro spiritual and folk music. The script
was prepared for the screen by Dubose
Heyward, author of such Negro classics as
"Porgy" and "Mamba's Daughters." The

Art in Astoria

Continued from page 58

settings were fashioned by designer De
Rossi, widely known on the continent of
Europe, who came over from his native
Holland expressly for the purpose. His
jungle set, for elaborateness and visual
beauty, rivals any that the films have seen
in recent years. The production was super-
vised by no less a veteran than William
DeMille, with Dudley Murphy directing.
And the crowning stroke of genius was the
choice of Paul Robeson, that dark-skinned
Titan of Negro drama and song, to play
the central role and sing some of his famous
spirituals.

To watch Robeson at work on the set
was an unforgettable experience. Clad as
he was in only a pair of tattered trunks for
this final scene of the picture, the epic
proportions of his body and the rhythmic
grace of his movements showed up to the
best advantage. It is easy to see in his
six-foot-two frame, and iji the powerful
formation of his shoulders and chest, a
descendant of some proud family of rulers
among the dark races of ancient civiliza-
tions.

Robeson's record of high achievement in
art, in sports and in scholarly pursuits is
a familiar story. The son of a colored
minister in a small New Jersey town, he
won entrance to Rutgers College on a
scholarship in 1915. During his four years
there he made the unprecedented record of
winning his 'varsity letter in four sports,
gaining a place on Walter Camp's All-
American football team for two successive
seasons. Unlike so many collegiate athletes,
his mental attainments matched his physical
prowess, and he achieved the rare feat of

"In the Fog" is the name of this Radio picture in which Robert Arm-
strong and Helen Mack are co-featured. And maybe it's gazing into
Helen's lovely eyes that makes Bob feel just that way! The little
red-head goes blonde for this picture.

winning his Phi Betta Kappa key in his
Junior year, graduating with honors in
1919.

Later he took a law degree at Columbia
University, but never went into practice,
for in the meantime he had discovered that
a career lay before him as a singer. And
it is mainly as a singer that the world still
knows him — -an ebony god of a man whose
brooding and exultant delivery of his racial
songs has moved listeners as few vocalists
ever have.

Robeson made his stage debut in 1924, in
the same play of Eugene O'Neill's which
he has now turned into a motion picture.
In the same year he created the leading
role of O'Neill's "All God's Chillun Got
Wings." Both portrayals won him the un-
restrained applause of the most severe crit-
ics of the drama, his performance as Brutus
Jones in particular being remembered as
one of the triumphs of the season.

During a lull in the afternoon's shooting
I asked Robeson his opinion of the charac-
ter of Brutus Jones as playwright O'Neill
delineated it. Did it ring true? Was it
faithful to the Negro character?

"As a character study I consider it a
masterpiece," he replied. "O'Neill sounded
the very depths of Jones' soul — of the mas-
terful Pullman porter who made himself a
ruler, only to be overtaken at last by the
superstitions of his ancestors. Coming
from the pen of a white man it's an almost
incredible achievement, without a false note
in the characterization."
_ He spoke quietly, the sound of his deep,
rich voice falling so low as to be at times
nearly inaudible. Though this was near
the end of an exhausting afternoon of
plunging through the property underbrush
and falling headlong upon the sand in a
clearing of the jungle set, he sat at perfect
ease, answering questions with a cordial
smile, talking now earnestly, now humor-
ously.

"You know, I've come to like this busi-
ness of acting in the movies. Somehow I
never thought I would, and during the first
few days of it, before I was sure of my
technique, I almost regretted leaving my
natural medium, the concert stage. But
it's different, now I've got the hang of it,
and I'm looking forward to making other
pictures if the right stories are to be found.
The thrill of witnessing one's own acting
is new to me, but I've seen some of my
scenes run off, and I'm quite pleased with
the results.

"Though I enjoy acting, both on the
stage and for the screen, I don't want to
lose sight of the fact that singing is my
natural medium of expression. And it's
also the medium through which I can best
serve my people. To interpret the Negro
soul through Negro song — that is what
I've come to regard as my purpose in life.
I hope some day to prove scientifically, as
I now attempt to prove through art, that
the Negro heritage is as glorious as that
of other peoples. For if we go back far
enough in history we will find a time when
men of the dark-skinned races were among
the loftiest rulers of mankind, as well as the
most civilized.

"For years I have been making studies
in ethnology, the science of racial origins,
and making notes for a book whereby I
hope to prove my point. It's my ultimate
ambition ; having achieved it, I'll feel that
I've served my people to the fullest extent
that one man can."

for October 19 3 3

To "serve his people" — that is the guid-
ing motive that explains much about Robe-
son's character and the course of his life.
One of the most fortunate of his race by
virtue of his inherent gifts and the modest
simplicity of his soul, he values his success
not for the material and personal rewards
it can bring him, but for the credit and
benefit it has reflected on the partly happy,
partly despairing race of which he con-
siders himself before all else a part.

Thanks, Screenland!
Thanks, Cagney!

Continued from page 29

and see more of the life which proved such
a fascination to me.

My next morning at the studio was
spent on location where I watched a group
of young folks making "Wild Boys of the
Road." This is a picturization of youthful
hoboes who now frequent the railroads in
great hordes. Because the players were so
near my own age, the trip held a double
purpose and I felt that the morning was a
very successful one.

The afternoon was spent at the Sunset
Avenue branch of the Warner Corpora-
tion. There Allen Jenkins, Pat O'Brien,
and Bette Davis were working in "The
Bureau of Missing Persons." The sets
were very impressive, and I found in Miss
Davis, after a long talk, a real friend and
one who understood my sincere longing to
be in pictures. Following this excursion, I
was only too satisfied that I had had a
full day and I was glad to return to the
hotel and re-visualize the adventures of my
first days in Hollywood.

My first Sunday in the colony was spent
on a tour of Beverly Hills and Malibu
Beach. My host was none other than
James M. Fidler, the Western Representa-
tive of Screenland. The estates and
bungalows of the stars were very beautiful
and the tour made me immensely happy,
for now I can always remember the play-
ers as they look in their own homes.

On my next visit to the Warner Studio,
I saw in the making one of the most elab-
orate scenes ever staged in Hollywood. It
was the fountain-and-swimming pool set-
ting for "Footlight Parade," and even
though I had seen the inner workings of
the studio, I was still awed by the gran-
deur and the intricate workmanship of the
scene. This day proved to be my last at
the Warner Studio and surely there could
have been no greater climax to such an
interesting week, than being permitted to
see the fountain set and the scores of beau-
tiful chorus girls in action.

My last day in Hollywood was spent in
an excursion through the Metro-Goldwyn-
Mayer and Fox Studios. At Metro, one
of the great ambitions of my life was re-
alized: I met Joan Crawford! She is just
as I had imagined her and, after meeting
Joan, I was ready to go home for I felt
my trip had been completed.

Throughout my whole visit, everyone I
came in contact with was very kind and
I am most grateful to all who were in-
strumental in making my trip such a suc-
cess. To Screenland go my sincerest
thanks for making my visit to Hollywood
a reality, and to James Cagney, who proved
to be a perfect host.

Too soon did the day of my departure
arrive. As I boarded the train which was
to carry me back to Montana, I said to
Mr. Fidler, "My visit is over and I'm
going home, but don't forget I'm coining
back because I've got Hollywood in my
blood!"

BOB DEAR, YOU MUST

DO SOMETHING-
ABOUT YOUR BREATH

WHY, I BOUGHT A
MOUTH WASH ON
SALE AND I GARGLE
TWICE A DAy !

THAT EXPLAINS IT,
PLEASE GO AT OUCE

AND TRy My
PEPSODENT ANTISEPTIC

/ / ^

GEE, I THOUGHT
) ONE KIND WAS AS

\ ! GOOD AS ANOTHER

Pepsodent Antiseptic
assures a pure, sweet breath
at 1/3 the cost!

Pepsodent is 3 times more powerful than other leading
mouth antiseptics. Hence it gives you 3 times greater
protection — gives you 3 times more for your money.

IN almost every family — certainly in
every group of friends — there is
someone who is being fooled by ineffec-
tive mouth antiseptics. It's a friendly act
to tell them about Pepsodent . . . how
Pepsodent is three times as powerful
as other leading mouth antiseptics- —
how, by adding water, you make it go
three times as far and thus get three
times as much for your money plus
greater assurance of a pure, sweet breath.

Two kinds of antiseptics

Remember, there are really only two
leading kinds of mouth antiseptics on
the market. In one group is the mouth
antiseptic that must be used full strength
to be effective. In the other group is
Pepsodent Antiseptic, utterly safe if used
full strength, yet powerful enough to be
diluted with two parts of water and still
kill germs in less than 10 seconds.

Don't fool yourself by diluting old-
type antiseptics. The result is too impor-
tant — whether fighting colds or un-
pleasant breath. Choose the antiseptic
that kills germs even when it is diluted.
Insist on Pepsodent. Be sure! Be safe!
Save money!

COLDS!

Clinical research reveals that Pepsodent
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ducing the number and severity of com-
mon colds.

Some of the 50 different uses

for this modern antiseptic
Sore Throat Colds Cuts and

Head Colds

Smoker's Throat
Bad Breath
Mouth Irritations

Irritations of the

Gums
After Extractions
After Shaving

Abrasions

Chapped Hands
Dandruff

Skin Irritations
Checks Under-Arm
Perspiration Odor
"Athlete's Foot"
Tired, Aching Feet

Pepsodent Antiseptic

SCREENLAND

Qcing to NEW YORK?

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LOVE ANALYSED

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Beauty is as Beauty Buys
in the Cosmetic Market

' ' G uili - G uili" — th e
perfume god that
gets them all. . . .

MODERN Girls, as
well as South Sea
Islanders bow
down before the .
Tropical God of Good For-
tune— as symbolized by that
grand Vigny perfume,
"Guili-Guili." "Guili-Guili" really is the
name of a god worshipped for years in the
land of Hula-Hula. And if you want your
man to get a worshipful look in his eyes try
wearing "Guili-Guili" perfume. Not that
it's a love potion, or anything like that — ■
but you know how a lovely perfume will
waft a romance along.

You can buy "Guili-
Guili" in small sizes in less
fancy bottles — or if you say
"pretty please" you might
get someone to give you
the large-size bottle shown
above. (The size of the
bottle in the drawing is a
bit exaggerated we'll ad-
mit.) The head and feet
are hand-carved from a
dark, rich wood, and it's a
perfectly stunning addition
to any dressing table.

By Katharine
Hartley

wanders out. Well, a dry
shampoo seems to be the
answer to that problem.

There's a swell new one
on the market, called
Eden's Wave. You apply
it to the scalp with a bit
of cotton, and it not only
dry-cleans your hair thor-
ougbly and easily, but it
emphasizes the natural
high-lights of your hair. A number of
the stars in Hollywood have found that a
bit of Eden's Wave used before a close-up
shot gives their hair new life and fresh-
ness— makes it look as though they had
just come from the hairdressers. Inci-
dentally, the blonde stars like it particularly
well because it doesn't darken the hair.

And now — "Pac-
quin's to the finger
tips." . . .

Our old friends the Pac-
quin Hand Cream people,
have put out a new nail
polish — -so now we can have
"Pacquin's to the Finger
Tips." And, what's more,
it's not just another nail
polish. It has several very distinct advan-
tages. It is an ideal consistency — goes on
smoothly without streaking — and it doesn't
get thick in the bottle, after standing a
while. You may buy it in several shades
. . . colorless, natural, rose and a very
smart new and darker rose for sophisti-
cated finger tips. It's one of those polishes
that you don't have to fool with for hours,
to give a professional-man-
icure look to your nails.
You may buy the polishes
and remover separately, or
you may buy them in a
combination package at a
very reasonable price.

It dry-cleans the
hair, and is kind to
your wave.

There's a very interest-
ing product on the market
known as Kleerplex Wash
— -only it's really more
than a wash. You wet the
face with hot water, then
apply a little Kleerplex
Wash. Allow it to remain
on your face for a minute
or two, then remove with
warm water, and follow
with cold water or an ice-
pack. That's all there is
to the treatment, but it
helps to put a skin in good
normal condition. It clears
up oiliness, helps remove
blackheads and refines
large pores . . . and in
general, corrects a slug-
gish, sallow skin. Sensi-
tive skins should use this Wash only three
times a week, but it may be used daily by
hardy normal skins. The Wash has a nice
fresh fragrance which makes it delightful
to use. Order it direct from the maker.

We girls have a problem
with hair — particularly
since a great majority of us
have been going in for fin-
ger and water waves so
consistently. And quite
often our waves would have
a longer life (and a less ex-
pensive one), except 'that
our shampoo day rolls
around before the wave

Two headliners in
the exciting new
Coty line. . . .

Coty's skin beautifiers have blossomed
forth in perfectly stunning new packages.
The jars and bottles are pure white, with
gleaming turquoise blue
tops.

One of the new Coty
items is the Coty Eye
Cream — which should
meet with great acclaim
everywhere. It is espe-
cially blended to do a
good job in correcting
wrinkles around the eyes.

Another headliner is the
Acne Lotion which is
tinted so that it won't
leave a pasty white look
on the face. It is antisep-
tic and healing — and may
also be used as a pow-
der base over blemished
skins.

for October 19 3 3

The Public Be Heard

Continued from page 11

POINTED PARAGRAPHS

I am a weather-beaten old fan of several
years' standing, and I can't but admire
Hollywood for the excellent entertainment
that is regularly turned out, year after
year, with such apparent ease. Every
taste is catered to, from the "arty" enthu-
siast to the gangster expert — and with
uniform success.

P. S. Phillips,
46 Countess Road,
London, England.

Wild animals and politics in the pictures
are only a passing fad ; but romantic love,
being a universal quality of human nature,
must always remain as potent to us as it
was to the First Man and the First Woman
in the Garden of Eden.

Mary Ford Miller,
Montreat, N. C.

Give us idealism in our films. No, it
won't always be strict truth. But give us,
nevertheless, something to which we can
aspire, some ideal for which to struggle,
hope and pray !

Marjorie Schlosser,
Saegertown, Pa.

I'm for Katharine Hepburn ! She in-
trigues my reluctant admiration — and I
consider her attractive, but not beautiful.
Her incomparable crust in dealing with
writers, interviewers, and publicity makes
me yearn to snicker.

Sally Stroud,
Conway, Ark.

We demand beauty, yes ; but it must be
suggested rather than actual. Mere pretti-
ness may appeal to some eyes, but it does
not bespeak a great actress. Are Garbo,
Crawford, Hepburn, Helen Flayes, pretty
or beautiful? Yet they enchant with a
word, a look, a fugitive gesture.

Bonnie Boone Newell.

Alice, Texas.

What could be lovelier than "The Merry
Widow," filmed in technicolor, directed by
Ernst Lubitsch, and starring John Boles
and Jeanette MacDonald?

Margaret A. Connell,
Des Moines, Iowa.

Hurrah for musical pictures, the sensa-
tion of the year ! Such pictures as "42nd
Street," "Melody Cruise," and "Gold Dig-
gers of 1933" delight the eye and please the
ear. When I saw "42nd Street" the thea-
tre was packed to the corners.

Frank Pontinen,
Lakewood, Ohio.

AN OLD-FASHIONED RAVE
FOR DOROTHY!

You movie fans can keep your favorite
stars — your Garbos, Shearers, Crawfords,
Gables, Chevaliers, and so on. I had rather
see Dorothy Jordan on the screen than any
other star.

In my opinion, Miss Jordan is the best
motion picture actress ever produced in
Hollywood. She is an actress who can act
vividly, emotionally, sympathetically, and
as brilliantly as any. She has personality,
charm, youth, and brains. Her films, nearly
every one of them, are first rate, from "The
Wet Parade" to "Bondage."

So — give me Dorothy or give me death !

Frederick Wood,
San Francisco, Cal.

HONEY, WHY DO
YOU WEAR THAT OLD

KIMONO TO
BREAKFAST? YOU

USED TO BE SO
DAINTY. LATELY

YOU'VE EVEN...
EVEN ...

LETS NOT QUARREL,
DON. I FELT TIRED —
OUT TOO LATE
LAST NIGHT — BUT
I'LL GO DRESS

LATER

CELIA,YOU LOOK CHARMING-
SO FRESH AND SPRUCE! I'D
NEVER DREAM YOU'D BEEN
DANCING ALL NIGHT, TOO

/ THAT'S BECAUSE I'VE
' JUST HAD A LIFEBUOY

BATH. IT'S SO REFRESH-
ING! AND IT PREVENTS
\ ' B.O. _ KEEPS ONE
TRULY DAINTY

B.O. GON E _ lived kappilif ever after

HURRY, DON,
YOU'LL BE
LATE FOR
WORK

GOSH, HONEY,
YOU'RE SO
SWEET I HATE TO
LEAVE YOU

WERE INDOORS SO MUCH
NOW WE MOST BE EXTRA
f CAREFUL ABOUT *t».0."

The minute we step in-
doors "B.O." (body odor)
becomes twice as easy to
detect. Play safe — bathe regularly with
Lifebuoy, the purifying toilet soap
with the fresh, clean, quickly-vanishing
scent. Its creamy, deep-cleansing lather
deodorizes pores — stops "B.O."

A real complexion aid

Complexions thrive on Lifebuoy's
gentle,pore-puri-
fyingcare.Itsoon
clears and fresh-
ens a cloudy skin
— gives itahealthy
radiance.

SCREENLAND

Don't Be Tortured
By The Itching
Of Eczema

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just apply soothing Resinol Oint-
ment to the irritated spots, and see
how quickly your skin is comforted.
The itching is relieved at once, and
the soreness and roughness grad-
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Resinol safely anywhere on the
body — no parts too delicate.
Get Resinol Oint-
ment and Resinol
Soap from any
drug store and
start the treatment
today. For a free
samplewrite

AGAIN ANOTHER PROPOSAL

and only last sum-
mer nobody paid
any attention to
her. Today she is
the queen of the
party, desired, ad-
mired, popular.
She used to be
pale, skinny, unat-
tractive, but she
was clever. - - Her
constant thought
was how to achieve
a healthy radiant
look, a round,
beautiful figure. f
She tried "Vali-
tone Bonbons,".
Dr. A. Gallinger's
prescription, and
after only a short
time her mirror
convinced her that
Valitone Bonbons
had proven of in-
valuable help. By eating these tasty bonbons after
meals, the body weight may be increased within a few
weeks, from 5 — 15 pounds.

Unsightly hones of the checks find shoulder* beautifully covered and the
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tone and enrirh the blood, nn.l aid di-resti.m. Send $1 (10 for Inree box, or

order C. O. D. from Valitone Co., 169 State St., Binghamton, N.Y.

HAIR TROUBLES^

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DEAFNESS IS MISERY

Many people with defective hearing
and Head Noises enjoy conversation,
go to Theatre and Church because thev
use Leonard Invisible Ear Drums which
resemble Tiny Megaphones fitting
in the Ear entirely out of sight.
No wires, batteries or head piece.
They are inexpensive. Write for
booklet and sworn statement of £>/?|/A-/
the inventor who was himself deaf.
A. 0. LEONARD, Inc., Suite 984, 70 5th Ave., New York

What I Think of Bing!

Continued from page 31

hips than Dick and the pants fit him too
soon. There was no belt handy so he'd
ventured out without one and the pants had
slipped down until he looked like Jimmy
Savo — all seat and no legs.

People are always asking me what Bing
is like around the house. I wish I knew.
He gets up at daylight and I like to sleep
in the morning. The result is he's gone be-
fore I waken. He usually phones a couple
of times during the day but I don't lay
eyes on him until he staggers in around
dinner time, flops into a chair and moans,
"Am I tired? How about a quiet evening
at home?"

The neighbors tell me they like to hear
him sing. I've asked them to let me know
the next time they hear him so I can listen,
too. They must catch him over the air be-
cause he's never home long enough to finish
a number.

If ever there was a golf widow, I'm IT 1
When he isn't working he's- out on the golf
course from sun-up to sun-down. When I
tell him he ought to pay more attention to
Gunder (our baby) and me, he says I ought
to be glad he plays golf so he'll be in shape
to make his next picture. Ah, me !

He's got the most curiously complex
character of any person I've ever met. I
know he loves me devotedly and yet he'd
much rather be out with a bunch of men
than with me. He's strictly a man's man.
I never worry about what he's doing when
he's away from me because Bing is one of
those men who believe when once you're
married, you're married, and that's all there
is to it. The thought of chiseling or divorce
would never enter his head.

He says he's the laziest man who ever
walked the earth and yet he'll work his

head off. He explains that by saying that
as much as he hates work he hates being
broke more. He's got to have money in his
"kicks," as he puts it.

And, speaking of money, he's got no more
idea of the value of it than our baby. We're
building a new home and I wanted to get
one of the best interior decorators in town
to "do it" for us. That furniture is some-
thing we'll have to live with the rest of our
lives. The man wanted eight thousand dol-
lars and Bing thought that was too much.
Yet last summer he chartered a boat for
two thousand dollars to go on a fishing trip
that was over in a week !

He eats very little breakfast — according
to him — usually just a glass of orange juice,
toast, bacon, a couple of eggs and coffee.
He's always on a reducing diet but he'll
eat a double chocolate fudge sundae in the
middle of the day. And I must admit he
never carries his diet to the point of being
disagreeable around the house. If we have
something for dinner that's a little fatten-
ing and which isn't on his self-prescribed
diet, he just goes ahead like a little man
and eats it anyhow.

There's one sure way to get a rise out of
him. He says when he was little that his
folks provided him with food, shelter, and
clothes, but that from the time he was ten
years old he had to get his spending money
for himself. He sold papers, the Saturday
Evening Post, trekked through Montana
selling subscriptions to magazines to win a
scholarship, mowred lawns, split wood, and
even worked as janitor in the Everyman's
Club in Spokane — the latter a club for
down-and-outers who have nowhere else
to go.

His mother, on the other hand, says he

Missing links? We don't mean the boys, of course; only the golf course
on which they've been pill-chasing. Dick Arlen, Bing Crosby and Jack
Oakie are three of Hollywood' s most ardent golfers.

for October 19 3 3

She's the "All- American Girl"!
Lucille Lund won that title, and
a picture contract with Univer-
sal, from among 1200 co-eds.
Watch for her screen debut m
"Saturday's Millions."

never had to do a lick of work in his life
until he was grown and that makes Bing
hot under the collar. The thing that wor-
ries him also as much as the reflection on
his industriousness is that he can't decide
whether I made it up to kid him or whether
his mother really told me that — and his at-
titude doesn't sit too well with either of
us ! He says it's calumny and the law
should take charge of women who make
such gross misstatements !

When he gets going good Jimmy Durante
with his fancy language can't hold a candle
to Bing. Half the time I have to go 'round
with a pocket dictionary so I'll know what
he's talking about.

I worry myself sick every time he gets
in a car to go anywhere because he's al-
ready completely wrecked four cars and
hasn't profited by the experience. He still
drives like a madman because he's more in-
terested in getting to where he's going than
he is in the driving.

We have a steam cabinet in the bathroom
(a last, futile attempt to reduce him). In-
stead of sitting on the stool and letting his
head stick out, as ordinary people do, he
covers up the hole in the top and sits on
the floor. He takes a pair of sun glasses
in there with him and does his reading as
he sweats. The perspiration drips on the
books and the heat warps them out of shape.
When we borrow books it's the same thing.
Half my allowance goes to replacing books
people have loaned us and which he ruins.

He always forgets to send me flowers but
he thinks it's cute when I send them to my-
self, with his card in them, and charge them
to him.

He's got the sweetest, most even-going
disposition I've ever come across and I ask
you : What can you do with a man like that
except love him and wait for him to stagger
in with his customary "Am I tired?"

Anyhow, I've got Gunder to prove that
even he has his moments !

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Music ■ Gossip - News

A stellar conference in the Paramount studio front yard. Dick Arlen
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Mae West's Secret Self!

Continued from page 27

And they went, with a will !

Was that party gay? Did they yell and
scream ? Did they make whoopee ? They
certainly did. There was no stopping that
gathering once it got under way, and the
guests ate too much and drank too much
and joy was unrefined.

Did Hollywood stare! The guests — there
were two hundred of them — came to the
party by the busload. The hostess didn't
even know their names ! Yes, Mae West,
who has captured London, Paris, Park Ave-
nue, Main Street and the Bronx by her free
and easy ways, who exhibits sex without
moonlight, flowers or sweet whispers, who
scorns Betsy Ross because all she could
make was a flag, is big-hearted when she
gives a party, and her invitation was carte
blanche.

Miss West greeted her guests at the
circus tent, of all places, where she met
them with consignments of peanuts, pop-
corn, and pink lemonade, and these guests
comprised — hold your breath ! — orphan chil-
dren from the Los Angeles asylums. Do
you wonder the party was a huge success
and that everyone, including the hostess,
thought it was swell ?

Mae has led a busy life, busier than most
people. She has written and produced
plays, as well as acted in them. She writes
her own scripts for pictures, invents bits
of business, gags, wisecracks, is the author
of books, but she's never too busy to lend
a helping hand, to listen to a tale of woe, or
to give the other fellow a lift up. She's
especially thoughtful of old comrades.

To her dressing-room at the studio or the
theatre comes a steady procession of those
in trouble. She keeps a wad of bills in her
sock, and before the day is half over, the
money is gone — found its way into the
empty pocket of some needy comrade of a
day gone by.

This same Mae West is a practical, sen-
sible woman, who has seen many sides of
life. She knows its hardships, its uncer-
tainties, its recompenses.

When George Raft was having difficul-
ties with Paramount, she called him into
her dressing-room, where she was making
personal appearances in conjunction with
"She Done Him Wrong." Raft had left
Hollywood in a huff and was out of a job.
Miss West was the hit of the town. Every-
one was flocking to see her — authors, paint-

for October 19 3 3

ers. all the so-called literati, whose ap-
proval spells success — but she managed to
find time to talk to George Raft like the
Dutch uncle we hear about.

"Have you ever been hungry?"' she asked
him.

"Sure I have," he said defiantly.
"Do you remember it?" she asked.
"Sure !"

"Do you want to go hungry again?"
"I went hungry before, and I can do it
again."

"You know, it's a terrible feeling," said
Miss West, "not to have even a nickel for
carfare."

Raft was beginning to melt a little. Miss
West saw her opportunity. "Look here,
George," she said. "Be sensible. You may
never have another chance. You go out of
here and make friends with Paramount
again — be yourself!"

He looked sheepish, but he went. Raft's
on the best of terms "vith Paramount now
and is the possessor of a long-term contract
with that company.

But let me tell you that Mae West, who
claims that when she's good, she's very,
very good, and when she's bad, she's better,
seldom smokes, never drinks, is afraid of
nothing — but is scared to death of a mouse.

Oh, yes, there's one thing she wouldn't
and couldn't do. She tried it once, so she
knows. She was getting a huge sum week-
ly for it, too. After the first night she
quit. It was singing in a night club. She
didn't like putting on her act for a lot of
people, nearly all of whom were tight.

That's a bad girl for you — a bold, bad
girl. She started her career at the age of
four, giving impersonations of well-known
people of the day. She got her first job
giving an imitation of Eva Tanguay, the
once-famous "I don't care" vaudevillian,
who has just recently had her eyesight
restored — thanks to Mae West.

Irene Ware, who doesn't believe
in wasting time, takes her knit-
ting to the set with her and gets
in a few between-scenes stitches.

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Joan Talks about Tomorrow

Continued from page 14

definite financial goal at which to aim.

"I have none,'' she responded. "Perhaps
the statement may sound unreasonable, for
I realize that most human beings have
ultimate money-aims. Few have not said
to themselves, 'I want to save a thousand
dollars, or a hundred thousand, or a mil-
lion.' I invest as much of my salary as is
conveniently possible, but other than to
achieve independence, I have no goal.

"I never expect to retire. My mind is
too restless for idleness. My body is too
energetic ; my nerves are too alive. In-
activity drives me insane. When the screen
and stage are lost to me, I shall turn to
art, literature, designing, or something that
will keep me occupied. I will keep busy
until I am too old and weak to go on.
When that moment arrives, I want to die.

"In the future I plan to go annually to
Europe, not only for vacational purposes
but also for broadening educational rea-
sons. I want to visit every nook and cor-
ner of the world. I believe I will profit in
earthly knowledge from these contemplated
journeys, for my mind is memorative."

Joan also has definite plans to become a
stage actress. In this regard, she is the
instigator of one of the most amazing
schemes ever conceived by a motion picture
company — a project that I shall now make
public for the first time:

"There is every likelihood that Metro-
Goldwyn-Mayer will organize a stock com-
pany and present plays on Broadway," Joan
told' me. "If this plan culminates success-
fully, all of the company's contract stars,
and manj^ guest stars from other studios,
will be seen behind the footlights of a New-
York theatre."

The possibilities of this scheme are
astounding ! Why. in the course of a year
such a theatre might present in person such
stars as Miss Crawford, Helen Hayes,
Jean Harlow, Norma Shearer, Lionel Bar-
rymore, Marie Dressier, Wallace Beery,
Clark Gable, Walter Huston and scores
more. It is not entireiv bevond the bounds

of reason that Greta Garbo may be per-
suaded to take part in a play.

"One marked advantage to Metro-Gold-
wyn-Mayer as play producers is the inter-
change of actors and actresses," Joan con-
tinued. "For example, if Helen Hayes
were working in a New York play and
was needed for a Hollywood picture, studio
officials could send Norma Shearer or an-
other star to replace Miss Hayes. I be-
lieve that every star under contract to our
studio has expressed enthusiastic approval
of the idea."

The plan is so daring and of such tre-
mendous scope that its fulfillment seems
more like a dream than a possibility. Yet
Joan not only believes that it will be carried
to completion; she also believes that its
achievement is not far future! She is posi-
tive that the Metro-Goldwyn-Mayer Play
Company will be an actuality within two
years !

However, the failure of this amazing
scheme to develop will not deter Miss
Crawford's intention of appearing in a New
York or London play. She has harbored
that ambition for years. During the past
twenty-four months she has constantly be-
sieged her employers to permit her annual
leaves-of-absence, during which she would
appear behind the footlights. She now tells
me that she has practically won that fight ;
it now remains for the studio to produce
its own plays or give Joan permission to
negotiate with other New York producers.

Miss Crawford's one ideal is to be the
greatest star! Not merely the most popu-
lar screen star, or the most renowned stage
star, but the greatest actress of stage and
screen !

Once she confided this ambition to an
actress-friend, who cried, "How can you
say such a thing, when we have such fine
artists as Helen Hayes and Greta Garbo?"

Joan's answer may be bromidic, but she
was utterly sincere when she said, "If one
desires a thing and is willing to strive and
sacrifice to attain it, nothing is impossible."

Famous star congratulates movie aspirant! Gracious Joan Crawford
wishes the best of luck to Anita Thompson, former Dallas, Texas, school
girl, whose beauty won her a bit in "Dancing Lady."

for October 19 3 3

Reaching for the moon? This lissome lady is Lilian Miles, one of the
attractions in the song-and -dance picture, "Moonlight and Pretzels."
And she's even more provocative than the title of this new musical

comedy in celluloid!

The Man Constance Cummings Married

Continued from page 1 7

this parish, become one. The bride carried
no flowers, and the groom no torch.

Then it is off to Venice, buckity-buckity,
where the moon is as big- as a ferris wheel
and the gondoliers howl ballads in rich,
garlic-laden tenors.

So Constance Cummings, nee Halver-
stadt, of Seattle, has a fine young spouse,
one of the smartest theatrical lads of his
time. Forgotten her first false steps in the
film colony, when she wasn't the type for
a Ronnie Colman picture, and she ate bitter

toast as she saw another lass get the role
she had been hired to play.

Only remember, now, the recent screen
triumphs that have rocketed her to success.
Those — and the fact that she has married
the man she loves.

Health and success to the 'appy pair !

And as their honeymoon gondola glides
down the Grand Canal, I trust and believe
that no shadow of a beautiful English girl
shares the craft. For gondolas, like the
bicycle in the old song, are built for two !

By CHARLES ATLAS

Holder of the title: "The World's Most Perfectly
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IMPORTANT

To Subscribers
If you wish to avoid delay in
receiving your copy of Screen-
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blue eyes, weighs 170 pounds and is 6 feet
tall ; is married and has a four-year-old
son, a baby daughter, and just recently an-
other son, Leslie, made his debut at the
Gargan menage.

Shirley G. Many are asking about "Be
Mine Tonight," featuring Jan Kiepura and
a full foreign cast — don't get me wrong —
the cast is fine. It was a German-made
film co-starring Jenny Jugo and Kiepura,
under the title "A Song for You," and re-
leased for American trade by Universal as
"Be Mine Tonight." Sorry I haven't much
personal information about the foreign tenor
except that he is a rave in Europe and Uni-
versal will present him in more films.

Vancouver Fan. I take it" or you take it,
you have a birthday in October. Constance
Bennett, Marian Nixon, Janet Gaynor, Car-
ole Lombard, Boots Mallory, Jean Arthur,
Marjorie Beebe, Sue Carol, Sally O'Neil,
Mitzi Green, Lloyd Hughes, Buster Keaton,
and James Hall — all October "babies."

A V ce Dec Fan. Don't I feel important !
Dwight Frye was born in Salina, Kansas,
33 years ago. He is 5 feet 8 inches tall.
He played with Adolphe Menjou, Greta
Nissen, and Donald Cook in "The Circus
Queen Murder."

Christine M. As far as I know, Florence
Eldridge is the first and only wife of

Fredric March, and a very congenial couple
they are. Robert Montgomery was mar-
ried to Elizabeth Bryan-Allen in 1928. (No
— not the Elizabeth Allan who is on the
screen.) Dorothy Jordan is under con-
tract to RKO Pictures. She played
in "Bondage" with Alexander Kirkland.
Dorothy was born August 9, 1910, in
Clarksville, Tenn. She was married, on
May 27, to Merian C. Cooper, RKO pro-
ducer. Anita Page is free-lancing. John
Boles will be seen with the English star,
Lilian Harvey, in "My Lips Betray."

Dorothy S. Will I make room for a
brother and sister argument — why not? In
the picture, "Hell's Angels," with Ben
Lyon, James Hall, Jean Harlow, and many
other birds of the air, James Hall was the
brother that was sacrificed for the good of
something or other, if I recall it correctly.
Constance Bennett and Richard Barthelmess
played together in "Son of the Gods."
Richard is 38 years old, Ben Lyon is 32,
and Gene Raymond is 25.

Judith D. After making "Lily Turner"
Ruth Chatterton vacationed in Europe with
her husband, George Brent. The Brents
are back at work now, appearing together
in a new film.

B. S. After the fans had a glimpse of
Frank Lawton as Joe Marryot in "Caval-
cade" my department was swamped with in-
quiries, asking for "Lawton, Lawton, who
and where is Lawton?" He was brought
over from London to play that role and
after his work was finished, he returned to
his stage successes in England, but he may
be pursuaded to make another picture for
our entertainment, in the future. Lawton

Greta Nissen, blonde charmer of many a well-remembered stage and
screen opus, is the seductive school-marm who gets Phil Harris all excited
in "Melody Cruise." Note the "cartridge sleeves" on Greta's negligee.'

for October 19 3 3

"She wanted Her Man" — and Bebe Daniels has what it takes to get him!
Bebe stars in an English-made picture with the above title, made by
British International, with these three well-groomed Britishers among
the men who want her!

was born in London, England, on Sept. 30,
1904. His mother is Daisy May Collier,
an English actress, and his father is Frank
Mokeley, an American actor.

Joan M. I don't know of any one I'd
rather say nice things about than Glenda
Farrell. She made such a hit in "Life Be-
gins" that her admirers have been calling
for more Farrell pictures. Glenda made her
film debut in 1932 ; besides "Life Begins,"
she has appeared in "I am a Fugitive from A
Chain Gang," "Girl Missing," "Grand
Slam" and "The Keyhole." She was born
in Oklahoma about 28 years ago, was mar-
ried at 16, and has a nine-year-old son,
Tommy, whom she adores. Bette Davis
was born April 5, 1908, in Lowell, Mass.
Madge Evans is not married. The princi-
pals in "Halfway to Heaven" were Buddy
Rogers, Jean Arthur, Helen Ware and
Paul Lukas. Buddy Rogers' comeback to
the screen after an absence of a year was
in "Best of Enemies" with Marian Nixon,
Frank Morgan, Joseph Cawthorn and
Greta Nissen.

E. Z. H. You are going to lose your
bet as sure as your name is E. Z., for
"Union Depot," with Joan Blondell and
Douglas Fairbanks, Jr., was released in
February, 1932, and "Grand Hotel" was
universally released in May, 1932. You
may have seen "Grand Hotel" at your fa-
vorite theatre before the Blondell and Fair-
banks film was shown there — it's impossible
for me to check play-dates in local theatres.

Vee Bee W. Not trying to steal my
thunder, by any chance? If you'll review
the 1933 June and August issues of Screen-
land, you'll find beautiful pictures of Elissa
Landi in the Special Art Section. Elissa
was born Dec. 6, 1906 in Venice, Italy. She
is 5 feet 5 inches tall, weighs 120 pounds,
and has light auburn hair and green eyes.
Randolph Scott plays with Sally Blane in
one of her recent releases, "VVild Horse
Mesa." Sally is 23 years old and weighs 118
pounds ; and her sister Loretta Young is 21

and weighs 100 pounds. Philippe De Lacy
is now 16 years old; his birthday was on
July 25, 1917. Morgan Gallaway made
but one picture to my knowledge — "Lena
Rivers."

Picture-goer. With so many letters from
London this month, I feel quite "vvhat-ho
and a cheerio." The actor you refer to is
Roscoe Karns, who appeared with Gary
Cooper, Jack Oakie, Richard Bennett,
George Raft and Wynne Gibson and a host
of other prominent stars in "If I Had a
Million." He also played in "The Crooked
Circle," "Gambling Ship," "A Lady's Pro-
fession," "Today We Live" Joan Craw-
ford's latest release, and other big features
that I haven't space for here. Roscoe is one
of the screen's best-known supporting play-
ers. He was born in San Bernardino, Cal.,
has brown hair and eyes, is S feet 10 inches
tall and weighs 165 pounds. Roscoe's long
stage work fitted him for his success on
the screen.

H. K. H. Sorry I can't give you the
home address of Martha Sleeper but you
can reach her at her studio address, Metro-
Goldwyn-Mayer, Culver City, Cal. Her
latest picture is "Midnight Mary" with
Loretta Young, Ricardo Cortez, Franchot
Tone and Una Merkel.

Mary Anna. Your latest crush, Kath-
arine Hepburn, was as much surprised as
any one to find she had made the biggest
over-night sensation of any film star in
many moons. Dashed off to Europe — did
not wait to hear the applause she received
after her first picture, "A Bill of Divorce-
ment." Katharine was born in Hartford,
Conn., about 24 years ago. She has red-
dish brown hair, green-grey eyes, is 5 feet
5yi inches tall and weighs 105 pounds. Her
second film was "Christopher Strong" with
Colin Clive, Ralph Forbes, Jack LaRue,
Billie Burke and Helen Chandler. Just a
quiet tip — watch for the glamor girl in her
new attraction, "Morning Glory," with
Douglas Fairbanks, Jr.

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Harriett H. Frankie Darro, the Midget
Cowboy, is one of the outstanding young
actors of the screen — one boy who doesn't
do any out-standing at the casting office
either— he's always in action on the inside
lines. Frankie was born in Chicago. 111., on
December 22, 1918. Both parents were
vaudeville stars and as soon as Frankie was
old enough, he was taken into the family
act. His first screen appearance was in
"Judgment of the Storm," made in 1928,
soon followed by other important roles
with famous stars ; notably as the news-
boy in "Kiki," with Norma Talmadge, and
as the boy in "So Big," with Colleen
Moore. These youngsters grow so fast,
it's difficult to keep up with their weight
and height, but why worry about that ?
Frankie has played with Tom Tyler in
many of his Western films and can "ride
'em cowboy" with the best of the old
timers. See Frankie in "The Mayor of
Hell" with James Cagney and don't say I
didn't tell you he is good.

Isabel S. "Maedchen in Uniform" was
adapted from a novel and stage play. I'll
give you the names of the ladies in the
cast but I won't promise to pronounce
them. Emilia Unda, Hedwig Schlichter,
Ellen Schwannecke, Hertha Thiele — and
the leading lady, Dorothea Wieck. the
new sensation whose performance of the
sympathetic teacher won her a Paramount
contract. She's now in Hollywood.

C. D. You have been misled as to title
of picture and star of "Ann Carver's Pro-
fession" with Fa}' Wray as the lead — not
Loretta Young. Loretta plays with Rich-
ard Barthelmess in "Heroes for Sale" and
in "Midnight Alary" with Ricardo Cortez.
Little Cora Sue Collins almost runs away

with every scene in which she appears, as
Vesta Gerhardt, in Sylvia Sidney's new
picture, "Jennie Gerhardt."

Betty C. Ask me all the questions you
like — then watch this department for your
replies. Frances Dee was Doris Brandt in
"The Crime of the Century," and William
Janney was James Brandt. Gene Ray-
mond's latest releases are "Zoo in Buda-
pest," "Ex-Lady," and "Ann Carver's Pro-
fession," and he is scheduled to play with
Carole Lombard in "Brief Moment." Fred-
ric March played in "The Eagle and the
Hawk" with Cary Grant.

Mrs. O. L. K. Shades of the movie past !
Pearl White hasn't made a picture for a
long time. She has been living in Europe
for years. I don't know her age but she is
5 feet 6 inches tall, weighs 120 pounds and
has blonde hair and blue eyes. She started
her career on the stage and became well-
known on the screen in the serial, "Perils
of Pauline."

Norton Fan. We told you so! Barry
Norton was bound to get a break and in
"Cocktail Hour," with Bebe Daniels and
Douglas Scott your favorite looks his usual
handsome self and has acquired a good
command of English as we speak it. Ned
Sparks can always be depended upon to
give a perfect performance in comedy and
comedy-drama. Ned was born in Ontario,
Canada, educated in Toronto, and has spe-
cialized in law, railroading and mining, and
finally turned to the stage. He has ap-
peared in many films as a featured player,
writes and plays in short comedies, and is
in great demand as a comedian. Did you
see him in "Gold Diggers of 1933"?

Winners of

AUTOGRAPHED RECORD
CONTEST:

The following are the winners of the autographed records offered by orches-
tra leaders as prizes in Screenland'S Radio letter contest:

PAUL WHITEMAN RECORD
Verna Marie Jenks,
3800 E. Colfax Ave.,
Denver, Colorado.

BEN BERNIE RECORD:
Ethel Martin,
1024 Temperance St.,
Saskatoon, Saskatchewan,
Canada.

OZZIE NELSON RECORD:
Bert Pilkington,
P. O. Box 223,
Galena Park, Texas.

DON BESTOR RECORD:
M. J. Hamilton,
944 Yale Station,
Yale University
New Haven, Connecticut.

RUDY VALLEE RECORD:
Consuelo De Cordoba,
580 West 161 st Street,
New York City.

EDDY DUCHIN RECORD:
John E. Hutt,
802 N. Grand Avenue,
Sherman, Texas.

ISHAM JONES RECORD:
Howard Jeroloman,
763 St. Nicholas Ave.,
New York. N. Y.

GUS ARNHEIM RECORD:
Frank C. Kernan,
Dorm. No. 5,
Boulder City, Nevada.

GUY LOMBARDO RECORD:
M. Frazier King,
1010 Chester Street,
Bristol, Virginia.

WAYNE KING RECORD:

Paddy Spalding,
720 A. Hinman Avenue,
Evanston, Illinois.

TED WEEMS RECORD:
Bill Jencks,
627 N. Wahsatch,
Colorado Springs, Colorado

NAT SHILKRET RECORD:
Louise Mazza,
327 Roosevelt St.,
Union City, New Jersey.

LEO REISMAN RECORD:
Jackie Fensterer,
187 East Main Street,
Bayshore, Long Island.

CAB CALLOWAY RECORD:
Evelyn Steel,
940 Private Road,
Hubbard Wood, Illinois.

for October 19 3 3

Billie Burke, beloved American actress, adds a little make-up between
scenes at the studio. Miss Burke scores a personal success in the all-star
picturization of "Dinner At Eight." And you will be seeing her also in
Universal's "Only Yesterday," with John Boles.

Here's Hollywood

Continued from page 71

HATS off to Ginger Rogers' youthful
mother, Lela Rogers.
Not content with allowing her talented
daughter to corner all the glory, Mrs.
Rogers produced a play titled "Funny
Man" in a tiny Hollywood theatre. The
cost of production was less than $150.

The author was a first-timer and every
member of the cast was chosen by Mrs.
Rogers from the extra ranks. Only one
night did fame tread the stage — the night
Ginger played the feminine lead in place of
the regular principal, who was ill.

Mrs. Rogers sold her play for Broadway
production, the author has signed an
M-G-M contract, five members of the cast
have been engaged by studios, and latest
reports indicate that "Funny Man" may
reach the screen before the year ends.

AN eerie feel, thrilling as a horror pic-
^i-ture but obtainable free, may be had by
listening to an ordinary conversation be-
tween El Brendel, Roscoe Ates, and other
actors of typed screen characterizations.

Brendel talks perfect English. Ates never
stutters in real life, and few of the faulty-
voiced comedians talk with impediments or
in broken English. To hear them off-
screen is to experience a creepy feeling that
something is amiss.

THE International Beauty Shop Owners
in convention in New York decided
that the ideal beautiful woman is five feet
and five inches tall and weighs 116 pounds.

Wonder what that congregation of
beauty-guessers have to say about Janet
Gaynor, Lilian Harvey, Marion Nixon and
other five-feet-no-inch-stars ? Or about
Frances Dee and Jean Harlow and Clau-
dette Colbert and Miriam Jordan, who are
all less than five feet and three inches tall ?

"Beauty is not measured with tape lines,"
wisely commented Edmund Lowe. "One
measures beauty with one's eyes."
Sez you, Eddie !

YOU have heard that expression: They
get in my hair? If Lionel Barrymore
did not originate the phrase, at least he has
good use for it.

Lionel is an inveterate cigarette smoker
— at times a "chain smoker." Most of his
recent screen roles have demanded that he
wear great beards and mustaches, and sev-
eral times the Barrymore whiskers have
caught on fire.

The hazard proved too appalling and one
day Lionel arrived at the studio with a
strange parcel. This, turned out to be a
can of fire-proof liquid, which the star now
sprays on his hirsute adornments !

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SCREENLAND

IDLE CHATTER: Greta Garbo does
not appear to walk ; she glides. Jean
Harlow's hair always looks best cared
for. No one ever received a noisier "come-
back" welcome than Anna Q. Nilsson.

Can the screen possibly offer dual suc-
cess to brothers so uniformly alike as Jim-
my and Bill Cagney ? Briefest description
of Adolphe Menjou: Suave. Wonder if
Olive Borden ever thinks of George
O'Brien? Once people thought they
would marry.

Myrna Loy's eyes promise the most ex-
citement. Neither Groucho ' Marx nor
Robert Woolsey ever smokes those cigars
they wear in their mouths.

That gateman St. Peter-ing the main
MGM entrance always smiles when he
says, "No admission." My vote for the
cutest figure in Hollywood : Lilian Harvey.
Neil Hamilton refused a $6,000 offer for
his magician's paraphernalia. Clara Bow's
hair, for photographic reasons, has been
red, black, brown, blonde, and salmon-
pink.

The most oft-heard greeting at any
studio is Richard Arlen's "Hi-ar-yuh !"
Those deserted Real-Art studios mimic a
haunted house. Once they beehived with
the activities of Betty Compson, May Mc-
Avoy, Bebe Daniels, Lila Lee and Wanda
Hawley.

Wonder if Lilyan Tashman always
spelled her name that way? Guards
bristling at two gateways maintain Mali-

bu's privacy, and without special permis-
sion visitors are stopped five hundred yards
from the beach-proper.

Frank Craven and Randolph Scott were
golfing together, when Randy discovered a
queer bug on one of the greens.

"This is a Japanese beetle," the blond
actor explained. "These bugs ruin a golf
club."

"Yeah? Then our club has several of
them as members," Craven responded.

JACK OAKIE was telling Fred-
ric March about a picture in
which he (Jack) and Stuart Erwin
shared comic honors.

"I saw that picture," scoffed
March. "But I didn't see you."

"I was in every scene with Er-
win," expostulated Oakie.

"That explains everything,"
chuckled March. "I was so busy
watching Stu's stuff that I didn't
see you."
And did Oakie burn!

WHEN "Ann Vickers" appears, keep
an eye out for Estelle Brody in Irene
Dunne's supporting cast, Miss Brody has
been a big-time star in English plays and
pictures for a number of years, and makes
her Hollywood debut with this picture.
Though her advent is comparatively un-
heralded, there is plenty of reason for be-
lieving that she is going to click.

Where is the Joan of yester-
year? You'll scarcely recognize
your favorite emotional actress
in this gay, jaunty little show
girl!

SELDOM has the loss of a screen actress
occasioned more widespread sorrow
than when Louise Closser Hale's sudden
death brought grief to her fellow-members
of the film colony as well as to the mil-
lions who had enjoyed her many amusing
impersonations on the screen. Truly a
"Grand Old Lady" of th*e cinema, Mrs.
Hale contributed many fine performances
to motion pictures, and in earlier days was
also a noted stage actress both in New
York and in London. An added note of
poignancy is lent her departure by the fact
that one of her finest screen characteriza-
tions, that of the mother in "Another Lan-
guage," is currently appearing on theatre
screens throughout the country.

WHEN Henry Garat, French film and
stage star, arrived in Hollywood, his
wife was warned against the city's beau-
tiful women.

"I don't mind what they do to my hus-
band," Mrs. Garat, (pronounce it Gah-ray,
emphasis on second syllable), answered,
"but they must remember that he belongs
to me!"

New! Exclusive! Screenland shows you, hot from the studio, the first pictures
of Joan Crawford in her new and revolutionary character as a dancing girl.
Brisk, peppy, and scantily clad, you'll find a new and unsuspected Joan when
"Dancing Lady" appears!

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The special, perfect shade for evening is NITE.

Measure Your Beauty by the Color in Your Cheeks. A

new thought . . . and true. That the glowing, vibrant color
in your cheeks shall set at naught features less than perfect
. . . enhance with utterly new beauty when features are
perfect. Then . . . with Princess Pat rouge ... be beautiful
today as you never were before.

A MAKE-UP KIT FOR ONLY lOc

£ This famous introductory Kit contains
rouge and lip rouge to last tiro weeks to
a month; also a purse size, metal box of
Princess Pat face powder and book of new
copyrighted beauty secrets. The 10c is
simply for postage and packing. An extra-
ordinary offer; made to acquaint you with
three delightful Princess Pat beauty aids.

Princess Pat

PRINCESS PAT, 2709 S. Wells Street, Chicago.

Dept. 254-A. Send your famous Minute
Make-up Kit containing rouge, lip rouge and
face powder. I enclose 10c in lull payment.
(In Canada, 15c).

Name.

Street.

City and State.

LONDON

CHICAGO

IN CANADA, 93 CHUKC1I STREET, TORONTO

rrmm

■nil

• ABOVE— A. M. WILKINS, air-mail pilot for Trans-
continental and Western Air, Inc., has flown the night air
mail over 150,000 miles. It takes healthy nerves to hang
up a record like that!

• RIGHT— AT THE END of his night run A. M.Wilkins
joins a fellow pilot, VV. Niedernhof er, at Newark Airport,
the Eastern Terminal of TWA, for a chat and a smoke.
" Camels never ruffle or jangle my nerves," Wilkins savs.

IT jS MORE FUN TO KNOW STEADY SMOKERS

1 TURN TO CAMELS

Camels are made from finer,
MORE EXPENSIVE tobaccos
than any other popular brand.
They are milder, richer in fla-
vor. They never tire your taste
or get on your nerves.

MATCHLESS
BLEND

• EVER NOTICE HO W airplane passen-
gers smoke at each sf.op? Camels never
get on your nerves, no matter how much
you smoke, and there's more real enjoy-
ment in their costlier tobaccos.

A. M. Wilkins, air-mail ace,
says: "It's a steady grind, all
right, living up to our tradition
that the mail must go through.'
That's why I smoke Camels.
And T smoke plenty! Camels
never ruffle or jangle my
nerves, and I like their mild,
rich flavor."

# #■ #
Steady smokers turn to Camels
because the costlier tobaccos in
Camels never get on the nerves
...never tire the taste. Ybwrtaste
and your nerves will confirm this.
Start smoking Camels today !

NEVER GET ON YOUR NERVES
NEVER TIRE YOUR TASTE

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Full text of "Screenland (Apr-Oct 1930)"

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